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PORTFOLIO


DENYS LASDUN AWARD FOR EXCELLENCE IN ARCHITECTURE ARCHITECTURAL ASSOCIATION | LONDON, UK

10/2014 - 06/2016 ARCHITECTURAL ASSOCIATION | LONDON, UK ARB/RIBA PART 1 DIPLOMA IN ARCHITECTURE

NEW URBAN VISION AWARD IAAC - UPC | BARCELONA, SPAIN

09/2013 - 06/2014 IAAC - UPC | BARCELONA, SPAIN MA IN ADVANCED ARCHITECTURE | EMERGENT TERRITORIES STUDIO

05/2013 - 08/2013 UDA - UFFICIO DI ARCHITETTURA | TURIN, ITALY

3D MODELLING

INTERNSHIP IN ARCHITECTURE | RENOVATION OF A LOFT IN TURIN CONTACT: MASSIMILIANO CAMOLETTO | MAXCAMOLETTO@GMAIL.COM | (+39) 335 1081517

RHINOCEROS MAYA CINEMA 4D SKETCHUP 3DS MAX ZBRUSH GRASSHOPPER VRAY4RHINO

CAD/BIM

FABRICATION

AUTOCAD REVIT MICROSTATION

LASERCUTTER 3D PRINTING CNC MILLING CASTING SOLDERING/STEELWORK MODELMAKING RAPIDPROTOTYPING

LUCA GAMBERINI ARB/RIBA PART 1

Luca is highly motivated and hard working, aiming to the dealing point between efficiency and design quality. Time management is essential. His experience in team works is vast, whilst his recent education is based on one year long individual projects, allowing the developement of a broad knowledge of softwares and general/emergent traits related to the contemporary design and production of Architecture.

CREATIVE SUITE

PHYSICAL COMPUTING

PHOTOSHOP ILLUSTRATOR INDESIGN AFTEREFFECTS

ARDUINO SENS/ACTUATORS

languages PROGRAMMING

Luca is a young designer who has been pursuing his architectural education internationally for 6 years, intermittently with the love for traveling and professional experience. He is currently based in London and enrolled at the Architectural Association School of Architecture where he is running for the AA Diploma and the ARB/RIBA Part 2 accreditation, while improving and refining his design skills, critical thinking, theoretical knowledge and portfolio.

ARDUINO JAVA PROCESSING C++

ITALIAN ENGLISH SPANISH

interests/hobbies JOGGING, SWIMMING,THRILLER LITERATURE AND FILMS, TRAVELING, SCUBA DIVING, ANIMALS, TECHNOLOGY

12/2012 - 05/2013 DINDANG NATURAL CONSTRUCTION CENTER | PAKSONG, THAILAND VOLUNTEERING PLACEMENT IN NATURAL MATERIALS AND CONSTRUCTION FOR TROPICAL REGIONS

01/2012 - 07/2012 VIA UNIVERSITY COLLEGE | HORSENS, DENMARK ERASMUS DESIGN STUDIO IN ARCHITECTURAL TECHNOLOGY AND CONSTRUCTION MANAGEMENT

09/2009 - 09/2012 TECHNICAL UNIVERSITY OF TURIN | TURIN, ITALY BSc IN ARCHITECTURAL SCIENCES | 106/110

09/2004 - 06/2009 LICEO SCIENTIFICO ANTONIO PACINOTTI | CAGLIARI, ITALY SCIENTIFIC HIGH SCHOOL | 100/100

+44 (0) 7437470631

GAMBELUC@GMAIL.COM

43C SWINTON STREET WC1X 9NT LONDON, UK

27/01 BORN | CAGLIARI, ITALY


GENERATIONAL LAND


GENERATIONAL LAND ARCHITECTURAL ASSOCIATION | Y3 INTERMEDIATE UNIT 3 | RICARDO DE OSTOS & NANNETTE JACKOWSKI DENYS LASDUN AWARD FOR EXCELLENCE IN ARCHITECTURE

