HEC - Montréal - Chair of Arts Management

Company Profile: The Renaissance of the Royal Ontario Museum: Architecture Meets
Experiential Marketing
Author(s): Annick Turi and Johanne Brunet
Source: International Journal of Arts Management, Vol. 11, No. 3 (SPRING 2009), pp. 74-82
Published by: HEC - Montréal - Chair of Arts Management
Stable URL: http://www.jstor.org/stable/41064999
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VQIoMPANY Profile

The Renaissance of the

Royal Ontario Museum:
Architecture Meets
Experiential Marketing
Annick Turi, Johanne Brunet

Royal Ontario Museum, plans for a "major reinvention." Sharp's goal

commonly known as the ROM, was
is ato focus more on developing new market
cultural institution whose mandatesegments
is and creating new business oppor-
to inspire, educate and entertain the public by for the ROM. As it happened, Sharp's
tunities
Annick Turi, M. A re h
showcasing world culture and natural history.
plans only truly took off under the leadership
(Université de Montréal), MSc
Its iconic collections, excellent educational
of Thorsell, who launched a major renovation (Marketing, HEC Montréal),
programs, and dedicated team of curatorsandand
expansion project. According to Mark practises in the areas of
researchers have earned the institution inter- retail architecture and
Kingwell, a cultural theorist at the University
experiential marketing.
national renown. The ROM can lay claim to
of Toronto, Thorsell is ambitious, energetic and Her diverse background in
being the only museum in North Americasmart
that(Vaughan, 2008). Thorsell also wanted architecture and marketing
brings together under one roof collections
to put his directorship on the map in a very
has led her to work with
architectural firms and
comprising over six million artifacts and speci-
physical way (Vaughan, 2008). A strategic marketing strategists to
mens (not all of them on display) representing
planning study conducted in 2000 revealed develop physical environ-
the themes of Nature and Culture (Vaughan, ments that fit marketing
that the museum's weak market penetration
2008). strategies - that is, the
was the result of limitations with regard to its
In 2000 the ROM welcomed William Thorsell vision of the company and

as its new director. Thorsell had served for 10

collections, a lack of space and the absence of the needs of the consumer.

strategic marketing. The ROM decided to

years as editor of the Globe and Mail, one of Johanne Brunet, PhD
take action. It launched its Renaissance ROM
Canada's leading dailies. During his tenure, (Industrial and Business
project (ROM, 2000). Studies, University of
the newspaper's image received a major boost
The Renaissance ROM project was part of Warwick), is an associate
and its marketing strategies were revitalized,
professor of marketing at
the City of Toronto's Culture Plan, presented
earning him a reputation as a marketing vision- HEC Montréal. Her research

ary (Vaughan, 2008). Thorsell's decision to in 2000 with the aim of turning Toronto into interests lie in innovation,

accept the invitation to head the ROM was a Creative City by developing the Museum creativity and the inter-
nationalization of cultural
motivated in part by his perception that the Arts District. This plan would allow the ROM
industries. Previously she
stories told by a museum's collections are sim- to perform "a new star turn" at one of the was a senior manager in the

ilar to those told in newspaper articles (ROM,
2007a).
Upon joining the ROM in 1997, the previ-
ous director, Lindsay Sharp, expressed a desire
city's busiest intersections (Thorsell, 2001). film and television industry.
She serves on several boards
The additional impetus needed to chart a new
of directors and has just
course came with the results of a study of 60
completed a term on the
North American museums that ranked the board of the Canadian

to develop a new vision for the museum, with ROM in second-last place. Broadcasting Corporation.

