salvius
Active Member
She may or may not be a moron, I don't really read the Globe enough to know. However, her judgment is so off-base, and frankly, jejune, that it is hard to take seriously.
She may or may not be a moron, I don't really read the Globe enough to know. However, her judgment is so off-base, and frankly, jejune, that it is hard to take seriously.
Sir Novelty Fashion
Senior Member
A very provocative piece. I think her token psychoanalysis is a bit trite, but it was Liebeskind who made the connection to the Holocaust, not Rochon. Cooly predicting the crystal's physical destruction is one hell of a kicker.
Mongo
Senior Member
Um, no it wouldn't. Sunlight is very destructive of many of the pigments found in older paintings, and other painted or lacquered objects. The original all-glass design was a machine for destroying paintings, which I believe is the real reason that the cladding was changed to its current form. Lisa Rochon shows her ignorance of the fundamental principles behind museum design in this article (although Libeskind does not come out too well either, for failing to originally consider the effects of sunlight on the museum's collections).
Bill
ShonTron
Moderator
Wyliepoon was the first in line - expect to see him on the newscasts tonight.
I got there just before 9:30 (and BillyCorgan showed up not mong after), when I got there, there were about 40 people ahead of me. By 10:45, the line went down Queens' Park almost to Hoskin. By 11:30, the line went all the way to Hart House.
I got there just before 9:30 (and BillyCorgan showed up not mong after), when I got there, there were about 40 people ahead of me. By 10:45, the line went down Queens' Park almost to Hoskin. By 11:30, the line went all the way to Hart House.
Canuck
Active Member
Way to go wylie! That's dedication to architecture.
I know I'm liable to crash tonight from lack of sleep, enjoy the meet up and be sure and take lots of pictures.
I know I'm liable to crash tonight from lack of sleep, enjoy the meet up and be sure and take lots of pictures.
scarberiankhatru
Senior Member
I can't agree entirely with Rochon because I haven't been inside yet - and once I do see the completed interior, my opinion may very well change - but she's on the right track with her assessment.
I'm still not sure why they didn't just open a second ROM. People go on about how we only see the tip of the iceberg of their collection...what would have been a better way to display it all than open a Libeskind complex in addition to the existing building?
Sunlight will only have positive effects on the entrance lobby, gift shop, restaurant, Spirit House, etc., that are all housed in the crystal. There could have been more glass without affecting a single artifact, and not a single person would complain that there isn't enough aluminum. It'd be a shame if what Rochon says about how the steel skeleton is unrecognizable and the massive space is compromised due to being carved up by endless sheets of drywall is true...I hope she's exaggerating.
I'm still not sure why they didn't just open a second ROM. People go on about how we only see the tip of the iceberg of their collection...what would have been a better way to display it all than open a Libeskind complex in addition to the existing building?
Sunlight will only have positive effects on the entrance lobby, gift shop, restaurant, Spirit House, etc., that are all housed in the crystal. There could have been more glass without affecting a single artifact, and not a single person would complain that there isn't enough aluminum. It'd be a shame if what Rochon says about how the steel skeleton is unrecognizable and the massive space is compromised due to being carved up by endless sheets of drywall is true...I hope she's exaggerating.
syn
Senior Member
Wow, whenever a milestone anniversary comes up and they're showing clips of the opening, he'll likely be in the footage.
I didn't go to sleep last night so could've went early this morning...I was just too tired though. I'm very eager to see it, but isn't going anywhere.
syn
Senior Member
I don't agree with Rochon's analysis...it almost seems she's trying to get a rise out of people.
The cladding I do like, aside from the areas where it's obvious the cladding was meant to all be one colour. In most other areas, the mismatched shades look great.
The cladding I do like, aside from the areas where it's obvious the cladding was meant to all be one colour. In most other areas, the mismatched shades look great.
samsonyuen
Active Member
I agree with ganjavih, the cladding is part of my disappointment. The metal looks less impressive than the original would have. I definitely enjoy the night view to the day view, which has a big part to do with that.
Going tomorrow, can't wait to see the inside!
Going tomorrow, can't wait to see the inside!
adma
Superstar
Validity of judgment aside, I think Rochon is off base in assuming this'll meet some semblance of the fate of the 80s additions (or of KPMB at AGO) Though the kind of "off base" might even backhandedly affirm her jaundiced POV; that is, compared to the easily-disposed-of subtleties of KPMB at AGO, Libeskind's ROM is all too much of a melodramatic-potboiler people-pleaser. (cf. the popular vs critical reception of Coventry Cathedral)
And I'm wondering if that's what certain naysayers are scared of--that we won't be able to let go of it or monkey with it, because "the people" dictate otherwise. (I think there's weird parallels with how the Sam's sign can inspire Facebook rallies while the Walnut Halls crumble away without any but the weakest token peep.)
