The Royal Ontario Museum (ROM) became one of the most divisive buildings in Canada when it was overhauled in 2007. With an old meets ‘super-new’ mishmash, the museum’s identity was forever changed. Let’s dive in.
Since the museum’s establishment in 1912, the ROM has evolved to become one of the largest museums in North America, housing a vast collection that spans natural history, art, and culture from around the globe.
In 2007, the ROM unveiled the Michael Lee-Chin Crystal, designed by architect Daniel Libeskind. This modernist addition, characterized by its angular, crystalline forms, marked a bold departure from the museum’s original neo-Romanesque architecture.
The Crystal’s futuristic design has dramatically polarized opinions: some hail it as a stunning piece of contemporary architecture, a beacon of innovation and creativity in the heart of Toronto.
Its supporters admire the way it contrasts with and challenges the traditional architectural landscape of the city, viewing it as a symbol of forward-thinking and a landmark of 21st-century design.
Conversely, there are many who criticize the Crystal for the very reasons others celebrate it. Detractors argue that its sharp, metallic façade clashes with the museum’s original structure and the surrounding urban environment, labeling it as one of the “most hated buildings” in Canada. That’s saying a lot.
Critics often point to its unconventional appearance and the perceived impracticality of its design, suggesting that it detracts from the cohesive aesthetic of the cityscape.
The building’s addition….
Despite these divergent views, the Royal Ontario Museum continues to thrive as a great destination for both art and history enthusiasts.
Whether loved or loathed, the ROM undeniably makes a bold statement, and to us, that’s one of the major points of art.
What’s your take? Do you find the juxtaposition exciting or detracting?
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