Generational Land sits 100 years from now in the region of the Sundarbans (Bangladesh), the biggest mangrove forest in the Planet and ancestral land for the two million indigenous people that by the end of the century will be violently displaced due to the effects of Climate Change: 1 meter sea level rise and more frequent and intense tropical storms. The natural capability of the forest to induce sedimentation is inhibited by its rarefaction caused by the gradual disappearance of pollinators that would naturally find shelter within the forest vault; consequently affecting the most profitable and resilient indigenous economy: honey. The savage of the generational land lies within the savage of the environment whereas the transmission of knowledge, skills of resilience and spiritual projections can happen. Employing speculative drawing, prototyping and imaginary narrative, the project reinterprets the forest as an extruded entity by marking the endangered land in a dual way: drawing up the environmental and economical indigenous resilience through the creation of a shelter for bees and a safe elevated ground for honey hunting, and by immortalising the generational land in its cultural asset, hence in its rituals and objects of sacredness.

FOREST AS RESILIENT ECONOMY the honey hunters of the forest

FOREST AS CULTURAL ASSET the indigenous people pray the forest for protection

FOREST AS SANCTUARY AND HYBRID NATURE

PREVIOUS PAGE AERIAL VIEW OF THE REMOTE SANCTUARY AFTER THE FOREST DISAPPEARENCE RIGHT VISION OF A NEW VERTICAL ECOSYSTEM EMBEDDING PROGRAMMATIC (CULTURAL AND ECONOMIC) AND MATERIAL (NATURAL AND ARTIFICIAL) DUALITY


APOCALYPSE AND FICTION

Generational Land starts as fictional commentary on the after-world passed the Apocalypse, when debris are recollected from the receding sea for a communal response to the cataclysm, while affective objects acquire more significance, hence elevated from the ground and trailed into a tower in the purpose of being preserved, for the retrieval of memory and lost communal identity. Generational Land is also a story of a ritual, when objects, as a teddy bear, hence bodies holding a generational linkage to our own ancestry, are delivered to hybrid and sentient machines in the meaning to be preserved against the threat of another catastrophic event.


THE CREATURES OF GENERATIONAL LAND

The ritual is an interactive ceremony of passage, driving to the awareness of a generational linkage to our ancestors and to the ultimate conservation of objects which hold that connection. The machines are creatures, either natural or artificial, indeed something in between and in the process of learning of the new world and its bodies. Two pulse sensors costantly map and reveal heartbeat data through the rythmic spasm of the machine’s tentacles, which movement is driven by two servo motors receiving those data. A first set of larger claws close and grasp the affective object once this is placed in between. The second smaller claws close and map the object only if the pulse of the two users reaches the same rythm and frequency.

THE RITUAL

Scan or Click:

PREVIOUS PAGE POST-APOCALYTPIC SCENARIO SHOWING THE INVERSION OF PARADIGMS: PRIVATE OBJECTS ARE DISPOSSESSED FOR THE COMMUNAL RECONSTRUCTION, WHILE AFFECTIVE OBJECTS ACQUIRE MORE SIGNIFICANCE, BECOMING THE SUBJECT OF PRESERVATION CURRENT PAGE EXPLODED PERSPECTIVE OF THE CREATURE SHOWING FABRICATION AND ELECTRONIC CONCEPTION NEXT PAGE PICTURE OF THE FINAL PROTOTYPE


NOTION OF GENERATIONAL LAND

The ancestral land of the two million indigenous people affected by the consequences of the environmental crisis emerges through pathways defining a journey through the forest, longer due to the disappearence of bees, more dangerous as the sea level rise increases friction between man and tiger, whilst forcing the honey hunters to adventure more deeply whithin the wild, with fatal encounters with pirates. Nonetheless, honey hunting doesn’t appear only as an endangered and dangerous economy, but most importantly as a 3 month long ritual in the forest, initiated through the ceremony of passage, when pupils are given the generational utensils needed to survive and own their land, and concluded through the preservation of those utensils for the future transmission to next generations. Therefore, the forest involves not only the transmission of knowledge and tools of resilience for the indigenous people to stay in their land, but also as a cultural bodies made of rituals, spiritual beliefs and sacred bodies.

CURRENT PAGE MAP OF GENERATIONAL LAND SHOWING THE PRACTICE OF HONEY HUNTING AS JOURNEY, ECONOMY AND RITUAL, FRAMED BY THE SEQUENCE OF CEREMONIES AND MOMENTS OF ENDOWEMENT.


