STAGE EQUIPMENT
Left inset: The new shell
comprises 19 towers and
four reflectors
Below: The NAC has
undergone various
renovations over the years
stage,” she explains. “We wanted a more
immersive experience so people could feel more
intimately involved with the performance.”
The team agreed that the new shell should pull
the architecture of the room in and around the
towers so the audience would feel more involved,
and also help the orchestra to connect with them.
The shell began with four main components:
11 onstage towers, three onstage reflectors, one
forestage reflector and eight forestage towers
downstage of the proscenium.
The eight forestage towers range from 10.4m
(34ft) to 15.8m (52ft) tall and are up to 3.7m
(12ft) wide. Doors were designed into half of the
towers on each side of the stage, and two sets of
double doors were incorporated for pianos and
other large items to move through.
The 11 towers on stage are 8.8m (29ft) tall and
3.4m (11ft) wide. There are three ceiling rows
that are 3m (10ft) long and 17.4m (57ft) wide.
Each ceiling row can be stored in the fly loft or
removed and stored along the upstage wall on
custom J.R. Clancy storage line shaft hoists.
Closer connection
Threshold’s design concept included moving the
orchestra onto the orchestra pit lift to allow them
to perform closer to the audience. This required
Wenger to create a 7 x 18.3m (23 x 60ft) forestage
reflector to provide overhead support when the
orchestra performs in this space.
To ensure that everything would function
properly while achieving the desired aesthetic
and acoustic benefits, the design team came to
Wenger’s headquarters in Minnesota.
Wenger created an orchestra
shell that would enable a
more immersive experience
T he National Arts Centre (NAC)
in Ottawa, Ontario, is a home for
Canada’s most creative artists.
Created by the Parliament of
Canada as a centennial project
during the 1960s, today the NAC collaborates
with artists and arts organizations across Canada
to help create a national stage for the performing
arts, and acts as a catalyst for performance,
creation and learning across the country.
The center was originally constructed of heavy
concrete, creating more of a fortress than a focal
point for the arts. It has since gone through
major renovations and a few additions to create
a modern and welcoming space.
Most recently, it was decided to upgrade
the acoustics. The team included Fisher Dachs
Associates (FDA), Diamond Schmitt Architects
and Threshold Acoustics. It was determined
that a new orchestra shell was needed to create
a more immersive experience for the audience.
To assist with the design, the team brought
Wenger Corporation in to collaborate. Through
an integrated project delivery method, Wenger
delivered the required solutions for the acoustics
and rigging, while adhering to a strict timeline
and budget. The integrated approach enabled the
team to maximize the efficiency of the design and
move forward as quickly as possible.
Building the shell
Jennifer Mallard, architect and director at
Diamond Schmitt, says the old stage was a black
hole. “Heavy, dark acoustical towers created a
strong separation between the patron and the
AUDITORIA 2019 VOLUME ONE 41