Landscapes - Spring 2020 - 35

FOCUS

4

this history and help the general public
rediscover the necropolis as a fascinating
environment. Tucked into some of the hills
are beautiful mausoleums, monuments and
simple, stirring gravestones waiting to be
discovered. A large natural plain is preserved
at the entrance to the cemetery, offering a
ceremonial route to the grounds' chapel.

Sacred halts
The cemetery hosts five landscape halts
that take advantage of the different
landscape units that make up its singular
topography. Their geometrical figures -
circles and ellipses - set them apart from
the free, organic lines of the two halts near
Beaver Lake and the strong diagonals that
make up the three halts along Olmsted
Road. The choice of circles and ellipses
reflects the character and capacity of
geometry throughout history to shape
sacred sites and architecture.
As in all the halts, the driving objective was
to delicately introduce the new granite
components - the bands and borders of
Virginia Mist and sculpted benches of Bethel
White - into the natural terrain. Respect
for the sacred tranquility of the site, but
also a deference to the mountain's primary
landscape, were always fundamental to the
design intent. As designers we accepted
that these pieces would disappear in winter
under snowfall, as do many gravestones,
as we feared the potentially jarring impact
of any strong vertical structure within the
restful landscape of the cemetery.
Poetic lines at the halts, with the unique
images and sounds they trigger, help
convey what the visual experience of
landscape cannot. They bring the reader

into the fuller narrative of the mountain. The
poems are an integral part of the halts; they
help convey an essential quality we were
striving to achieve throughout the project:
a multisensory experience of landscape.
Hence, each moment of pause is an
invitation to sit a minute or two, to take in the
landscape, and also to listen, without and
within, to connect with our inner landscape.
Working with the individual authors was,
for Julie Margot and me, one of the most
enriching experiences of the whole project.
The authors each came into the studio to
help chart out the spatial layout of their
poem as we strived to ensure the poem's
layout reflected the author's sensitivity and
the intent of the poem. This, for them, was
an incredible experience as well. Since each
author was paired with a specific landscape,
we aimed to ensure each layout offered an
approach to the text both coherent with
the content, but also with the relationship
between the content and the landscape.
Different approaches were devised, mostly
by choosing to present the poems from
the outside in, or from the inside out of the
halt, and by breaking up the poem by lines
or words and shuffling segments along the
granite borders. This approach allowed us to
underscore important phrases or words in
relation to what can be perceived from the
site, but also less tangible content such as
sounds or shadows.
Poets Erin Moor and Pierre Nepveu were
paired at two sites within the extensive
plain at the entrance of the cemetery. This
open, grassy meadow has remained free
of tombs and will remain so through an
accord between the cemetery, the City and

5

Ministry of Culture, preserving a precious
open space within the sacred grounds of the
cemetery, within the cherished territory of
the Mount Royal Heritage Site.
Erin's poem reads: Languages too have peaks
and valleys The Iroquoian path between
these summits heads north along a creek
born in this plain Its water still sings below
us; listen - murmuxo murmur murmure
iohnekarè :re
Pierre's poem reads: Monde sans murs,
l'étendue nous ouvre les yeux, entre les
morts aveugles et les vivants affairés, nous
partageons l'extase des arbres possédés par
la plaine, l'oreille juste pour le vent
These two halts, hardly perceptible to
the unsuspecting eye, imprint their pure,
geometrical figures onto the meadow.
Whereas the exterior border stones hug the
natural slope of the site, the internal bands
of stone rise gently from the grass plane,
morphing into a simple bench, suggesting a
view and a landscape to ponder.
After a long wait, to see these halts take their
discreet place in the cemetery was stirring.
I was touched to finally read the inspiring
and enigmatic poetry in situ; an invaluable
contrast and addition to the enumerable
epitaphs of sorrow. There remains
something sacred about intervening in a
cemetery, something humbling. It felt like
the work would survive time.

