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adma
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Toronto did
Urban Shocker
Doyenne
Up next: Hariri Pontarini's renovation of the AGO's educational centre.
Ottawa gives $7.5M to AGO centre
Last Updated: Monday, February 22, 2010 | 10:39 AM ET
CBC News
The federal government has granted $7.5 million to a learning centre at the Art Gallery of Ontario, the Toronto-based AGO announced Monday.
The money, from the federal infrastructure stimulus plan, will go toward the Weston Family Learning Centre, a project that has already won $12 million from The W. Garfield Weston Foundation.
Toronto firm Hariri Pontarini Architects was announced as designer for the centre, which will be on the main floor and lower level of the gallery. The same firm designed the Schulich School of Business and McKinsey & Company office building in Toronto.
The 35,000-square-foot learning centre will have space for art instruction, workshops and community-based exhibitions as well as technology that can provide art education online.
The Weston Foundation dedicated $12 million toward the project in 2008, including $10 million for capital costs and $2 million toward a teaching endowment.
The AGO has a long tradition of art education, with Group of Seven artist and teacher Arthur Lismer beginning programs in 1930.
The AGO reopened in November 2008 after a renovation by celebrated architect Frank Gehry. An AGO spokeswoman said the learning centre was never part of Gehry's design scope and the AGO sought out a Toronto company for the project.
Construction is expected to begin in April, with the centre completed by 2011, the AGO said.
Read more: http://www.cbc.ca/arts/artdesign/story/2010/02/22/ago-learning-centre.html#ixzz0gUxZA5Hi
Last Updated: Monday, February 22, 2010 | 10:39 AM ET
CBC News
The federal government has granted $7.5 million to a learning centre at the Art Gallery of Ontario, the Toronto-based AGO announced Monday.
The money, from the federal infrastructure stimulus plan, will go toward the Weston Family Learning Centre, a project that has already won $12 million from The W. Garfield Weston Foundation.
Toronto firm Hariri Pontarini Architects was announced as designer for the centre, which will be on the main floor and lower level of the gallery. The same firm designed the Schulich School of Business and McKinsey & Company office building in Toronto.
The 35,000-square-foot learning centre will have space for art instruction, workshops and community-based exhibitions as well as technology that can provide art education online.
The Weston Foundation dedicated $12 million toward the project in 2008, including $10 million for capital costs and $2 million toward a teaching endowment.
The AGO has a long tradition of art education, with Group of Seven artist and teacher Arthur Lismer beginning programs in 1930.
The AGO reopened in November 2008 after a renovation by celebrated architect Frank Gehry. An AGO spokeswoman said the learning centre was never part of Gehry's design scope and the AGO sought out a Toronto company for the project.
Construction is expected to begin in April, with the centre completed by 2011, the AGO said.
Read more: http://www.cbc.ca/arts/artdesign/story/2010/02/22/ago-learning-centre.html#ixzz0gUxZA5Hi
Government of Canada Invests in AGO’s Weston Family Learning Centre
Hariri Pontarini Architects tabbed for design
(TORONTO - February 22, 2010) The Art Gallery of Ontario's much anticipated Weston Family Learning Centre received a major boost from the federal government with today's announcement of a $7.5 million funding contribution from the government's Infrastructure Stimulus Fund.
Toronto firm Hariri Pontarini Architects has been selected to design the new centre, which will occupy space within the AGO's existing footprint. The firm's many educational, commercial and residential projects include the award-winning Schulich School of Business and McKinsey & Company office building in Toronto.
Plans for the 35,000 square-foot Learning Centre were crystallized in late 2008 following on the announcement of a lead gift of $12 million from The W. Garfield Weston Foundation. The gift included $10 million toward capital costs for the Learning Centre and $2 million toward an endowment to be named the Weston Foundation Teacher Training Fund - the AGO's first education program endowment.
