Incontroluce 16 - iGuzzini magazine 04.2007 - English

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II. 200716 English version



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Editorial

Dear Readers,

the sixteenth issue of our journal is truly a bumper edition, packed withcontributions from our branches in Europe, but with items from distributorsaround the world as well. In this issue we present the project undertakenin collaboration with the Brembo company at Italy’s first Science andTechnology Park, as part of a master plan by Jean Nouvel.As ever, the topics covered are many and varied: the contemporaryarchitecture of Nouvel and the museum installation at Palazzo Madama

in Turin, an English abbey and an exhibition at the Grand Palais, Paris,the headquarters of a Danish company, and a memorial to the victimsof the 11th March terrorist bombings in Spain.Also presented in this issue is the second edition of “Conoscere la Forma”(Appreciating Form), the project launched by iGuzzini’s Study and ResearchCentre in collaboration with the Istituto Centrale per il Restauro (CentralRestoration Institute), which from March to June 2007 was hostedby the Louvre.

Adolfo Guzzini



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16 Incontroluce

Summary

II. 2007

Editorial

The Marches

Industry and Territory:support for schoolsand for youth sports

Design

The power of light

Projects

The new Brembo Researchand Development Centre

Palazzo Madama and the Civic Museumof Ancient Ar t in Turin

Nhow Hotel

Blue Room. Memorial to the victimsof the 11th March bombings.

Avinguda de Meritxell

Trésors englouits d’Egypte

New illuminationfor Romsey Abbey

GN Store Nord

Lighting for fun.Sihlcity and Rüsterei

The right light for Bally stores

Augustinus Muziekcentrum

Melbourne Airport,international arrivals

Lighting plan for Old Havana

Ideapark

Corporate culture

“Praxitele, connaitre la forme”

Ron Arad at Designer’s Days

Less CO2ReLighting

“Renzo Piano Building Workshop.The Visible Cities”

iGuzzini at the Salone del Mobile

A show for iGuzzini Partners

Primavera italiana

arthouse film & Alinari photographs

Workshop on Lighting Plans

“More than Vision” presentation



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Industry and Territory:support for schools and for youth sports

The Marches

A business is strong when it can count on human

resources with a good cultural education and an

appetite for innovation. To ensure that people

can be found locally with these attributes, iGuzzini

has created a number of bonds and relationships

with the surrounding territory, ranging from

schemes run with local schools to the creation of

cultural opportunities. The creation of relationships

with local schools and with establishments located

farther afield in Italy that have links with the

company's particular activity, making available its

facilities and offering space and opportunity for

closer interaction between education and the

workplace, is an action of considerable importance

in corporate terms. On the one hand, the company

provides support to pupils and their families,

in the form of training schemes relevant to the job

opportunities typically available in the territory.

On the other, the school benefits from the chance

to widen its curriculum offering. The activities

carried on by the company range from work-

experience schemes, through collaboration on

theses (over a period of some 20 years, we have

contributed to around 70 theses), to involvement

in the teaching process, with lectures and specialist

input to courses, and the actual adoption of aschool, as happened in 2001, when iGuzzini (in

conjunction with Fratelli Guzzini, Teuco Guzzini, the

municipality of Recanati and the Education Agency

of Macerata) adopted the “Enrico Mattei” secondary

school in Recanati. Interestingly, this was one of the

first schools in Italy to organize courses whereby

students could obtain a motorcycle driving licence.

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i n c o n t r o l u c e 1 6

Photos: The “Enrico Mattei” School

1.2. Scenes of school life

3. The “ITIS in moto” project, developed in collaborationwith the Campetella company, designer and makerof industrial robots, injection systems and electric vehicles.

4. Meeting with Carlo Campetella

The adoption procedure involves the offer of

financial resources to help design specificteaching courses, and purchase equipment.

The role of the company is to offer new teaching

opportunities: for example, visits to industrial

design centres like the Mercedes Design Centre,

and corporate museums like that of the Ducati

company, with which iGuzzini has collaborated.

