1.garage for BIXI flatbed trucks

8 trucks

8 drivers

8 loaders

2 dispatchers

[truck parking, flatbed parking, flatbed loading, unloading, access to bike wash, kitchen, lounge, washrooms, bixi park station (outside building) personal bike park station (inside building), uniform closet, clothing washer, dryer]

2.Bixi maintenance

mechanics -10

dispatchers office in same space-2

[repair/wash/tune/air- loading dock connected to MB loading dock, washrooms, kitchen, lounge, clothes washer,dryer]

3.Mountain bike maintenance

receptist -2

mechanics -10

[receptist – communicates with public to make appointments to bring in damaged bikes, mechanics repairers – /wash/tune/air- loading dock connected to bixi loading dock, washrooms, kitchen, lounge, clothes washer,dryer]

4.bike wash

bike washers (2)

(cyclical, accessible to bixi maintenance and mountain bike maintenance, wears rain gear, puts bubbles in washer, spot dries if needed, feeds/loads in bikes of BIXI, mountain, and bikes that have been brough in for repair. these bikes have a tagging system to not loose track.)

5. public general parking unground by St.Antoine street

6. loading docks (maintenances bixi and mountain bike)

7. bixi/direct bike pathways across site W-E:

access to mountain bike maintenance shop from above. no public access to bixi storage, loading garage, or bixi maintanence level “hidden” like the metro maintenance at Youville.

access to bike artisan shops

access to public washrooms

accesss to BMX suggestive park

access to air stations/water fountain stations

access to extensive BIXI parking stations

access to outdoor mountain bike rental

access to doorway TO indoor mountain bike share rental docks

access to doorway TO indoor own bike dock rentals

access to gym entrances (multiple)

access direct, ramp way and stairway, to VELODROME for public events, concerts, auctions, conventions, etc.

access to BIKE ELEVATOR- permits easy access to velodrome for new bikes, large volume of bikes for auction.

day to day basis you can rental a mountain bike from the community share mountain bike docks. there are two colors of bikes. small and large. small for kids and short ppl, and large for tall ppl.

day to day basis you can also STORE your own bike on the docks. these are in a supervised safe area, inside the gym. these docks are not lockers… they are just simple docks like BIXI docks. if you have gym stuff you keep it locked in the locker rooms.




8. bike artisans – small shops rented out,  on linear grid .general bike pathway









BIXI redistribution garage for BIXI flatbed trucks





When we move our bodies in the city, we are meditatively moving not only our body, but the city also; a body moving through urban space is urban space. That is why movement is a material of the city. We built infrastructures to support it and it is a key material in my architectural project. Bodies are often blocked from inside which obstructs them from being one with the city. Bodily movement helps unblock the body, and releases an essence from within which connects the ego back to the source – the city and body as one. When we dance, consciously through urban space, the city seen as an absolute space with one truthfulness becomes a subjective space with imagined possibilities. Stemming from within, but rooting from without, the perception of the imagined city mediates from the ordinary to the extraordinary. This mediated perception fluctuates within our control. Or, has potential to be.

My project, the bike city, implements an architectural choreography which stimulates bodily movement needed to feel as one with the city. The bike city is a building  with interweaving cyclist paths which overlook and run above the current highway infrastructure. The paths run through, merge with, and lag around a bike repair shop,  bike lockers, public washrooms, BIXI station, skateboard park, and fresh market. The core program of the bike city is movement itself. The project questions the vital role that bodily movement plays in the cultural and social organization of the city, and its partnership with the other movement systems : automobile, sewage and water.


