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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 - music demonstration
1media/cstm music demonstration_thumb.jpg2019-12-02T08:46:10-08:00Keagan Fowler338512480dfac7f8ed9e1b10efd9a411a0c076f3358163Figure 5. A CSTM employee provides a musical demonstration for visitors of all age.plain2019-12-03T10:33:00-08:00Keagan Fowler338512480dfac7f8ed9e1b10efd9a411a0c076f3
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12019-11-27T19:48:14-08:00Progress and Change4plain2019-12-03T09:11:25-08:00With 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.