Also in 2001, iGuzzini helped to put together two

I.F.T.S. courses (Istruzione e Formazione Tecnica

Superiore - Higher Technical Instruction and

Training) targeted at training design engineers

to specialise in the lighting, conservation and

development of artistic and cultural assets, and

an Object Design course (“Progettazione e Design

dell’oggetto”). Attendance levels on this type of

course are high, with a tough selection process:an initial list of 120 candidates is pared down

to 25, the maximum number admitted. 80% of

participants found jobs at the end of the course,

whilst a further 15% elected to continue studying.

The “Enrico Mattei” school is by now well

established: December 2006 marked forty years

since it was opened, and the occasion was dulycelebrated with a ceremony held at the Teatro

Persiani in Recanati, with Italy’s Minister for

Youth and Sport Giovanna Melandri attending.

The vitality of the school is reflected in the

increased numbers of enrolments and speciali-

sations in recent times: in 2004, an IT course

was created, and in 2005 a professional

electronics engineering course, in response to the

ever-increasing demand from local companies

for qualifications in these fields. Another speciali-

sation in great demand from local enterprise

is that of mechanical engineering. Here too,

the courses have been upgraded. During this

ceremony, the minister also presented an award to

the footballers of the “US Recanatese”, a sportsclub that can boast a winning team for 2006

at provincial level in the “bantams” section, and

a team sponsored by the Enrico Mattei ITIS*,

conscious of the fact that education and training

extend far beyond the classroom desk.

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The power of light

An opinion piece by Jonathan Speirs

Design

It’s all about passion - or at least that is my humble opinion!I believe that only people who love the magical potential of light can work itspowers, and with practice and experience create wondrous spaces and environmentsfor people to enjoy. There are obviously many other aspects that come into play,and again this is a somewhat biased opinion, but I believe that to be a giftedarchitectural lighting designer it is essential to be able to visualize in threedimensions, to love and appreciate all aspects of architecture, to have the abilityto self-criticise (by maintaining the creative process until the idea is absolutelythe right one), and to enjoy playing tennis! What I mean by this sporting analogyis when you, as the lighting designer, are sitting with the architect or interior

designer and one of you serves an idea across the table, sometimes that ideacomes back enhanced with a bit of spin, which then, with a mental stretch,you do a beautiful lob back in a way that makes the other person sprint and if performing well they return the idea back with an even better stroke or idea.Eventually the creative solution or idea is formed and the point is won by mutualconsensus. In real tennis, when you see a great rally between two players, atthe end one player hits the final winning stroke but the public applauds the rally.In other words, it shouldn’t matter who has the final idea as long as it is absolutelythe best one for the project - the project wins! I love to play tennis, and I love theprocess of bouncing ideas back and forth which is necessary for an outstandingcreative solution. It makes me a little concerned when I hear some lighting designerssay that they prefer working on projects where there is no architect or interior designer.Lighting Design as a profession has come a long way in the last 25 years.This is the length of time I have been in practice; when I decided that the medium

of light provided greater design opportunities and enjoyment than mainstreamarchitecture. Since making this decision I have had incredible opportunities to workwith and learn from some of the best architects in the world. This continuouslearning process has given me an insight into different architectural philosophiesand ethos, and allows me to intelligently converse and meaningfully engage witharchitecture on both a practical and a theoretical level. My original interest inlighting began with the discovery of our school theatre when I was 12 years old,which developed into a significant interest in per formance; theatrical as well asmusical. I was always interested as much in the production side of the events asin the music. While studying architecture I worked with local rock bands doinglighting and sound, and even had great fun making pyrotechnics! My degree thesiswas entitled “Architecture Using Theatrical Lighting Techniques and Technologyto Create Atmosphere in Buildings” - a long title, but one that sums up myinterest at the time and since. All of these influences and experiences gave me

a much broader outlook in terms of design as I began this fascinating career path.Co-founding Lighting Design Partnership in Edinburgh, Scotland in 1983 as theUK’s first independent purely lighting design practice was a major step and throughsheer enthusiasm, creativity and hard work developed a reputation for deliveringlighting design for buildings in a way which had never been seen before in aEuropean context. You will, I hope, appreciate that in the late ‘70s and early‘80s there was no recognizable career as an architectural lighting designer:



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Photos: Gabriele Basilico, Adam Mork, Sophie Milligan

1. Special luminaire made forGOGGS - Government Offices at Great George Street

GOGGS, London, United Kingdom

Architect: Foster + Partners

As part of our work on the redevelopment

of Government Offices at Whitehall in London

we were asked to develop a solution for a

grand listed staircase and developed a concept

of a suspended element that relied on reflected

light to illuminate the space.

