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And Visualizing Venice: Scaling up Digital Art History Kristin Huffman Lanzoni Duke University, [email protected]

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And Visualizing Venice: Scaling up Digital Art History Kristin Huffman Lanzoni Duke University, Kristin.Lanzoni@Duke.Edu Artl@s Bulletin Volume 4 Article 3 Issue 1 Spatial (Digital) Art History 2015 Wired! and Visualizing Venice: Scaling up Digital Art History Kristin Huffman Lanzoni Duke University, [email protected] Mark James-Vrooman Olson Duke University, [email protected] Victoria E. Szabo Duke University, [email protected] Follow this and additional works at: http://docs.lib.purdue.edu/artlas Part of the Architecture Commons, and the Arts and Humanities Commons Recommended Citation Lanzoni, Kristin Huffman; Mark James-Vrooman Olson; and Victoria E. Szabo. "Wired! and Visualizing Venice: Scaling up Digital Art History." Artl@s Bulletin 4, no. 1 (2015): Article 3. This document has been made available through Purdue e-Pubs, a service of the Purdue University Libraries. Please contact [email protected] for additional information. This is an Open Access journal. This means that it uses a funding model that does not charge readers or their institutions for access. Readers may freely read, download, copy, distribute, print, search, or link to the full texts of articles. This journal is covered under the CC BY-NC-ND license. Wired! and Visualizing Venice: Scaling up Digital Art History Cover Page Footnote This paper represents one aspect of a larger collaborative initiative, Visualizing Venice. This multi-institutional project developed since 2010 by University Iuav of Venice, Duke University, University of Padua and Nesting scrl of Venice, shows how urban space evolves over time using a common repository of shared information and digital tools to visualize our research data. This article is available in Artl@s Bulletin: http://docs.lib.purdue.edu/artlas/vol4/iss1/3 Spatial (Digital) Art History Wired! and Visualizing Venice: Scaling up Digital Art History Kristin Huffman Lanzoni* Mark J.V. Olson* Victoria E. Szabo* Duke University Abstract This article focuses on Visualizing Venice, an interdisciplinary, cross‐cultural collaboration that engages in mapping, 3‐D modeling, and multimedia representations of historical change in Venice, Italy. Through a “laboratory” approach that integrates students and faculty in multi‐year research teams, we ask new questions and pursue emerging lines of inquiry about architectural monuments, their relation to the larger urban setting, and the role of sculptural and painted decoration in sacred spaces. Our practice of digital art history transforms both teaching and research and provides new means for communicating knowledge to a broad public. Résumé Visualizing Venice (Visualiser Venise) est un projet interdisciplinaire et transculturel d'étude et de représentation du changement historique à Venise par la cartographie, la modélisation tridimentionnelle et le multimédia. Depuis plusieurs années, le projet a réuni des équipes formées d'étudiants et d'enseignants‐chercheurs dans un cadre de type "laboratoire". Nous posons de nouvelles questions sur les monuments architecturaux, leurs relations aux contextes urbains plus larges, comme sur le rôle des décorations sculpturales et picturales dans les espaces sacrés. Notre pratique numérique de l'histoire de l'art transforme nos manières d'enseigner et de chercher. Elle nous a également permis déjà de produire de nouveaux outils pour communiquer les résultats de la recherche à des publics plus larges. * See authors’ biographies at the end of the article. 20 ARTL@S BULLETIN, Vol. 4, Issue 1 (Spring 2015) Wired! – Visualizing Venice The Wired! initiative at Duke University based approach to humanities teaching and (http://www.dukewired.org) applies cultural and research, our development process is both historical visualization technologies and methods collaborative and iterative. Finally, this article will to the study of material culture, art, architecture, describe our focus on public‐facing scholarship and urban history. Through a collaborative, through exhibitions and our development of “laboratory” approach, we ask new questions and mobile applications, one of the ways that digital expand upon emerging lines of inquiry about practice and its dissemination has vitally material culture in man‐made environments. Our transformed our work. practices in digital art history and humanities scholarship transform both teaching and research, and provide new methods for communicating What is Visualizing Venice and knowledge to a broad public. While digital who makes up the team? approaches have many capabilities, our own emphasis is exploring change in the built Visualizing Venice is a collaborative research environment over time—both particular initiative among Duke University, Università Iuav structures and the