Professional Lighting & Production - Summer 2018 | Page 21

a lot of background work by the consultants to get these
packages designed, and then there’s budget allocations, so
by the time it gets on the street, you’ve got to close it and
start drawings and delivery right away. Fortunately, because
we work in the industry we do, we’re used to aggressive
deadline s and know the show has to happen regardless.”
Another challenge pertained to the NAC’s unique geom-
etry. “It’s a 50-year-old building, and they’re adding new ele-
ments and getting things through walls and around existing
infrastructure,” offers Eady. “That can certainly be tricky for an
electrical contractor – especially with pretty much everything
in the building being an angle. If there’s a square room in
that building, it’s probably a small office,” he jokes. “I expect it
took a fair amount of research just to find where things were
going and how they got there. It’s one thing for me to say
something has to go from this device to this device to this
device; on the ground, that might be a very complex task.”
Those challenges were compounded by the fact that
2017’s Canada 150 celebrations included a sizeable number
of construction and renovation projects – especially in the
national capital. Subsequently, there was a significant labour
shortage, with professionals from various trades flying in from
far and wide and still unable to meet the demand.
Gazalé praises Christie Lites Project Manager Justin Kim
for his work throughout the process. “He kept the information
flowing back and forth between the various organizations,
which was understandably challenging considering the scale
of this job.”
Eady adds that Christie Technical Project Manager Sean
Stephens was integral to the later stages of the installation.
“He brings a depth of knowledge on the equipment side to
bolster Justin’s expertise, focusing on interconnectedness of
devices and liaising with Field Service to make sure the work
was done as drawn.”
Christie Lites has enjoyed a long partnership with the
NAC as a go-to production resource for service, support, and
equipment procurement, so Eady stresses the importance
of properly servicing an ongoing client throughout the
construction process.
“I’ve been going into that building for over 25 years now,”
Eady shares. “I’ve known Alex and a lot of his colleagues for a
number of years and we’re really invested in these institutions
and the people working for them.”
Following nearly 20 years at the helm of the NAC, longtime
CEO Peter Herrndorf plans to step down from his role this
summer; undoubtedly, the refreshed campus will be a
cornerstone of his legacy. His vision was an inviting space in
the heart of the nation’s capital that inspired an appreciation
for both community and culture, and Gazalé points out
examples of that vision being realized by simply examining
his surroundings.
“We’re really growing into the use of these spaces,” he
says, pointing to patrons conversing over coffee at Equater
Coffee, people coming in to eat lunch and play board games
during the week, and the joyful sounds that emanate from
the City Room on Toddler Tuesdays.
“I love the idea of people crossing paths on their way to
a symphony performance in Southam Hall or an improv class
in a studio and making connections,” he says. “That’s what
we wanted to achieve with this project, and we’re definitely
getting there.”
Andrew King is the Editor-in-Chief of Professional
Lighting & Production.
THE
KIPNES
LANTERN
A new architectural icon in the heart of the National Capital, the
Kipnes Lantern is the signature element of the NAC’s rejuvenation.
The three-storey hexagonal glass tower frames the facility's new en-
trance on Elgin Street and features the largest transparent LED screen
in North America.
A collaboration between Toronto’s Diamond Schmitt Architects and
Montreal-based multimedia entertainment studio Moment Factory,
the Kipnes Lantern features dynamic visuals that bring the range of the
NAC’s programming to life. It showcases artistic tributes to the worlds
of dance, theatre, and music; content celebrating special events or
occasions; and promotes upcoming productions at the NAC along with
performances from stages across the country.
The see-through LED displays are an extension of the transparency
that defines the new public wings of the facility, designed to provide a
close connection with downtown Ottawa.
The team from Diamond Schmitt, led by senior associate Jennifer
Mallard, considered projection and a number of other potential display
solutions for the Lantern before settling on transparent LED technology.
An RFP was issued for the hardware, with Burnaby, BC-based firm
ClearLED – a world leader in transparent LED displays, screens, and video
walls – submitting the winning bid.
The displays are mounted inside of the structure, negating the need
for a solution that could withstand the elements and allowing for in-
creased transparency and a higher resolution. Ultimately, they were able
to achieve a 16 mm pixel pitch for the approximately 4,300 sq. ft. display
that covers four sides of the Lantern. There are also four smaller and solid
portrait-oriented LED screens lining the building’s Elgin Street façade.
The system includes daylight sensors that automatically adjust the
image brightness, which can reach a maximum of 8,000 nits.
Christie Digital’s Pandoras Box Server, a 3D content compositing,
rendering, and scheduling solution, drives the system. Moment Factory
not only provided custom content packages, but also created templates
that will allow the NAC to load its own content going forward. The door is
open for future collaboration as well.
The Kipnes Lantern was first lit as part of the NAC’s Be Here for the
New Year festivities on Dec. 31, 2017, officially celebrating the comple-
tion of the architectural rejuvenation phase of the NAC’s overhaul and a
fitting end to a year of Canada 150 celebrations.
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