"With this investment, the Government of Canada recognizes the importance of arts education to our city and province," said Robin Young, AGO Trustee and chair of the AGO's Education Committee. "In the Weston Family Learning Centre, the Art Gallery of Ontario will create an innovative, one-of-a-kind resource for Canadians to share for years to come."
"The AGO is able to match the government's investment thanks to the generosity of the W. Garfield Weston Foundation, which committed the largest single gift in support of art education in the Gallery's 110-year history," says Matthew Teitelbaum, the AGO's Michael and Sonja Koerner director, and CEO. "We are profoundly grateful for the Foundation's support and its extraordinary vision."
Founded in 1930 by Group of Seven artist and teacher Arthur Lismer, today's AGO education and community programming serves more than 100,000 youth, families, adults and educators, providing curriculum enrichment, art classes, community outreach and teacher training.
When completed, the Weston Family Learning Centre will enable the Gallery to increase participation in art education for all ages with dedicated spaces for art instruction, workshops and community-based exhibitions. It will be a fully wireless, networked facility with integrated technology throughout. State-of-the-art seminar rooms will feature broadcast and videoconferencing capabilities. The Learning Centre will reach out to students and teachers in their classrooms through online interactive technologies. The Weston Foundation Teacher Training Fund will support on site and on-line workshops and professional development for teachers.
Design development for the Learning Centre will be underway by next month, with construction to begin in April. Completion of the Weston Family Learning Centre is anticipated by 2011.
ABOUT THE AGO
With a permanent collection of more than 79,000 works of art, the Art Gallery of Ontario is among the most distinguished art museums in North America. In 2008, with a stunning new design by world-renowned architect Frank Gehry, the AGO opened its doors to the public amid international acclaim. Highlights include Galleria Italia, a gleaming showcase made of wood and glass running the length of an entire city block along the Gallery's façade; and the feature staircase, spiraling up through the roof of Walker Court and into the new contemporary galleries above. From the extensive Group of Seven collection to the dramatic new African art gallery; from the cutting edge works in the David and Vivian Campbell Centre for Contemporary Art to Peter Paul Rubens' masterpiece The Massacre of The Innocents, a highlight of the celebrated Thomson Collection, there is truly something for everyone at the AGO.
- 30 -
For more images and more information contact:
Susan Bloch-Nevitte, 416-979-6660, ext. 260, susan_bloch-nevitte@ago.net
Sean O'Neill, 416-979-6660 ext. 403, sean_oneill@ago.net
Amanda Gabriele, 416-979-6660, ext. 372, sean_oneill@ago.net
Antonietta Mirabelli, 416-979-6660 ext. 454, antonietta_mirabelli@ago.net
The Art Gallery of Ontario is funded in part by the Ontario Ministry of Culture. Additional operating support is received from the Volunteers of the AGO, the City of Toronto, the Department of Canadian Heritage and the Canada Council for the Arts.
Hariri Pontarini Architects tabbed for design
(TORONTO - February 22, 2010) The Art Gallery of Ontario's much anticipated Weston Family Learning Centre received a major boost from the federal government with today's announcement of a $7.5 million funding contribution from the government's Infrastructure Stimulus Fund.
Toronto firm Hariri Pontarini Architects has been selected to design the new centre, which will occupy space within the AGO's existing footprint. The firm's many educational, commercial and residential projects include the award-winning Schulich School of Business and McKinsey & Company office building in Toronto.
Plans for the 35,000 square-foot Learning Centre were crystallized in late 2008 following on the announcement of a lead gift of $12 million from The W. Garfield Weston Foundation. The gift included $10 million toward capital costs for the Learning Centre and $2 million toward an endowment to be named the Weston Foundation Teacher Training Fund - the AGO's first education program endowment.
"With this investment, the Government of Canada recognizes the importance of arts education to our city and province," said Robin Young, AGO Trustee and chair of the AGO's Education Committee. "In the Weston Family Learning Centre, the Art Gallery of Ontario will create an innovative, one-of-a-kind resource for Canadians to share for years to come."
