Event series

Aural Architecture and Heritage Science

Approaches, Methods, and Perspectives

The application of digital technologies to heritage science has led to important methodological changes in the protection, preservation, and management of the acoustic features of architectural structures and performative spaces of the past.

By exploring the potential impact of digital techniques in the fields of acoustic engineers, heritage acoustics, architecture acoustics, sonic heritage, archaeoacoustics, soundscape archaeology, archaeomusicology, acoustic ecology, sound studies, anthropology of sound, and sensory studies, this event series aims to shed light on how digital methods and approaches can improve our knowledge on sounds and sound behavior in architectural structures, historical buildings, and archaeological sites, by promoting their modern reuse and sonic preservation.

Moreover, the goal of this event series is the analysis of the relationship between acoustics, architecture, sound, human behaviour, space, and environment as well as of the methods concerning anechoic recordings of music, sounds, and voices to be employed in the auralisation of ancient architectural structures and venues for sonic events and performances.

As part of the AURAL project, this event series also aims to explore whether digital architectural reconstruction, immersive audio-visual modes, and auralisation could enable us to understand the way sounds, music, voices, and body movements were experienced in the past and whether the links between form and function of ancient structures and historical buildings can shed light on the active properties of aural architecture and on performances in strengthening cultural and social identity.

This event series is organised by Angela Bellia, Principal Investigator of the AURAL project, CNR ISPC researcher.

AURAL project →

To join the event series, we kindly ask you to register via CNR ISPC Eventbrite. Simply click on the 'Register Here' button below each event.

Second event 

July 12, 2024 | h 4 pm (CSET)

Online | Zoom platform

Antonella Bevilacqua

Acoustics and Heritage: New Methodologies for Preservation and Sound Reconstruction

The auralization and the acoustic spatialization are topics widely under discussion in the latest decades, in line with the advancements of technology. The 3D virtual reconstruction of both natural and architectural environments represented an alternative methodology to the restrictions of the pandemic. As such, the employment of multichannel microphones and loudpeakers, characterised by a spherical array, are the tools that helped to develop the audio-video virtual reproduction of artistic performances. In this seminary, the innovative methodologies and their functionality in the field of acoustics are explained, with practical applications carried out in Roman theatres and amphitheatres. The architectural findings for the original-shaped Roman theatres launch a warning on the state of degradation of the existing ancient heritage buildings. A final soundscape reconstruction of the real life conducted by gladiators is briefly described with sounds.

Antonella Bevilacqua

Antonella Bevilacqua completed her master’s degree in Architecture and Construction Engineering at the University of Parma. In the same city, she completed a master’s degree in Music Performance – Saxophone, taken at the Conservatoire “Arrigo Boito”. After these experiences, she continued her studies in Acoustics and Noise Control at the London South Bank University (LSBU). The combination of technical and artistic knowledge is the basis on which Antonella developed her experience in different fields of acoustics, going from environmental noise assessment of refineries and large electric power stations to airports and railways stations. The real passion remains the room acoustics, especially applied to complex geometric volumes like opera theatres, ancient open-air theatres and concert halls. Her interest is now focused on the virtual reconstruction and auralization of historical places, as world heritage patrimony.

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First event 

March 27, 2024 | h 4 pm (CET)

Online | Zoom platform

Andrea Gozzi

Audio Augmented Reality through Bone Conduction: Challenges and Perspectives

Bone Conduction Headphones (BCHs) enable the harmonious fusion of real and mediated sound layers, enhancing the realism of virtual sound objects for Audio Augmented Reality (AAR) experiences. A small device attached to the temporal region of the skull sends the audio signal directly to the cochlea, bypassing the external and middle ear. Since the auditory canal is not obstructed, the headphones allow the blending of real and virtual sound layers, reducing our cognitive capacity to distinguish between the two elements. This interdisciplinary research/creation, combining acoustics, sound design, musical composition, and perception studies, introduces the history of bone conduction and its devices, exploring the latest experiences in this field. Use cases for AAR concert projects and museum visits with immersive audio will be presented, developed by Mezzo Forte, a company specialized in audio augmented reality.

Andrea Gozzi

Musician and musicologist, postdoctoral researcher in augmented audio reality at the Université de Montréal – Faculty of Music. Ph.D. in Musicology and Digital Humanities at the SAGAS department, University of Florence. Member of the Tempo Real, the research, production, and music education center founded by Luciano Berio in Florence. Co-founder of Mezzo Forte, a French company specialized in audio augmented reality. Andrea Gozzi is a professor of Sound Design at the LABA Academy in Florence and a lecturer in the history of rock and Sound Design at DAMS (University of Florence). As a musician, he has collaborated with Italian and international artists, both live and in the studio. He participated in events such as LIVE 8 in 2005 in Rome and performed in France, England, Germany, and Canada. He has published books and essays dedicated to the history of rock and musical biographies in Italy and Canada.

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