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Designed in 1976 and inaugurated in 1981, Agora was created by sculptor and landscape designer Charles Daudelin (1920-2001), who was commissioned by Quebec’s transport minister, at the suggestion of engineer Bernard Lamarre, to re-establish a significant space on the west side of Square Viger, which had been devastated by the construction of the metro and then of the Ville-Marie expressway. The designer had to deal with constraints imposed by the tunnel running below it such as its ventilation fans. The immense green roof offers a central space framed by basins of water, terraces, and an interweaving of structures and spaces designed to house cafes and shops much like those found in the squares at Expo 67. The original plans also included the planting of scent gardens. Despite years of neglect, Agora maintains great architectural integrity.
Square Viger is one of the oldest in Montréal, built on market spaces dating from the 1810s. A prestigious location, as evidenced by the remarkable buildings that surround it – homes, church, railroad station, the former Hautes Études Commerciales – the square was also frequented by the poor and the homeless as early as the 19th century. Agora predates by several years the adoption of the so-called “1% integration of art and architecture policy” and is reminiscent of efforts and initiatives designed to soften the impact of major transportation infrastructures in urban areas – in this case, the Ville-Marie expressway. This initiative also aimed to create a second activity hub to relieve the pressure on Place Jacques-Cartier in Old Montreal.
The feeling of public rejection felt from the very beginning of the redevelopment of Square Viger by artists is associated with disputes surrounding the expressway and facilities separated from other parts of the square, cut off from the street. This interfered with the completion of the original plans for Agora and, above all, its public use. The square’s urban environment is still inhospitable and dominated by traffic on streets serving the expressway. The lack of real activity in the sector makes it a poorly frequented area, associated with marginality and urban violence, two factors that now serve as a pretext justifying the indifference of the government and its desire to demolish it all without seeking to understand the significance of this site which, in 2009, offers great potential, since its trees have grown and new generations of artists and residents are discovering its possibilities. Agora is now threatened with demolition because of faults unfairly attributed to it.
Héritage Montréal has expressed its concern about the state of this installation and the indifference of municipal and provincial authorities regarding its development. We expressed our views during consultations regarding the Ville-Marie section of the Master Plan, the downtown CHUM project, and the management of public art in Montréal. Héritage Montréal has also participated in meetings of the arts and heritage communities concerned about the fate of Agora as well as of the Commission des biens culturels du Québec. We have supported an application for classification submitted to the Minister of Culture to ensure the coherence of actions taken to protect monumental works from every era.
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