The Flying Cold is a utopic idea of the place of the cold which brings out man’s pleasure to meet on the land. Dynamic and ephemeral, the space of the cold expands to unite man and territory. This ductile place filled with possibilities awakens and stimulates the imagination. A hub for exchanges which allows open-mindedness towards the other and the intermingling of cultures. Intangible, the spatiality of the place of the cold can be translated into volatile "bubbles" that settle on the territory, like the first snowfall. They dive into the atmosphere annually to embrace the sky, the earth and the sea. The landscape is carved by the passage of the cold into a unifying playground that invites the body and mind to relax through its replenishing beauty. Boundless, the state of mind of the cold entices man to regroup, to amuse and to contemplate. As a meeting point, the discovery of bubbles motivates cultures to share the pleasures of the land and to externalize themselves as a community. Putting everyone's knowledge to good use, the creation of ephemeral stations generates places for leisure, encounters, relaxation, and refuge – an appropriable landmark that fades with the seasons. Leaving no traces of its passage, only the collective memory of the place allows to revive the souvenir of this encounter. Brushing against the boundaries of dream and reality, these places contribute to the construction of a world constantly renewed and adapted to the present moment. The Flying Cold presented by Alexina Godbout, Julien Hamon-Bernard and Sarah Lebeau. To learn more about this exercise or watch more videos, please visit : https://habiterlenordquebe.wixsite.com/le-froid

The idea of movement is deeply rooted in the Inuit culture and its relationship to the landscape and the territory. Movement symbolizes the Nuna, as an inhabited land, through which we orient ourselves with the wind (Dorais, 2008). Our idea of the cold is materialized through an installation which induces movement and encounter with the territory. It is directly related to the Inuit’s dynamic representation of the world, where each element is in relationship with the others (Collignon, 1999). The proposition is inspired by the landscapes of Nunavik, which induce movement by their configuration (Therrien, 2007). At the territorial scale, the project links the Inuit communities of Nunavik through a set of landmarks. The project is located at the meeting point between each village and the territory. It is experienced as a double threshold; both towards the territory and towards the village. The project consists of a series of frames, on which are suspended white canvases, inspired by nomadic tents. The installation is experienced through movement at the scale of the territory, but also at the scale of the body. There is first the idea that we have to move to warm up and tame the cold (Dorais, 2008). The installation also frames the views towards the horizon and the sky, while the canvases dance with the wind and soak up the sunsets’ warm light. The project is an opportunity for encounters between generations and for an encounter with tradition. It contributes to the renewal of the Inuit identity, which is in constant evolution (Collignon, 1999). by Sandrine Arguin-Marchand, Florence Gagnon and Dominique Pichette To learn more about this exercise or watch more videos, please visit : https://habiterlenordquebe.wixsite.com/le-froid

Let us walk you through the vastness, the colours and the feeling of the cold with this progression of misjudgments that slowly become enlightenment towards Inuit identity and life in cold environments. Circles of Inuit lifestyle scenes and mesmerizing yet unknown landscapes will guide your path away from the opacity of your initial misconceptions about the cold. Geneviève Bacque, Lyna Chambaz + Charlie Wenger To learn more about this exercise or watch more videos, please visit : https://habiterlenordquebe.wixsite.com/le-froid

Relationality is the basis of Indigenous people’s worldview and philosophy. This urban design and architectural project emphasize on the indescribable bond they share with their territory, and especially Nuna the earth. The Inuits grant an importance to relationships. They represent the truth beyond the object itself. Tippa: Where We (Re)Connect offers to the people of Kangiqsualujjuaq an identity journey by three semi-built installations displayed across the territory. This (re)connection with the land is primordial in a worldview where everything is everything and where human beings are a part of the territory. These three pavilions allow the user to experiment the territory by the simple use of senses. Takuvoq (to see) is the first stop on this spiritual journey to observe the vastness of the landscape. Savippaa (to touch) anchors the user to the ground by highlighting the beauty of the pergelisol and the snow. Tusarpoq (hearing) amplifies the surrounding noises that share the earth’s knowledge. These three experiences allow the diffusion of traditions and knowledge through the territory for appreciating the greatness of Nuna. Welcome to the hearts of land relations that have guided Indigenous peoples for centuries. Vickie Dugas, Aurélie Gauthier & Audrey Ann Mammen To learn more about this exercise or watch more videos, please visit : https://habiterlenordquebe.wixsite.com/le-froid

The encounter with the cold in our project is characterized by the concept of a sensorial approach. The variation of all the senses in relation to the specific characteristics that they transmit on a place itself, when we experience it, is explored in the form of a path that leads to a destination. As read in the text “An Architecture of the Seven Senses” by Pallasmaa, architecture is experienced by the sense of sight, hearing, touch, smell and taste. The perception of a place is defined the more we open to these senses, to which are added two dimensions, such as time and movement. The links forged between the two cultures take place at the same time over a full year, where the seasons pass, and over the course of a day, from sunrise to sunset. The identity of the inhabitants of the cold, which appears empty, grey and less or more lifeless, turns out to be the complete opposite. It finally appears that this northern place is overflowing with a cultural richness with such a variety that draws a colorful scenery before our eyes, sensorial it’s in entirety. By Isabelle Boily Maude Boulay Trisha Brown To learn more about this exercise or watch more videos, please visit : https://habiterlenordquebe.wixsite.com/le-froid=

