This page is referenced by:

• 1 2019-12-05T12:34:45-08:00 NAC - The Original Vision 29 plain 2019-12-06T14:49:01-08:00

  The Men Behind the NAC

  To begin with, Massey’s report heavily influenced the creation of National Arts Centre, but another prominent figure was responsible for its construction. Gordon Hamilton Southam, an individual from the elite Ottawan class invested the most in the birth of the National Arts Centre.
  
  “In G. Hamilton Southam, the man who was now its first director general, the Arts Centre had the right executive, one with the vision, background, and connections to ensure its creation.” (The History of National Arts Centre, p.9)
  
  Under his supervision and that of the Prime Minister Lester B. Pearson, “The Study of a National Centre for the Performing Arts” also known as the “Brown Book” shaped the initial intentions of the NAC in 1963.
  
  The main architect was James Langford who recommended the Canadian architectural firm ARCOP formally known as Affleck, Desbarats, Dimakopoulos, Lebensold, Sise which was elected as the main firm to envision the National Arts Centre. Masters of the Confederation Centre, Place des Arts and the Queen Elizabeth Theatre, the architects of Arcop already juggled with building theatres. The architectural firm was based in Montreal and was a collaborative group of alumni consisting of Raymond Affleck, Guy Desbarats and Jean Michaud and associate professors, Fred Lebensold and Hazen Sise from the prestigious university McGill. Michaud will eventually leave the firm in 1959 while Dimitri Dimakopoulos, another student from McGill will join in 1954. The assigned architect of the firm to work on the NAC would eventually go to Fred Lebensold who emigrated to Canada in 1949. Described as “a strong-willed, opiniated Polish Jew with a well-known stubborn streak when it came to his work”(The History of National Arts Centre, p.30), Lebensold’s design was directly connected to Vincent Massey’s report.

  A Bold Form for the Capital

  First, Fred Lebensold found the inspiration for the hexagonal form in its site. From there, the geometric form became “the dominant motif throughout the rambling structure.” (The History of National Arts Centre, p.33) The hexagon was in nature a frequently occurring shape, thanks to the honeycombs built by bees. Even so, critics assumed the NAC had “hexagonitis.” However, the NAC was an architectural innovation. Its grid differed from old-fashioned right-angled forms. Additionally, concrete was the go-to material for architecture in the sixties and the NAC was the product of such bandwagon. Known as brutalism today, the use of concrete was deemed “an expression of the time” during the 1960s. Moreover, Lebensold established that having the main entrance on Confederation Square would create enormous road traffics. Even with concerns raised, he provocatively chose “to turn the back of his building to the city and lead people down a long curving ramp to the front door facing the Canal.”(The History of National Arts Centre, p.33) This architectural promenade accentuated the concept of a simulated landscape envisioned by the architect. Coincidentally, with the building facing the Rideau Canal and giving its back on the main streets, Lebensold educates the public about Massey’s previously mentioned intentions about Canadian identity. The Rideau Canal, a man-made construction, was constructed to protect the passage from Kingston and Montreal in case of an American attack in the War of 1812.

  The Interiors of the NAC

  Lebensold’s artistic views were also reflected in the interior spaces of the NAC which consisted of an opera room of 2,326 seats; a theatre room of 969 seats; a studio room of 350 seats; and a Salon and another space referred as Elgin Room each of 150 seats. The Main Foyer also known as the hall d’entrée could hold exhibitions, shows or special performances.
  
  The architect selected and designated which art pieces were appropriate for the interior of the NAC. According to Sarah Jennings in “The History of the National Arts Centre,” Fred Lebensold came with an inventory of “decorative requirements” consisting of a tapestry for $25,000 as well as carved doors costing $15,000 for the Salon. For opera room, Lebensold opted for stage drapes at $50,000 versus curtains for the theatre room at $25,000. One of the sculptures that is still located in the NAC, the Tree Fountain by Canadian artist Julien Hébert, cost $25,000. Initially commissioned at $15,000, the artist encountered difficulties with the colors and unique moldings for the sculpture. Hébert asked for additional capital in order to pattern a special furnace to blaze the glass pieces himself as no glass companies could fill in the artist’s request. Hébert’s art piece is located on the Canal level where a fountain entrance is accessible. A skylight right over the sculpture serves as a bright source providing much needed life to the Tree Fountain located next to bathroom and a quiet sitting area. As passengers walk by, they can hear water streaming from the sculpture into the fountain enhancing the aural experience. Next to the fountain is a staircase that leads to the restaurant Le Café. The staircase is impressively molded in a hexagon. Again, a skylight additionally illuminates the visitor’s descent. But there are two other spaces containing important staircases that needed to be investigated.
  
  After “hiking” the premises of the NAC, visitors would finally arrive on the Canal level where an information desk on the left welcomes them now. An escalator on the right is also available. The continuation of the brutalist aesthetic is alive in the public space with concrete walls dominating the view with minimal window openings. Little furniture use can be seen in the Canal level. One can spot benches, table and chairs every here and there. In front of the main entrance, a red carpeted celebratory staircase stands. The stairway, grand in nature, is attached to the Southam Hall wall. The run of each step is deeper than normal allowing users to slowly march and perhaps pose while contemplating the interior they’re in. What really fascinates when entering the Canal level entrance is the ceiling. Equilateral triangular shapes adorn the ceiling of the brutalist structure. Lebensold reinforced the use of the hexagon motif when triangles form the six cornered shape. The concrete holes created by the triangles poetically reminds visitors of stars shining upon their heads.