Toronto Royal Ontario Museum | ?m | ?s | Daniel Libeskind

^ Actually, it was your statement that "all that glass would be incredibly expensive" that prompted my comments, not my dislike for the cladding. I just thought that such an omission (skyscrapers use vast amounts of glass) deserved a retort and in no way meant to be derogatory.

As for the original proposal being glass. Indeed it was. I'll try to find the early documents. I kept some pretty good records of the whole process as this building captivated my imagination and excitement from day one.
Soon after being selected, Libeskind's proposal went to a more specific 80%* glass to 60%* and now we're at 25%*? Talk about watering down the winning design.

*approximate figures from recollection

Here are a couple of original proposal photos that illustrate the predominantly glass structure:

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Notice the glass ceiling in the interior render.

Don't get me wrong. I don't hate this building. In fact, the day it opened I picked up my first ever museum membership and I just renewed it for another year this week.

I feel that certain aspects of the building have been poorly executed, principally in the interior.

Like somebody said above, the "Stair of Wonders" is just a stair. There's nothing wonderful about it. This is actually one of the poorest spaces in the entire building, perhaps one that tips the domino and makes the other shortcomings stand out.

Had the "stair of wonders" lived up to its name and worked as a beautiful central staircase up through the crystal galleries, I would probably not have noticed other smaller issues.

As it stands now, William Thorsell's To Do List should include:

- Repair or replace entirely the finishings in the stair of wonders. They were delivered scratched and with broken rivets throughout. The blast resistant doors instill a feeling of isolation from the main building and of being in a fire escape. The stairs themselves are prone to dirt (or the ROM maintenance crew just don't clean them regularly).

- Bring justice to its name: Stair of Wonders. Install more items throughout the stair. Make creative use of the space such as hanging pieces from the ceiling and installing display cases along the walls. A collection of led soldiers and a bunch of horns and antlers don't qualify as "wonders".

- Admit that the extruded aluminum cladding was a mistake and correct it by replacing the cladding with another material. Glass slats could work really well, specially because they could be lit from behind. There's a rather large space between the exterior cladding and the outer skin of the building. Installing LED's (like the CN Tower's) could bring this building to yet an even higher and more iconic level. It would shine during the day and glow at night.

- Make better use of the central court. They should have installed a major piece at the center of the court but alas... this museum is a museum of the capitalistic 21st Century where museums are also event venues so this space must be kept wide open.
 
I know some people who worked with Libeskind on the project and it was not only cost which reduced the amount of glass in the project, but by and large the damaging effects of light on sensitive displays. He wowed them with his initial vision, but slowly watered it down due to the above contributing factors.

I too am dismayed at how the design took a radical design turn, and not for the better, but so are those who were involved in the project.

p5
 
I agree with you, MetroMan. I love the building but all of the points you've stated have to be addressed, especially the disappointing "stair of wonders" and those functional but hideous doors. So much of what is wrong with the building is cosmetic and, therefore, I'm hopeful that eventually, all will be corrected.
 
Seems that there are far too many Lisa Rochons here and not enough Chris Humes!

Frankly, I like the mismatched cladding. To me, it adds another dimension of realism to the original 'crystal' design. What Libeskind envisioned was an organic mass - a crystal - exploding out of a solid, instutional building. Had the cladding been the same color, it would have still been a crystal, but one more akin to a cheap diamond in a Mississauga People's.

I believe that the structure which currently affixes itself to our beloved old ROM is, if anything, a more accurate representation of what a 'natural' crystal would look like. The cladding which has been so audibly decried by several members here actually enhances the building's 'naturalistic' effect while simultaniously adding texture, complexity and depth to the overall composition.

I love the new ROM. Though the interior leaves much to be desired (the Stair of Horrors esp.), the exterior is a bold projection of how good architecture in Toronto can be. Buildings such as the TCCBR, OCAD, the Gardiner Museum and the new AGO are also heavyweights in this category.

There are problems but they lie not in the Crystal's cladding or the contextual conversations it enters with its surrounding buildings. They lie in our inability to see the forrest for the trees. Because we overanalyze and critique specific features, we fail to mention how well this building works as a whole. The square out front, the restaruant at the top, the gallerys inside and the exibits which are sponsored here are all top-notch, and we should be proud of them.

Instead we get a number of Rochons who now, because they have been backed into a corner, are fiercely attacking its minute shortfalls. Besides, the original Lebiskind design looks like one of those SuperChurches in the States...tacky.
 
I disagree. If they were going for the naturally faceted effect you describe they would have been more deliberate about it. Instead it just appears as mismatched cladding.

I've always loved the idea of the crystal addition, and do not have any issue with the concept. The problem is with the execution of it, and the quality of the materials. Shame, but i'm happy to hear it can be resolved if ever the money and the impetus are there.
 
I disagree. If they were going for the naturally faceted effect you describe they would have been more deliberate about it. Instead it just appears as mismatched cladding.

