Frank Gehry returns to the streets of his Canadian childhood

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Frank Gehry, the architect whose free-form Guggenheim Museum in Bilbao, Spain, Architecture redefined and sparked a boom in museum building in the late 1990s, was recently back in Toronto celebrating the start of a new project.

Mr. Gehry was born and raised in Toronto. In Canada he only had one job: its highly acclaimed renovation the Art Gallery of Ontario, which opened in 2008 in the neighborhood where he grew up.

At 94, he’s notoriously uninterested in retiring, and he came to Toronto last month to witness another masterpiece in Canada: two residential towers that will be his tallest project to date. A tower will be 84 stories high; the other, 74.

Known as Forma, the project will be set near Roy Thomson Hall, the current home of the Toronto Symphony Orchestra, on the streets Mr. Gehry roamed in his youth when the area was dominated by railroad tracks and warehouses.

It began as a collaboration between Mr. Gehry and David Mirvish, the theater owner whom Mr. Gehry knew from Mr. Mirvish’s days as the owner of a private art gallery. The original plan, unveiled a decade ago, called for three towers, each more than 80 stories, but was scaled back after backlash from the public and some politicians. The final design preserves the Princess of Wales Theater rather than demolish it and retains two of the four warehouses that would have been demolished in the initial plan. Mr. Mirvish also sold the project to a consortium of developers.

After Mr. Gehry posed for many photos of the groundbreaking, I met him at an office used by the developers. Our conversation has been edited for length and clarity.

Do you still feel a connection to the streets here?

As a kid I delivered phone books on King Street; I pulled a little wagon. My grandfather’s hardware store was on West Fleet Street. And I used to walk downtown from 15 Beverly Street, where my grandma lived, to go to the movies and stuff. So this neighborhood was part of my early life.

So I have some feelings for the neighborhood but not for the way it turned out.

How did your old neighborhood turn out?

It turned out that a lot was just as old as everywhere else. They’re building a tower and there’s not really much talk about the legacy or the relationship; It’s only clunk! And the time has come.

The buildings in most cities in the world are pretty bad. I don’t just blame Canada.

Was remodeling your childhood neighborhood a particularly difficult project?

I can’t believe we’re doing this. It came about after a lot of talk, a lot of work and a long time. But these things happen over time.

The city bureaucracy, the planning department, they have always supported us from day one. But they had a lot of comments, they wanted this and that. I put them up because they knew the city better than I did.

A lot of work has gone into it. It’s like a painting. Therefore, the glass is offset in some places to catch the light in a specific way and to separate this surface from the rest of the building. A lot of care has been taken to organize this visually. That will show over the years. You’ll see it and say, oh, he did that.

After two projects in your old neighborhood, is there anything else you would like to take on there?

I grew up listening to classical music here in Massey Hall Sir Ernest MacMillan was the conductor. He used to ride his bike through Grange Park and I used to cycle through that park to Bloor Collegiate. One day he stopped and started talking to me. I said, “Well, I went to your concert last night,” which shook him up.

Unfortunately Roy Thomson Hall The acoustics are not the best. But I’m still very interested in classical music and would love to help fix the problem. Nobody asked me to do it, but I’m willing to do it.


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A native of Windsor, Ontario, Austen was educated in Toronto, lives in Ottawa and has covered Canada for the New York Times for two decades. Follow him on Twitter at @ianrausten.


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