Paper and tape as a medium for modeling the project allows me to split the surfaces of the ground, into movement dialogues between a walker and cylists in the building. The ground splits into various inclines. Some inclines are steep enough for walking. Some inclines are steeper for a bike to coast at a higher speed and zip past the walkers path. Some inclines are steep enough to become the wall, and then become the ceiling. What does it mean when the ground which is walked, or cycled on becomes a wall which supports the enclosure, or a ceiling which protects us from the elements. The paper and tape are used because they behalf in the same way as a laminate. I see the ground, walls and ceiling being clad with wood laminate strips.

the facades of the building wrap around the cyclist ramps. the facades are of a slight transparency. the cyclists can be visually sensed from an outsiders view, in particular the reflection the the pedals, going up and down. The speed of the pedaling varies, as the ramps change in inclination but also horizontal angle from the flat ground plane.

vehicle [vee-i-kuhl or, sometimes, vee-hi-
1. any means in or by which someone travels or something is carried or conveyed; a means of conveyance or transport: a motor vehicle; space vehicles.
2. a medium of communication, expression, or display.
The movement of bodies from Station Champs de mars to St. Antoine Street is prescribed to be a one of travel. The movement of bodies as a medium of communication, expression or display is negotiated because the site is in favor of traffic flow. However, the site has potential to be more than vehicular infrastructure with a pedestrian crossing.

The bodies crossing on the site need lot just be pedestrians. What if a there was a program which seduced bodies to inhabit the site without the removal of traffic infrastructures. A program with an architecture not of a green patch amongst a concrete world, but a program of with an architecture for movement and dance. The pedestrians move in harmony with the dancers, the dancers move in harmony with the traffic.

What architecture allows this intersection. How is the site divided amongst these three types of movement vehicles. What loci are there presently on the site which can take the architectural form for dance space?


What if the structure of the site was set up to allow the bodies on the site to perform in a way which danced with the intersecting traffic.


transparent layers.
1:1000 north transsection
ville-marie expressway : black
metroline: red

architectural c u e s

categories of  movement material cues for site mapping and notation:

d i r e c t i o n a l

any architecture that suggests a direction for movement with intention.

-steps (inclined direction)

-doors (linear direction)

-barricade (forbidding intention)

-tree line (linear intention)

-sidewalk (linear, forward. rhythmic, with intention of skipping over cracks. I have A.D.D)

-lamp posts (suggesting a rhythm

-street lanes. (linear)alignment cue also

-curbs (quarter rotation)

-corners (quarter, half rotation)

-elevators (slow vertical rise)

-water slides (fast vertical decent)

-pillars (organization linearity)

-street signs

Palais de Justice, St. Antoine Street at Allee des Huissiers

a l i g n m e n t

any architecture that suggests the operation of alignments a body with another, or with an idea, or an architecture.

-intersection STOP lines

-car signal lights

-narrow lanes or streets

-any surface that touches the feet. is a perpendicular alignment cue.

-thematic frames. these are the frames of, and inclusive of vocal points of its axis, or path. they frame a theme in a sequence. Architectural thresholds, that suggest the start of a theme, or thresholds that suggest an end of a theme. thematic frames are spatially fragmented. The dimensions of thematic frames are composed with our perspective views. So the top of the frame may be an object very far in front of me, touching the horizon for instance, a sunset; and the sides of the frame may be at my periphery, exterior facades of a narrow lane.  Together, the sunset and the opposing wall facades compose the thematic frame. The opposing walls are also aligned, so the are an alignment cue to walk aligned with them. Their parallel nature also makes them a directional cue to walk forward, linearly towards the theme, with is the sunset.

Rue de la Gauchiere and St. Denis

St. Laurent Street at Viger Est

s y n c – u p

any architecture that suggests the operation of time synchronization of one body’s movement with another body’s movmement, an idea, or an architecture

-intersection space

-any crossing of space

-any interchange of space

Rue Gabrielle at Viger Est

Viger Est at Champs de Mars Metro

fortification of 1758

I now understand why the expressway 720 is named Ville-Marie. In the lower right hand corner of the map, the scroll reads “Plan of the town and fortification of Montreal OR Ville-Marie in CANADA”. Ville Marie expressway is exactly a fortification – it fortifies Old Montreal from Southbound access – like a cross section of speed and emptiness. It cuts space, and on either side lies the divided city. As a vessel it directs cars to cut transverse space. In this site there is a potential for a new look on spaces. exchanges of possessions, Negotiations of embodiment.

for more on fortifications

for more on construction

transparent layers of lines. 7 x 5″ Adobe Illustrator, drawn sketch, Autocad.