NOTE: This review was written before I had the chance to visit the museum with the displays finished. I have since completely changed my view of the ROM's renovation and am no longer as optimistic about it. I was mistakenly under the impression that the museum was unfinished. Unfortunetly this unfinished state was the best it was going to get. I am currently working on an extensive photographic essay about the ROM's renovation that I will hopefully post within the month.
I attended the public viewing of the Royal Ontario Museum’s new Michael Lee-Chin Crystal on Sunday June 3rd 2007. The building was designed by architect Daniel Libeskind who is famous for the Jewish Museum in Berlin among other things. On the whole I’m impressed. The Crystal at its best is like a grown man’s dream fort, filled with turrets and little nooks to crawl into. I loved the way many people had no compunction about climbing and sliding down the walls, and crawling around inside the window spaces to pose for photos. It was wonderful to see this playful quality being affirmed in such a sharp and serious building. The ROM would be well advised not to prevent this kind of interaction too much. It is the life and animation the building needs.
The outside is spectacular, jarring and monumental. However, I have a personal affection for the earlier stages, where the chaotic mess of steal structure was fully visible. It was beautiful and striking. Now that moment will only be remembered by those who saw it. I am greatful to have captured a sense of the progress of the steal construction in my painting ROM Deconstruction.
I find the new façade an exciting addition to the city. The interior views from the jagged windows make me glad that it is not entirely made of glass. However I do not care for the exterior cladding that looks cheap and could have been so beautiful. At night, when it is beautifully lit the cheapness is less obvious.
The fourth floor of the Crystal is stunning in what will become the textile and costume wing. The enormous cathedral ceiling glitters with lights on tracks running diagonally from floor to ceiling. This is literally the highest point, the most perfect room.
Overall the Crystal’s biggest weakness is what many have said, the violent interaction with the old building. I love the old building, and wish the Crystal had hidden all signs of it rather than leave bizarre glimpses peering through walls. These views are often offensive and awkward. It is horrible to see the second floor balcony encased behind glass windows like a display case. An architect friend commented that he had "never seen so much dry wall in all his life."
The main entrance is unimpressive. I was expecting a spectacular atrium as a first impression. Many spaces seem designed to prevent sight lines. Some real oddities include the third floor where one must bend over and squeeze through a space to look out over the Gloria Chen Court. Was this intentional? Like other peculiarities, this seems like the result of trying to make a room out of a strange shape. In other places this slicing qualities makes for exciting views. The gaudy silver chairs in the “Spirit House” need to disappear fast.
On the whole I’m very impressed. There are serious problems with the design’s integration with the old building, but nevertheless once it is filled with art and science exhibits it will really warm up and come to life. Like the OCAD building, I believe Toronto will grow to really love the new spectacular ROM. We now have a world-class museum.
Copyright Gareth Bate, 2007.
Gareth Bate
June 3rd, 2007
Posted on "Everyone's An Art Critic" facebook group.