And I'm wondering if that's what certain naysayers are scared of--that we won't be able to let go of it or monkey with it, because "the people" dictate otherwise. (I think there's weird parallels with how the Sam's sign can inspire Facebook rallies while the Walnut Halls crumble away without any but the weakest token peep.)
yyzer
Senior Member
we went to the opening extravaganza tonight, it was a mix of Hollywood slick, and CBC-style political agenda, but overall it was a fairly tight 75 minutes, with a variety of acts, a couple sensational, a couple pretty lame.. The real star of course, was the Crystal, looking just amazing in the coloured lighting. No chance to see the inside, we couldn't get downtown till 9:30, but I will leave that for others to describe. One of the best moments was at the very end, all the key players came on stage, and Thorsell gave Libeskind a big hug, there was lots of positive energy, and everyone seemed happy.
ShonTron
Moderator
The concert was fine (though I hate Sean Cullen), but the whole organization of it, and getting in afterwards, was terrible. No one knew what they were doing, and were given multiple conflicting instructions.
The inside was great (feels bigger inside than it looks from the outside), and the Libeskind metal chairs were really comfortable.
I'll post pics when I've got my rest.
The inside was great (feels bigger inside than it looks from the outside), and the Libeskind metal chairs were really comfortable.
I'll post pics when I've got my rest.
MetroMan
Senior Member
Wow.. this was an all nighter. I worked til 2am, walked up University, passing OCAD and the AGO and through Queen's Park to the Crystal. Upon my return, I passed the Four Seasons Centre, tranquil in the night. One worhty mention: the National Ballet centre was beautiful all lit up tonight. Toronto has really grown up over this decade.
On my impressions of the Crystal:
Unfortunately, I viewed it with a majority of club goers returning from a night of booze. Many of them were completely disrespectful of the space, sliding into the window slits, running up the slanted walls, laughing and shouting, touching the few artifacts on display and being overall obnoxious.
That set aside, I have to say that Thorsell dropped the ball here. The Crystal is nowhere near ready for public viewing. I found it hypocritical when Michäel Jean declared the "Michael Lee-Chin Crystal Open" considering it will mostly close to finish the work. I'd rather have them had the opening delayed until the Fall.
The Crystal felt like a construction site, with many unfinished spots, dirt everywhere (ohhhh, this is going to be one hell of a place to maintain clean with all the crevices), temporary wall sidings and floors, and so on.
Of the galleries that were more or less finished (Textiles Gallery), I was impressed and could see the potential of the space.
On the downside, I hate the heavy grey doors which make the Stair of Wonders feel like a fire escape rather than the new main ROM stair well.
Also, the anodized aluminum siding along bridges and stairs feels really cheap and poorly applied with scratched and broken screws and uneven connections between cladding.
The Spirit Room really disappointed. From the renderings and descriptions, I expected an intimate space where one could look up and see through several bridges to the uppermost floor. Sitting in a Libeskind chair, you can view only up to the second floor.
The heavy grate like floors on certain staircases (i.e. the Dinosaur and Mammals galleries) are to be replaced according to one worker. They're there now because of the heavy work that will still occur while installing these galleries. Finer details will happen after a gallery's objects are installed.
Another couple of quirks:
- The large rectangular boxes in most galleries which contain fire hoses and extinguishers: they completely ruin the aesthetic of the "no 90º angle" philosophy of the Lee-Chin Crystal. One would think that with Libeskind going as far as making the "EXIT" signs on a slant, he would have in the least built the fire equipment into the slanted walls or provided a more adequate case which complies with the rest of the building.
- The washrooms were quite poor. You would think that with advances in WC's design these days, you'd find hands free faucets and hands free entries (i.e. no door). These bathrooms were very square. I know washrooms aren't meant to be art, but many lavatories I've visited around the world prove the contrary.
Overall, on the negative side, it feels painfully obvious that they ran out of money on one side and were victims of building codes on the other.
On the plus side, I really liked the Hyacinth Gloria Chen Crystal Court. It's a grand space with beautiful details. The large glass walls showing galleries in the old building are of pure genius. I love them!