Our proposition aims to give Inuits control over their built environment, using local materials and traditional building methods.  Katsujiniq is a built installation and a place where sharing and harmony are at the forefront. The residents of each village will leave their homes to travel across the land. They’ll bring recycled materials that they found near their village. This installation belongs to everyone and serves as a stopping place to facilitate their travels. They can stop in this place to warm up, contemplate nature or to meet and exchange with other travelers. In order to respect the integrity of the natural environment, the installations will be adjustable, temporary, and made with local materials.  The construction of the huts becomes a bonding activity for the community because everyone has the right to modify the structure and add some elements to it.  Traditional methods of building such as weaving, the use of wooden rods as in teepees and rocks inspired from Qarmacs will be used. Depending on the people involved and the localization, each installation will have its own personality. Travelers can leave tools to fish or hunt, works of art, and other types of objects that they want to share with others. The installations will let the wind pass through and will highlight certain aspects of the natural environment. The travelers will have the opportunity to live in harmony with nuna while being sheltered. These installations will give Inuits a chance to express themselves and be their own masters. The huts will adapt in function of the evolution of their culture and the seasons.    Project by: Louis Murray Leclair Patrick Guentert Anthony Présumé

Land holds a very important part in Inuit culture. In Inuktitut, the word nuna stands for a much more sensible vision of space: “Land, nuna, from an Inuit point of view, is not placed under the name of cold. Cold is not a tangible thing, but a feeling, a sensation influenced by biology and culture.” (Antomarchi & Joliet) Thus, Inuit culture tends to explain natural phenomena relying upon the sensations it triggers. Fusion is inspired by the different words used in the Inuktitut language that describe the various kinds of snow. These visions shape the land of cold. Qanik can be defined by the light snow that falls from the sky, aputi represents the bed of snow that accumulates on the ground, aniu is the snow that has fallen that is most likely to transform into water. The proposition showcases these different phases using similar elements; perforated stone tubes that create different atmospheres using light and sound. The momentum of the space brings a new perception of the cold that evolves throughout the installation. The qanik phase is characterised by a vast sprawling punctuated with tubes that act as falling snowflakes. The aputi section consists of an accumulation of tubes that create a protected and inviting area that eventually leads the user to the aniu. These stone incidents progressively lean on the ground to guide its users to a much more fluid phase that reflects water’s behavior. The different perforations along the tubes allow the wind to create a sound that creates musicality throughout the journey. Florence Durocher Samuel Tourigny Xavier Moreau To learn more about this exercise or watch more videos, please visit : https://habiterlenordquebe.wixsite.com/le-froid

