As the expanding horizontal floors continue to reinforce a recognizable, and perhaps to many, comforting datum, the Crystal's external steel envelope is undergoing a remarkable transformation. What was once seen as a threatening, even chaotic assault on the rational determinism of the ROM's eastern wing, has now become a formal mediation between cultural ideals. Every new element reinforces Libeskind's notion of a breathing architecture that transcends the tectonic repetition of normative architecture. This is - if you cannot admit to it being anything else - an optimistic cultural expression. It continuously and enthusiastically marks a transition in Canada's cultural psyche from an intellectual colony to a full member and even leader of those nations who will shape the world's future. The world does need more Canada and the ROM's Crystal is proving to be a symbol of our ability to harness the apparent chaos of cultural change and focus it to compliment our existing social structure and ideals.

1. I like the building very much. It’s annoying to hear the occasional complaint about it. It stood far above the other proposals and Daniel’s overall body of work is wonderful and meaningful.

   Everyone has a part to play in shaping the world’s future. Employing Libeskind doesn’t necessarily make us amazing leaders. He, Hadid and RIBA winners have been doing great work in many places for many years.

   But it shows that someone somewhere has a good sense of what’s happening in the global cultural community and the power to make a decision in line with that. Which is great. We get a nice building out of the deal.

   It functions a little like designer fashion for the city.
   The thing about design is that it’s fairly mercenary. China can hire Rem Koolhaas to make an “optimistic cultural expression” in the form of the Headquarters for Central Chinese Television.

   The quality of this architecture may or may not be equal with ours, but the purpose and function of the building as well as the context surrounding it are significantly different. One is a container for historic artifacts, the other is a new tool in the hands of an opressive state.

   Of course, this is my perspective as an amateur pundit, perhaps there really are these near magical side effects of a Libeskind which can never exist in an OMA project?

   I may just be responding to what seems to be a sort of grafting on of extra speculative meaning to steel and glass. Not that there’s anything wrong with that.

   Posted by Ben Weeks  on  09/21  at  12:46 PM

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