Running head: ANALYSIS OF CN TOWER

Analysis of CN Tower

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11-14-2019

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Analysis of CN Tower

The CN Tower in Toronto remains one of the greatest architectural achievements of the

construction sector in Canada. Although its construction was completed in 1975, the Tower was

first opened for public access in 1976. It is also one of the tallest buildings in the world, making

it a crucial tourist attraction in Canada. Further, it is an essential communication hub in Toronto

because it is radio and TV stations use it for transmission of broadcast signals. Although the

design of the building is old and it would have been changed if it were to be built today, it still

holds a crucial historical position.

The CN Tower celebrated its 42nd birthday in 2018, and it unveiled the most significant

renovation it has undergone in its history. Due to its importance to the history of the country and

tourist attraction, the Tower was given a $16-million upgrade, with the main focus being on

improving the accessibility of its observation floor. The step was also to enable the management

of the tower to keep up with the world and the new buildings and make the Tower more

accessible. Notably, the renovation played a crucial role in keeping the building at par with other

global tourist attraction buildings across the world.

The successful completion of the Tower marked one of the significant achievements of

civil engineers and architects in the country. It was designed in 1973 and constructed by 1975,

before being opened to the public in 1976 (Kathleen, 2014). Initially, the Tower was owned by

the Canadian National Railway Company, but the Canada Lands Company acquired it in 1995

following the privatization of the Canadian National Railway Company. It stands at a height of

553.33 meters, making it one of the most crucial observations and communication hubs in

Toronto. The height of the building makes it easy to pick and send radio signals, as well as get a

scenic view of the region.

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The CN Tower also plays a crucial role in the tourist attractions of the country since more

than two million tourists visit it on an annual basis. Due to its height, the Tower was also

recognized as the tallest tower, free-standing structure, and building in the world until 2010

(Kurt, 2018). It was overtaken by the Canton Tower and the Burj Khalifa building. However, the

Tower remains a signature icon since it defines the city’s skyline. Owing to its magnificent

design and size, the Tower was also classified among the Seven Wonders of the Modern World

in 1995. The recognition was mainly because of its outstanding height and its contribution to the

economy of the country.

Besides the communication and observation roles that the Tower plays, it also has a

significant contribution to culture and civilization in the country. The Tower was designed and

constructed in such a way that it would have a long-lasting inspiration to viewers and users

(Étienne-Louis Boullée, 2014). The objective was motivated by the desire of the Canadian

National Railways to design and build the tallest building in the world as well as have a structure

that showed the advancement in the architectural and engineering sector and technologies in

Canada. Therefore, the design and construction of the Tower was a reflection of civilization and

culture in the country during that time.

In the late 1950s and early 1960s, modernism came up as a new design in architecture,

and it experiences reception from most of the people in North America and Europe (Wolfgang,

2014). Modernism was different from the previous culture and designs, which mainly focused on

the extensive decoration and ornamentation of the buildings. As such, the change could be

attributed to change in culture during that time, as a result of shifting cultural practices and

regimes in the country.

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Modernism marked a significant shift in culture in the country, as it focused on the use of

the latest technologies and ensured that construction in the 20th century was cheap, more

attractive, and ensure the development of durable structures (Alice, 2011). Consequently,

designers and constructors replaced the massive walls previously constructed using stone with

large glass curtains. During the 20th century, such shifts in the construction sector also signaled

changes in cultural practices, and this is why the buildings that were constructed during that time

can be used to reconstruct history and cultural differences in the same period.

The substation of stone walls by thick curtains was advantageous to the construction

industry. The first positive contribution was that the use of glass became more common, and this

helped in cutting operation costs since glass was cheaper. Second, glass was also used in open

spaces, thus minimizing the use of electricity during the day (Sigfried, 1941). Further, glass

became more preferred than thick stone walls since it showed the cultural and technological

advancements that the Canadian society had achieved. Architects also sought to meet the

growing customer needs by using past designs to replace the decorative motifs. Further, this shift

from traditional approaches to modernism is evidence of the shifting culture and trends.

Modernism was also readily embraced by the Canadian population, further illustrating the

ease with which they embraced modern cultures (Carter, 2014). They also embraced innovation

as a way of showing their sanguinity and enthusiasm after they overcame the oppressions that

they had faced in the past years of economic recessions and wars. The modernist mentality in

Canada further advanced the new culture and influenced overall growth and development in the

country. The cultural change was evident in how the population generally perceived design and

construction, and the new needs that arose each day. Their reactions and attitudes towards

traditional construction methods represented their reaction towards the old culture.
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The new culture was advantageous to the town and the country at large. Modernism

promotes strengthening and developments of the architectural press in the country, urbanization,

and growth of new cities, and the development and adoption of suburban methods of planning

(Kathleen, 2014). The culture of increased demand for commercial buildings, as well as business

growth in the country, contributed to a rapid increase in the construction of modern structures.

Further, the shifting culture added to most cities opting to shift from the low-lying building to

skyscrapers to promote utilization of the available space.

The impact of modernism on culture and practices in Canada was evident in most of the

cities by 1960. For instance, the Place Ville Marie constructed in Montreal used the modernist

designs, and this was considered inspiration to new developments in the real estate sector

(William 2008). The approach also showed that there was a culture change in society, as people

began changing their way of life and their preferences. Further, the area had several new bridges.