I've always loved the idea of the crystal addition, and do not have any issue with the concept. The problem is with the execution of it, and the quality of the materials. Shame, but i'm happy to hear it can be resolved if ever the money and the impetus are there.


Tewder: I am not claiming that such an effect was the deliberate, but rather that this unfortunate and careless mixing of cladding has led to a deeper and more contemplative structure.

Some crystal in its natural habitat.

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As you can see, the shapes are not gleaming and clear, but rather dull and opaque. This image gives a good impression of crystal in its natural state. It is this form which Lebiskind wished to pursue - a natural 'explosion' of crystal emerging out of a sensibly neo-romanesque structure.
 
ProjectEnd mentions Rochon, who finds Libeskind's particular brand of ego-based Starchitecture an unsuitable basis for this building. Beyond her claim that it's all about Libeskind, her main criticism - based on the Crystal's jagged, angular shape - is that it's a shape suitable for a Holocaust museum dealing with fractured and shattered lives but not for the ROM's collections. I quite understand her point - different shapes give off different emotional messages, just as different colours create different moods - but I think she's wrong in her reading of the physical form.

The Spirit House is pure sculpture, and there's as much visual delight as angst in the disorientation it creates as you look up into it from below, or as you cross the catwalks and look down. The Stair of Wonders unfolds as a unique entity rather than a predictable staircase. The galleries are at first sight quite unpredictable, and there's a sense of adventure in defining them by moving through their spaces. Yet there's also a strong structure to the Crystal as a whole that's based on huge intersecting planes that run the height of the building and can be deciphered ( particularly at the north prow end of the Crystal ) and enjoyed quite independently from the content of the galleries. The content of the galleries will almost certainly change over time anyway, but the spaces can be enjoyed for themselves. I find them quite poetic and mysterious and engaging. Some things are revealed immediately, others gradually.
 
Rochon should be the last person to talk about ego considering the tone of her articles in the Globe. Just saying. Besides, didn't she most of her time fetishizing beefy construction workers and the muscular, naked steel skeleton of the ROM during construction? I am sure she can find the current incarnation a little effete given the context.

Speaking of the muscular, naked steel skeleton - can anyone think of ANY construction project in Toronto over the course of its' history that is just as unabashedly exuburent and audacious, regardless of the actual appearance of the superficial aspects of the final product? Isn't this the kind of egomania we so often decry as lacking in Toronto - a fault that deprived us of our Sydney Opera House, Sagrada Familia, etc, etc?

AoD
 
I'm too much the wry bystander to either over-love or over-loathe Libeskind's ROM. Boil it all down, and it's a "phenomenon", pure and simple.

As far as Rochon goes, unless that's a veiled reference to Barton Myers/KPMB's ill-fated AGO expansion, to suggest that the ROM Crystal only has 20 years left in it vastly underestimates the public will to revere and embrace even our flawed landmarks, esp. when a name like "Libeskind" is attached. It may get tired and tattered, but the only way the Crystal will get knocked down that soon is if (a) ROM justifies its one-upmanship replacement with a 2028-model Gehry/Libeskind equivalent superstarchitect, or (b) Kunstler becomes canon.
 
Iconic? I may be wrong, but "iconic" in the description of a building suggests that that building in some way represents a city. The Sydney Opera House immediately calls out Sydney! The Guggenheim instantly shouts Bilbao! Heck, the CN Tower no doubt evokes: Toronto!

Libeskind's upcoming Apple Store in Las Vegas:

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...oh, and it has such an original name: "The Crystals". I wonder where Libeskind gets all this creativity.

Do I feel somehow short changed that we got the poor man's version of Libeskind's work? You bet. The main sell on this addition was that it would become a new Toronto "icon".

Even though we were built before the Las Vegas Crystals, I have no doubt that when people visit Toronto they'll say: "Hey! Toronto copied the Crystals in Vegas! ... and look! They copied the name too!" :rolleyes:

Note: The good news for Vegas is that, at least they're being honest about the mismatched aluminum slats.
 
Big deal. Just because a city has a "poor man's" Richardson or Sullivan or Wright or Mies doesn't mean it's automatically on the fast track to being trashed...
 
We don't need every landmark building in Toronto to scream "Toronto". Buildings like the CN Tower, the SkyDome and to a lesser extent Toronto City Hall already fill that role nicely. In my opinion the ROM is more an icon for Toronto's current period in time, much like the TD Centre is for Toronto in the era of modernism. It demonstrates Toronto has the capacity to get an architect of this caliber and is able to turn out a landmark building like this in this period of time. It's an icon of Toronto's so-called "cultural renaissance" combined with the city's demand for better architecture. I think in that sense the ROM works out well as an icon.

I find no problem with the "Stair of Wonders". It's got some great angles for photos. There's no space in Toronto, or maybe the world, that is like the Stair of Wonders.

The ROM Crystals are so much better than the Las Vegas Crystals (or even the Crystals currently under construction at City University in Hong Kong). The other projects never have to deal with incorporating crystals into an existing heritage building, and it's probably harder to fit a museum in a crystal than a computer store or a university building.
 

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