At the end of this month, the last tenants will vacate the Tour Montparnasse in Paris to make way for its renovation. Nouvelle AOM, a collective of architects formed to respond to the project's international design competition, first won the commission back in 2017. And initially, the plan was to complete the renovation in time for the Paris Olympics in 2024.
But that time came and went, as it does, and now construction is starting this year. Nouvelle AOM, which includes Franklin Azzi Architecture, ChartierDalix Architectes, and Hardel Le Bihan Architectes, is in charge of the tower. And Renzo Piano Building Workshop is in charge of redesigning the commercial podium at the tower's base.
At the end of this month, the last tenants will vacate the Tour Montparnasse in Paris to make way for its renovation. Nouvelle AOM, a collective of architects formed to respond to the project's international design competition, first won the commission back in 2017. And initially, the plan was to complete the renovation in time for the Paris Olympics in 2024.
But that time came and went, as it does, and now construction is starting this year. Nouvelle AOM, which includes Franklin Azzi Architecture, ChartierDalix Architectes, and Hardel Le Bihan Architectes, is in charge of the tower. And Renzo Piano Building Workshop is in charge of redesigning the commercial podium at the tower's base.
We've spoken about the Tour Montparnasse many times over the years on the blog (here, here, and here). Parisians customarily hate it, and after visiting it in 2023, I can confirm that it's desperately in need of a renovation, and that the ground plane experience is abysmal at best. It is of that era where grandiose "slab-based planning" was going to elevate us beyond the pathologies of fine-grained urbanism.
Here's a Google image from atop the site's enormous podium:
What's interesting about the design from Renzo Piano is that it will reuse a lot of the structure that's already in place. The plan is to carefully open up the site, stitch it back together with the surrounding urban context, and then build up from there. Importantly, at the centre of the project will be a large, planted piazza that is intended to become a new civic space for the community.
The project renovations are expected to last until "at least 2030." So, we have several years until we'll know if it's an urban and financial success. But my prediction is that this project will positively transform how Parisians think about the Tour Montparnasse, and maybe how they think about tall buildings.
The tower itself will, of course, need to be beautiful. It's a highly visible object. There's only a trifecta of buildings and structures inside Paris proper that exceed 150 meters in height: the Eiffel Tower, Tour Montparnasse, and the Tour Triangle (Herzog & de Meuron), which is currently under construction and expected to finish this year. In this case, architecture is not irrelevant.
But it is the ground plane experience that will ultimately revitalize the area and demonstrate that tall buildings can be good urban neighbours, even in a sea of Haussmannian mid-rise buildings. I've said before that the reconfiguration of the podium is arguably the project's most crucial design move.
The March issue of Monocle just dropped, debuting a new format called the Monocle 100. It's a list of the people, places, and things worth knowing about. And in the middle of it is something called the Monocle Property Survey, which was deliberately timed to coincide with MIPIM, the massive real estate conference that takes place every March in Cannes.
As a quick aside, our team contemplated going to MIPIM this year in search of both friends and money, but then we thought to ourselves: Why bother going to the South of France when we have Toronto in the middle of March to enjoy?
The first thing the Property Survey does is give a rare nod to developers: "While architects often nab all the credit for building our cities, streets and homes, it's actually developers who should get much of the kudos (and blame, in some instances). Because it's usually developers — small, large, private, state-funded — that must secure land, raise capital and take risks." It almost feels weird hearing somebody say something positive about our kind.
But even better, the survey includes a full page on our unique creative residency program at Parkview Mountain House (Park City, Utah):
A big thanks to the Monocle team for the feature. If you're in Toronto and would like to pickup a copy of this month's issue, visit their shop in Little Italy at 776 College Street. And if you'd like to learn more about PMH, including our creative residency program, visit pmhpc.com.
"The problem with buses," writes transportation planner Nithin Vejendla in Work in Progress, "is that they are slow." The same thing could also be said about other surface transit routes like Toronto's streetcars, including some of our new lines. Now, there are lots of ways to speed up surface routes. Dedicated lanes and signal priority are two obvious ones. But an even simpler one is to just get rid of some stops!
North American cities tend to be plagued by too many transit stops. I think we do it because more stops sounds better than fewer stops. It creates the illusion of servicing more people. But too many stops can make routes painfully slow, by increasing dwell times. According to Nithin, buses in the US spend about 20% of their time just stopping and then starting again. Obviously the more stops you have, the worse this downtime gets.
Here's the average spacing between bus stops for various US cities taken from the above article:
If I convert some of these numbers into the system of measurement used by the rest of the planet, you'll find the following average stop spacings:
172 m in Philadelphia
205 m in Chicago
210 m in San Francisco
240 m in New York
260 m in Miami
350 m in Seattle
425 m in Las Vegas
European cities tend to have wider stop spacing, somewhere closer to 300–450 m. And as a further point of comparison, AI tells me that the current average streetcar stop spacing in Toronto is about 250 m, but that the official target for both streetcars and local buses is between 300–400 m. This is better. 400 m is a 5-minute walk. And if you're on the transit corridor, it means you'll never have to walk more than 200 m, or 2-3 minutes, to the next stop.
