ARTH3810 2019F Class Projects (Publication) Main Menu The Tent Room at Rideau Hall Kyle Kreutner, Page 1 of 6 The Webley Shacks: Unconventional Furniture Use in the Context of Ceaseless Surveillance Jose Bawagan Imperial Theater By Munawar Mobin Keagan F - CSTM Sound History Introduction The Mayfair Theatre Simran S. An Investigation of Hospital Interiors Effect on Patients 144 Loretta Avenue North, Aidan MacNaull Aidan MacNaull 144 Loretta Avenue North West Block - Canada's New House of Commons by Devon Rudyk Rideau Street Chapel: The Effects of Relocation on the Experience of an Interior by Ty Follis The Church of St. Andrew's Ottawa David Bastien-Allard Making the Past Present: Union Station Restoration – A Political Facelift? by Vivian Astroff Delegation of the Ismali Imamat The National Arts Centre: Reflecting on its Past and Present Saint Paul University - A Shift in Values Reem Siage Film in Ottawa: The Mayfair theatre by Giovanna Maria Sang CGM -An Investigation of Hospital Interiors Effect on Patients The Chateau Laurier By Jessica El-Ghazal Reusable Space: The Senate of Canada Building by Syenne Holder National Gallery of Canada - Seeing the Colonnade Through a Semiological Lens by Ricky Tong Ricky THE OTTAWA STATION Ehidiamen Iyamabo, HomePage

NAC - Responses to the original NAC

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Lebensold made a thoughtful building that reflected the need to make Canada visible. He looked in Ottawa’s history as well as its geography to produce the NAC. By adapting his vision to the modernity of brutalism, Fred Lebensold offered the capital the perfect building needed. However, the building received over the years a mixed response. Most critics praise the architect’s thoughtful approach to the NAC:

“Canada finally had performing arts facilities in its capital city which befitted the country’s increasingly visible status on the international stage.” (Setting the Stage, Appendix A - IV)

Back in 1969, the architect Macy Dubois – praising the building as "humane" and "tough" – wrote that these façades "give the centre a cool, closed-off aspect from the city." (The Brutalist Truth about the National Arts Centre, The Globe and Mail, Alex Bozikovic)

However, where Lebensold shone in expressing an architectural language, critics labelled them as fails. For example, the well discussed entry on the Canal level became overtime a burden for visitors of the NAC. Additionally, its austere appearance did not attract enough visitors resulting in monetary decreases. The NAC’s content also played in monetary losses. In 1996, Jean Pigott of the Ottawa Citizen wrote:

“Currently, the NAC is not part of the capital experience. The programming is hit-and-miss for the visitor, and this must change. A welcome mat with synchronized programming for visitors during the peak tourism season would be good for Canada, good for tourism, good for the region and ultimately good for the [the] National Arts Centre.” (Capital needs NAC as full participant: More collaboration would help both region and the arts centre Seris: National Arts Centre)

Jean Pigott’s article visited ideas to revitalize the NAC.

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  1. The National Arts Centre: Reflecting on its Past and Present Maegen Sargent