Further, the inspirations of the new buildings, together with increased, more profitable

business operations in Toronto, resulted in rapid culture change and construction boom in

Toronto; these trends were evident during the 1960s and 1970s (Wolfgang, 2014). Further, this

period was marked by the emergence of a new culture among architects, and a new class of

architects also emerged. The architects developed customized designs for both businesses and

individuals.

The idea of custom-made designs contributed to a rapid change of the architects from the

modernist style, which by this time had been considered the standard design at the global level.

Cultural variation in Toronto during this time was also influenced by the rise of the Brutalist

architecture to being the most common design in the country during the 1970s (Wolfgang, 2014).
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Notably, the brutalist design was an improved version of the modernist designs, implying that the

change in culture resulted in the adoption of previous cultural practices.

The new design of architecture that was adopted by architects entailed sculptural and

geometric applications of concreted during finishing and construction on the exterior and interior

parts of the buildings. The style was used to enhance the reflection of the main components of

the surface and internal parts of the building. Further, the cultural importance of this design was

to enable the architects to incorporate the heritage of the country when designing and

constructing such public buildings as hospitals, government offices, and schools (Alice, 2011).

Notably, this has also been the case with CN Tower, especially during its renovation. The

renovation was done to promote accessibility and also incorporate the country’s heritage in the

building. Therefore, this explains why the CN Tower remains a cultural attraction in Toronto.

The analysis thus shows that socio-cultural advancements and development significantly

influenced the design and construction of the CN Tower in architectural designs. Further, the

design of the Tower was mainly inspired by the use of concrete in constructing buildings that

have sophisticated sculptural designs and geometric designs. The Tower has also been renovated

to ensure that it remains a significant tourist attraction in Toronto. Its design and construction are

intertwined between architecture and culture, with the architects attempting to balance the two.

Changes in construction designs over time also represent the changes in the society, and how

cultural evolution has affected some societies.

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References

An Anthology from 1871–2005, ed. Harry Francis Mallgrave and Christina Contandriopoulos

(Malden, Mass.: Blackwell, 2008), 8–9.

Adolf Loos, “Ornament and Crime” (1908), selections in Modernism: An Anthology of Sources

and Documents, ed. Vassiliki Kolocotroni, Jane Goldman, and Olga Taxidou (Edinburgh:

Edinburgh University Press, 1998), 77–81.

Alexandra Lange, Writing About Architecture: Mastering the Language of Buildings and Cities

(New York: Princeton Architectural Press, 2012), ch. 1: “Skyscrapers as Superlatives”

(29–43).

Alice T. Friedman, “Girl Talk: Marion Mahony Griffin, Frank Lloyd Wright and the Oak Park

Studio,” Places June 2011, https://placesjournal.org/article/marion-mahony-griffin/.

Carter Wiseman, Writing Architecture: A Practical Guide to Clear Communication about the

Built Environment (San Antonio: Trinity University Press, 2014), ch. 2: “Standards” (45–

66).

Étienne-Louis Boullée, “A Treatise on Architecture” (late 1790s), selection in The Emergence of

Modern Architecture: A Documentary History from 1000 to 1810, ed. Liane Lefaivre and

Alexander Tzonis (London: Routledge, 2004), 470–5.

Jawaharlal Nehru, “Reinventing Punjab,” speech from November 9, 1957, selection, from

Selected Works of Jawaharlal Nehru 2.40, ed. Mridula Mukherjee (New Delhi:

Jawaharlal Nehru Memorial Fund, 2009), 417–19.

Kathleen James-Chakraborty, ch. 16: “Neoclassicism, the Gothic Revival, and the Civic Realm”

(237–54).
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Kenneth Frampton, “Towards a Critical Regionalism: Six Points for an Architecture of

Resistance” (1983), selection in Architectural Theory vol. 2: An Anthology from 1871–

2005, ed. Harry Francis Mallgrave and Christina Contandriopoulos (Malden, Mass.:

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Kurt W. Forster, Schinkel: A Meander Through His Life and Work (Basel: Birkhäuser, 2018):

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Le Corbusier, Toward an Architecture (1923), selections in Architectural Theory vol. 2: An

Anthology from 1871–2005, ed. Harry Francis Mallgrave and Christina Contandriopoulos

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Lewis Mumford, “House of Glass” (1968), New Yorker, August 9, 1952, repr. in Alexandra

Lange, Writing About Architecture: Mastering the Language of Buildings and Cities

(New York: Princeton Architectural Press, 2012), 21–28.

Rem Koolhaas, Delirious New York: A Retroactive Manifesto for Manhattan (Oxford: Oxford

University Press, 1978), 9–11.

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Francis Mallgrave and Christina Contandriopoulos (Malden, Mass.: Blackwell, 2008),

248–50.

William Morris, “The Prospects of Architecture in Civilization” (1881), selection in

Architectural Theory vol.

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Wolfgang Schivelbusch, “The Space of Glass Architecture,” in The Railway Journey: The

Industrialization of Time and Space in the Nineteenth Century (1977; Oakland:

University of California Press, 2014), 45–49.