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ARTH3810 2019F Class Projects (Publication)Main MenuThe Tent Room at Rideau HallKyle Kreutner, Page 1 of 6The Webley Shacks: Unconventional Furniture Use in the Context of Ceaseless SurveillanceJose BawaganImperial Theater By Munawar MobinKeagan F - CSTM Sound HistoryIntroductionThe Mayfair TheatreSimran S.An Investigation of Hospital Interiors Effect on Patients144 Loretta Avenue North, Aidan MacNaullAidan MacNaull 144 Loretta Avenue NorthWest Block - Canada's New House of Commonsby Devon RudykRideau Street Chapel: The Effects of Relocation on the Experience of an Interiorby Ty FollisThe Church of St. Andrew's OttawaDavid Bastien-AllardMaking the Past Present: Union Station Restoration – A Political Facelift?by Vivian AstroffDelegation of the Ismali ImamatThe National Arts Centre: Reflecting on its Past and PresentSaint Paul University - A Shift in ValuesReem SiageFilm in Ottawa: The Mayfair theatreby Giovanna Maria SangCGM -An Investigation of Hospital Interiors Effect on PatientsThe Chateau LaurierBy Jessica El-GhazalReusable Space: The Senate of Canada Buildingby Syenne HolderNational Gallery of Canada - Seeing the Colonnade Through a Semiological Lens by Ricky TongRickyTHE OTTAWA STATIONEhidiamen Iyamabo, HomePageAVRC81ff8dad33b7fe77eee9a543209e890531c75438
kf - lathe
1media/ARTH3810 Lathe Figure_thumb.jpg2019-11-27T19:38:17-08:00Keagan Fowler338512480dfac7f8ed9e1b10efd9a411a0c076f3358163Figure 4. The use of a visually engaging experience, lathe operation, within the CSTM.plain2019-12-03T10:28:51-08:00Keagan Fowler338512480dfac7f8ed9e1b10efd9a411a0c076f3
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1media/ARTH3810 Lathe Figure.jpg2019-11-27T19:37:19-08:00Solidifying the CSTM5plain2019-12-03T09:05:35-08:00Dr 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).
