Une tour sur la montagne: L’architecture d’Ernest Cormier et sa vie avec Clorinthe Perron

Ernest Cormier (1885–1980) dominated Canadian architecture between the two world wars. Spanning a crucial stage of modernization and urbanization for Montreal, Quebec, Canada, his built works negotiate local global aspirations bilingual metropolis, an ethnolinguistic nation, interprovincial confederation.Cormier trained as civil engineer before studying at École des Beaux-Arts in Paris. Throughout career, he styled himself “architect engineer-constructor,” form professional self-presentation that derived from idol Auguste Perret. The art deco moderne sensibility acquired Paris resonated with Montreal’s growing Francophone bourgeoisie. Among most important are Montreal Courthouse Annex (1920–26), Main Pavilion Université de Montréal (1924–43), Supreme Court Canada (1935–50), monumental doors United Nations General Assembly Building New York (1947). Just created public images bodies collective significance, displayed similar degree self-fashioning, this time individual, domestic projects. Both studio (1921–28), one first ateliers specifically designed artist, house, commonly known Maison (1930–31), functioned social hubs artists professionals during interwar period.1Since early 1950s, has hovered below surface consciousness history architecture. He wrote little did not teach; according to architect Louis Brillant, was “a lone wolf” who produce disciples continue legacy.2 His were soon overshadowed by transnational modernisms 1950s 1960s exuberance Expo 67. Quebec’s Quiet Revolution 1960s—during which confident state apparatus challenged hegemony Anglophone business elites Catholic Church—found architectural expression high modernism Brutalism, evidenced mirrored glass façades Papineau Gérin-Lajoie Le Blanc’s Quebec 67 Evans St-Gelais’s concrete parliamentary office building (colloquially “the bunker”) City.Now documentary directed filmmaker Paul Carvalho historian Aliki Economides seeks rectify relative obscurity shrouding legacy. film’s title, Une tour sur la montagne (A Tower on Mountain), refers Cormier’s famous building: Montréal’s campus northern slopes Mount Royal, defining geographic feature. signature feature sprawling edifice is slender tower outside in, housing mechanical equipment library stacks (a planned observatory dropped). tower’s purpose symbolic—it reaches skyward beacon Canada’s intellectual societal ambitions.3 use word also opens second meaning title walk mountain.” film certainly does this, visiting several major projects vicinity including house.The based Economides’s 2015 Harvard doctoral dissertation, she currently transforming into book.4 Brillant on-screen presences; they joined cast architects, acquaintances Cormier, chief justice Canada. Filming took place inside buildings—a highlight, many regularly open public—and Centre Architecture, holds archive. Under Carvalho’s direction, camera reveals impressive materiality ornamentation grandest spaces.Given monographic career single architect, it striking intriguing character montagne: role instead belongs Clorinthe Perron. tale decades-long relationship her sister Cécile animates film, introducing sexual innuendo its presentation buildings. sisters models whom (then widower following death wife, Berthe Leduc, 1918) met artist brothers Henri Adrien Hébert. dissertation explains presence Perron life work spatial iconographic terms, but seems gossipy comparison. trade-off clear: titillating story rewards members nonarchitectural their patience closely examining details buildings twists turns career. Yet beyond providing obvious sensationalizing angle, significant given help explain another works: it, mores built.The reifies class expectations gender norms structured sisters. More than house’s prestigious location Golden Square Mile (the neighborhood where resided) topography, sloping steeply downward entrance L’Avenue Pins. main atelier upper floor provided space large, receptions. intimate guests might be invited descend level library. lived further downstairs, could dine privately them. They entered house like servants through side door. As son pediatrician, member bourgeoisie, came lower class, profession made them even more unwelcome gatherings upstairs. required him remain good graces ecclesiastic political elite, flaunting extramarital romance nude model would have controversy.If Perron’s physical hidden reaches, prominently above bas-relief, bearing surely intended symbolize pavilion Montréal, just across mountain. relates sculpture “speaks rather explicitly erotic dynamics played out private depths house.”5Things changed after World War II. flagged (in part because favored conservative government premier Maurice Duplessis), so life. While Duplessis staked reactionary positions, especially mores, now appeared upstairs animate diminished scene. Having multiplied savings gambling racetrack while dried up, gained hand. finally married 1976, died four years later.The moved hagiographic accounts lives great men, shift raises question: What around albeit largely underappreciated one? For Economides, answer both external (What tell us about Montreal?) internal (How do creators fashion identities themselves others making objects?). allowed reach wider research Cormier. Her brings academic rigor new archival discoveries endeavor.Although addressed primarily audiences, aspects such scholarship discussion issues modernity fashioning identities, will interest historians elsewhere. Although sensationalist tone occasionally risks distracting oeuvre, clear filmmaking offers ideal medium broaden awareness all seek redefine twenty-first century, helpful citizens reflect architects constructing self-images.Une available viewing online free charge Radio-Canada’s Doc Humanité platform, URL included top review. seeking funding add English subtitles French-language film.