Viewed from the Crystal "balconies" overlooking the court, it's as if the people looking through those glass walls are displayed objects themselves.
The display cases are gorgeously minimalist allowing the pieces within to shine through. The items on display feel so accessible in contrast to the passé fortified vault like behemoth cases of yesteryear.
Overall, I feel that the Michael Lee-Chin Crystal has incredible potential but several refinements are required before it is worthy of the A+ I intended to give it while watching the opening ceremonies.
Indeed, this Crystal needs only a bit of polishing.
On my impressions of the Crystal:
Unfortunately, I viewed it with a majority of club goers returning from a night of booze. Many of them were completely disrespectful of the space, sliding into the window slits, running up the slanted walls, laughing and shouting, touching the few artifacts on display and being overall obnoxious.
That set aside, I have to say that Thorsell dropped the ball here. The Crystal is nowhere near ready for public viewing. I found it hypocritical when Michäel Jean declared the "Michael Lee-Chin Crystal Open" considering it will mostly close to finish the work. I'd rather have them had the opening delayed until the Fall.
The Crystal felt like a construction site, with many unfinished spots, dirt everywhere (ohhhh, this is going to be one hell of a place to maintain clean with all the crevices), temporary wall sidings and floors, and so on.
Of the galleries that were more or less finished (Textiles Gallery), I was impressed and could see the potential of the space.
On the downside, I hate the heavy grey doors which make the Stair of Wonders feel like a fire escape rather than the new main ROM stair well.
Also, the anodized aluminum siding along bridges and stairs feels really cheap and poorly applied with scratched and broken screws and uneven connections between cladding.
The Spirit Room really disappointed. From the renderings and descriptions, I expected an intimate space where one could look up and see through several bridges to the uppermost floor. Sitting in a Libeskind chair, you can view only up to the second floor.
The heavy grate like floors on certain staircases (i.e. the Dinosaur and Mammals galleries) are to be replaced according to one worker. They're there now because of the heavy work that will still occur while installing these galleries. Finer details will happen after a gallery's objects are installed.
Another couple of quirks:
- The large rectangular boxes in most galleries which contain fire hoses and extinguishers: they completely ruin the aesthetic of the "no 90º angle" philosophy of the Lee-Chin Crystal. One would think that with Libeskind going as far as making the "EXIT" signs on a slant, he would have in the least built the fire equipment into the slanted walls or provided a more adequate case which complies with the rest of the building.
- The washrooms were quite poor. You would think that with advances in WC's design these days, you'd find hands free faucets and hands free entries (i.e. no door). These bathrooms were very square. I know washrooms aren't meant to be art, but many lavatories I've visited around the world prove the contrary.
Overall, on the negative side, it feels painfully obvious that they ran out of money on one side and were victims of building codes on the other.
On the plus side, I really liked the Hyacinth Gloria Chen Crystal Court. It's a grand space with beautiful details. The large glass walls showing galleries in the old building are of pure genius. I love them!
Viewed from the Crystal "balconies" overlooking the court, it's as if the people looking through those glass walls are displayed objects themselves.
The display cases are gorgeously minimalist allowing the pieces within to shine through. The items on display feel so accessible in contrast to the passé fortified vault like behemoth cases of yesteryear.
Overall, I feel that the Michael Lee-Chin Crystal has incredible potential but several refinements are required before it is worthy of the A+ I intended to give it while watching the opening ceremonies.
Indeed, this Crystal needs only a bit of polishing.
yyzer
Senior Member
The Crystal unfolds
Wild on the outside, calm on the inside, the controversial new wing of Toronto's Royal Ontario Museum finally opened last night. Maria Cook takes a peek
Maria Cook
The Ottawa Citizen
Sunday, June 03, 2007
As the jagged silhouette of the Crystal wing at the Royal Ontario Museum took shape over the past few years, Torontonians expressed their opinions in the local newspapers.
"A dagger to the heart of an old lady," lamented one writer. "An ugly cheap-looking monstrosity," said another. "I now call the ROM, the WOM -- the Weird-looking Ontario Museum," wrote one young girl.
Others loved the idiosyncratic creation of Daniel Libeskind, one of the world's most famous architects. "The ROM addition is a knockout," said one letter-writer.
Now critics and fans can weigh in on the Crystal's interior as well. The $135-million aluminum-and-glass-covered structure on Bloor Street West was opened last night by Gov. Gen. Michaelle Jean with Premier Dalton McGuinty in attendance. Then, the public was treated to a free outdoor concert and tours of the empty wing.
