For years, many in the construction industry have complained about the shortage of buildable land in major cities such as Toronto. From an urban planner’s perspective, good land means it is well set back from industrial areas and noisy transportation sources.
Changes to building codes, fear of fire risks, and the introduction of steel and concrete have caused a decline in wood building construction. However, wood has made a big comeback and new changes being introduced to the National Building Code (NBC) in 2020 might result in the rise of tall wood buildings.
An article in our newest e-book discusses how new acoustic ceiling materials are well-positioned to help create healthy, comfortable, and acoustically sound buildings. It appears along with two other articles on institutional architecture in “Designing MUSH Facilities,” a free, downloadable resource.
The Toronto Chapter will be discussing acoustic changes to the Ontario Building Code (OBC) on October 8 at the Toronto Cricket Skating and Curling Club from 5:15 to 7 p.m.
While the acoustical performance of a space may not be horrible without the input of an expert, it will not be optimal. For example, ceilings could either be inadequate in acoustical performance (resulting in costly remedial actions) or over-designed for esthetics, squandering valuable budget dollars in building materials and installation time.
The Xiqu Centre, a performing arts venue in Hong Kong designed by Vancouver-based Revery Architecture, reimagines theatre drapes and the swaying folds of the performers’ costumes with a glowing curvilinear façade.
One of the first ambisonic simulation environments in the country provides architects, engineers, and contractors an in-depth understanding of how a space will sound and look even before the ground is broken.
When designing a sound masking solution, it is vital to limit the size of its control zones so the acoustician can precisely tune the sound and, hence, deliver the specified masking curve to the client.