VERTICAL TRANSLATION

The savage of Generational Land lies within the savage of the resources and the spiritual traits of the environment. The first programmatic and organizational outline of the vertical forest emerges from the debris of the last tropical storm that hit the Bay of Bengal in 2022. The tower rises on the other side of the river that divides the Bengali mainland from the natural sanctuary, sitting whereas salinity level increase, due to the rising sea, enfolds new opportunities, here gathered by capillarity and rendered

cave

cave

within mud to create new solid strata: a lithic shelter for giant wild bees and for the honey hunters economy to be safeguarded. Beeswax is collected at the end of the hunting season, brought up into the tower and melted within the generational objects delivered to be preserved against the adverse environmental conditions, until the point of becoming a spatial entity and new pilgrimage shrine.

cave CAVE

BEES NESTING HONEY HUNTING 6

MELTING CHAMBER

5

upper shrine UPPER SHRINE

WAX STORAGE

REPOSITORY OF OBJECTS

6

ENTRANCE TO SHRINE 3 4 6

+

PURIFICATION POND 15

valley VALLEY

upper shrine

GRAVEYARD ANCESTORS DOMAIN 1

FURNACE ROOM FOREST ENTRANCE

5

pool POOL

HONEY STORAGE

WORKSHOP CAVE ENTRANCE

The dual nature of the forest figuratively appears hybrid materiality and acquires programmatic complexity by the meaning of translating the journey and the ritual into spatial and organizational consistency.

2

grotto GROTTO upper shrine ENTRANCE SANCTUARY

ENDOWEMENT AND STORY TELLING

forest as economical entity

4 1

CYCLONE DEPOSITORY

1

4

valley

1

grotto

2

forest as economical entity

FOREST: ECONOMICAL BODY

pool

3

pool

3

1

forest as cultural entity

valley grotto

2

FOREST: CULTURAL ASSET

forest as economical entity

forest as cultural entity

forest as generational

forest as cultural entity

forest as generational

forest as generational

GENERATIONAL FOREST

CURRENT PAGE DIAGRAMMATIC SECTION OF THE NEW VERTICAL FOREST EXPLAINABLE AS HYBRID NATURE OF NATURAL SUBSTANCE AND ARTIFICIAL DEBRIS, RAISING AS MERGING POINT BETWEEN THE CONCEPTION OF FOREST AS ECONOMY AND THE IDEA OF FOREST AS SPIRITUAL PLAYGROUND


EDGE DRIVEN URBANISM


EDGE DRIVEN URBANISM ARCHITECTURAL ASSOCIATION | Y2 INTERMEDIATE UNIT 6 | JEROEN VAN AMEIJDE & BRENDON CARLIN HIGH PASS

Is the city of hard edges a political mechanism for the social control and inhibition of communal values? William Whyte after his meticolous behavioral research on the urban field highlighted the fine proportion between the quality of the urban space and the quantity of people who are standing and sitting in. However, if people seeking for a place to stand are unconsciously seeking for the edge, isn’t the quality of the urban space defined by the resolution of its edges? Learning from the Italian cities and watching at the softness of Covent Garden Market, into the Southbank Centre, a catalogue of historically unresolved boundaries, the project investigates the edge of the city as an architectural device capable to set as a public processor for unexpected activities, either intimate or related to a social sphere, to flourish; in the biggest purpose to enlive the public space, against political ‘hardeness’, towards a more democratic city.

DIAPHRAM SPACE: TANGENTIAL AND CROSSING FLOW

PREVIOUS PAGE AERIAL VIEW OF THE MAIN NEW PLAZA IN SOUTHBANK DEFINED BY POROUS EDGES AND TRANSITIONAL SPACES, WHILE PROVIDING NEW RETAILS AND SERVICES AS PUBLICNESS ATTRACTORS CURRENT PAGE EARLY STAGE CAST PROTOTYPES TO INVESTIGATE RELATION AMONG GEOMETRY, SPATIAL QUALITY, VISIBILITY AND LIGHTING NEXT PAGE EXPLODED AXON OF COVENT GARDEN MARKET TAKEN AS EXAMPLE OF EFFICIENT PUBLIC SPACE IN LONDON AND DECOMPOSED INTO ITS MAIN SPATIAL CATALOGUES, UNDERSTANDING RELATION BETWEEN SPATIAL QUALITIES (SUNLIGHT, VISIBILITY, LEVEL OF ENCLOSURE, DIMENSIONAL ATTRIBUTES) AND THEIR CAPABILITY TO GENERATE SPECIFIC OR UNEXPECTED SOCIAL/PRIVATE ACTIVITIE

