Abstract
This paper compares two acoustical projects, applied to the S. Dominic church of Foligno and Imola, which are subject to a permanent and temporary conversion respectively, to places dedicated for listening to live music. Sets of measurements have been undertaken before the acoustical treatments in order to calibrate the digital model; in Foligno, the measurements have also been performed after the installation of the acoustical features, to check if the aims have been achieved. Between the proposed acoustical projects, only one has been realized in Foligno, with the artistic activity still running inside the auditorium. The challenge to adjust the acoustics of reverberant rooms like churches to host musical venues has been achieved with a good quality of sound perception. In particular, in S. Dominic church of Foligno, the goal has been hit after many digital simulations that calibrated the redirection of the sound towards the sitting areas.
Highlights
The demand to attend live musical performance in Italy has increased considerably during the last decades, owed to the deficiency of places dedicated to performing arts
Given the similar approach to the concepts, the goal of this paper is to show the importance of the acoustical simulations during the planning design, as the most delicate phase of the project, which highlights the issues that should be solved in order to achieve a good sound perception inside historical buildings
The volume shape and the volume size are very similar, the main difference between the two churches is the shape of roof and the material of the finish surfaces, Figure 4
Summary
The demand to attend live musical performance in Italy has increased considerably during the last decades, owed to the deficiency of places dedicated to performing arts. Dominic of Imola and Foligno are two historical buildings having in common the same construction period, geometrical and architectural composition and the requirement for hosting laic performance, in particular musical and conference venues [1]. What discriminates the two, is the consecration, still surviving in the church of Imola and lost for that one in Foligno. This paper keeps in consideration the temporary and permanent transformation as a key feature over these acoustical projects. Dominic are composed second half of the 13th century. The religious religious identity identity has has often been changed throughout the centuries and adjusted to the porches.
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