This chandelier evolved into a series of suspended

acrylic rings hanging below a narrow beam

downlight located in the cupola of the dome.

The object’s simplicity belies the amount of work

that was required to maintain its clean appearance.

In a way, the object form and size was dictated

by light and its characteristics and not necessarily

by us as designers.

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The power of lightDesign

it was the domain of the electrical engineer, who primarily took the science route

as opposed to the artistic aesthetic option when designing lighting for buildings.Leaving LDP in 1992 to set up Jonathan Speirs and Associates gave me anopportunity for re-invention in that it allowed me to run a practice in a way thatI had been unable to do previously. Around this time I was able to re-kindle myfriendship and working relationship with Mark Major, who had worked with meat LDP for a number of years in the mid-‘80s.This then led to the formation of Speirs and Major in London and in 2003 themerging of the two studios to become Speirs and Major Associates (SaMA).It was at the time of the merger when Mark and I decided to embark on an internaleducation project that eventually grew beyond the practice and became knownas “Made of Light”. We are not trying to say that this is the only way to designwith or consider light - rather, it is one way that works for us when approachinga project. Even the journey of developing this project has proved educational forall those involved. For the future of lighting design and our emerging professionwe have great optimism, albeit tinged with a few concerns, which we will lookat in the next issue.

Made of Light

This was an opportunity to analytically considerthe process of lighting design - how we thinkabout light and architecture at Major and Speirs- and to identify what inspires us. We conveneda weekend gathering of our two studio teamsin our London office for a brainstorming sessionfocusing on “inspiration”. “Made of Light” hasessentially four outputs: the book of the samename, published by Birkhauser, now at its thirdreprint; an exhibition, which so far has appearedat the Royal Institute of British Architects and

the ARC 06 show, both in London, the SwissInstitute of Architects Biennale conference inBerne, PALME INSTALL in Dubai, and mostrecently at an event in Graz, Austria (planningis currently under way for the exhibition to tourScandinavia later this year, and hopefully it willappear in Germany and Italy in 2008); a lecturethat has been presented in Frankfurt, Las Vegas,New York, Dubai and Graz, and finally thewebsite www.madeoflight.com. The website, stillat an early stage of development, is intended tobecome a repository of stimulating and inspiringmaterial: all of the above research and outputdesign has been funded by SaMA, not as a self-promotion vehicle but with the intention,it is hoped, of educating and inspiring designersto explore the wonderful medium of light.Funds to sponsor the exhibition were gatheredfrom companies having an intellectual or

practical interest in the project, and with theseresources it was possible to buy the equipmentneeded for the organization of a touring show.As to the book, it contains written contributionsand illustrative material from many colleagueswithin the practice, but from other professionalson the outside too. Publication would not havebeen possible without the input and editorialsupport of Anthony Tischauser.

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2.3.4. “Made of Light” exhibition

5. Jonathan Speirs

6. The Copenhagen Opera House by night

Copenhagen Opera House, Denmark

Architect: Henning Larsen Tegnestue

A gift from a generous and enlightened benefactor

to the people of Denmark. This project required

an intelligent use of lighting design, such as

would conceal the fixtures from view while

illuminating the architecture elegantly and to

optimum effect after dark. The external view

was particularly important, given the waterfront

location of the building. The aim was to draw

the gaze of the observer to the interior of the

building, as if looking into a “lantern”. Most of

the foyer lighting is provided by a special cove

feature that wraps around the openings in the

floor plates, to avoid puncturing the ceiling with

a battery of downlights. The auditorium ‘conch’

is lit with fixtures recessed into the roof, utilizing

lamps with two different colour temperatures:

cold during the day, and warm in the evening.

