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Figure 3.5

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Figure 2.9

Figure 2.9

Critically, the museum typology, and inherently, the ROM, is challenged by its desire for monumentation. An issue that Macleod highlights in her statement about museums is that they are “…consciously recognized as drivers for social and economic regeneration, the architecture of the museum has developed from traditional forms into often-spectacular one-off statements and architectural visions.”42 There is an apparent tension between the spectacular space of distraction and functional curation in recently built and renewed museums, where acts of Extrovert Architecture are at play.

Figure 3.5

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Toronto’s Royal Ontario Museum, Michael Lee-Chin Crystal extension by Studio Libeskind, 2007.

In contrast to the extrovert ideal of museum architecture, the museum carries a rather introspective identity. An identity that introduces introversion as not only a social and human-based function, but also an architectural action. The museum, defined as Mouseion, (muse-ion): A seat of the muses - A philosophical institution or place of contemplation, inherently reflects a set of actions that are illustrative of introverted behaviours. To contemplate

and to think, a highly intrapersonal action, involving only oneself. To sit and watch, feel, and to listen, each being a process guided by oneself. These actions and behaviours are attached to the definition of the museum, while simultaneously connected to the definition of the intrapersonal actions. The museum, in this sense, should uphold its own meaning, being a place that facilitates contemplation, and intrapersonal action. A space that allows the visitor to control their own experience and have their own thoughts. Unfortunately, museums of Extrovert Architecture, like the ROM, struggle to uphold their own definition, as they use architecture to control experience, thoughts, and remove all efforts to offer space for contemplation. These museums take agency away from their objects: art, artists, visitors, and site, as they attempt to assimilate all art, and curatorial experiences. The introvert museum should give agency back to the objects that reside as part of the building. Allowing artists to display their art in their own way, rather than being forced to innovate curatorially when their practice exceeds the capacities of the existing curatorial structures of the museum. This allows art to remain ‘lively,’ a term used by Muller and Langill, to describe that objects (art) speak, offers suggestions, make demands, and pose problems. Unfortunately, these ‘lively’ objects and their physical processes, obscure impacts, and entanglements with other actors are being endangered by the curatorial restrictions posed by modern museum architecture.43 They assume that all art is to be received the same way. Therefore, a museum of Introvert Architecture should act in a way that services its own meaning. Using architecture as a tool that facilitates not only the display and didactic experience of the objects in the museum, but also supports the harmonious act of contemplation, curation, and reflection for the people who move through it.

The museum typology has an inherent connection with the contents of this thesis and therefore, is selected as the program for the final design project, and the topic of discussion for architecture through the lens of the Extrovert and Introvert Architecture Equations.

Project Narrative

To ensure the design project could impose existing influences and challenges, the site and program were chosen because they offer a real context, program, and occupants. Allan Gardens, a park located in downtown Toronto, has been challenged by Toronto’s continued development, and struggles to stay relevant in the city’s robust, new urban life. The design project stems from a call for action outlined in a public document released by Allan Gardens in the wake of Toronto’s accelerating modernization. The document outlines an extensive list of upgrades and transformations that are needed for this iconic parcel of land to continue to engage with Toronto’s modernizing landscape. The Refresh document highlights the park as a location that has always engaged with local and international communities. A place where neighbouring residents and tourists come together to the shifting identities of Allan Gardens. Historically, the park has acted as a place for community expression, giving voices to many of the marginalized communities that contribute to Toronto’s overall identity. It is a place to gather, to perform and share, a place of refuge, a place for play and for education. The park is a multifaceted actor in Toronto, it is free and flexible, which is an attribute the community hopes to maintain.44 Preserving its excellence to ensure everyone continues to feel welcomed by the park and the people who share its spaces. To improve Allan Gardens, the Refresh document calls for a building that can continue to promote, respect, and provide for the communities of the park. The proposed building should foster relationship building between people and nature. It should respect the existing heritage and natural sites and uphold the parks social functions. Moreso, the building should provide an extension of the neighbourhood, while simultaneously being a landmark destination for Toronto. These requirements serve as the drivers of the design project. To keep in mind, the project’s primary function is to serve as a museum. Therefore, the project will offer a museum-based program that upholds the requests of the Refresh document. Aspiring to build a relationship with Allan Garden’s context, its community, Toronto, and its visitors.

As a method to ensure that the proposed building, and the design process reflects the discussion of Introvert Architecture, the program and role of the building is to serve as a temporary-exhibition museum for Allan Gardens. This decision was made to ensure that the dialogue regarding the programmatic function of the museum did not outperform the reality of this design project. Avoiding the production of a museum that represented a

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