74 INTERNATIONAL JOURNAL OF ARTS MANAGEMENT

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A Renaissance in the Context To make an impression on the consumer,
of Experiential Marketing the experience must be unique and memor-
able (Pine and Gilmore, 1999). By becoming
one speaks of the experiential a co-creator of the experience, the consumer
paradigm (Holbrook and Hirschman, undergoes a shift from passivity to active par-
1982), the experience economy (Pine andticipation (Pine and Gilmore, 1999). A customer-
Gilmore, 1999) or experiential marketingoriented attitude is thus crucial to gaining a
(Schmitt, 1999), the experiential perspective
better understanding of the needs of the target
has become inseparable from the phenomenon
clientele and offering an experience that they
of consumption. The reality of experience
perceive as valuable.
plays a key role in the life of todays consumers
Consumers are no longer merely rational
(Fournier, 1998).
decision-making agents. Their decisional pro-
On the one hand, experiential aspects meet
cess is strongly influenced by the experiential
the consumer's need to construct an identity
component, relegating utilitarian motivations
through the ritual of consumption (Firat and
to a secondary role (Holbrook and Hirschman,
Dholakia, 1998). An experience rich in sym-
1982). Consumer response is heightened in the
bolism is likely to convey particular values that
face of experiential offerings, with the experience
affect the intimate relationship between the
acting as the intangible factor in the decision-
consumer and the product (Holbrook and
Hirschman, 1982). The consumer is thus ablemaking process triggered by material offerings.
The experiential aspect of products and
to integrate the product into his or her lifestyle.
services makes it possible for an organization
Postmodern theory defines the experiential
to enhance its offer (Pine and Gilmore, 1999)
phenomenon as the production of experiences
that serve to enhance and "enchant" life (Firat and its positioning (Holt, 1995). This added
and Dhaokalia, 1998) and to give it meaning. value leads to greater consumer satisfaction
On the other hand, hedonistic consumption is and gives the organization a competitive edge,
increasingly popular due to the emotional bag- which leads to increased profits (LaSalle and
Britton, 2003).
gage it carries. Activities focusing on pleasure
attract high levels of consumer interest and The experiential aspect of a good or service
can revitalize a brand that is in decline, differ-
participation (Holbrook and Hirschman, 1982),
which in turn play an important role in theentiate among the products or services being
consumer's appreciation of the experience. offered, forge an image and an identity for the
Despite the fact that the element of pleasurecompany, promote innovation, and induce
plays a central part in consumption, the con-trial, purchase or loyalty (Schmitt, 1999). The
sumer is searching for educational experiences resultant competitive advantage is difficult to
as well as escape from day-to-day reality (Pine imitate and has a positive effect on purchasing
and Gilmore, 1999). (Vezina, 1999), guiding consumers in their

^^^^^^jWfiBU The Royal Ontano Museum provides an eloquent case study of the role that architecture can play in the reinven-
^^^^^^^^^^^H tion of an experiential product. Architecture has enhanced the museumgoing experience at the ROM through
^^^^^^^^^^H renovation of the institution's physical aspects and their adaptation to the needs of contemporary visitors. It
^^^^^^^^^^H has enabled the museum to reassert its positioning and differentiation strategy by offering a plurality of experi-
^^^^^^^^^^| enees and promoting innovation. It also serves as a tangible sign whose distinct symbolism and thematics guide
^^^^^^^^^^| consumers through the process of consumption thanks to the creation of a unique atmosphere, the presentation
^^^^^^^^^^H of content and environmental variables. The daring architectural design and aesthetics have also helped to
^^^^^^^^^^H renew and promote the ROM's brand identity. Architecture has emerged as a change agent, by virtue of its
^^^^^^^^^^H revitalization of the museum product and ancillary services; harmonious integration of old and new, interior and
^^^^^^^^^^H exterior; involvement of visitors in the design and construction processes; and creation of a 21st-century archi-
^^^^^^^^^^B tectural icon.