BACKSTAGE SPACE: CROSSING FLOW AND RETENTION


EDGE DRIVEN STRATEGY FOR A NEW INTRUSION

The project sits within a span of 6 years from the moment of its conception, defining the possibilities for a new intrusion within current and expected users, residences, retails and public spaces. The mapping activities and spatial characteristics in Covent Garden Market has informed the listing of a catalogue of spaces obtained as combination of commercial, transtional and public areas to be arranged along 3 existing axis, varying according to different typologies of expected users. The plaza results as convergence among the axis and appears as main porous and retaining place.

PREVIOUS PAGE BRIEF OF THE 2020 SOUTHBANK CENTRE INCLUDING NEW RESIDENTIAL AND COMMERCIAL DEVELOPEMENTS, WHILE FINDING THE BASIS AND LOCATION FOR AN INTRUSIVE INTERVENTION CURRENT PAGE EXTRACTED CATALOGUE OF SPATIAL CONDITIONS FROM SIMPLER TO MORE COMPLEX COMBINATIONS WITH RELATIVE EXPECTED ACTIVITIES TO FLOURISH WITHIN OR WITHOUT CURRENT PAGE GROUNDFLOOR DIAGRAMMATIC PLAN OF THE ARRANGEMENT OF THE CATALOGUE PIECES FOLLOWING MAIN USERS AXIS AND PLACING RETAILS AND SERVICES ACCORDING TO USERS DEMAND, JOINING IN THE MAIN PLAZA WHERE LEVELS OF POROSITY ARE AT THE HIGHEST POINT


VERTICAL DEVELOPEMENT

The project exployes density and locality as tools for enliving the public space. The vertical extension of the intervention becomes an opportunity to increase density and to settle new residents into an area which is believed being rules by commuters and tourists. The vertical extrusion is a finely calibrated action which uses sunlight, users demand and enclosure level to preserve the groundfloor definition, while unchanging the 2020 Southbank brief.

CURRENT PAGE SELECTED ITERATION PROCESSES TO CARVE OUT SIMPLE VERTICAL EXTRUSION: SOLID OPERATION DIFFERENCE RELATED TO LEVELS OF ‘HARDNESS’ AND ‘SOFTNESS’ WANTED ACCORDING TO DIFFERENT TYPES OF USERS AND THEIR MAIN CURRENT TRAJECTORIES WITHIN SOUTHBANK; SUNLIGHT MAXIMIZATION WITHIN THE 3 MAIN AXIS INTERSECTIONS ACCORDING TO DIFFERENT TIMES OF THE DAY IN WHICH THE SQUARES ARE USED; EXTRA EXTRUSION AND CORRECTING SUNLIGHT MAXIMIZATION CURRENT PAGE PERSPECTIVE OF THE OVERALL INTERVENTION APPEARING AS INTRUDED AND POROUS NATURE INTO THE 20TH CENTURY FABRIC AND TRANSITIONAL SPACE WITHIN THE NEW EXPECTED DEVELOPEMENTS

NEXT PAGE IMMERSIVE VIEWS INSIDE THE PROPOSED INTERVENTION: ACCESS TO THE NEW SOUTHBANK CENTRE BETWEEN THE ROYAL FESTIVAL HALL AND THE NATIONAL TEATHRE; MAIN CENTRAL PLAZA; TRANSITION SPACE BETWEEN THE MAIN PLAZA AND THE MORE HARD-EDGE AXIS LEADING TO WATERLOO STATION FROM THE RIVER BANK; THE HARD-EDGE AXIS LEADING TO WATERLOO STATION


LUCAGAMBERINI

Architecture Portfolio Luca Gamberini| 2016 | ARB RIBA Part 1 | AA School of Architecture  

Selected Work Portfolio - second and third year at the Architectural Association School of Architecture, London.

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