By day, the space is permeated with natural light,

whereas at night the foyer is bathed in a blue

glow that contrasts satisfyingly with the orange

of the wood panelling. Fibre optic lighting was

used for most of the seating area. Each of the

fibre lens heads was focused and locked

positionally onto a specific seat. The balcony

fronts are fitted with a succession of linear

white Led glowing slots. All the fibre heads

and the Led arrays are individually addressable.

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The power of lightDesign

The Eden Project, Cornwall, United Kingdom

Architect: Grimshaw

The lighting design brief for this project contained

two strands: firstly, the provision of permanent

and temporary lighting for the “Time of Gifts

Festival”, and secondly, the implementation of

a general lighting strategy for the site as a whole.

These two objectives overlapped with the main

requirement, namely to a provide lighting for

the interiors of the Biomes (domes housingecosystems of animal and vegetable life forms

inhabiting a given geographic environment or

location). There were difficulties to overcome:

budget constraints, limited time window - just

five months from brief to switch-on. Low voltage

fixtures and metal halide type luminaires with a

variety of accessories were installed at strategic

points around the biomes, with colour, orientation

and exposure determined according to the

vegetation, the sculptures and the architecture

featured in each one. The illumination from

overhead gantries creates patterns of texture

and shadow on the ground. Externally, metal

halide floodlights were deployed to illuminatethe pit-walls as a backdrop, to ground the biomes

and reinforce the dynamic of the landscape

in which The Eden Project is situated.

Prominent pathways were illuminated in blue

either by filtering existing bollards or by blue

Led festoon in the branches of trees.

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7. Eden Project

8. Special luminaire made for the HBOS headquarters

HBOS headquarters, Edinburgh, Scotland

Architect: Malcolm Fraser Architects

This important refurbishment of a fine historic

building - with all the stringent architectural

and lighting constraints imposed by its Grade

I listing - presented the designers with a number

of challenges. The primary object was to find

a way of incorporating a contemporary lighting

scheme sympathetically into a period building,

treating the original character of the layout and

fabric with respect, so as to strike a harmonious

balance between old and new. Many of the

ceilings have intricate plasterwork: to retain their

aesthetic integrity, the designers had to avoid

using downlights. The lighting in the Great Hall

had to provide a measure of versatility ensuring

it would be able to perform a range of functions,

while complementing the period features of the

interior without disturbing the plasterwork

overhead. In the end, six lighting slots were

created in the ceiling; these are exposed to view,

but do not interfere with the design of the ornate

plasterwork. The lights in question are accents,

picking out works of art and architectural features.

White and blue cold-cathode lighting wasconcealed at the cornice to illuminate the newly

gilded ceiling. The final touch is provided by a

spectacular chandelier of mirror-polished stainless

steel and glass construction, 5 metres in height

and 3 metres in diameter, custom-designed for

the project.

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New Brembo Researchand Development Centre

Stezzano - Bergamo, Italy

Projects Preliminary, definitive and executivedesign, art directionJean Nouvel

Consultant to Jean NouvelHubert Tonka

Project leader:Alessandro Carbone

The new Research and Development Centre of

the Brembo company is the first building to be

completed as part of the new architectural complex

envisaged in Jean Nouvel’s Master Plan for the

Kilometro Rosso Science & Technology Park.