urban fabric in which they were di Venezia, and Università degli Studi di Padova. constructed. It is our hypothesis that digital Our goal is to map and model the shaping of urban tools—and especially visualizations—prompt new space and its monuments over time. The research questions about architectural monuments, their team has focused on certain historically complex relation to the larger urban setting, and the role of zones and monuments of Venice to show how sculptural and painted decoration, such as social, religious and economic change transform altarpieces, in sacred spaces. We value not only the shape of a city over the course of centuries. what we learn from the final research products, Venice is a particularly rich site, not only due to but also from the research and construction the unique nature of its urban development and its processes themselves. key position within the medieval and early This article will focus on one of our initiatives: modern world as a mercantile entrepôt, but also as Visualizing Venice, an interdisciplinary, multi‐year, one of the most historically well‐documented cross‐cultural collaboration that supports urban spaces (Fig. 1a‐d). mapping, 3‐D modeling, and representations of Inspired by preceding projects such as Hypercities historical change in the city of Venice (http://www.hypercities.com/) and Rome Reborn (http://www.visualizingvenice.org).1 It will (http://romereborn.frischerconsulting.com/), we outline several of our completed and in‐process interpret traditional research materials (archival projects to demonstrate how a new approach to documents, visual sources such as maps, prints, traditional art historical materials prompts us to drawings and paintings, and on‐site inspections of think about the field in innovative ways. Aware extant objects/monuments) through digital tools, that as scholars we have a commitment to prepare from databases to the visualization of interactive students for the future, this paper also will outline and time‐referenced maps and 3‐D models. Each the ways in which our Wired! teaching and project team is comprised of art and architectural research group actively engages graduate and historians, architects, and scholars trained in undergraduate students in new technologies as visual and media studies. The participants range part of the larger Visualizing Venice research from senior faculty members to undergraduate initiative. Drawing upon an interdisciplinary, lab‐ students. Our extended team includes librarians and information technology specialists as well. 1 This paper represents one aspect of a larger collaborative initiative, Visualizing Venice. This multi‐institutional project developed since 2010 by University Iuav of Venice, Duke University, University of Padua and Nesting scrl of Venice, shows how urban space evolves over time using a common repository of shared information and digital tools to visualize our research data. Spatial (Digital) Art History 21 ARTL@S BULLETIN, Vol. 4, Issue 1 (Spring 2015) Wired! – Visualizing Venice Figure 1a. Jacopo de Barbari, detail of Piazza San Marco from View of Venice, ca. 1500. Courtesy of the Minneapolis Institute of Arts, The John R. Van Derlip Fund (2010.88). Figure 1b. View of Grand Canal, Venice, Italy. Photograph: “Venise (31 sur 47)” by Juliette Gibert. https://www.flickr.com/photos/39514698@N00/4179358448 (https://creativecommons.org/licenses/by‐sa/2.0/). ARTL@S BULLETIN, Vol. 4, Issue 1 (Spring 2015) 22 Spatial (Digital) Art History Wired! – Visualizing Venice Figure 1c. Digital Reconstruction of zone around Ss. Giovanni e Paolo and the adjacent Scuola Grande di San Marco. Architect Modelers: Andrea Giordano, Cosimo Monteleone; Researchers: Alessandra Ferrighi (project coordinator), Gianmario Guidarelli (project coordinator), Alexandra Dodson, Joseph William Chandler, Isabella Friso, Mattia Grosso, Erica Sherman, Ines Tolnic, Matthew Woodworth. Figure 1d. Digital Reconstruction of the Church of the Carità, part of the present day Gallerie dell’Accademia. Architect Modelers: Andrea Giordano, Cosimo Monteleone, Marco Pedron; Researchers: Elena Svalduz (project coordinator), Iara Dundas, Isabella di Lenardo, Elisabeth Narkin, Joseph Williams. Spatial (Digital) Art History 23 ARTL@S BULLETIN, Vol. 4, Issue 1 (Spring 2015) Wired! – Visualizing Venice What is our methodology? Each of our initiatives begins much like any research project: with the collection of data from primary archival and secondary sources, such as manuscripts, images, and maps (Fig. 2). While we have some idea at the outset of what our final “media products” will be, we allow the nature of the data related to the research question to help determine the shape of those visualizations, as well as the underlying information systems that help us manage them. In a project focused on the movement of an object in time and space, for example, we might have a great deal
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