Luca consults on all aspects of room acoustic design and planning, sound separation, and noise and vibration control.
Luca has more than ten years’ experience in acoustic design consultancy, creating great sounding performing arts spaces by working closely with architects, clients and contractors.
Luca has Masters degrees in Architectural Engineering and Architecture and has studied classical guitar and trumpet. His musical training influenced his interest in performing arts venue design and the relationship between music, acoustics and architecture.
His design experience includes theatres, concert halls, recital halls, opera houses and outdoor concert venues. Over the years, Luca has developed strong skills in sound modelling and optimisation with the aim of making acoustic and sound a more accessible discipline for a wider audience. He is passionate about using 3D sound technology as a design tool to enable the entire design team to listen to a building before it’s built, allowing design decisions to be made in an inclusive way.
Luca has a broader interest in sound and soundscape as a key component of any environment to promote comfort and wellbeing. Currently he is also a part-time design tutor at the Bartlett school of Architecture where he promotes sound design for the built environment.
Luca’s consultancy work with Charcoalblue includes Oxford’s St Edward’s School, Arts Educational Schools and Theatre Royal Drury Lane.
Luca leads an acoustics design forum on age-related hearing loss at our monthly Company Day.
Luca and some of the acoustics team sit to discuss a forthcoming project.
What qualities should a 'great performance space' have?
A great performance space should support performers in achieving their artistic goals. At the same it should transport the audience into a new reality where everyone is enveloped and a part of what is presented on stage.
What first sparked your love of theatre or performing arts?
I have always felt a great power and tension in live performance and this is mainly related to the fact that the experienced is shared by the audience at the same time without the interference of editing and post production. This creates a purer and more direct communication.
Initially I thought that my passion for music and the engineering / architecture career path I had chosen didn’t connect. It was a revelation when I discovered I could combine the two together and be an active part in the design of spaces that would recreate that magic relationship between performers and audience. A spark was ignited!
You studied classical guitar, is there a particular place where you love to play?
I think I was 10 when for the first time I performed in front of the public. The music school used to organise concerts in the choir of the Santa Chiara church that dated back to 1742.
The choir, narrow walls, the volume together with the wooden pews and the stone walls made it a very good venue for chamber music that allowed the guitar strings to resonate and be amplified. Over the years, I played many times in this venue and the most exciting time was playing Hector Villa Lobos prelude no 4 with its warm melodies blending perfectly with the acoustics of the choir.