^^^^ffifiSJIKUlS Marketing, experiential marketing, brand, design, architecture, creativity

VOLUME 11, NUMBER 3 • SPRING 2009 75

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search for information and reducing the risks
associated with the consumer experience.
Finally, experiential marketing is an ideal
tool for developing new products, for ensuring
effective communication with the consumer
and for designing physical selling points (Schmitt,
1999).
Experiential contexts favour the active par-
ticipation of the consumer in his or her rela-
tionship with the product or brand. Efforts to
bring the encounter to life should be aimed
not at over-stimulating the consumer but at
giving the consumer access to experiences that
are extraordinary (Arnould and Price, 1993;
LaSalle and Britton, 2003) or even spectacular
(Sherry, 1998). These are tangible factors in
the consumer's evaluation of the experience.
Issues Facing the Museum
ROM needed to find a way to deal
with drastically reduced government fund-
ing and declining attendance. A visitor survey
had indicated that the drop in attendance
could be attributed to an overall perception of
the museum experience as outdated and not
particularly pleasant or engaging, an inadequate
visitor-orientation system, and communica-
tion and marketing deficiencies. Marketing stud-
ies and population statistics helped to identify
market trends and the needs of contemporary
visitors. Consulting firms were commissioned
to conduct regular surveys of the ROM's vis-
itors in order to gain a better understanding of
the museumgoing experience, predict the num-
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76 INTERNATIONAL
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Clearly there was a strong component that . . . the building contributed
to the experience and that the building had to change, the galleries had
to be improved, the visitor experience had to be improved . . . [The]
museum . . . physically had to be seen to engage more with the world
around it, and the city, and the neighbourhood in particular.
ROM representative1
ber of visitors for exhibitions, measure brand
awareness and identify new markets. Accord-
ing to Thorsell (2001), additional surveys
revealed that the ROM experience did not
correspond to the needs of the 21st-century
visitor. Museum spaces are often designed based
on the strategies developed for department
stores, with a separate cell for each theme.
However, they should in fact be organized so
as to offer the visitor a holistic experience as
opposed to a compartmentalized one.
While natural light is considered an import-
ant element in the display of collections and in
the museum experience, the ROM's lighting
was quite gloomy (Vaughan, 2008). With the
new insights it had gained, the museum had to
act. The ROM even used visitor-tracking stud-
ies from the 1970s to determine how visitors
might derive maximum benefit from their
circulation within the museum.
One element that emerged from all these
studies was the extent to which the structure
itself was a cause of dissatisfaction with the
ROM experience. The building needed to be
changed, the galleries needed to be renovated,
the overall experience needed to be improved. The
museum had to find a way to physically engage
the public, the neighbourhood and the city.
ÜJ
t
JOURNAL 0F ARTS MANAGEMENT
Genesis of Renaissance ROM
Their mission is to go to see something in particular at the outset of
a visit "What do you want to see today?" "Mummies. " "let's go to
aim of management was to turn a visit
Egypt " And off they go. But once they find themselves on that particular
to the ROM into an experience of wonder,
floor it becomes more of a casual . . . "Oh, what's in this corner?" or
learning, education, fun and enriched under- "0hf what's back over there?" So it's more of a free-form kind of visit
standing of the world. The ROM experience
ROM representative
had to offer more than just a simple encounter
between visitors and the objects on display:
the emphasis would henceforth be on making
it unforgettable by highlighting the stories andnumber of non-traditional elements. These
meanings conveyed by the objects. For theincluded ancillary services such as restaurants,
ROM, this was the key to competing with the boutiques and multi-functional event spaces
myriad other attractions vying for the con-
designed to meet the needs of the 21st-century
sumers attention, to becoming the cultural cen-consumer and to reverse the decline in attend-
tre ofToronto (Vaughan, 2008) and to boosting ance. While Lindsay Sharp was looking to
attendance. Through a strategy based on the increase the museum's revenues by focusing
creation of a new product, new programs and on interactivity and the youth segment, an
new amenities, the quality of the museumexisting segment resurfaced. According to a
experience would be greatly enhanced. TheROM representative, studies showed that the
strategy would include promoting the new"worldly, sophisticated adult" segment was
rapidly growing and therefore presented an
attributes and benefits and ensuring positive
visitor experiences. New interior spaces, adaptedopportunity for the ROM to make up for
declining attendance figures. Specific programs
to the exhibits, would also significandy improve
the quality of the visit. To set itself apart fromwere developed for each age group represented
traditional museums, the ROM would offer by this segment. And, to appeal to the younger
generation's appetite for new technologies,
visitors an extraordinary experience not only
by drawing on its collections but also by
computer rooms were included in the plan. Care
enhancing the public's exposure to the objects was also taken to preserve the ROM's renowned
on display through the innovative use of space.education programs for young children.
Renaissance ROM paved the way for the The museum put together a formidable team
articulation of a new identity for the museumto push this project forward. Thorsell invited
and a new experience for visitors. Drawingconsultants from all over the world to design a
inspiration from recent research on the museumprogram that would bring the new vision to
experience and new market trends, the planfruition, thereby allowing the ROM to carve
was to revitalize the museum experience and out a place for itself within the international
increase revenues by developing ancillary serv-museum community. A call was put out to
ices. The ROM's offer was thus enriched with museum and exhibition designers, inviting
new content and programs incorporating athem to take part in brainstorming sessions:

UIHE
HhÊM^ wIBS« ^ caso ^ R°y°^ 0ntano Museum nos permite apreciar el aporte de la arquitectura
wBBKSÈa&SSÎÊtÈSNm experíenoal. La arquitectura incrementó la experiencia de consumo museal me

|H9HGf^JHJfl fisicos adaptados a las necesidades de los nuevos visitantes. Le permitió al museo
^^^H^HvfaHw diferenciación, ofreciendo experiencias diversas y promoviendo la innovación. Tam
I^B^^^SÊÊPsÊÊM indicador tangible para guiar a los consumidores en su proceso de consumo vincul
j^^^BP^BHI^^SJi gradas a la creadón de un ambiente particular, a la puesta en escena del contenid
^BBfi|HÌ|EjfflIÌ tribuyó a renovar y vincular la identidad de la marca por medio de un diseño y un
j^^^B3S^B|flH un vector de cambio en la renovadón del producto museal y en la extensión de la o
H^^BjBSHE^H al contenido, integrando lo nuevo con lo viejo, el interior con el exterior, proponie
H^^^HH^KjM diseño y construcdón arquitectónicos, a la vez que se crea un icono arquitectural

W^KÊKSf^KHÊÊ Comerdalizadón, comerdalizadón experiendal, marca, diseño, arquitectura, cr