"The AGO is able to match the government's investment thanks to the generosity of the W. Garfield Weston Foundation, which committed the largest single gift in support of art education in the Gallery's 110-year history," says Matthew Teitelbaum, the AGO's Michael and Sonja Koerner director, and CEO. "We are profoundly grateful for the Foundation's support and its extraordinary vision."
Founded in 1930 by Group of Seven artist and teacher Arthur Lismer, today's AGO education and community programming serves more than 100,000 youth, families, adults and educators, providing curriculum enrichment, art classes, community outreach and teacher training.
When completed, the Weston Family Learning Centre will enable the Gallery to increase participation in art education for all ages with dedicated spaces for art instruction, workshops and community-based exhibitions. It will be a fully wireless, networked facility with integrated technology throughout. State-of-the-art seminar rooms will feature broadcast and videoconferencing capabilities. The Learning Centre will reach out to students and teachers in their classrooms through online interactive technologies. The Weston Foundation Teacher Training Fund will support on site and on-line workshops and professional development for teachers.
Design development for the Learning Centre will be underway by next month, with construction to begin in April. Completion of the Weston Family Learning Centre is anticipated by 2011.
ABOUT THE AGO
With a permanent collection of more than 79,000 works of art, the Art Gallery of Ontario is among the most distinguished art museums in North America. In 2008, with a stunning new design by world-renowned architect Frank Gehry, the AGO opened its doors to the public amid international acclaim. Highlights include Galleria Italia, a gleaming showcase made of wood and glass running the length of an entire city block along the Gallery's façade; and the feature staircase, spiraling up through the roof of Walker Court and into the new contemporary galleries above. From the extensive Group of Seven collection to the dramatic new African art gallery; from the cutting edge works in the David and Vivian Campbell Centre for Contemporary Art to Peter Paul Rubens' masterpiece The Massacre of The Innocents, a highlight of the celebrated Thomson Collection, there is truly something for everyone at the AGO.
- 30 -
For more images and more information contact:
Susan Bloch-Nevitte, 416-979-6660, ext. 260, susan_bloch-nevitte@ago.net
Sean O'Neill, 416-979-6660 ext. 403, sean_oneill@ago.net
Amanda Gabriele, 416-979-6660, ext. 372, sean_oneill@ago.net
Antonietta Mirabelli, 416-979-6660 ext. 454, antonietta_mirabelli@ago.net
The Art Gallery of Ontario is funded in part by the Ontario Ministry of Culture. Additional operating support is received from the Volunteers of the AGO, the City of Toronto, the Department of Canadian Heritage and the Canada Council for the Arts.
spaced
Active Member
Hording is now up along Beverly.
urbandreamer
recession proof
A pity it's not being called the Arthur Lismer Learning Centre--I'd support that name.
MetroMan
Senior Member
If construction is starting, there must be drawings for this already. Anybody seen them?
alklay
Senior Member
Toronto architect adds new layer to AGO history
September 03, 2010
Christopher Hume
{{GA_Article.Images.Alttext$}}
Architect Siamak Hariri is excited about the copper beech hedge to be planted along the glass wall on Beverly St.
Hariri Pontarini Architects
We think of Art Gallery of Ontario as the work of one architect, Frank Gehry. In fact, it is the creation of many.
The original 1817 building, the Grange, was designed by an unknown architect. After that came the eminent Toronto firm, Darling & Pearson; then, in the 1970s, came pioneering modernist John Parkin. He was followed by Barton Myers/Kuwabara Payne McKenna Blumberg in the ’80s. Gehry was next, in the early 2000s.
And now there’s Hariri Pontarini.
This small but highly regarded local practice is now remaking the AGO’s Learning Centre, which until recently was a cheerful if somewhat overlooked space relegated to the basement not far from the washrooms. There was nothing wrong with that, of course; it reflected the attitude that the gallery’s education program could be happily conducted out of the spotlight.
