On New Year’s Eve, following a countdown to midnight in -30 C (-22 F) weather, the National Arts Centre (NAC) in Ottawa began displaying colourful, dynamic images on the Kipnes Lantern. The three-storey glass tower, which frames the performance facility’s new Elgin Street entrance, incorporates what is reportedly the largest transparent light-emitting diode (LED) screen anywhere in North America, specially designed to showcase productions from both the stages of the NAC and those of other performing arts organizations throughout the country.
在-30°C（-22°F）天气的除夕之夜，随着倒数声，渥太华国家艺术中心（NAC）开始在Kipnes透明的玻璃楼上展示了丰富多彩的动态图像，对全国人民进行了新年祝愿。这座三层高的玻璃塔作为新埃尔金街入口的娱乐设施，是整个北美最大的透明发光二极管（LED）屏幕，将用于展示NAC两个阶段的作品，以及全国各地的表演。
“The Lantern showcases the breadth and excellence of music, theatre and dance being produced across Canada,” says the NAC’s CEO, Peter Herrndorf.
NAC首席执行官Peter Herrndorf表示：“透过透明的LED屏幕来放映加拿大各地的音乐、戏剧和舞蹈的演出，不仅展现了出色的广度和卓越性，也为各种演出增添了生动的传播效应。
An architectural vision
建筑视觉
The Lantern represents the latest phase in a $225-million renewal of the NAC, which is intended to transform a mid-century Brutalist structure into a more open and inviting facility. The building had faced the Rideau Canal, rather than Ottawa’s downtown core, ever since it opened in 1969. One of the goals of the renewal was to move the facility’s front door to Elgin Street.
透明的玻璃楼呈现了NAC最新阶段的作品，该项目的意图是，要将本世纪中叶的野兽派建筑结构转变为开放而迷人的建筑。自1969年建立以来，该建筑面对的是里多运河，而不是处于渥太华市的中心地段，为了延续该建筑的文化，他们将该设施的前门搬到了埃尔金街。
“We were hired by the NAC to conduct feasibility studies in 2011,” explains Jennifer Mallard, a senior associate with Toronto-based Diamond Schmitt Architects. “The side of the building facing the city was opaque and we were tasked with establishing a new point of connection there.”
Toronto-based Diamond Schmitt建筑事务所的高级助理Jennifer Mallard解释说：“在2011年，我们被美国国家咨询委员会聘请，对该建筑进行可行性研究，建筑的一侧本是不透明的，我们如何在那里建立一个新的连接点，与整座城市相融合。”
These studies led to the proposal for the addition of the three-storey hexagonal glass tower, echoing the existing building’s geometry. The idea of adding a see-through digital screen as a ‘fifth stage’ for the four-stage arts complex was developed by Donald Schmitt, one of the firm’s principals, and Herrndorf during the planning process.
这些研究提出了建立一个三层六角形玻璃塔的建议，这种设计能很好地反映现有建筑的几何形状与美感。在规划过程中，公司的负责人之一Donald Schmitt和Herrndorf开发了将透视式数字屏幕作为艺术综合体的新一阶段。
“The see-through technology of the screen would complement the transparency established in the new public wings providing the connection with downtown Ottawa and views of nearby landmarks,” Schmitt explains.
Schmitt解释说：“屏幕的透视技术将补充公共机翼的透明度，连接与渥太华市中心附近地标的景观。”
Integrating the hardware
集成硬件
To turn the notion into reality, the architects considered a variety of technologies, including digital projection and window films, before turning their attention to transparent LED screens, which had been used in the entertainment industry and for other commercial purposes. Renderings were developed, based on the structure’s size and location, with sample images of dancing ballerinas, orchestra conductors and theatrical performances.
为了将这一概念变为现实，建筑师在制作透明LED屏幕之前考虑了多种技术，包括数字投影和窗膜，这些技术已被用于娱乐行业和其他商业用途。根据建筑物的大小和位置，他们制作了渲染图，包括舞蹈芭蕾舞演员、乐队指挥和文艺演出的样本图像。
“For this application, it was important for the imagery to appear graceful, elegant, slow and not too commercial,” says Mallard.
Mallard说：“对于这个应用程序，最重要的就是，图像看起来要优雅、柔和，并且不太商业化。”
After municipal authorities were satisfied the content would be appropriate for the site and the screen’s brightness would be fully adjustable (Mallard says the city’s urban design review panel was “very enthusiastic” about the idea), the NAC issued a request for proposals (RFP) for the hardware. The winning bid came from ClearLED in Burnaby, B.C., which—as its name suggests—specializes in the custom fabrication of transparent LED displays.
