A staple in the West Queen West neighbourhood, the Gladstone Hotel's quirky spaces and vibrant atmosphere serve as a magnet for creative events of all kinds. One of these is 'Come Up To My Room' (CUTMR), the annual alternative design exhibition that provides established and emerging artists with a platform to showcase their artistic talents. Now in its 13th year, the four-day sensory experience kicked off Thursday with much fanfare. UrbanToronto was there last year, and we're back again this time to take in all the sights and sounds.  

The Gladstone Hotel, image by Marcus Mitanis

CUTMR was created in 2004 by Christina Zeidler and Pamila Matharu, who together saw the potential the Gladstone held in becoming a vessel for arts events. Coinciding with the Interior Design Show, CUTMR has since become an integral component of the week-long Toronto Design Offsite Festival. As in years past, artists and designers from Canada and the United States transformed the halls, walls, and crevices of the historic building for the event curated by Jana Macalik, Nuria Montblanch and Lukus Toane. 

Installation by Bruno Billio and Romar Johnson, image by Marcus Mitanis

Before you even step foot inside, some installations are already viewable. Matthew Lamers and Andrew Bramm reimagine the signage affixed to the Gladstone's southwest corner, paying homage to the community role the institution has played over its 125-year history. Several seven-foot-tall beacons mark the space around the hotel, as The Story by Bruno Billio and Romar Johnson accents the second floor transom windows of the building. That west-facing installation recounts the Gladstone's past through LED boards operating 24 hours a day. 

Crystal Chandelier by Virginia Melnyk, image by Marcus Mitanis

Entering the lobby, Virginia Melnyk's Crystal Chandelier bounces light along its tetrahedral form. Situated above the entrance, the piece is a colourful welcome for hotel guests and visitors. Just beyond the main floor Melody Bar, Ripple by Ryerson Artscape features lighted raindrops suspended from the ceiling. The immersive piece—which also made an appearance at last year's Nuit Blanche—encourages interactivity. A gentle tug of the various strings produces distinct sounds. The result, the artists hope, will be a harmonious musical melody created by the participants using the space. 

Ripple by Ryerson Artscape, image by Marcus Mitanis

"Life moves pretty fast. If you don't stop and look around once in awhile, you could miss it." That famous phrase uttered in Ferris Bueller's Day Off by the titular character was the inspiration behind a painstaking re-creation of the high school senior's bedroom. 

Life Moves Fast by Sarah Keenlyside and Joseph Clement, image by Marcus Mitanis

Sure to evoke the nostalgic memories of many in attendance, The Racket Club duo of Sarah Keenlyside and Joseph Clement have created Life Moves Fast. It contains a number of familiar elements, including the school attendance-altering computer, its coughing keyboard, the snore recording, and the trickster's mannequin. Likened to a "marathon scavenger hunt", the breadth and accuracy of the items included in the replica room is truly impressive.

The Rise and Fall of Cordycepts by Jessica Bromley Bartram, image by Marcus Mitanis

The Rise and Fall of Cordycepts by Jessica Bromley Bartram presents another fictional, but unrecognizable, universe. In this world, the Cordycepts biotech company has pushed the envelope too far, irrevocably damaging the planet's life systems. The room presents a peek into this universe following the collapse of the company, while exploring the unnatural environment they left behind. 

Chiho Tokita's Formal Settings: Six Compositions, image by Marcus Mitanis

Chiho Tokita's Formal Settings: Six Compositions hugs the wall of the second floor northern corridor. An abstract interpretation of tableware, six shadowboxes arranged horizontally frame the ceramic objects within. Further down the hall, Re-imagining the Old by Carl & Rose lends a new lease on life to aging appliances. 

Re-imagining the Old by Carl & Rose, image by Marcus Mitanis

One of many works utilizing illumination, Union by Robert Southcott and Sarah Cooper of Shelter Bay is a unique collection of pendant lights. Each turns off and on in alternating sequences, filling the room with shining light or near complete darkness. 

Union by Shelter Bay, image by Marcus Mitanis

Room 205 has been split in two, the constraints of the space only allowing a small group of revellers to enter. A dropped ceiling with a square opening invites participants to the Overworld, created by TAXA WORK. The bright and vivid space proved to be a popular addition to the night. 

Overworld by TAXA Work, image by Marcus Mitanis

Untitled (Idolization Space) brings together Adrian Kenny, Adam Balkwill, Sara Nickelson and Studio Woolf to provide social commentary on the digital age. Our obsession with instant news and social media is at the forefront of this piece, which asks onlookers to measure the impact this incessant flow of information has on our physical and mental well-being. 

Untitled (Idolization Space) by Sara Nickelson and Studio Woolf, image by Marcus Mitanis

The third floor lobby has been overtaken by Plus Farm Collective's Between the Seams, a large interwoven fabric installation. The shape and size of the piece will evolve over the course of the exhibition as it shifts, contracts and expands. 

Between the Seams by Plus Farm Collective, image by Marcus Mitanis

It stands adjacent to Paper City by Ileana Acevedo and Lisa Canoy. Six surfaces—representative of the six pre-amalgamation municipalities—connect to create one single entity representative of our diverse city. The resulting work is a delicate mass of origami sculptures hanging from the hotel's fixtures. 

Paper City by Ileana Acevedo and Lisa Canoy, image by Marcus Mitanis

On the opposite end of the building, the south corridor on the third floor is enveloped with a sagging canopy and small white balls. Recoil by F_RMLAB examines how people interact and use space by activating the canopy to mimic the motion within the hall. The sound of moving motors fills the air as the fragile makeshift shelter undulates with each passing person. 

Recoil by F_RMLAB, image by Marcus Mitanis

The fourth floor was filled with artwork presented by Quebec-based Galerie Youn. Drawings and installations by Jay Dart of Ashburn, Ontario filled the northern hall, while recycled paper formed the shades for lamps crafted by Dear Human out of Montreal. Christine Kim's cut paper dodecahedrons occupy the floor's lobby, hanging just above a seating area where people can take a break from the party atmosphere. 

Christine Kim's cut paper creations, image by Marcus Mitanis

There are several other compelling pieces of site-specific art to be found embedded within the Gladstone's charming nooks, but you only have a few days to have a look for yourselves. Admission to the exhibition, which closes Sunday at 5 pm, is $10. For more information about the various artists and their creations, visit the CUTMR website

Are you planning on visiting the hotel for the event this weekend? What are you looking forward to most? Let us know by leaving a comment in the field provided below.