As a gathering place for festivals and other patriotic events, Festival Plaza has an air of sophistication that is welcoming to the public. The plaza is located in the cultural arts center of Ottawa, Ontario. Located to the east is the old, historic armory and directly across the street is a large public park and a clustering of theaters and opera houses. Periodically throughout the year, the plaza serves as a gathering place for special events including the highly anticipated, annual ice sculpture competition during winter carnival.

However, the residents of Ottawa did not always enjoy the attributes of the plaza as they do today. It wasn't so long ago that the neglected plaza was used only as a pedestrian corridor between the parking structure and the municipal building. The uninviting checkerboard pattern of concrete and red-brick dust was an economical solution that persisted for nearly 10 years. Originally, the building served as the headquarters for the regional government. In anticipation of the building's rededication as the City Hall for Ottawa, city officials wanted the plaza to be a welcoming atmosphere that could accommodate special events, while serving as a quiet circulation and relaxation place for local residents.

The redevelopment of the plaza stemmed from a federal initiative to give grant money for various public-works projects. According to Architect Tony Griffiths, co-founder of Griffiths, Rankin and Cook, the City of Ottawa held a local competition to select a firm to redevelop the downtown plaza. Primarily the city wanted to transform the plaza into a special events venue with plenty of open space to accommodate a variety of festivals and concerts. Griffiths' firm made an entry and were selected to transform the plaza.

Before the redevelopment, the under-used plaza could be characterized as rectilinear. The combination of the adjacent parking structure and the municipal building created a space abounding in horizontal planes and right angles. In order to offset the monotony of straight lines, Griffiths Rankin and Cook opted to design the plaza with curving forms. This architectural layout, Tony Griffith explained, would help separate and isolate the plaza from the busy surrounding streets.

Griffiths explained that the decision to use curving forms stemmed from a desire to create a sense of enclosure. "By designing the plaza with a curved form, we wanted to make the space inviting and informal," he related. "We believed that the right angles and straight lines of the building and parking structure would be softened by the curved design of the plaza."

Griffiths Rankin and Cook Architects opted to use curving forms in the plaza to offset the horizontal planes and straight lines formed by the building and adjacent parking structure. This design was intended to create a sense of enclosure for the plaza and isolate it from the busy surrounding streets. One of the two double-headed fixtures that illuminate the plaza's entrance overlooks a salmon and light grey paved walkway.

Once the curvilinear design for the plaza was decided upon, the architectural team turned to lighting designer Philip Gabriel, IALD, to develop the sweeping light fixtures for the space. The 27 light fixtures that line the curved pedestrian path utilized the traditional concept of indirect lighting and applied it to an outdoor venue. Gabriel said he drew inspiration from similar light fixtures designed by Finnish architect Alvar Aalto in the late 1930s that are still in place today. In addition, a smaller version of the indirect light fixture was designed for the 1967 World's Fair in Montreal. These two examples allowed Gabriel to conceptualize the indirect light fixtures that bounce 150-watt metal halide lights off a perforated metal screen to create a soft and inviting glow in the plaza.

One of the unique characteristics of this lighting design was the decision to light the pathway instead of the open field. According to Gabriel, the light fixtures evolved from the question—How can we put something around the perimeter of this field that is going to provide light in a vertical manner rather than a horizontal manner?

The goal was to light the area with a soft aura of dispersed light that wouldn't hinder the festivities by creating glare. Gabriel explained that the normal way to illuminate this type of space is to put lights on the tops of buildings and on tall poles and shine them into the middle of the field. "We knew that this wouldn't work well because it would produce too much glare and wouldn't be aesthetic from a distance," he said.

Another lighting option that Gabriel considered was to suspend lights on cables over the plaza. Though this lighting schematic would have been reminiscent of the marketplaces in Venice, it was decided that the cables would interfere with the various festivals and concerts.

The lighting concept for Festival Plaza was to enclose the plaza with vertical illumination by adding perimeter rows of glowing light sources balanced by the lighting of the building facades. Soft vertical illumination, reflecting from the "sails" on top of the poles, give the impression of a well lit space, without providing "foot-candles" across the horizontal lawn. Lights on top of the relocated flag poles reinforce the curved theme from a distance. Below, the first model of the indirect light fixtures was created in Tony Griffiths' office with a ballpoint pen, paper clip and business card.

Though the indirect lighting is located along the curved pathway, the perforated metal "sails" allow 25 percent of the light to backwash the surrounding trees. In addition, the center of the field is illuminated even though a footcandle reading wouldn't measure any light. "The entire plaza is lit up and you can see people very well," Gabriel explained. "You can see people silhouette against the light even though there really isn't a lot of light out on the field."

It was during a collaborative meeting with Griffiths that Gabriel thought of the idea for a reflective fixture. "The image of illuminating an office ceiling came to mind," Gabriel said. "I envisioned bouncing the light off the curved ceiling to obtain a soft, indirect light source."

The first model of the light fixtures was made that day with a Bic ballpoint pen, a paperclip and a business card. "Tony wrapped the paper clip around the top of a ballpoint pen and bent it approximately into the shape of those arms." Gabriel related. "Then we took a business card and used some tape to affix it to the paper clip." This simple model served as the genesis for the 27 light fixtures in Festival Plaza.