Animated and wildly expressionistic on the outside, the Crystal is minimal, subtle and surprisingly calm inside. The spatial pleasures given by its slopes and folds evoke the cosiness of attic spaces combined with high ceilings and framed views of the city. The gallery spaces are refined, serene and generous.
"I have no problem with people being upset with the building," ROM director and CEO William Thorsell said earlier in the week. "It's art. Real art always pushes the boundaries. It often confuses and disorients people."
Surrounded by the stone, yellow brick and arches of the museum's 1914 and 1933 buildings, the Crystal, some argue, is an aggressive thing that collides with and disregards the heritage buildings.
But one can make the case that it is surprisingly contextual. There is a quirky gothicness about the Crystal and a similar sense of rocky enclosure and toughness to it as the old museum.
In 2001, when Thorsell launched the $270-million Renaissance ROM campaign, the goal was to reverse the museum's decline in visitors, staff and money. He wanted a "powerful, visual, emotional, psychological image" for the 90-year-old institution he believed had become "musty, intimidating and fortress-like."
Finally, visitors will be able to judge for themselves whether Thorsell and Libeskind have succeeded. "It's certainly got people talking about architecture," says Toronto architect Peter Berton. "It should be a successful tourist attraction. It certainly makes its presence known on the street."
A visitor arrives now from Bloor Street, a commercial hub of intense pedestrian activity, as opposed to the previous entrance on Queen's Park Crescent, a leafy academic boulevard. The physical re-orientation is part of a new way of thinking about the role of museums.
"Museums for a long time were sanctuaries, away from life in the city," says Thorsell. "The new museum should be part of the city. It should be visible, transparent. You should be able to come in and see great galleries, have a great lunch or hear music. It should be much more of a social common ground."
In recent years, the ROM was criticized as a glorified day-care centre, marketed toward families and school outings. Now, the elegant white interior spaces reinstate the museum's dignity. It is a now a more adult place, which in no way reduces its appeal to children. They will respond well to its spaces, the nooks and crannies that awaken a sense of discovery, and opportunities to glimpse family and friends at surprising angles from above and below.
Continued from PAGE C1
The sloping walls create sheer spatial enjoyment, as well as provide intimacy and a sense of enclosure. The diagonal pattern of windows gives unexpected views of the Toronto skyline and reveals the sun's movement through the sky in a play of natural light and shadow on floors and surfaces.
Libeskind first sketched the Crystal on a napkin after visiting the ROM's vast minerals collection. Construction began in 2003. To scale the sloped walls and angles, workers had to train in rappelling, like mountain climbers.
"I think it will change with the seasons," Libeskind said. "It will have different atmospheres. You need to take the time to walk through it. There's a range of spaces between very intimate spaces, very private moments, but also grand volumes."
The building is 25 per cent glass, the rest is covered in brushed aluminum of a warm silver colour. "I call it the Rolls Royce of cladding," says Libeskind.
The building has no right angles. It is comprised of five interlocking self-supporting structures of different shapes. The tip of the Crystal reaches 37 metres, or 10 storeys.
"The combination of the linearity of the metal planks and the raised black ribbon windows is reminiscent of the black weblike growth that overtakes Spider-Man in the latest movie, Spider-Man 3," says Berton. "It's almost eerie. It's got some very dark moments to it."
Marco Polo, associate professor of architecture at Ryerson University, said that some people are disappointed that the building isn't more transparent and delicate. "It's more of an iceberg than a crystal."
A walk through the crystal
The 175,000-square-foot building houses eight spacious new galleries, a new entrance on Bloor Street, a 7,000-square-foot shop, a high-end restaurant, and Canada's largest exhibition hall with 18,000 square feet of space for temporary blockbuster shows.
New galleries opening in the coming months include: Dinosaurs, Africa, Americas and Asia-Pacific, Textiles and Costume, South Asia, Mammals, the Middle East and the Institute for Contemporary Culture.
The visitor arrives in a large central space, designed to meet the needs of large groups of people milling about, buying tickets and checking coats. Beside the lobby is a large three-storey atrium for special events. This is a courtyard with an urban feel to it, framed on one side by the exposed outside wall of the historic building.
To reach the upper levels of the Crystal, visitors may climb the Stair of Wonders, which presents more than 1,000 curiosities such as seashells, antlers, toy solders and insects. This proves somewhat disappointing -- one had somehow imagined an unrestrained cornucopia of treasures cascading along the stairs. Instead, the objects are displayed on the landings in polite cases like jeweller's windows. The one eye-catching exception is a metal grid affixed with all manner of antlers.
