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

Solidifying the CSTM

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Dr Baird, with regards to artifacts, believed “it was crucial that they be displayed in active, innovative, and engaging ways” (Babaian, 32). It is noted that “the goal was to demystify technology, to inspire understanding and respect, and sometimes awe, but never to intimidate or alienate the visitor by making things unnecessarily complex” (Babaian, 32). Given the structure at the time, this goal is inhibited by the permeable and temporary space. After experiencing the bleeding of sound during the museum’s opening, Babaian notes that “In 68, 69, 70, they were adding a lot of stuff as they went, and the design was changing as they went. They got rid of some of the more temporary looking structures and built some more permanent structures”. Allowing more artifacts to be introduced, and with Dr Baird in the driver’s seat, more interaction, noise, and engagement. Various examples exist in which this interactive experience is supported by sound. As an example, The Machine Shop (Fig. 4) can be referenced: “Visitors could stop by The Machine Shop, as it was called, and watch technical staff using lathes and other specialized tools to fabricate parts for the restoration and repair of artifacts, or other exhibition-related purposes” (Babaian, 44). Sound, undoubtedly involved in this visual-based learning, plays a role of immersion. This immersive aspect is explored and used extensively by exhibits/artifacts but is conflicted by way of its surrounding space, and the noises produced in said space. Referenced more recently regarding renovated designs, Anna Adamek, Ingenium’s Curatorial Division Director, notes that: “In many places we designed sound experiences, and we were very aware of the fact that sound will bleed, so we were trying to have some sound barriers”. At the time of Dr Baird then, the problem of sound and bleeding is being unintentionally combated by the continuous renewal and solidifying of the Canada Science and Technology Museum. Inadvertently accommodating sound in a better manner, importantly so. As put by Tom Everrett, the Canada Science and Technology Museum’s Curator of Communications, “Not only can sound influence the overall atmosphere of an exhibition by creating a sense of immersion or mood, it can also deliver unique interpretive content and provide the opportunity for dynamic, multisensory engagement with artifact displays” (Everrett, 1).
 

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