Today that has changed. The new venue, named the Weston Family Learning Centre in honour of that family’s $12-million donation, is now a model of connectivity and transparency. Occupying the northwest corner of the building, it will have its own entrance and a new glass façade that will make it visually accessible from Beverly St. There will also be a stairwell to join the facility with the space above.
But for architect Siamak Hariri, it seems one of the most exciting aspects of the project is the copper beech hedge that will be planted by the glass wall on Beverly. That may not sound wildly interesting, but the image Hariri has in mind is of an invisible “taut glass wall” that disappears to allow a swath of greenery into the interior.
The idea, he explains, was “to dematerialize the gallery as if everything that was there was scooped out.”
Hariri wants to retain certain rawness, most obviously in the staircase, which will be made of raw honed stone. “Our approach is very crisp and taut,” he says. “It will have a materiality that’s tactile. But then there will be all these transparencies; even the wall between the learning centre and the storage vaults will be glass. It’s going to be a very cinematic experience.”
Although some architects might be intimidated by the prospect of doing a project such as this in a building by the great Frank Gehry, Hariri, who refers to him as “Mr. Gehry,” insists he feels nothing of the sort.
“We’re going to honour Mr. Gehry, but we’d never try to mimic him,” Hariri says. “We would never try to do a Gehry, or a Parkin for that matter.”
Speaking of Parkin, Hariri talks about uncovering “a whole bunch of his work, including beautiful concrete waffle pads and signature bronze that had all been covered up.”
These, too, will become part of the new space, enhancing the sense of the gallery as an organic entity that includes many layers of architecture as well as meaning. As forgotten elements are revealed, the project acquires an almost archaeological aspect.
“Frank’s decision to leave what’s there was so smart,” says AGO CEO Matthew Teitelbaum. “The learning centre was never part of the program with him. At first we decided to leave it alone. But then we changed our minds and asked ourselves how we could give it a higher profile. We changed the notion of the learning centre as a place set apart and decided it should be more integrated with the rest of the gallery. We also wanted a better connection with the street.”
The AGO held what Teitelbaum calls “a small focused competition,” and Hariri Pontarini won.
“We were just thrilled to have been selected,” Hariri says. “In this city you don’t get invited to the dance very often.”
Because the federal government contributed $7.5 million to the project, it must be “substantially” complete by next March. The official opening won’t take place until September 2011.
Given that the learning centre was founded in 1930 by no less a personage than Arthur Lismer, artist, teacher and member of the Group of Seven, it can legitimately claim to be a part of Canadian art history. Thanks to the efforts of Hariri, Parkin, Gehry et al, it is now also a part of Canadian architectural history.
This sounds like it a great little addition by one of Toronto's best architects. The use of materials (and the importance the architect places on such) sounds particularly interesting.
September 03, 2010
Christopher Hume
{{GA_Article.Images.Alttext$}}
Architect Siamak Hariri is excited about the copper beech hedge to be planted along the glass wall on Beverly St.
Hariri Pontarini Architects
We think of Art Gallery of Ontario as the work of one architect, Frank Gehry. In fact, it is the creation of many.
The original 1817 building, the Grange, was designed by an unknown architect. After that came the eminent Toronto firm, Darling & Pearson; then, in the 1970s, came pioneering modernist John Parkin. He was followed by Barton Myers/Kuwabara Payne McKenna Blumberg in the ’80s. Gehry was next, in the early 2000s.
And now there’s Hariri Pontarini.
This small but highly regarded local practice is now remaking the AGO’s Learning Centre, which until recently was a cheerful if somewhat overlooked space relegated to the basement not far from the washrooms. There was nothing wrong with that, of course; it reflected the attitude that the gallery’s education program could be happily conducted out of the spotlight.
Today that has changed. The new venue, named the Weston Family Learning Centre in honour of that family’s $12-million donation, is now a model of connectivity and transparency. Occupying the northwest corner of the building, it will have its own entrance and a new glass façade that will make it visually accessible from Beverly St. There will also be a stairwell to join the facility with the space above.