市政当局对这个研究非常满意，该城市专门的设计评审小组对此非常热心，在网站的内容上发布了征求建议书（RFP），来征集该设施应用的硬件。最后，中标者来自Clear LED，位于宾夕法尼亚州本拿比，他专注于定制型透明LED显示屏的制作。
“We opened a design-build process with them, whereby test video reels were developed before anything was physically built,” says Mallard.
Mallard说：“在测试视频卷轴的物理构建之前，我们与他们一起开发了一个设计与构建过程。”
One key decision was to install the LEDs inside the tower, rather than engineer an outdoor-durable display.
我们共同做了一个关键的决定——将LED安装在玻璃楼内，而不是设计成户外耐用的显示器。
“By eliminating the need for outdoor-proofing techniques, we were able to keep the printed circuit boards (PCBs)—to which the LEDs are soldered—as narrow as possible, so as to achieve both high resolution and a high level of transparency,” explains Jin Fan, CEO of ClearLED. “For this project, the PCBs are 2 mm (0.08 in.) thick and 6 mm (0.24 in.) wide. The pixel pitch is 16 mm (0.6 in.).”
Clear LED首席执行官Jin Fan解释道：“通过消除对户外防护技术的需求，我们尽可能地缩小，够将LED焊接到印刷电路板（PCB），以实现高分辨率和高水平的透明度。对于这个项目，PCB的使用厚度为2毫米（0.08英寸），宽度为6毫米（0.24英寸），像素间距为16毫米（0.6英寸）。”
Prototypes were developed before settling on the final system.
原型是在最终系统安装之前所开发。
“We were brought on board in 2016, when the architectural designs were done and the steel structure was already in place,” says Fan. “The architects had seen our products in 2014, but there was a lot of customization needed for this project. They did not want exposed screwheads, for example, so we used countersunk screws with powdercoated covers that were the same colour as the building.”
Fan说：“2016年，当时的建筑设计已经完成，钢结构已经就位，这个项目需要大量的定制，建筑师们看到了我们的产品，然后我们就加入到这个项目中，开始一系列创作，例如，他们不需要暴露的螺丝头，我们就为他们提供了与建筑物颜色相同的粉末涂层的埋头螺钉。”
Mounted on L-shaped aluminum brackets attached to the structure’s steel beams, the LEDs were angled slightly downward, to face pedestrians below the 400-m2 (4,306-sf) display. The PCBs were painted black on the display side to increase contrast levels and white on the back to minimize their visibility from inside the tower. The chassis to house the associated electronic components was designed in alignment with the steel architecture. In these ways, the integration of the display was made as visually seamless as possible.
LED连接在结构钢梁的L型铝支架上，稍微向下倾斜，面对400平方米（4306平方英尺）以下的街道人。PCB在显示器侧被涂成黑色，以增加对比度，并在背面上显示白色，以最小化可见度在玻璃楼宇中。用于容纳相关电子元件的底盘与钢结构设计相一致，通过这些方式，显示器的集成尽可能在视觉上无缝链接。
In addition to providing the transparent digital screen, which spans four sides of the Lantern, ClearLED also built four smaller, solid, vertical ‘fin’ or ‘blade’ LED screens to be installed along the building’s Elgin Street façade. All of the displays use programmed ambient light sensors and are automatically dimmed in response.
除了提供跨越四面的透明数字屏幕外，Clear LED还在建筑物的埃尔金街立面上安装了四个更小、更坚固的垂直LED屏幕，所有显示器都使用编程式的环境光线传感器，能自动调节暗度。
So far, the Lantern is only illuminated after 4 p.m., when sunlight is already fading in wintertime, but it is also designed for full daylight visibility, with a maximum brightness of 8,000 nits.
LED屏幕的设计用于全天可见度，最大亮度为8,000尼特，只有在冬季，太阳已经褪色时，灯在下午四点之后才会亮起。
“It might be used during the day for special occasions,” says Fan.
当然，在特殊场合的白天还是能使用。
The installation of the displays was completed in time for the official inauguration of the NAC’s renewal on July 1, 2017, with the opening of improved performance spaces, new wings for audiences and presentations and the aforementioned reorientation of the building to open onto the city’s downtown core, after having its concrete back turned on Ottawa for nearly 50 years. At that point, however, there was not yet any customized content to be displayed.