VOLUME 11, NUMBER 3 • SPRING 2009 77

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"We'd do things where we'd break off into The ROM had undergone several trans-
groups with one of these consultants and we'd formations since its construction in 1914.
come up with basic ideas on how we might Known mainly for their office towers and
organize the information in the building, of banks, Darling and Pearson had also put their
what kind of exhibit experience we want to names to expansion phases at the Art Gallery
have or what kind of visitor experience or what of Ontario in the early years of the 20th cen-
kind of architecture we would have in mind. tury. Pearson is the man credited with recon-
So this was very open-ended, but that's exactly struction of the Parliament buildings in Ottawa
the kind of guy he [Thorsell] was. He just after a devastating fire in 1916. Darling was
wanted to make sure that early on in the pro- the first Canadian to receive the Royal Gold
cess you didn't ignore all of the possibilities." Medal awarded by the Royal Institute of British
(ROM representative) Architects (in 1915); other recipients of this
All of these outside contributions helped to prestigious honour include Le Corbusier (1953)
nurture the project, whose aims were to extend and Frank Gehry (2000). In 1933 the ROM's
the museum's boundaries and to come up with growing numbers of visitors and new acquisi-
creative solutions. Thorsell also encouraged tions led to its first expansion, based on a design
employees to propose innovative solutions and by the firm of Chapman & Oxley. In 1968 the
made an effort to involve them in strategic ROM acquired a planetarium, designed by the
decisions. He established a task force to draw architectural firm of Stone & Webster Canada,
up a blueprint. Members of the task force were but was forced to close the planetarium in
chosen not only for their planning skills but 1995 due to a sharp drop in funding. In 1984,
also to ensure representation from a cross- in an effort to breathe new life into the insti-
section of the museum's departments. The tution, a consortium formed by the firms
work environment thus motivated the stake- Mathers & Haldenby and Moffat, Moffat &
holders to strike a balance between innovation Kinoshita oversaw the construction of a third
and function. phase of expansion (Turi, 2008).
The vision of the Renaissance ROM archi- This new expansion/renovation project was
tectural project finally took form. The project in keeping with the institution's renewal mar-
was officially launched in 2001, and it was keting strategies. The main goal of Renaissance
focused on making the building more "access- ROM was to create a stimulating and provoca-
ible, dramatic, transparent and modern" tive environment that would offer visitors an
(Thorsell, quoted in ROM, 2007a). The prin- unforgettable experience while at the same time
ciples of the ROM's expansion and renovation inviting them to participate in the cultural
scheme were thus established in accordance renaissance of Toronto. "We need architects
with the institution's revitalization project, in the public discourse, passionate and articu-
with an emphasis on promoting design excel- late ... in the context of the city and the cul-
lence, respect for its inherited architecture, ture," declared Thorsell in 2001, in a speech
integration into the urban fabric, transparency, before the Ontario Association of Architects.
accessibility, and a strong ROM brand. The Thorsell later expanded on this idea: "Cultural
mandate of Renaissance ROM was to project institutions have a responsibility to serve as
the institution into the future while acknow- patrons of great architecture - the most public
ledging its illustrious past and preserving the of the arts" (Thorsell, 2007).
architectural vision of its original designers, Given the ROM's strategic location, at the
the Toronto-based architects Frank Darling corner of Bloor Street and Queen's Park, the
and John A. Pearson. In the various expan- best approach appeared to be a strategy of dif-
sions undertaken at the ROM over the years, ferentiation based on an iconic architectural
the classical approach, with its emphasis on design, the idea being that the unique config-
long perspectives, had been abandoned. With uration of the building would seduce residents
a view to respecting the architectural heritage and tourists alike. The physical environment
of the existing structures, a strategy based on is what defines the relationship between the
heritage preservation was adopted. The new ROM and its visitors, and is what conveys the
spaces would reflect transparency, openness values of renewal being promoted. Renaissance
and ease of circulation (Turi, 2008). ROM places the emphasis on the exhibits and

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the museum experience by highlighting mean-
ing and context. The physical environment KBQH RENAISSANCE ROM: HIGHLIGHTS
ensures that visitors enjoy their experience and
do not feel intimidated. According to a ROM 2000 Departure of Linds
representative, studies have shown that declin- Arrival of William Thor
ing museum attendance can be attributed to
the intimidation caused by the monumental 2001 Launch of Renaissance ROM
architecture of the traditional museum. Con-
Launch of architectural design competition
sequently, to ensure a positive and meaningful
Exhibition featuring the seven projects selected: Renaissance
museumgoing experience, attention should be ROM: Architects' Sketchbooks
paid to the signals sent out by the space. In
other words, the museum experience cannot 2002 Exhibition featuring the three finalists: Views of Our Future:
Three Architectural Finalists
be reduced to the relationship between the vis-
itor and the object on display. Interior and Oral presentations by the three architects
exterior spaces must be harmoniously linked Selection of Daniel Libeskind
to ensure that the museum visit is a holistic
experience. This requires movement away from 2003 Phase 1 of renovation

the traditional museum approach, which is
static, object-centred and context-poor, and
adjustment of the museum's mandate in order
to emphasize the visitor/content relationship.
The key is to tell the stories behind the objects
on display. The specificity of new art museums
resides in meaning - the ideal medium for
communicating cultural and natural history.
Exhibition on the evolution of Libeskind's design: Views of
Our Future: The New Galleries
2004 Start of construction of the Crystal
2005 Opening of renovated exhibition spaces
2007 Inauguration of the Crystal
2009 Completion of Renaissance ROM

