How a Toronto museum evolved from static glass cases to a crystalline architectural landmark.

Art · Published 30 September 2026 Swipe more like this →

In short: The Royal Ontario Museum has transformed from a 1914 collection of five rigid scientific fields into a sprawling, multi-layered complex. Today, it houses over 18 million items, blending heritage architecture with the controversial, deconstructivist Michael Lee-Chin Crystal, while shifting its mission from simple preservation to dynamic, interpretive public education.

Established in 1912 and opened in 1914, the Royal Ontario Museum (ROM) began as a joint venture between the University of Toronto and the Ontario government. Its original building, designed by Frank Darling and John A. Pearson, reflected 17th and 18th-century palace monumentality. For decades, the museum functioned as a static repository for archaeology, geology, mineralogy, palaeontology, and zoology, with specimens displayed in rows of simple glass cases. This approach remained largely unchanged until the 1960s, when the institution began adopting more interpretive, dynamic staging, such as the mid-1960s dinosaur gallery that placed fossils in active poses against painted landscapes.

The museum’s physical footprint expanded significantly over the 20th century. A 1933 eastern wing added a neo-Byzantine rotunda, while a 1984 expansion introduced the curatorial centre and the Queen Elizabeth II Terrace Galleries. The most radical shift occurred with the 2007 opening of the Michael Lee-Chin Crystal. Designed by Daniel Libeskind, the crystalline structure replaced the terrace galleries and sparked intense public debate. Critics were divided, with some labeling it one of the world's ugliest buildings, while others praised its bold, angular form. The project, which cost about CA$270 million, aimed to boost annual attendance to over 1.4 million visitors.

Beyond its architecture, the ROM has evolved its curatorial philosophy. It now categorizes its vast holdings into Natural History and World Culture galleries. Modern exhibits, such as the Schad Gallery of Biodiversity, focus on conservation and the causes of extinction, moving far beyond the Edwardian-era focus on mere collection. Today, the museum serves as Canada's largest field-research institution, maintaining deep ties to the University of Toronto while managing a complex mix of heritage restoration and contemporary exhibition spaces that continue to adapt to the needs of the public.

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