The new R&D Centre includes management

offices, as well as expanding the research

facilities available to Brembo, the first company

to move into the Kilometro Rosso. In effect,

the only existing building in the Science &

Technology Park area, designed by the renowned

US practice Skidmore Owings & Merrill (SOM)

and built originally for Hewlett-Packard, has

already for some years been the research

premises of Brembo and Brembo Ceramic Brake

System, a joint venture with the Daimler-Chrysler

group. The architectural design of the new R&D

Centre is by Jean Nouvel, author of the Kilometro

Rosso Master Plan, the interior design by Blast

Architetti (Bombassei, Siccardi and Traversa) and

the landscaping by Land. The Kilometro Rosso

Science & Technology Park covers an area of

392,000 m2 (90,000 m2 under cover) and is

located just outside the city of Bergamo, along

the A4 Milan-Venice motorway. Conceived

internally as a campus set in a greenfield site,

the signature feature of the complex is the

“Kilometro Rosso”, a spectacular architectural

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screen fabricated from extruded aluminium and

coloured red. This Red Wall, intended by Jean

Nouvel essentially as a protective sound barrier

to shield the buildings and the park from the

noise and pollution of the motorway traffic, is

carried on a steel-reinforced concrete base clad in

its entirety with finned extruded aluminium

sections. The continuity of the frontage is broken

by large openings that resemble the air intake

ducts in an automobile body shell. These are

intended to provide access both to cars and to

pedestrians headed for the buildings in the park.

Among the various architectural elements in

Kilometro Rosso, Nouvel has adopted a free-



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Photos: Matteo Piazza, Pietro Savorelli

1. The Kilometro Rosso, seen at night from the A4 motorway

2. Sketch by Studio Land for the park

3. Rendering of the Kilometro Rosso Science and TechnologyPark area

TeamLivia Tani, Cristina Ventura,Andrea Ciofi degli Atti, Raffaella Falbo,Andrew Todd, Gwenola de Quelen,Sergio Noero, Cristiano Benzoni,Laurent Pereira, Anna Ugolini.Blast Architetti - Luca Bombassei,Simona Traversa, Franz Siccardi

Project coordination,interior design,art direction.

Project leadersLuca BombasseiSimona Traversa

TeamFrancesca Ciuffreda, Antonio Runco,Luigi Pezone, Chiara Giussani,Aria Behbehani, Luca Cattaneo,Anna Cattaneo, Andrea Fiorucci,Matteo Mazzola, Paola Badoino

flowing green landscape with no fences, and

minimal vehicular access above ground, with

new buildings reachable by way of roadways

concealed underground. This oasis of

architectural excellence looks to host multi-

disciplinary activities centred on research and

technological innovation, with a view to creating

a knowledge transfer network and generating

employment for more than 3000 persons over

the next 7-8 years. The Brembo Research and

Development Centre occupies 11,000 m2 and

is located at the south-easternmost end of the

Kilometro Rosso Science and Technology Park

area. The building is joined to the Red Wall,

which widens at this point to admit the mainhorizontal access ways, and is made up of

parallelepiped blocks extending into the Park.

The blocks are interconnected and interrelated

on the basis of a plan envisaging variations in

dimensions, offsets and cantilevers. Entry is by

way of a steel-clad cylindrical structure inserted

tangentially into the Wall. The glazed outer skins

of the ventilated façades are provided in reality

by a sophisticated system of louvres that can be

positioned as dictated by necessity; in this way,

the façades take on a thickness and density

suggestive of ice, leaving the observer to imagine

the different vital functions carried on inside.

There are three external materials: the sheet

of the Red Wall, reflecting the territorial scale,

the glass of the parallelepiped blocks, a symbol

of administrative activity, and the silvery metal

cladding of the top floor and the entrancecylinder, illustrating the conceptual content.

These three materials correspond to three

different forms (line, pure volume, free form)

and externalize three core elements, each conveying

a different message. The four cantilevers, two

to the south and two to the west, are constructed

adopting a solution that combines concrete

wall-beams and metal horizontals fabricated

with steel joists and corrugated panels.

The more pronounced western cantilever is on

the highest floor and accentuated by the fact

that it rests on a receding stepped front.

The Brembo R&D Centre is accessible directly

from a parking area that runs alongside the

motorway and stands elevated from the level

of the park on which the complex is laid out.

This means that the entrance to the building is

on the first floor of the cylinder, effectively a hubfrom which routes lead to all parts of the interior.