Next, the lighting plan was presented to the National Capital Commission. Gordon Lennox explained that it was a hard fight to get the NCC to deviate from the standard lollipop style light fixtures. Griffiths was the first to pitch the lights. His whimsical pitch related the curved fixtures to Cleopatra's osprey fans seen in movies from the 1920s. He also used the patterns that leaf-cutter ants make on the floor of the jungle as they carry their leaves to-and-fro as inspiration. "I think the NCC was slightly intrigued by these looney design ideas," Griffiths said with a laugh.

Gabriel was the next to chime in and he made a strong pitch for the security that indirect lighting would provide to the plaza. He explained that the light produced by the fixtures would simulate moonlight. This explanation went over well and the "sail" light fixtures were approved for the project.

Once the general structure of the light fixtures was determined, it was time to hammer out the details. In Gabriel's studio, they experimented with the 150-watt metal halide Par lamp. The task at hand was to develop the shape for the "sails" and determine the approximate height and angle of the fixture. By shining the rectangular-shaped beam onto a curved piece of white cardboard, Gabriel was able to trace the edge of the light beam as it bounced off the paper. The shape that the beam of light made on the paper served as the model for the perforated metal "sails".

A perforated metal was selected for the "sails" to minimize wind resistance and to also let people see through them during the day. In the evening, when the lights are turned on, the perforated metal allows light to spill through the "sails" and illuminate the trees beyond. The arms that hold the sails were designed to withstand enormous amounts of weight and pressure. The architects wanted the arms to be constructed of stainless steel for aesthetic reasons but the consulting engineer said that it wasn't a strong enough material. In the end, the arms were made from regular steel that was powder coated silver.

As is the case with many custom designed amenities, the quotes for designing these unique lighting fixtures were astronomical. With a set budget of $1.8 million (Can.), Gordon Lennox of Griffiths Rankin and Cook explained that many of the quotes from manufacturers already exceeded their total budget. Lennox said that Philip Gabriel worked together with Lumca, a manufacturer in Quebec City, to make the lights within budget.

This innovative light fixture was custom made from inexpensive standard pipe sections, a sheet of perforated aluminum and a utility Par 64 lamp holder. The dimensions of the reflector were determined by the beam shape of the new, warm 150-watt metal halide Par lamp. These long life lamps are easy to change with a step ladder and the ballast is conveniently located in the base. The metal "sails" are supported by a steel arm that was powder coated silver to resemble stainless steel.

To solve the problem of hot-spots on the perforated metal "sails", Gabriel experimented with a number of filters designed to disperse the light evenly. By adding filters to the light fixtures, a wealth of creative opportunity has followed. For example, when a Chinese festival was held at the plaza, the entire plaza was turned red through the application of theatrical filters. Through the addition of a small, inexpensive filter, the entire ambiance of the plaza can be changed. The possibilities are truly limitless.

In addition to the 27 indirect light fixtures that line the curved path, two double-headed fixtures illuminate the plaza's entrance. Tall flag poles that proudly display the flag of each municipality in Ontario also curve along the path opposite the light fixtures. High atop each pole sits a bright, white light. "These flag poles contrast beautifully with the reflective lights on the lower level," Griffith exuded. The two curves play against each other in a very dynamic way."

On warm nights, kids and adults alike are encouraged to wade in among the fluctuating illuminated fountains. The architects collaborated with Dan Euser Waterarchitecture Inc. to design this half-saucer shaped fountain with zero beach entry. The five focal-point fountains, manufactured by Pem Fountains, spray approximately 5 - 6 feet high. Phil Gabriel, IALD, illuminated this water feature in a very unorthodox manner. He placed underwater lights at the edge of the pool and directed them horizontally across the water basin. This placement ensures that people on the path do not see the fixtures but only the resulting effect.

Adjacent to the curved pathway, the architects collaborated with Dan Euser Waterarchitecture, Inc. to design a half-saucer shaped fountain with zero beach entry. This popular fountain entices children (and adults alike) to wander into the knee high water. To keep the fountain within budget, Griffiths Rankin and Cook decided to use granite from the amphitheater to make the coping around the fountain. Because the stone is partially wet and dry, Griffith explained that the natural beauty of the rock is brought out. Gabriel specified lights for the fountain in a very unorthodox manner. He proposed to place the lights underwater on the edges of the pool and shine them horizontally across the water basin. Since they are mounted along the sides of the pool, people walking on the path can't see the light source, only the resulting effect.

The theatrical light fixtures were not the only pieces of artwork added to the plaza. Artist Michael Bussiere designed an interactive, musical art piece for the plaza. Six pillars with speakers in them encircle a taller center post that houses a video camera. When visitors walk through the circle they trip a sensor causing abstract music to play. The camera relays movement to a computer that is programmed to change the music in response. Griffiths said it is not unusual to see people dancing around to manipulate the music.

As urban areas continue to grow, the nature of public spaces change. This plaza was transformed from a neglected and useless space into a warm and inviting place for people to gather. Now the site hosts dozens of community events every year and provides the residents of Ottawa with a safe, outdoor venue for their enjoyment. LASN