area during performances and enhancing the audio and lighting systems. This refurbishment allowed for more flexibility for a variety of performances. The audio enhancements included diminishing the echo effect of sound that occurs during performances by introducing sound-absorbing plaster into the space. The refurbishment also incorporated restoring the mixed architectural styles of Moorish revival, Palladian revival, and Art Deco found within the interior of the building, while also ensuring the structural integrity of the building. The main idea was to make sure the Hall looked as if nothing had changed. This refurbishment procedure included the original wood, steel beams and restorers, repairing details, and making new plaster molds of arch features if they were beyond repair. The ceiling had previously been covered in chicken wire in order to protect the audience below from debris. The renovation allowed for audiences to see the repaired detailed ceiling. The interior renewal also consisted of keeping the Hall’s original brass railings and new seats, which mimicked the originals. The renovation moreover, focused on re-establishing the 100 original stained-glass windows that had been concealed with plywood since the 1950s due to sound disturbances reasons. The refurbishment of the panes involved the fitting of noise defensive shades for the glass during concerts and performances. The renovation also facilitated the updating of Massey Hall to meet current Canadian accessibility standards. These updates included a Passerelle to connect the old Massey Hall to the addition and an elevator allowing individuals easy access to the upper levels. The grand stage was rebuilt and lifted to provide better visibility from the upper gallery seats. The restoration additionally re-established new backstage artist and performer accommodations. Allied Music Centre The construction of the new southern seven-story glass addition, named the Allied Music Centre was designed to accommodate more support spaces for the hall. Accessible through the outdoor passerelles, the addition contains rehearsal spaces, a performance studio, a lounge, new washrooms, dressing rooms for performers, and a loading dock for equipment and deliveries. It additionally contains the Deane Cameron Recording Studio, which gets its name from the late Massey Hall CEO. Located in the basement is a bar that has another performance space as well. The new modern glass passerelles leading to the tower hangs off the side of Massey Hall and contrasts with the original brick structure creating a connection between the new and the old. This state-of-the-art facility was designed and