cess by giving visitors an opportunity to express

Evolution of the Project their opinions on what was shaping up to be

the largest project ever undertaken by the
the knowledge that expansion and reno- ROM in its 88-year history. The submissions
vation would be the best way to express its represented a diverse range of design perspec-
vision of renewal, the ROM launched a three- tives, from the somewhat commercial and pre-
step international architectural competition in dictable to the radical - by the "bad boy" of
the summer of 2001. A call for submissions architecture, Daniel Libeskind. The competi-
was published in the New York Times. Nearly tion was an opportunity to bring architectural
50 firms answered the call. With the help of a debate into the public realm and to engage
nine-member selection committee composed citizens in a new and enlightening type of experi-
of architects, urban planners and curators, 12ence - the process of designing bold architec-
projects were selected to advance to the next ture. The three finalists were Andrea Bruno,
phase. However, following the terrorist attacks Daniel Libeskind and Bing Thorn. These design-
of 1 1 September 2001 several of the New York- ers were selected to present a detailed proposal
based firms withdrew their submissions, leav- and were paid a fee for their submissions. In
ing seven projects in competition. The museum 2002 the ROM hosted a second exhibition,
held an exhibition, Renaissance ROM: Architects* Views of Our Future: Three Architectural Finalists,
Sketchbooks, running from 23 November 200 1 to present the finalists' detailed design work
to 6 January 2002, to familiarize the public and scale models.
with the seven finalists and their design pro- The winner of the international competi-
posals. The presentation of the sketchbooks, tion for the ROM's expansion project was
documenting the architects' sources of inspira- announced on 26 February 2002. The mission
tion and offering insights into their respective of reinventing the ROM museum experience
visions for the project, was part of the museum s fell to Studio Daniel Libeskind. Libeskind's
strategy to engage the public in the design pro- Crystal project embodied precisely the type of

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bold image the ROM wished to project.
The program of the Royal Ontario Museum provides a wonderful opportunity
Inspired by the ROM's collection of gems
for dramatic new architecture and the creation of a great public attraction,
(Vaughan, 2008), Libeskind undertook to
design an audacious building that would set Daniel Libeskind, 20022
the tone for the museum's transformation
while bridging the gap between past, present
and future.
There is an interesting anecdote behind The well-tested presentations of Nature and Culture are not only updated
Libeskind's design. According to the architect, through interactive technology but are visualized within the true magic

during a family reunion he sketched his first and power of physically built space. One could imagine this building as
a place where the public is engaged in an ongoing drama rather than
plans for the building on a series of napkins
a static 19th-century museum which suggests that nature has been
(Vaughan, 2008). This was not the first museum
conquered and culture has been archived.
commission for Studio Daniel Libeskind. Its
Daniel Libeskind, 2002
museum design credits include the Jewish
Museum in Berlin, the Imperial War Museum
North and the Denver Art Museum. Libeskind
also designed the controversial World Trade
Center commemorative site. These impeccable Its image, function and structure turn this important corner of Toronto
credentials would serve him well in developing into a luminous beacon, a veritable showcase of people, events and
innovative solutions for the ROM. However, objects, transforming the entire museum into a world-class destination.
the choice of Libeskind did not meet with
Libeskind, 2002
unanimous support from the Toronto com-
munity (Vaughan, 2008).
A final exhibition, Views of Our Future: The
New GallerieSy was mounted in 2003 to trace
The resulting clarity of circulation and access creates a transparency
the evolution of the winning project. While a
in which the inherited architecture and new construction form an
consultation process was put in place to ensure
equilibrium of imaginative unity.
harmonization of the museum's main themes
of Nature and Culture, the architects and cur- Daniel Libeskind, 2002

