2912 x 3883 px | 24,7 x 32,9 cm | 9,7 x 12,9 inches | 300dpi
Date de la prise de vue:
23 octobre 2011
Lieu:
Toronto, Ontario
Informations supplémentaires:
The AGO reopened in November 2008, with the transformation project having increased the art viewing space by 47%. The outwardly most characteristic element of the design however is a new glass and wood façade - the Galleria Italia - spanning 180 metres (590 ft) along Dundas Street; it was named in recognition of a $13 million contribution by 26 Italian-Canadian families of Toronto, a funding consortium led by Tony Gagliano, who currently serves as the President of the AGO's Board of Trustees. The completed expansion received wide acclaim, notably for the restraint of its design. An editorial in the Globe and Mail called it a "restrained masterpiece", noting: "The proof of Mr. Gehry's genius lies in his deft adaptation to unusual circumstances. By his standards, it was to be done on the cheap, for a mere $276-million. The museum's administrators and neighbours were adamant that the architect, who is used to being handed whole city blocks for over-the-top titanium confections, produce a lower-key design, sensitive to its context and the gallery's long history."[10] The Toronto Star called it "the easiest, most effortless and relaxed architectural masterpiece this city has seen", [11] with the Washington Post commenting: "Gehry's real accomplishment in Toronto is the reprogramming of a complicated amalgam of old spaces. That's not sexy, like titanium curves, but it's essential to the project."[8] The architecture critic of the New York Times wrote: "Rather than a tumultuous creation, this may be one of Mr. Gehry's most gentle and self-possessed designs. It is not a perfect building, yet its billowing glass facade, which evokes a crystal ship drifting through the city, is a masterly example of how to breathe life into a staid old structure.