Ammasalik – Travelling memory Travelling memory embarks the voyager on a Nordic journey. Guided by his senses, he meets the Inuit culture and identity. Ammassalik is a traditional Inuit map. It is a wooden stick on which the Inuit carved the memories acquired through the surveying of the land. This artefact is the keeper of their memories and their wisdom of the land. The maps were then passed down from generation to generation in the Inuit family. «To present day indigenous youth, the land of the elders seems to only be present as scenery, a backdrop to which the village is detached from.» Béatrice Collignon (1999). Ammassalik, travelling memory is a journey through which the traveller meets the land, and hence become reconnected to the knowledge of the elders. As the Inuit carves a story on his tactile map, telling the capes, the passages through which he carried his kayak or the places he used as shelters, the path tells his wisdom of the land. Carried by the wind, the traveller creates his own way, his own tactile map during his exploration of the territory. The further one travels from the community, the scarcer the landmarks are. Thus, one chooses the path to follow and will experience the land from a unique perspective. Each journey tells a different story. Through contemplation and gathering places, the traveler gets closer to the village. His tactile map now imprinted in his head allows him to connect his soul to the land. He is now ready to travel through memory. Juliette Morneau Léonie Proulx Valérie St-Hilaire To learn more about this exercise or watch more videos, please visit : https://habiterlenordquebe.wixsite.com/le-froid Médiagraphie : Hello Laroux (2019). Le Nunavik — un trésor aux confins du Grand Nord québécois. [Image en ligne]. Consulté sur https://hellolaroux.com/preparer-voyage-nunavik-grand-nord-canadien/ Google Maps. (2017). Belcher Islands. Google Maps [En ligne]. Consulté le 11 septembre 2020. Lkovac. (2011). Kangiqsujuaq, Wakeham Bay [Image en ligne]. Consultée sur : https://fr.wikipedia.org/wiki/Kangiqsujuaq#/media/Fichier:Kangiqsujuaq_(village).jpg Morgan, Colleen. (2008). Tactile Maps and Imaginary Geographies. [Image en ligne]. Consultée sur: https://colleen-morgan.com/2008/03/01/tactile-maps-and-imaginary-geographies/ Inuit du nom de Kunnit, (1885), Ammassalik - Wooden Inuit Maps [Sculpture]. Greenland National Museum and Archives, Nuuk, Groenland. Image : Inuit du nom de Kunnit, (1885), Ammassalik - Wooden Inuit Maps [Sculpture]. Greenland National Museum and Archives, Nuuk, Groenland. Livre : Det Kongeglige Danske Geografiske Selskab. (2000). Topografisk Atlas Gronland. Reitzel. Québec Le Mag, (2019). Association touristique du Nunavik [Image en ligne]. Consultée sur : https://www.quebeclemag.com/les-meilleures-adresses/activite/experience-autochtone/association-touristique-du-nunavik/. George Simpson McTavish. Hunter and his qajaq. Library and Archives Canada. [Image en ligne]. Consultée sur :http://lrmm.oicrm.org/nunavik/culture_objets_traditionnels-culture_traditional_objects-eng.html. Céline Tanguay. (Année inconnue). Inuit. [Peinture acrylique ]. Consultée sur : http://www.galeriecelinet.com/ Louis Carrier. (2008). Vue générale de Salluit. [Image en ligne]. Consultée sur : https://fr.wikipedia.org/wiki/Salluit#/media/Fichier:Village_de_Salluit_(Qu%C3%A9bec).jpg Library of Congress. (1909 - 1932). Igloo building: A family of Eskimos containing four children and three dogs are seen surrounding the work of an igloo gradually built up from the surrounding snow. [Image d’archives] Consultée sur : https://www.dailymail.co.uk/news/article-2253029/Historic-photographs-document-Alaskas-Inuit-Eskimos-survived-worlds-coldest-winters.html Archives Deschâtelets. (1939). Enfants autochtones en salle de classe au pensionnat indien catholique de Fort George (Québec). [Image d’archives]. Consultée sur : https://ici.radio-canada.ca/nouvelle/1049917/etude-malnutrition-pensionnats-autochtones-sante-premieres-nations-obesite-diabete-tracey-galloway-ian-mosby Bernard Duchesne. (Année inconnue). La tradition orale. [Image en ligne]. Consultée sur: https://hosted.learnquebec.ca/societies/iroquois-around-1500/oral-tradition-the-word-is-king/?lang=fr Mathieu Dupuis. (2016). Sur la rivière Déception, le lac Duquet et son camp inuit. [Image en ligne]. Consultée sur : https://www.journaldemontreal.com/2016/11/05/couleurs-automnales-dans-la-toundra

A place is a space carrying identity in addition to having a great historical memory. The form is a place of cold, of crossbreeding between Inuit culture and the one from the south. Cold is defined differently from one culture to another; in the north, it is rather seen as a land of abundance, nurturing and spirituality. Inuit identity is tied to a strong territorial inscription although it is constantly being redefined. The territory is then a strong identity marker; nuna is a collective good that presents itself as the continent and also as the extension of the pack ice. The interstice is the fantasy of collective and individual happiness expressed by a realistic utopia. It is a mark on the ground, a fragment, which constitutes a boundary, letting the spirit take possession of the territory and space. It presents an inconsistency which helps to confront the mystery. The interpretation of the fragments is subjective, they emerge from the ground or reflect the sky. The place of cold is then the sky-earth link, or the meeting between the two. The place is made up of shapes that emerge from the ground and orient themselves towards the sky. The verticality of the fragments constitutes the imprint of the sky on the earth, like an extension of the landscape. Their position is inspired by the constellation of Cassiopeia. The reflective ground, which impregnates from the site, allows the contemplation of the sky from the earth. The meaning of the place adapts to each leading to variable experiences. Some fragments are lower to climb, sit, contemplate or even to dream. The monolith, symbol of the earth-sky link, directs the gaze upwards. Marianne Bahl, Sarah-Ève Cloutier & Félix Morin To learn more about this exercise or watch more videos, please visit: https://habiterlenordquebe.wixsite.com/le-froid

In Northern Quebec, Inuits regard cold as an integral part of their lifestyle and therefore see it as beneficial to their health and well-being. They claim that they must not stay too long in one area, because each place must have time to “rest” and regenerate. Thus, this paradigm implies that inhabitants need to constantly move every three years. This recalls the traditional nomadic lifestyle but applied nowadays, namely neo-nomadism. The present project combines the benefits of both types of nomadism to propose a utopic alternative. The project purports to be a cross-breedbetween traditional Inuit nomadism and neo-nomadism of the south in their “imagined, unprecedented, new” meeting with the cold. Our area of the cold allows to raise awareness of the people of the south to the respect for the land and for its cooling cycle. The project features a settlement composed of family cells having a permanent home and whose life evolves around an pointof attraction: “the sharing house”. It is where the internet network, the resources, the knowledge and the material are shared. The neo-nomads, whether they be Inuits who wanted to live according to an entirely nomadic way of life, or simply sightseers from the south, come and go from the settlement, can come to build themselves their nomadic home under the supervision of experienced Inuits. The pointof atteactionbecomes the place where they can connect themselves, recharge then resume their travel. By Sophia Bilodeau, Sandra Desrochers and Sophie Leblanc To learn more about this exercise or watch more videos, please visit : https://habiterlenordquebe.wixsite.com/le-froid