ators negotiated the layout of the gallery spaces

(Vaughan, 2008). The architects gathered
information on the functional needs of the
The internal angles of the Crystal form
galleries and were able to integrate this infor-
entry points to the existing structures to create
mation into the design, the result being pleas-
a looped circuit that spares visitors from hav-
ant and stimulating spaces.
ing to backtrack. The circuit is organized in
With its dynamic and audacious spaces, the such a way that the visitor can take in the over-
new physical environment firmly positions the all offer at a glance. The buildings form part of
ROM as a museum for the 21st century. The the continuity between natural and human
ROM's monumental main entrance, though history by offering moments of comparison
still human in scale, directs the flow of visitors,
and contrast with respect to Culture and Nature
lending a dazzling quality to their experience interspersed with moments of reflection and
of the museum and allowing them to push the contemplation.
boundaries of their visit as they wander through Any museum experience should be holistic.
the new spaces. A sloping walkway linking the All elements of Renaissance ROM were designed
interior and exterior spaces ensures universal with a view to offering a total experience, one
access to the institution, foregoing the model in which the visitor appreciates and enjoys the
of the traditional museum with its grand stair- exhibits while at the same time learning some-
cases. One of the reasons why Libeskind's thing new. One of the goals was to ensure that
Crystal design was chosen for the ROM's the existing buildings contributed in their own
expansion and renovation was that it builds on way to the experience of the Crystal. The reno-
the fluidity and transparency that characterize vation and refurbishing of the interior spaces
the edifices constructed in 1914 and 1933. are in keeping with the audacious strategies

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underlying the Crystal. The new spaces were
designed to be multi-functional and capable of
integrating a range of peripheral activities.
They are welcoming, accessible and of varying
sizes, and thus suitable venues for a wide var-
iety of events. Because of these design con-
siderations, the ROM is able to compete with
the city's many other tourist attractions and to
guarantee a pleasant experience.
The museum also houses a coffee shop, a
casual family restaurant offering healthy choices
and a fine-dining restaurant, as well as a new
gift shop that is double the size of its predeces-
sor. In addition, the public has access to spaces
intended for relaxation and contemplation.
These non-traditional amenities further enhance
the museumgoing experience. Also, because of
its integration within the urban fabric of Toronto,
the ROM's architecture communicates a mes-
sage of rejuvenation and holds the promise of
an original museumgoing experience. Indeed
architecture is a powerful medium that can
heighten one's appreciation of not only the
city as a whole but also the uniqueness of the
different styles that coexist within it, thereby
offering a rich variety of experiences.
The Crystal contributes greatly to people's
understanding of architecture and its many
styles, showing them that there is not just one
way of doing things and demonstrating the
extent to which architecture is an integral part
of their experience of the city.
Impact of the New Architecture
Renaissance ROM project opened the
way to a reinterpretation of the principles
upon which the institution was founded.
Without renouncing its past achievements,
the museum wished to convey a bold message
for the future. The strength of the brand is
reflected in the audacious style of the new edi-
fice, whose powerful, iconic presence transcends
the ROM's vocation by virtue of being a struc-
ture that serves to enhance rather than obliter-
ate past glories (Vaughan, 2008). It was deemed
that the best way to reach out to the public -
both residents and tourists - was to send a
clear message that the ROM is a must-see. The
strategy of transforming the museumgoing
experience was in keeping with the objectives
VOLUME 11, NUMBER
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The Michael Lee-chin Crystal, a structure of organically interlocking
prismatic forms, asserts the primacy of participatory space and public
choreography.
Daniel Libeskind, 2002
77775 building tells a unique and a particular story which crystallizes
ROM's programmatic content and the singularity of the site.
Daniel Libeskind, 2002
of Renaissance ROM. Libeskind's unique archi-
tectural design has transformed the ROM brand
by inventing a new visual identity for the insti-
tution. The elements of this new identity will
be conveyed in all of the museum's communi-
cations, both external and internal.
The Crystal redefines the brand and serves
as the anchor for the institution's visual iden-
tity. The ROM's new identity projects the
image of a museum that is "stable, a little
antique, but dependable" yet at the same time
"bold, brave and different" (ROM representa-
tive). This new identity is meant to seduce and
arouse the curiosity of visitors. The logo is a
literal representation of the connection between
the old and new structures. Its colours are also
important: "The blue and gold are based on
the legacy palette of the previous ROM iden-
tity and the deep red has been introduced to
communicate dynamism and future orienta-
tion" (ROM, 2007b). The Crystal embodies
the transformation of the ROM brand, serv-
ing as the basis of the museum's entire visual
identity, which is in itself a bold move: "Our
visual image has changed; our font expression
has become much more clear and simple"
(ROM representative). Through its expansion
and renovation project, the ROM sought to
breathe new life into its collections and to cre-
ate new spaces offering visitors a museum
experience that would become etched in their
memory.
Conclusion
expansion and renovation project
launched by the ROM drew on experien-
3 • SPRING 2009 81
tial marketing strategies as a way for the insti- Lasalle, D., and T.A. Britton. 2003. Priceless: Turning

