Transformation AGO (5s, Gehry) COMPLETE

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" Walker Court - A rediscovered Heirloom"
A photo from inside. Courtesy of Craig Boyko from the AGO.net website.

 

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Looks like they started work on the east 'wing/hair flip/useless architecture/whatever you want to call it' thing.

See! No 'the cheapening' yet.

 

[interchange42]

Yay! (aka Yeah!, but I think that spelling fading away...)

42

(Nice to see it - we knew it was coming.)

 

[Bogtrotter]

We got it comin' alright-eeks it's a hodge podge of compromises to be sure. I suspect Ghery is sitting on the periphery of all this hoping that things...well ..just 'dun workout good.

 

[AlvinofDiaspar]

Bog:

Oh give the man (Gehry) some credit - he admitted to not sure whether AGO is the right commission for him at first, only to sign on as time goes by. If his intent was bailing, he could have done it years ago.

AoD

 

[mysteryman]

not sure what you mean by a hodge poge of compromises...this is an addition/renovation afterall, it's a compromise by nature.

 

[Hydrogen]

Looks like they started work on the east 'wing/hair flip/useless architecture/whatever you want to call it' thing.

See! No 'the cheapening' yet.

In the process, are they going to change the outer cladding of the walls?

 

[Redroom Studios]

Isnt that the purpose of the big glass wave - to camoflauge the old exterior?

 

[Jdot]

Why would they change the cladding behind the new wings? There isnt going to be any gallery space behind the wings, and for the most part I think the concrete slabs are going to be unseen beind the glass. Sure, glass is see-through, but the angles will likely reflect the sky/street more than they will allow one to see what is behind them.

I would have preferred more of the fly-aways along the entire length of the visor.

 

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In last weeks economist. (http://www.economist.com/books/displaystory.cfm?story_id=10493298)

Medieval ivories
Pause as you pass

Jan 10th 2008
From The Economist print edition
Ivories on show in London before they leave to live in Canada


IN THIS era of eye-blink attention spans, collecting medieval ivories—the passion for more than 40 years of the late Kenneth Thomson, the 2nd Baron Thomson of Fleet—seems contrarian. Yet industrialists and financiers have fancied such objects, many intended for religious contemplation, since J.P. Morgan and before.
Visitors to London's Courtauld Gallery, where 42 medieval ivories from Lord Thomson's collection of 75 are on view, will discover the allure of these often beautiful and always technically masterly works of art. Provided, that is, that the visitor stands still. These creamy white objects are relatively small: the usable material from African elephant tusks, of which most are made, is seldom much more than 15cm (six inches) in diameter.
The ivories arrived at the Courtauld last September to be catalogued by its outstanding medievalist, Professor John Lowden. This prompted the present show. It is a rare chance to see the carvings before they, along with the rest of Lord Thomson's 2,000-strong collection (including European and Canadian paintings, Inuit sculpture and medieval metalwork), enter the collection of the Art Gallery of Ontario when its new wing, designed by Frank Gehry, opens this autumn.
Mr Lowden has designed the Courtauld exhibition to encourage people to “look carefully and then think about why things are similar and why they are different.” Instead of grouping these anonymous carvings by country of origin (which is difficult to determine with certainty because craftsmen and tusks travelled to wherever commissions were plentiful), or date of creation (everything on view was made between the 13th and 15th centuries), Mr Lowden has gathered together objects of the same kind. There are Virgin and Child altar-statues; such personal treasures as combs, caskets and mirror cases carved with themes related to courtly romances; memento mori skulls and heads; biblical narratives. In this last group are the show's two stars.
The Dormeuil diptych, not seen in public since 1913, and named for the three-generation collecting family that used to own it, sold in November at Sotheby's for more than €4m (just under $6m)—a world auction record for a medieval ivory. It was bought by David Thomson, who added it to his father's collection. At 24.75cm by 31.4cm overall, this Passion diptych, made in Paris circa 1350, is the largest known example of the genre. Each hinged leaf is divided into three tiers packed with carefully observed and finely carved figures, from the delicately treading donkey Christ rides towards Jerusalem to an unnervingly jaunty chap prodding Christ on the cross.
In Mr Lowden's opinion, the Nativity and Last Judgment diptych is even more exceptional though it was bought in October 2005 for a mere €6,000. The low price reflected the long-held view that it was an early 19th-century fake. (Fakes are not uncommon: demand for medieval ivories was so great in the 19th century that carvers augmented the supply.) But, says Mr Lowden, “There are two kinds of fakes: those not good enough to have been done by medieval carvers and those too good to be true.” The Nativity and Last Judgment was in the second category. It was suspect because it was perfect technically and because it was unique. In the middle ages, tradition not originality was prized.
Mr Lowden had a hunch, however, and carbon-14 analysis supported it. The tusk dates from between 1030 and 1220. Next, his aesthetically acute forensic skills led him to works of undisputed authenticity with a number of similarities to this one, from the rolled cuffs on shepherds' sleeves to the positioning of Christ's hands. He has now dated it at 1300.
The study of the diptych was not undertaken with this aim but its conclusions vindicate Lord Thomson's approach. “Ken Thomson was unlikely to be swayed by the information offered either by art historians or dealers,” says Sam Fogg, a London dealer. “He chose works of art on the basis of how he himself responded to the object...To build a collection like this is dangerous unless you have a good eye. He had a very good one.”

“Medieval Ivories from the Thomson Collection” is at the Courtauld Gallery, London, from January 10th until March 9th

 

[3Dementia]

Why would they change the cladding behind the new wings? There isnt going to be any gallery space behind the wings, and for the most part I think the concrete slabs are going to be unseen beind the glass. Sure, glass is see-through, but the angles will likely reflect the sky/street more than they will allow one to see what is behind them.

I think some blue titanium sneaking in over the precast would be quite delightful and congruent... the budget is another matter, but you see what I'm sayin'.

 

[Bogtrotter]

Oh give the man (Gehry) some credit - he admitted to not sure whether AGO is the right commission for him at first, only to sign on as time goes by. If his intent was bailing, he could have done it years ago.

Hmm- how could it not be the right commission for him. He's a Canadian and proud Torontonian, he grew up on an adjacent street, he loves toronto and is a die hard Leafs fan even. One would think that Toronto should be his books for a crowning achievment. I applaude him for tackling a project with some challenges- it's not a clean slate to be sure. But yeh- don'y imply this sh* about doing TO a favour- plenty of firms could have done the same.

 

[interchange42]

The only likely reason it might not have been the right commission for him was the tight budget (and just maybe the local insane NIMBY brigade, but more the money).

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[Bogtrotter]

I would have thought that a leading present day architect who actually grew up in that specific neighbourhood might want a voice and jump on the challenge to make a mark in his home town..? I'm certainly glad he accepted the commission and I'm looking forward to his solutions and interpretations. The commision does hold some special meaning for Toronto given his connection to the neighbourhood. I personally look forward to his unique and personal interpretation with this prestigious commission.

 

[MetroMan]

Even though he didn't start with a blank slate, I think he got a free reign with the interior. It's going to be changed from top to bottom and will ooze Gehry from what I've been seeing.

I also wouldn't mind seeing the precast on the Dundas side covered with his blue titanium but as far as I know, the precast is going to stay as it is.