Throughout its fairly long history, Toronto has been a beacon to those counting on safe bets. Though not altogether a bad thing, it has, until very recently, played out as altogether a boring thing. Capping off a recent plunge to give mystery a chance, there is a project in the works, by architect, Frank Gehry (a Toronto boy who decades ago decided that the polluted atmosphere of LA was better for his health than Toronto’s antiseptic factors) which promises to lift young hearts and infuriate old hearts.
Theatre impresario, David Mirvish, has enlisted the achitectural heart behind Bilbao’s branch of the Guggenheim art museum conglomerate to replace one of his theatres and a few outbuildings with a museum, for his own extensive collection of Abstract Expressionist art, and three 80-story residential towers.
Here’s the museum area, stressing dynamics instead of containment, equilibrium instead of rest.
This is quite a change. A few years ago, it would have been unthinkable. That it is now thinkable entails a collision of visions.
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