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

Progress and Change

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With the Museum becoming more permanent, interactive elements are driven further than before leading up to the eventual renovation of the museum. Sound in exhibits continue to be utilized to enhance the interactive experience, the visual aspects of the museum continue to be the priority however. Babian recalls an exhibit called “Beyond the Printed Word” which is exemplary of this: “it was all about news, radio and television and the delivery of information. We basically had spaces that weren’t quite rooms, but were quite separate, and so they were like viewing and listening spaces where you would go and watch the announcement of John F. Kennedy’s assassination, or the War Measures Act in Quebec. My recollection is that in those areas, sound was well used, and you could actually hear the sound. I would suspect on an extremely busy day you might not have been able to”. The use of partitions to isolate sound is present here as the museum progresses, and the visual/audio aspect of such an exhibit works in tandem better than any example prior to this. However, not to the extent where the auditory experience is good regardless of the amount of visitors. Achieving a good auditory experience can be noted as helping museum visitors, as is the case with the locomotive exhibit prior to renovations. Adamek remarks that “the locomotive bay before we closed had more sound, and these were sounds that people would then associate... with that gallery”. Noted by Bubaris: “Sound can energize and orient the visitors, offering them a sense of vitality and immediacy in comparison to the silent, static exhibits and textual interpretive labels” (Bubaris, 395). In the case of the CSTM, the exhibits are not particularly silent, nor static. However, it can be clearly construed that sound engages the visitor and provides a more memorable experience (Fig. 5). The issue so far at the CSTM is not the use of sound, but the conflict of various sounds. Through solidifying structure and isolating exhibits however, the CSTM has progressed thus far to provide a better sensory experience for visitors that has provided memorable experiences as noted by Adamek. Now then, the next major step showing progression in this sound dilemma is the museum’s renovation.

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