Nominated for: promoting the cultural history of Islam, and giving Toronto a new architectural landmark.
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The need for an institution such as the Aga Khan Museum and Ismaili Centre, which opened in September, was brought into relief during this year’s municipal election. Anti-Muslim incidents, including sign defacing and slurs, underlined the usefulness of a bridge-building complex. Though bigoted louts probably won’t venture near it, the complex’s role as a cultural centre has great potential to, according to its mission statement, “foster a greater understanding and appreciation of the contribution that Muslim civilizations have made to world heritage. Through education, research, and collaboration, the Museum will foster dialogue and promote tolerance and mutual understanding among people.”
Though controversial in some circles for bringing about the destruction of John B. Parkin’s 1960s modernist Bata Shoes Head Office, the complex at the Eglinton Avenue and the Don Valley Parkway has the potential to become a new architectural landmark—much as Mies van der Rohe’s iconic steel and glass Toronto-Dominion Centre did after replacing the Beaux Arts–influenced Bank of Toronto headquarters 50 years ago. Like that project, the Aga Khan Museum and Ismaili Centre has architectural heavy hitters behind it, including Fumihiko Maki, Charles Correa, and Moriyama and Teshima.
“Don Mills once was a locus for innovation in architecture and planning,” Globe and Mail architecture critic Alex Bozikovic noted, “with offices and warehouse buildings designed by some of Canada’s top architects in the 1960s. That modernist legacy has been badly diluted by new buildings, but the absurdly fine quality of the museum and Ismaili Centre will set a new standard.”
The items displayed in the museum, which has been touted as the first in North America devoted solely to Islamic art, literally provide a colourful take on the culture. Among the most impressive items are painted, lavishly illustrated manuscripts. Cross-cultural influences stand out, whether through works inspired by local cultures or in Iranian paintings that would not have looked out of place in Renaissance Europe.
For once, Toronto may have received just the kind of world-class institution it covets.