SPRING | PRINTEMPS 2020 35



Landscapes - Spring 2020

Table of Contents for the Digital Edition of Landscapes - Spring 2020

To Begin With | Pour Commencer
Our Writers | Nos Collaborateurs
Prologue > Fr_ en_lp+ Sweeping the Forest Floor
Interview | Entrevue the Star Is in the Ballpark > fr_lp+
“Gravitas” – The Lost Airmen of the Empire
Creating Sacred Spaces – Weaving the Memorial Landscape
Sacré Montagne
Curating Calm in the Spirit of Mandalay, Myanmar
Kapabamayak Achaak | Wandering Spirit Healing Forest
By Invitation Only – Inclusive Playground Design
Battle of Kapyong Memorial Plaza
L’essentiel Est Invisible > en_lp+
Critique
The Parting Shot | Une DernièRe Salve
Landscapes - Spring 2020 - Intro
Landscapes - Spring 2020 - cover1
Landscapes - Spring 2020 - cover2
Landscapes - Spring 2020 - 3
Landscapes - Spring 2020 - 4
Landscapes - Spring 2020 - 5
Landscapes - Spring 2020 - 6
Landscapes - Spring 2020 - 7
Landscapes - Spring 2020 - To Begin With | Pour Commencer
Landscapes - Spring 2020 - 9
Landscapes - Spring 2020 - Our Writers | Nos Collaborateurs
Landscapes - Spring 2020 - 11
Landscapes - Spring 2020 - 12
Landscapes - Spring 2020 - 13
Landscapes - Spring 2020 - Prologue > Fr_ en_lp+ Sweeping the Forest Floor
Landscapes - Spring 2020 - 15
Landscapes - Spring 2020 - 16
Landscapes - Spring 2020 - 17
Landscapes - Spring 2020 - 18
Landscapes - Spring 2020 - 19
Landscapes - Spring 2020 - Interview | Entrevue the Star Is in the Ballpark > fr_lp+
Landscapes - Spring 2020 - 21
Landscapes - Spring 2020 - 22
Landscapes - Spring 2020 - 23
Landscapes - Spring 2020 - 24
Landscapes - Spring 2020 - 25
Landscapes - Spring 2020 - “Gravitas” – The Lost Airmen of the Empire
Landscapes - Spring 2020 - 27
Landscapes - Spring 2020 - 28
Landscapes - Spring 2020 - Creating Sacred Spaces – Weaving the Memorial Landscape
Landscapes - Spring 2020 - 30
Landscapes - Spring 2020 - 31
Landscapes - Spring 2020 - 32
Landscapes - Spring 2020 - Sacré Montagne
Landscapes - Spring 2020 - 34
Landscapes - Spring 2020 - 35
Landscapes - Spring 2020 - Curating Calm in the Spirit of Mandalay, Myanmar
Landscapes - Spring 2020 - 37
Landscapes - Spring 2020 - 38
Landscapes - Spring 2020 - 39
Landscapes - Spring 2020 - Kapabamayak Achaak | Wandering Spirit Healing Forest
Landscapes - Spring 2020 - 41
Landscapes - Spring 2020 - 42
Landscapes - Spring 2020 - 43
Landscapes - Spring 2020 - By Invitation Only – Inclusive Playground Design
Landscapes - Spring 2020 - 45
Landscapes - Spring 2020 - 46
Landscapes - Spring 2020 - Battle of Kapyong Memorial Plaza
Landscapes - Spring 2020 - 48
Landscapes - Spring 2020 - 49
Landscapes - Spring 2020 - 50
Landscapes - Spring 2020 - L’essentiel Est Invisible > en_lp+
Landscapes - Spring 2020 - 52
Landscapes - Spring 2020 - 53
Landscapes - Spring 2020 - 54
Landscapes - Spring 2020 - 55
Landscapes - Spring 2020 - Critique
Landscapes - Spring 2020 - 57
Landscapes - Spring 2020 - 58
Landscapes - Spring 2020 - 59
Landscapes - Spring 2020 - 60
Landscapes - Spring 2020 - 61
Landscapes - Spring 2020 - 62
Landscapes - Spring 2020 - 63
Landscapes - Spring 2020 - 64
Landscapes - Spring 2020 - 65
Landscapes - Spring 2020 - The Parting Shot | Une DernièRe Salve
Landscapes - Spring 2020 - cover3
Landscapes - Spring 2020 - cover4
Landscapes - Spring 2020 - LPplus 1
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Landscapes - Spring 2020 - LPplus3
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Landscapes - Spring 2020 - LPplus5
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