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Note to Users NOTE TO USERS Page(s) not included in the original manuscript are unavailable from the author or university. The manuscript was microfilmed as received. This reproduction is the best copy available. UMI Marco Yertchanig Topalian A Thesis in The Depamnent of Arc History Presented in PhalFdfïiIment of the Requirements for the Degree of Master of Arts at Concordia University Montreal, Quebec, Canada September 1998 O Marco Yertchanig Topalian, 1998 National Library Bibliothèque nationale 1*1 of Canada du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Wellington Street 395, rue Wellington Ottawa ON K1A ON4 Ottawa ON K1A ON4 Canada Canada Yow lile Votre relérence The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Library of Canada to Bibliothéque nationale du Canada de reproduce, loan, distribute or sell reproduire, prêter, distribuer ou copies of this thesis in microfonn, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/^, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fiom it Ni la these ni des extraits substantiels may be printed or otheMrise de celle-ci ne doivent être imprimés reproduced without the author' s ou autrement reproduits sans son permission. autorisation. NOTE TO USERS Page(s) not included in the original manuscript are unavailable from the author or university. The manuscript was microfilmed as received. This reproduction is the best copy available. UMI Metamorphosis, Entropy, and Seduction: Selected Moments from the Canadian Embassy in Tokyo by Moriyama & Teshima Marco Yertchanig Topalian The Canadian Embassy in Tokyo by Toronto's Moriyama & Teshima is the representation of a metatemporal continuum. Raymond Moriyama, partner-in- charge of the project, conceived of the privately fmanced building as an intricate tableau of deterrnined absolutes that equdy serve him and his patron, the Canadian federal government. This thesis is a theoretical snidy exploring three selected spaces from the Embassy whidi are analysed as architecturai moments. The exterior envelope, the median fourth floor, and the theatre space are established as produced by and producers of metamorphosis, entropy, and sedumon. The emphasis of the materiaiist discussion is placed on the conservative socio-political catalysts which arbitrate the practice of architecture in the context of a global capitalism bent on privileging governmental and corporate mercantile interests. For the kaleidoscopic range of my thesis, 1 am first and foremost gratefd to my supervisor Dr. Janice Heiiand. Her erudition, integrity, and above all encouragement and patience were constructive incentives for the challenges brought upon by the research and writing of this acadernic endeavour. 1 would also like to credit both my readers, Dr. Jean Bélisle for his discerning and formidable knowledge of archicemal history, and Dr. Catherine MacKenzie for her constant perceptive remarks. Likewise, my thanks go to Anna Buchan, Communications Director and Associate at Moriyama & Teshima, to Française Roux at the Canadian Centre for Architecture library, and to the employees of the Consulate Generai of Japan in Montreai. Moreover, 1 wish to express my gratitude to Dr. Claude Lacroix for exigent discussions on the state of the academy and the validity of scholarly pursuits, and to Nathalie Senecal for interesMg chats on the quandary known as architecture, ofken whilst visiting perplexing exhibitions at the CCA. Lady, 1 would like to thank my sister Viviane, my mother VCronique, and my father Vartkes. This thesis is dedicated to the memories of my maternai grandmother Angeliki Hehy and my paternai grandfather Yertchanig Topalian, individuais whose fortintde was exemplary. TABLE OF CONTENTS LIST OF ILLUSTRATIONS INTROSPECTXON enuopy METAMORPHOSIS seduction ENTROPY metamorphosis SEDUCTION ILLUSTRATIONS BLBLIOGRAPHY LIST OP ILLUSTRATIONS Figure Page 1. Ad HOC Committeefm Japanese Candian Redress. AdverttSement fm the sslppmt oflapanese Canadian Redres, campa&n lùslnched 6 March 1986 2. Mmyama & Teshima. Japanese Canadtan Cultural Cevme, Twunto, Ontario, 1958-1963 3. Mwama ~9Teshima. Goh Ohn Bell, Ontaria Phce, Tmto, Ontario, 1977 4. Mmyama & Teshima. FkJshgo des&n itzcmpmatin. <<MUasd T within a tnanyj2cEr scheme 5. Mmyama 6 Teshima. Canadian Ernbmy - Place Canada, Tokyo, Japn, 1986-1991. East eievation overlookin~Takahashi MemmiaE Park 6. Mmyama & Teshima. Canadian Embasy - Pke Canada, TokyoJJapan, 1986-1991. West ehah 7. Morijmna & Teshima. Canadian Embarry - Place Canada, Tokyo, Japan, 1986-1991. North and east fqades of chance^ merhoking th Akasaka Imperia1 Grwnds 8. Mmyama & Teshima. Candian Embassy - Phce Canada, Tokyo, Japan, 1986-1 991. Sechal mode1 9. Mmyuma 6 Teshima. Ikebana schente fm the Canadian Embmsy - Ph Canada, Tokyo, Japan, 1986-1991 10. Mmiyama 0Teshima Canadian *.rit andJapanese metaphmfm the Canadian Enrbarry - Pke Canada, Tokyo, Japan 1986-1991 1 1. Mmyama 6 Teshima. Ambmadm's o&e m'th nrnmrnding Heaven Garden, cbanceny. Canadian Embmy - Place Canaâa, Tokyo, Japan, 1986-1 991 12. Mmiyuma & Teshima. Canadian Embq- Pime Canada, Tokyo, Japan, 1986-1991. skeet entrance arch and escalator to the public space on th $wrth@my east eltvation 13. Mmyama & Teshima. Canadian Embmsy - Pke Canadu, Tokyo, Japan, 1986-1 991. Viwof inteklobby and ex&biiCia area of th@&*, prim fzlmishings 14. Mmjmna GPTeshima. Candian Embncry - Pke Canada, Tokyo,Japan, 1986-1 991. Fhm plan of the @rtb f20m 15. Majana UP Teshima. Canadian Embany - Place Canada, Tokyo, Japan, 1986-1991. Eastern t.iaP of Canada Garden 16. Ted Bzeler. Wave break in^, 1991. Bronze. Canada Garden, Canadian Embaüy - PhCanada, Tokyo, Japan, 1986-1991. 17. Mmyama CP Teshima. Canada Garden, ~ai2of stme maaesfrom the Canadian ShieId. Casadian Embassy - Place Canada, Tokyo, Japan, 1986-1991 18. liitnan@mk Pootooaook. The lnrchhuk, 1991. Stone. Canada Garden, Canadian Embm~- Pke Canada, Tokyo, Japan, 1986-1 991 19. Mmi'yama & Teshima. Pyamidal stone mounds, Canadian Embasy - Pke Canada, Tokyo, Japan, 1986-1991 20. Mayon Kmtarof The Wave, 1991. Bronze. Canada Garden, Canadian Embv - Phce Canada, Tokyo, Japan, 1986-1991 2 1. Canadia* Press Photo. Rapond Mayama crossin8 mer to the Japanese 8ardenjkm CanaAa Garhn, at the inaupration of th btlildini a 27 May 1991, Canadian Embasy - PhCanada, Tokyo, Japan, 1986-1991 22. Mmjama & Teshima. Japanesegarden, Canadian Embasy - Phce Canada, Tokyo, Japan, 1986-1991 2 3. Prancesco Colonna. Hr~nmtomachiaPoZifihiZi, 1499. Woodmt 2 5. Mmyama & Teshima. Cmceptwal sec& phn of thc&rthj%or, Canadian Embmv - Phce Canada, Tokyo, Japan, 1986-1 991 26. Mmyama & Teshima. Canadian Emb-y - Pke Canada, Tokyo, Japan, 1986-1991. Public carrance #O berthird portion of the baiMing. North ehation 148 27. Mmyama CP Teshima. Embmsy Tbeatve, pesentatb drawin~of de wa22 chation. Canadian Embasy - Plalc Canada, Tokyo, Japn, 1986-1991 28. Mmyama & Teshima. Embnsy Theatre, bmv and amdoor handlw of main entrance. Canadian Embq- Phce Canaday Tokyo,Japan, 1986-1991 150 29. Mmyama CPTerhima. Embasry Theatre, interior t>int, of steIlar ce il in^. Candian Embw - Piace Canada, Tokyo, Jupan, 1986-1 991 151 3 0. Mortjarna & Teshirna. Halfiay hw,pategolf course, Tmmto, Ontario, 1958 152 3 1. Mmjama & Teshima. Mapette fm a# unproduceci &totem of kclt Canadian Embmsy - Phce Canaday Tokyo, Japnn, 1986-1 991 153 Figure 1 hmMaryka Omatsu, Bitterme& Pmagt: &dm and th Japanwe Canadian EjcpAu. Figures 2, 3, 9, 10, 27 and 28 fkom 7 Sevm - Nann Sept. Figure 4 fkom Raymond Moriyama, TheCanadian Embassy in Tokyo: A Wonderful Oppornuiity." Figures 5,6,7,8,11,12,14,15,16, 17,19,20,25,26,29,30 and 31 f?om architecture [spedMoriyama & Teshima issue, edited by Jason Moriyama]. Figures 13,18 and 22 fkom Canada News 19 (March 1991). Figure 21 fiom Edison Stewart, "Architea Triumphs with Tokyo Embassy," TmtoStar. Figures 23 and 24 fiom Francesca Colonna, Hypnmtomuchia PoliphiLi. So she sat on, with dosed eyes, and half beiieved herseif in Wonderland, though she knew she had but to open them again, and all wodd change to dull reality. Lewis Carroii, Alite's Adventzlres & Wonderland, 1865 My interest in postsuucturalist theory originates from a more general interest in language and linguistics. My main acadeniic concern, however, is the inscription of architecture and how it is applied and applies itseif to a material understanding of the socio-political underpinnings which produce architemal commodities. Merreading Mark Wigley's The Architectwe ofDecmstmction:Derrida's Hazmt (1993), I resolved to take an even doser look at &e construction of spatial reaiiues and their intended meaning(s). As 1 examllied merent form of architectures, my attention focussed on diplornatic ventures and the irnpemes behind such commissions. The result of my inquiry is presented in this thesis on the second Canadian Embassy in Tokyo completed in 1991 by Moriyama & Teshima. At the Ume of its inception, what distinguished the Embassy from other major Canadian diplornatic outposts was that firstly, the structure was privately fmanced by corporations native to the host country; secondly, it provided a flamboyant mercantile tool of globalisation for the federal government's ambitions of Asian trade agreements; and thirdly, it
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