The anechoic chamber at Orfield Laboratories in Minneapolis is purported to be the quietest place on the planet; the folded fibreglass surfaces absorb 99.99 per cent of sound. Of course, this is quite unlike our normal experience of the world, but it goes to show that architecture plays a large role in how sound bounces around and reaches—or doesn’t reach—our ears. When space is intentionally and carefully designed, it doesn’t just amplify sound; it sculpts it. In this way, architecture can be considered an instrument.

Allied has more than a few “instruments” in its portfolio—spaces tuned for performance and meant for gathering and sharing. Of historic importance, there’s 1001 Rue Lenoir in Montréal, which is currently being renovated and will soon feature a new entrance, lobby, glass atrium and interior courtyard. In its previous life, it was RCA Victor’s Canadian headquarters, where the Victrola gramophone was produced and where you can now book time to record in its legendary studio (The Interior, p. 18). Similarly iconic within its urban context, there’s The Grand in Calgary, a more-than-100-year-old theatre that’s as vibrant as ever, playing host to a live taping of a CBC podcast (The Moment, p. 8). Allied houses music-makers in newly built facilities as well. Warner Music Canada has its home at The Well in Toronto, and, significantly, there’s the Allied Music Centre, connected to iconic Massey Hall and a state-of-the-art hub, theatre and recording space, which, as part of its programming, invites young people in and connects them to professional artists (Make Room for the Arts).

This issue of Block, themed around sound and music, recognizes the importance space has on sound, and how music education can inspire, Deaf communities can participate in the power of performance (The Business, p. 14), and birdsong can heal (The Creator, p. 24). Cue the soundtrack.