This blog post continues from the point where we left the reader at the end of the last blog post. As stated before, we were studying the feasibility of building a 3D model to provide a good representation of the evolution of the architecture of the church. To do this, we tried to contact Braxton Boren, who had worked on such a model before, but unfortunately, we did not receive a response from him. After a meeting with the direct supervisor of our project, Laurent Pugin, we realized that a full-fledged 3D model of the church accompanied by acoustic simulations would be much beyond the scope of what can be achieved in a single semester working limited hours a week. It became more evident when we realized that Braxton Boren had spent his entire Master’s thesis on this topic. Laurent Pugin also pointed out that it would not be an easy task to procure the exact software used by Braxton Boren, and that the purpose of this project was not to conduct a physical analysis, but to present already available data in a digital form. He pointed us towards an online resource which contained some recordings made by Laura Moretti during the CAMERA project, and suggested that we could use that data to validate the 2D model of the church we go on to build. Thus, this necessitated the restriction of the scope of this project to a 2D model of the church.
In addition, we decided to focus on 4 time-points to be displayed on the timeline. Of these 4 time-points, two would reflect the major changes brought about by architect Jacopo Sansovino. The first time-point would be the situation before any changes were made by Sansovino – when the Doge would occupy the hexagonal bigonzo pulpit outside the chancel. The second would be when the new Doge Andrea Gritti could no longer climb to the pulpit due to obesity, and had to move down to a throne in the chancel: Sansovino then built a pergolo (small balcony) near the throne. Consequently, the choir was relocated to the pergolo, and five years later, to facilitate the appreciation of the nuances of the performances of the coro spezzato (separated choirs) created by Willaert, Sansovino added a second pergolo opposite to the first one. This would be our third time-point of the timeline. The last time point would be the state of the church some years after the period of collaboration between Willaert and Sansovino, in order to offer a comparison between the musical quality and effects experienced in the 16th century versus those observed later.
Now that we have a clearer picture of the boundaries of our project based on the inputs we have come across and received, the questions that still need to be addressed are:
– How we are going to process the sound in the absence of the exact software used by Braxton Boren. Perhaps we could use more common software such as Audacity or even Matlab
– How exactly we are going to validate and compare the sounds produced by our 2D model of the church using the sounds captured by the CAMERA model as a reference.
– How exactly we are going to display the timeline and which tools we are going to use