tution to position itself in the city and to
enhance the museumgoing experience by offer-
ing an original and dynamic visit framed by a
bold aesthetic (Turi, 2008).
This project was made possible by contri-
butions from different levels of government,
Ordinary Products Into Extraordinary Experiences.
Boston: Harvard Business School Press.
Pine, B.J., and J.H. Gilmore. 1999. The Experience
Economy: Work Is Theatre and Every Business a
Stage. Boston: Harvard Business School Press.
Royal Ontario Museum. 2000. ROM Master Planning.
Toronto: Author.

a private fiindraising campaign and a gift of Royal Ontario Museum. 2007a. Renaissance ROM
$30 million from the businessman Michael Fact Sheet. Press kit. Toronto: Author.

Lee-Chin. With an estimated price tag of $270
million, the project included 350,000 square
feet of new and renovated space. It was a per-
fect opportunity for the ROM to develop new
strategies to attract visitors by offering expanded
and diversified programming, valuable learning
tools and an enhanced museum experience.
The main objective of Renaissance ROM
was to create a stimulating and awe-inspiring
environment that would engage visitors in the
cultural renaissance of Toronto even before
they set foot inside the building.
With this project, which has gready enhanced
the image of the institution within the com- p. 34-35.
munity, the ROM aspires to become Canada's Turi, A. 2008. "Architecture, vecteur de changement
primary cultural destination. The renaissance
of the ROM has set the stage for a new era -
the Crystal Age.
Notes
1 . All quotes and comments by ROM representatives are taken
from interviews conducted by the authors in July 2007 in
Toronto.
2. All quotes by Daniel Libeskind are taken from ROM
(2007a).
Royal Ontario Museum. 2007b. Branding Guidelines
for the Royal Ontario Museum. Toronto: Author.
Schmitt, B.H. 1999. Experiential Marketing: How to
Get Customers to Sense, Feel, Think, Act, and Relate
to Your Company and Brands. New York: Free Press.
Sherry, J.F. 1998. "Understanding Markets as Places:
An Introduction to Servicescapes." In Servicescapes:
The Concept of Place in Contemporary Markets,
J.F Sherry, ed. (p. 1-24). Chicago: American Mar-
keting Association.
Thorseil, W. 2001. Notes for speech to be presented
to the Ontario Association of Architects, Royal
York Hotel, Toronto.
Thorseil, W. 2007. "A Clear Case for Crystal." ROM:
Magazine of the Royal Ontario Museum, Summer,
dans le développement de produits expérientiels :
études de cas de deux musées de Toronto." Mas-
ters thesis, HEC Montréal.
Vaughan, K. 2008. The Museum. (Film.) Toronto:
90th Parallel Productions, National Film Board of
Canada and CBC Television.
Vézina, R. 1999. "Pour comprendre et analyser
l'expérience du consommateur." Gestion, Vol. 24,
n° 2, p. 59-65.
®

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