One of the greatest draws of the museum has always been the dinosaur collection, which visitors will find right away on the second level. The gallery, which opens next winter, features 18-foot ceilings to accommodate the ROM's largest specimens, including 18 skeletons. The north wall slopes outward with large windows overlooking Bloor Street -- from the street, passersby can look up and see dinosaurs.
As one moves up the levels, the architecture becomes part of the experience. On the third level, the South Asian gallery is located in a triangular space featuring high ceilings, natural light and dramatically angled walls. On the fourth floor, the textiles and costume gallery occupies a cathedral-like space with angular walls rising more than 40 feet and windows that offer angled views down to Bloor Street.
The display cases respond to the angular geometries of the building. They function as part of the architecture, rather than merely as furniture.
On Level 5, the Crystal Five Restaurant Lounge is tucked into the peak of the crystal. It offers views of the CN Tower, soft white leather seating and the yet-to-be-developed Rom-tini cocktail.
A key space within the Crystal is a vertical void, called the Spirit House, that extends from the top to the bottom of the Crystal. It is criss-crossed by bridges linking the east and west galleries, and will be filled with sounds ranging from wind to the singing of birds and people. By naming it the Spirit House it creates an expectation of a tangible constructed place. But it is an absence. Thorsell imagines it as a contemplative space. One could think of it as a clearing in the forest.
"This is the building that everyone has loved to hate," says Nelda Rodger, editor of Azure, a design magazine. "It's architecture as event, deliberately created to have an effect. I was quite surprised and delighted by what I saw on the inside."
- - -
The architectural preview continues until June 10, when the building closes for installation of exhibits.
Wild on the outside, calm on the inside, the controversial new wing of Toronto's Royal Ontario Museum finally opened last night. Maria Cook takes a peek
Maria Cook
The Ottawa Citizen
Sunday, June 03, 2007
As the jagged silhouette of the Crystal wing at the Royal Ontario Museum took shape over the past few years, Torontonians expressed their opinions in the local newspapers.
"A dagger to the heart of an old lady," lamented one writer. "An ugly cheap-looking monstrosity," said another. "I now call the ROM, the WOM -- the Weird-looking Ontario Museum," wrote one young girl.
Others loved the idiosyncratic creation of Daniel Libeskind, one of the world's most famous architects. "The ROM addition is a knockout," said one letter-writer.
Now critics and fans can weigh in on the Crystal's interior as well. The $135-million aluminum-and-glass-covered structure on Bloor Street West was opened last night by Gov. Gen. Michaelle Jean with Premier Dalton McGuinty in attendance. Then, the public was treated to a free outdoor concert and tours of the empty wing.
Animated and wildly expressionistic on the outside, the Crystal is minimal, subtle and surprisingly calm inside. The spatial pleasures given by its slopes and folds evoke the cosiness of attic spaces combined with high ceilings and framed views of the city. The gallery spaces are refined, serene and generous.
"I have no problem with people being upset with the building," ROM director and CEO William Thorsell said earlier in the week. "It's art. Real art always pushes the boundaries. It often confuses and disorients people."
Surrounded by the stone, yellow brick and arches of the museum's 1914 and 1933 buildings, the Crystal, some argue, is an aggressive thing that collides with and disregards the heritage buildings.
But one can make the case that it is surprisingly contextual. There is a quirky gothicness about the Crystal and a similar sense of rocky enclosure and toughness to it as the old museum.
In 2001, when Thorsell launched the $270-million Renaissance ROM campaign, the goal was to reverse the museum's decline in visitors, staff and money. He wanted a "powerful, visual, emotional, psychological image" for the 90-year-old institution he believed had become "musty, intimidating and fortress-like."
Finally, visitors will be able to judge for themselves whether Thorsell and Libeskind have succeeded. "It's certainly got people talking about architecture," says Toronto architect Peter Berton. "It should be a successful tourist attraction. It certainly makes its presence known on the street."
A visitor arrives now from Bloor Street, a commercial hub of intense pedestrian activity, as opposed to the previous entrance on Queen's Park Crescent, a leafy academic boulevard. The physical re-orientation is part of a new way of thinking about the role of museums.
"Museums for a long time were sanctuaries, away from life in the city," says Thorsell. "The new museum should be part of the city. It should be visible, transparent. You should be able to come in and see great galleries, have a great lunch or hear music. It should be much more of a social common ground."