为了在2017年7月1日正式启用NAC的续期工作，显示器的安装工作已经完成，并且开放了改善的表演空间，为观众提供新的视野。在将建筑物重新定向到城市的市中心以后，就需要开始定制需要显示的内容。
“The whole project had a very aggressive building schedule so it could open for Canada Day, with Prince Charles in attendance,” says Mallard, “but it would take longer to get the messaging right.”
Mallard：“整个项目的建设进度非常积极，因此，它可以在加拿大国庆日开幕时顺利应用，但是，要想让信息正确显示，需要花费更长的时间。”
Getting the content right
获取正确内容
The development of the content strategy had begun in 2016, shortly after ClearLED became involved. The NAC’s Herrndorf assigned Christopher Dearlove and Bridget Mooney as project leaders for animation, based on their own project management backgrounds in the arts community.
内容策略的开发于2016年开始，是在ClearLED加入后不久。NAC的Herrndorf根据自己在艺术界的项目管理背景，将Christopher Dearlove和Bridget Mooney任命为动画项目负责人。
“Peter had a vision for using the Lantern as a platform for elevating and celebrating great performances from across the country,” says Dearlove. “It would also be like a digital ‘campfire’ where people would come together in a public space. Ottawa doesn’t have many places like that.”
Dearlove说：“我们有一个将玻璃楼作为庆祝全国各地精彩表演平台的愿景，它可以像数字化的篝火晚会一样，传播精彩的动态内容，将人们在公共场合聚在一起。”
One of their key challenges was determining which content would play out well on a transparent screen.
但是，又有哪些内容能够在透明LED屏幕上播放呢？
“There weren’t a lot of them in use for comparison’s sake,” says Mooney. “I had only seen some while on a personal trip in Dubai, U.A.E. So, we had a lot to learn about the technology.”
Mooney说：“我之前在迪拜的私人旅行中见过这项技术，对它有很多了解。“
The NAC already had lots of content from its own performances, but it was apparent a media agency partner would be needed to get the most out of those assets. Another RFP was issued, through which Montreal-based Moment Factory—well-known for large-scale nighttime projection mapping projects—was brought on-board in early 2017.
NAC已经从各种表演中获得了很多内容，但显然需要一个媒体代理合作伙伴来充分利用这些资产。除了需要需要一个媒体代理合作伙伴，另一个缺少不了的是一个大型的夜间投影测绘。
“Our in-house designers created content, such as a waving Canadian flag and falling maple leaves, to test the displays’ red, green and blue (RGB) colour calibration until Moment Factory developed its own,” Fan explains. “They had not done content for transparent LED screens with a permanent mesh before, but their experience was a very good fit because our patented LED technology displays ‘black’ as 100 per cent transparency, which is the same in projection mapping.”
Fan解释说：“我们的室内设计师设计了很多内容，例如，加拿大国旗和飘落的枫叶，以测试显示器的红色、绿色和蓝色（RGB）的颜色校准。Moment Factory之前虽然没有做过透明LED屏幕的内容，但是，最终开发的产品，使LED技术能以100％的透明度显示黑色，与投影映射相同。”
“We had done some work in the past that was relevant to this project,” says Christian L’Heureux, a producer for Moment Factory, “but this was the first time we had worked with a permanent LED mesh and we needed to understand the intricacy of the setup before designing the content. The shape and surface of this display are completely atypical—it’s not like a liquid crystal display (LCD) in landscape or portrait mode with a 16:9 aspect ratio! We felt very blessed to be part of this, as the concept was very well-done and we are fond of working on new types of projects that take new approaches.”
Moment Factory的制片人Christian L'Heureux说：“我们非常幸运能够参与到这个项目中，因为这个概念非常好，而且我们很喜欢研究采用新方法的新型项目。过去，我们做过一些与这个项目相关的工作，但是，这是我们第一次使用永久性LED网格，我们需要在设计内容之前，了解所有复杂的设置，这种显示器的形状和表面完全是非典型的，它不像横向或纵向模式下的液晶显示器（LCD），而它的纵横比为16：9。”
Moment Factory recommended the use of Pandoras Box Server, a three-dimensional (3-D) content compositing, rendering and scheduling system developed by Coolux (now part of Christie Digital Systems), and set up templates to allow the NAC to load its own content into a frame, which then opens to reveal a given performance.
