Toronto Four Seasons Centre for the Performing Arts | ?m | 5s | COC | Diamond Schmitt

Big Daddy:

To start, I forgot this design was not part of a design competition. If it had been, there would have been a “design panel” panel that would choose a winning design much like what happened in 1989 when Moshe Safdie’s design won. My deepest apologies.
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And Moshe Safdie's design is considered "beautiful", even when taken from the vantage point of the loading docks? Sure. I hate to remind you, there are quite a few quarters that consider his design overwrought.

And as for the ROM, Yes, you can block as much as 70% of the UV radiation with filters on the glass and the Low-e glass will reduce the heat transfer – and much of the rest could be managed by strategically placing and/or moving certain displays on a regular basis. When worked together, you could significantly reduce the impact of the sunlight coming through the window.
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Both of which are already in use, if only you've been inside and paid attention at the museum. In addition, the gallery design has significant input from the curators, and all the light sensitive artifacts are already tucked away or rotated periodically. And like I have said before, and will say again - moving artifacts en masse is a physically risky and expensive operation - how long did it take from the ROM to install their current galleries? Imagine doing that every year?

Even though almost all of the grooves run perpendicular to grade. I see your well considered point.
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Uh, snow loading doesn't occur to any great extent to the Bloor Street facade, which is highly inclined - it occurs on relatively flat roof, and that's where the grooves are NOT perpendicular to grade. Like honestly, think!

AoD
 
I love how Bid Diddy's dismisses the opera house: "with the exception of the acoustics ... there is little else that would set this building apart from any other building." As if finally having a great hall with great acoustics - which is the reason for building the place - is a minor point.
 
Now, now. Feel free to disagree, but the wording was correct.

The interior is stunning, the City Room particuarly beneficial. That also sets it apart, and where I think Big Daddy is wrong. But there's the mediocre Queen Street facade (I don't care about or factor the York or Richmond sides), and there's the fact that many people just don't like the boxy exterior.
 
I spoke with an architect on Diamond's team who worked on the Opera House. Apparently, there are mixed feelings (and some disappointment) at the Diamond firm on how the project turned out.
 
The project architect, who gave a pre-opening tour of the building in 2006, told us that at their meetings the City Room had divided opinions. What did you hear?
 
Nothing specific, but the City Room was mentioned. Just kind of a "it could have been better" kind of vibe.
 
They designed the building from the York Street side first, because priority had to be given to shipping and receiving. The space that was left was the public assembly space on the University Avenue side - the City Room. Personally, I find it one of the most delighful and functional rooms in the city. I think they're being too modest about their achievements.
 
You'll never get everyone agreeing about the quality of such things - we are all looking for different things I guess.

As a frequent user of the building, I have to say that the City Room has proven to be a very enjoyable place to spend intermissions - it's great for watching, and being a part of, the general hubbub. I'm not sure what's not to like about it.

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"Apparently, there are mixed feelings (and some disappointment) at the Diamond firm on how the project turned out."

I think it turned out well on the interior considering the modest budget. There's something very Canadian about it, and the city room is a terrific addition. On the other hand i think TO should and perhaps could have done better on this. The exterior leaves one completely vacuous and uninspired.
 
Except at sunset, when the reflected light off the brick looks so interesting.
 
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