In recent years, the ROM was criticized as a glorified day-care centre, marketed toward families and school outings. Now, the elegant white interior spaces reinstate the museum's dignity. It is a now a more adult place, which in no way reduces its appeal to children. They will respond well to its spaces, the nooks and crannies that awaken a sense of discovery, and opportunities to glimpse family and friends at surprising angles from above and below.
Continued from PAGE C1
The sloping walls create sheer spatial enjoyment, as well as provide intimacy and a sense of enclosure. The diagonal pattern of windows gives unexpected views of the Toronto skyline and reveals the sun's movement through the sky in a play of natural light and shadow on floors and surfaces.
Libeskind first sketched the Crystal on a napkin after visiting the ROM's vast minerals collection. Construction began in 2003. To scale the sloped walls and angles, workers had to train in rappelling, like mountain climbers.
"I think it will change with the seasons," Libeskind said. "It will have different atmospheres. You need to take the time to walk through it. There's a range of spaces between very intimate spaces, very private moments, but also grand volumes."
The building is 25 per cent glass, the rest is covered in brushed aluminum of a warm silver colour. "I call it the Rolls Royce of cladding," says Libeskind.
The building has no right angles. It is comprised of five interlocking self-supporting structures of different shapes. The tip of the Crystal reaches 37 metres, or 10 storeys.
"The combination of the linearity of the metal planks and the raised black ribbon windows is reminiscent of the black weblike growth that overtakes Spider-Man in the latest movie, Spider-Man 3," says Berton. "It's almost eerie. It's got some very dark moments to it."
Marco Polo, associate professor of architecture at Ryerson University, said that some people are disappointed that the building isn't more transparent and delicate. "It's more of an iceberg than a crystal."
A walk through the crystal
The 175,000-square-foot building houses eight spacious new galleries, a new entrance on Bloor Street, a 7,000-square-foot shop, a high-end restaurant, and Canada's largest exhibition hall with 18,000 square feet of space for temporary blockbuster shows.
New galleries opening in the coming months include: Dinosaurs, Africa, Americas and Asia-Pacific, Textiles and Costume, South Asia, Mammals, the Middle East and the Institute for Contemporary Culture.
The visitor arrives in a large central space, designed to meet the needs of large groups of people milling about, buying tickets and checking coats. Beside the lobby is a large three-storey atrium for special events. This is a courtyard with an urban feel to it, framed on one side by the exposed outside wall of the historic building.
To reach the upper levels of the Crystal, visitors may climb the Stair of Wonders, which presents more than 1,000 curiosities such as seashells, antlers, toy solders and insects. This proves somewhat disappointing -- one had somehow imagined an unrestrained cornucopia of treasures cascading along the stairs. Instead, the objects are displayed on the landings in polite cases like jeweller's windows. The one eye-catching exception is a metal grid affixed with all manner of antlers.
One of the greatest draws of the museum has always been the dinosaur collection, which visitors will find right away on the second level. The gallery, which opens next winter, features 18-foot ceilings to accommodate the ROM's largest specimens, including 18 skeletons. The north wall slopes outward with large windows overlooking Bloor Street -- from the street, passersby can look up and see dinosaurs.
As one moves up the levels, the architecture becomes part of the experience. On the third level, the South Asian gallery is located in a triangular space featuring high ceilings, natural light and dramatically angled walls. On the fourth floor, the textiles and costume gallery occupies a cathedral-like space with angular walls rising more than 40 feet and windows that offer angled views down to Bloor Street.
The display cases respond to the angular geometries of the building. They function as part of the architecture, rather than merely as furniture.
On Level 5, the Crystal Five Restaurant Lounge is tucked into the peak of the crystal. It offers views of the CN Tower, soft white leather seating and the yet-to-be-developed Rom-tini cocktail.
A key space within the Crystal is a vertical void, called the Spirit House, that extends from the top to the bottom of the Crystal. It is criss-crossed by bridges linking the east and west galleries, and will be filled with sounds ranging from wind to the singing of birds and people. By naming it the Spirit House it creates an expectation of a tangible constructed place. But it is an absence. Thorsell imagines it as a contemplative space. One could think of it as a clearing in the forest.
"This is the building that everyone has loved to hate," says Nelda Rodger, editor of Azure, a design magazine. "It's architecture as event, deliberately created to have an effect. I was quite surprised and delighted by what I saw on the inside."
- - -
The architectural preview continues until June 10, when the building closes for installation of exhibits.