Consolidating stops has been shown not to have a meaningful impact on coverage area, but the benefits are significant. To give just one example, Los Angeles saw its operating speeds increase by 29% and its ridership grow by 33% on the Wilshire/Whittier Metro Rapid corridor by doing exactly this. So, if you're looking for a way to speed up your surface routes, one starting point would be to just do less.
We've spoken about the Tour Montparnasse many times over the years on the blog (here, here, and here). Parisians customarily hate it, and after visiting it in 2023, I can confirm that it's desperately in need of a renovation, and that the ground plane experience is abysmal at best. It is of that era where grandiose "slab-based planning" was going to elevate us beyond the pathologies of fine-grained urbanism.
Here's a Google image from atop the site's enormous podium:
What's interesting about the design from Renzo Piano is that it will reuse a lot of the structure that's already in place. The plan is to carefully open up the site, stitch it back together with the surrounding urban context, and then build up from there. Importantly, at the centre of the project will be a large, planted piazza that is intended to become a new civic space for the community.
The project renovations are expected to last until "at least 2030." So, we have several years until we'll know if it's an urban and financial success. But my prediction is that this project will positively transform how Parisians think about the Tour Montparnasse, and maybe how they think about tall buildings.
The tower itself will, of course, need to be beautiful. It's a highly visible object. There's only a trifecta of buildings and structures inside Paris proper that exceed 150 meters in height: the Eiffel Tower, Tour Montparnasse, and the Tour Triangle (Herzog & de Meuron), which is currently under construction and expected to finish this year. In this case, architecture is not irrelevant.
But it is the ground plane experience that will ultimately revitalize the area and demonstrate that tall buildings can be good urban neighbours, even in a sea of Haussmannian mid-rise buildings. I've said before that the reconfiguration of the podium is arguably the project's most crucial design move.
The March issue of Monocle just dropped, debuting a new format called the Monocle 100. It's a list of the people, places, and things worth knowing about. And in the middle of it is something called the Monocle Property Survey, which was deliberately timed to coincide with MIPIM, the massive real estate conference that takes place every March in Cannes.
As a quick aside, our team contemplated going to MIPIM this year in search of both friends and money, but then we thought to ourselves: Why bother going to the South of France when we have Toronto in the middle of March to enjoy?
The first thing the Property Survey does is give a rare nod to developers: "While architects often nab all the credit for building our cities, streets and homes, it's actually developers who should get much of the kudos (and blame, in some instances). Because it's usually developers — small, large, private, state-funded — that must secure land, raise capital and take risks." It almost feels weird hearing somebody say something positive about our kind.
But even better, the survey includes a full page on our unique creative residency program at Parkview Mountain House (Park City, Utah):
A big thanks to the Monocle team for the feature. If you're in Toronto and would like to pickup a copy of this month's issue, visit their shop in Little Italy at 776 College Street. And if you'd like to learn more about PMH, including our creative residency program, visit pmhpc.com.
"The problem with buses," writes transportation planner Nithin Vejendla in Work in Progress, "is that they are slow." The same thing could also be said about other surface transit routes like Toronto's streetcars, including some of our new lines. Now, there are lots of ways to speed up surface routes. Dedicated lanes and signal priority are two obvious ones. But an even simpler one is to just get rid of some stops!
North American cities tend to be plagued by too many transit stops. I think we do it because more stops sounds better than fewer stops. It creates the illusion of servicing more people. But too many stops can make routes painfully slow, by increasing dwell times. According to Nithin, buses in the US spend about 20% of their time just stopping and then starting again. Obviously the more stops you have, the worse this downtime gets.
Here's the average spacing between bus stops for various US cities taken from the above article:
If I convert some of these numbers into the system of measurement used by the rest of the planet, you'll find the following average stop spacings:
172 m in Philadelphia
205 m in Chicago
210 m in San Francisco
240 m in New York
260 m in Miami
350 m in Seattle
425 m in Las Vegas
European cities tend to have wider stop spacing, somewhere closer to 300–450 m. And as a further point of comparison, AI tells me that the current average streetcar stop spacing in Toronto is about 250 m, but that the official target for both streetcars and local buses is between 300–400 m. This is better. 400 m is a 5-minute walk. And if you're on the transit corridor, it means you'll never have to walk more than 200 m, or 2-3 minutes, to the next stop.
Consolidating stops has been shown not to have a meaningful impact on coverage area, but the benefits are significant. To give just one example, Los Angeles saw its operating speeds increase by 29% and its ridership grow by 33% on the Wilshire/Whittier Metro Rapid corridor by doing exactly this. So, if you're looking for a way to speed up your surface routes, one starting point would be to just do less.