But for architect Siamak Hariri, it seems one of the most exciting aspects of the project is the copper beech hedge that will be planted by the glass wall on Beverly. That may not sound wildly interesting, but the image Hariri has in mind is of an invisible “taut glass wall” that disappears to allow a swath of greenery into the interior.
The idea, he explains, was “to dematerialize the gallery as if everything that was there was scooped out.”
Hariri wants to retain certain rawness, most obviously in the staircase, which will be made of raw honed stone. “Our approach is very crisp and taut,” he says. “It will have a materiality that’s tactile. But then there will be all these transparencies; even the wall between the learning centre and the storage vaults will be glass. It’s going to be a very cinematic experience.”
Although some architects might be intimidated by the prospect of doing a project such as this in a building by the great Frank Gehry, Hariri, who refers to him as “Mr. Gehry,” insists he feels nothing of the sort.
“We’re going to honour Mr. Gehry, but we’d never try to mimic him,” Hariri says. “We would never try to do a Gehry, or a Parkin for that matter.”
Speaking of Parkin, Hariri talks about uncovering “a whole bunch of his work, including beautiful concrete waffle pads and signature bronze that had all been covered up.”
These, too, will become part of the new space, enhancing the sense of the gallery as an organic entity that includes many layers of architecture as well as meaning. As forgotten elements are revealed, the project acquires an almost archaeological aspect.
“Frank’s decision to leave what’s there was so smart,” says AGO CEO Matthew Teitelbaum. “The learning centre was never part of the program with him. At first we decided to leave it alone. But then we changed our minds and asked ourselves how we could give it a higher profile. We changed the notion of the learning centre as a place set apart and decided it should be more integrated with the rest of the gallery. We also wanted a better connection with the street.”
The AGO held what Teitelbaum calls “a small focused competition,” and Hariri Pontarini won.
“We were just thrilled to have been selected,” Hariri says. “In this city you don’t get invited to the dance very often.”
Because the federal government contributed $7.5 million to the project, it must be “substantially” complete by next March. The official opening won’t take place until September 2011.
Given that the learning centre was founded in 1930 by no less a personage than Arthur Lismer, artist, teacher and member of the Group of Seven, it can legitimately claim to be a part of Canadian art history. Thanks to the efforts of Hariri, Parkin, Gehry et al, it is now also a part of Canadian architectural history.
This sounds like it a great little addition by one of Toronto's best architects. The use of materials (and the importance the architect places on such) sounds particularly interesting.
L
lawsond
Guest
It is just plain ugly. And the front facade. How I wanted it to grow on me. But no. It still looks like a badly designed airport departure terminal.
The whole thing is a dreadful mistake and I am sure Gehry knows it on some level.
It's a mess.
renvel
Active Member
Not to be outdone by those ugly wooden utility poles and general streetscape of Dundas St.W in this area...
old boy
Senior Member
We all wanted this to be special. A new building might have allowed Mr. Gehry's to show his talents, but this AGO incarnation is a dog's breakfast.
junctionist
Senior Member
I think it turned out beautifully for what it was: a major redesign, not a whole new building. The signature elements are sophisticated and satisfying: curving front looks great from the outside and especially on the inside with all that warm wood, the staircases are stunning, and the blue titanium cladding is a brilliant dose of colour and very consistent. It was a challenge for Gehry, who typically designs standalone showpiece buildings, and I think he rose up to the challenge.
Last edited:
adma
Superstar
Somehow, I can see the crowd eager to brand the Gehry AGO as a failure as the sort who'd rather see said "general streetscape" clearcut...
syn
Senior Member
I don't think it's a failure, but the exterior certainly could've been better. It's quite fitting in a sense. The wooden frame and construction-blue titanium box give a permanent 'under construction' feel to the gallery.
There was a small rendering of this project in The Star, but I can't insert it here. Has anyone else found some renderings?