Moment Factory建议使用由Coolux（现为科视数字系统的一部分）开发的三维内容合成、渲染和调度系统的服务器，并设置模板，允许NAC加载它内容放入一个框架中，然后打开以显示给定的表演内容。
“The software was the biggest tweak we made to their existing plan,” L’Heureux explains. “We convinced them the potential of the Lantern as a beacon in downtown Ottawa called for a ‘show’ playback system, rather than a typical ‘signage’ playback system.”
L'Heureux解释说：“该软件是我们对现有计划做出的最大调整，我们相信，在渥太华市中心作为一个潜力技术，是一个呼吁表演播放的系统，而不是简单的标识。”
“It was helpful to have them take us through all of the steps in an organized way,” says Dearlove. “We have five programming departments here that share a unity of design, but since we are also making this platform available to our national partners, from Vancouver to Halifax, we needed a different set of templates for them. For one thing, it is important for people passing by to understand which shows they can attend here in Ottawa and which they cannot. For another, while our national partners were excited to contribute, it was hard for them to visualize this display before seeing it in real life.”
Dearlove说：“在项目中，以组织的方式完成所有步骤是很有帮助的。我们在这里拥有五个编程部门，这些部门有着统一的设计，但是，由于我们将这个平台提供给了我们的国家合作伙伴，从温哥华到哈利法克斯，我们需要一套不同的设计模板。首先，重要的是让路过的人了解他们可以在渥太华参加哪些表演，另一方面，虽然我们的国家合作伙伴很高兴能够贡献自己的力量，但在现实生活中看到它之前，他们很难想象这种透明显示器。”
“There is an agreement between the NAC and the National Capital Commission (NCC) whereby sponsor logos can only use 10 per cent of the display area when performances are advertised,” says Mallard.
NAC和国家首都委员会（NCC）之间达成了一项协议，即当宣传演出时，赞助商标识只能使用展示区域的10％。
Special content will also recognize events of national importance, including National Indigenous Peoples Day, Canada Day and Remembrance Day.
特别内容的展示还包括国家重要事件，例如人民日，加拿大纪念日等。
“We created video reels to help express the potential, such as fireworks for Canada Day and falling poppies for Remembrance Day,” says Mallard.
Mallard说：“我们制作了视频卷轴来帮助内容的传播与表达。”
In addition to creating templates for seasonal campaigns and one-off messaging, Moment Factory created three 90-second ‘digital shorts’ to convey moments of wonder and whimsy throughout the year. These mini-shows, inspired both by the building and by dance, music and theatre, respectively, were produced at the company’s Montreal studio in September 2017 and tested on-screen in November and December, in the run-up to the New Year’s Eve content launch.
除了为季节性活动和一次性消息的传播创建模板之外，Moment Factory还创建了三个90秒的数字短视频，以传递一年中的奇迹和奇思妙想，这些内容，是他们受到建筑、舞蹈、音乐和戏剧的启发，于2017年9月在蒙特利尔工作室制作，并于11月和12月在屏幕上进行测试，为这个除夕夜发布。
“We will work with them on creating more of these ‘wow’ moments in the future,” says Mooney. “Currently, Chris and I are still managing the content, but we will soon hire a dedicated producer to take it on.”
这个项目有越来越多的人参与其中，为这个透明LED屏幕创造更多的价值。Mooney说：“我们将与他们合作，目前，Chris和我仍在管理这些内容，但我们很快将聘请一个专门的制作人来设计更好的内容。”
Built to last
持续建成
The renewal of the NAC will continue this year with further enhancements to its theatres and the opening of new event space along the Rideau Canal. In the meantime, the NAC’s new media team is actively generating more content for the Lantern.
NAC的延续将在今年继续进行，进一步加强开设新的活动空间。与此同时，NAC的新媒体团队正在积极提供更多内容。
“We designed this display to be there for a long time,” says Fan. “It’s great how this project promotes Canadian arts and culture. It takes a visionary organization like the NAC to really explore the full potential of media architecture.”
Fan说：“我们设计这款显示器的时间很长，它是整个北美最大的透明LED屏，我们透过它，将设计的内容传播出去，促进加拿大艺术和文化的氛围，当然，需要像NAC这样有远见的组织才能真正发掘媒体架构的全部潜力。”