The cylinder is an interchange for the horizontal

access ways (“rue corridor”) incorporated into

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Projects New Brembo Researchand Development Centre

the width of the Red Wall, which widen and

curve away toward the Park. On the west side,

the main “rue corridor” leads from the entrance

along a winding path to a number of offices and

to a conference room housed in one of the

cantilevers; on the eastern side, a drop connects

the new building with the existing SOM building.

In addition to the horizontal access ways, a

Brembo products showroom and a cafeteria are

housed on the upper floors of this longitudinal

space. Two bridges taken off the Wall on the first

and second storeys connect with the two

parallelepiped blocks, which are used as offices.

The way up to the top floor, which runs parallel

to the Wall, is via the entrance cylinder.

The ground floor is laid out with open-landscape

research laboratories and prototyping workshops.

The materials and colour schemes selected by

Blast Architetti for all interiors are typified by

an aesthetic approach applying rigour: the bare

reinforced concrete of the perimeter walls presents

a raw texture complementing the severity of

vertical surfaces finished in waxed gypsum,

and the transparent lightness of screenprinted

glass partitions that divide the office space and

afford a continuous line of vision toward the

surrounding park. The display niches - cut into

the side walls of the main rue corridor - contain

superior mechanical components manufactured

by Brembo, and are illuminated using special

Led sources able to produce changes in tone

and colour. On the outside, the Brembo building

appears as so many rectangular blocks, rather

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4-5. The Brembo Research and Development Centreseen by day and by night

Landscaping and open spaces.Complete design and technicalassistance on direction of works.Studio LAND

Project leadersAndreas KiparGiovanni Sala

TeamMauro Panigo, Giuliano Garello,Anna Comi, Alain Carnelli, Prisco Ferrara,Andrea Giuradei, Mina Fiore

like a randomly assembled Lego model, whereas

on the inside, the linear access ways reveal

the simplicity and clarity of the architecture.

The complexity of the layout is well compensated

when considering the quality of the views

afforded by the resulting vantage points, and

the kind of independence and identity each

department is able to enjoy. The walkways

connecting the Red Wall to the glass

parallelepipeds represent nerve centres on

which everything pivots - points from which

the eye can pan 360°, taking in the full panorama

of the design and appreciating the concept.

In the offices, the internal screenprinted glass

partitions appear to merge with the façade

glazing, and the micro-pierced metal of the

ceilings pick up the silvery metal cladding

of the third floor and the entrance cylinder.

On the chromatic front, the Blast preference

is almost always for shades of grey. Lights are

recessed throughout, and designed to wash

vertical and horizontal surfaces without creating

strong contrasts in density: an enveloping

atmosphere is created, practically devoid of

shadows. In transit areas, light and colour

combine to represent mobility. The lighting design

for this imposing centre is based on the integration

of natural and artificial light: during the daytime,

natural light is diffused through the structure,

ensuring visual comfort, and at night, the

extensive glazed surfaces are lit up to create

luminous curtains. In the offices, recessed Optica

units ensure an average 500 lux on horizontal

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surfaces, while creating no problems of glare or

reflection on VDU screens. The fixtures used in

the meeting rooms are fluorescent Cestello,

providing both background and accent lights.

Recessed Lineup fixtures functioning as wall

washers are installed along the corridors, the

light from these units combining with uplight

provided by recessed Linealuce fixtures.

The green space around the Brembo R&D Centre

forms part of the overall design presented by

Studio LAND (Landscape Architecture Nature

Projects New Brembo Researchand Development Centre

Development) for the Science and Technology

Park. The idea of LAND is that the Kilometro

Rosso should be seen as a metaphor for a wind

tunnel, where “the fluid element, encountering

the rigid geometries of the architecture, generates

movements, waves, eddies and vortices”.

In practice, the eddy and vortex components

are gentle relief features and bodies of water.

The soil is landscaped with crests appearing

as small dunes placed to shield internal access

ways or to delimit different areas. Trees are

planted to a plan of progressively decreasing

density, more pronounced adjacent to the

Red Wall, and thinning out toward the

surrounding farmland. The Park is illuminated

by fixtures generating limited visual impact:

recessed Ledplus for the walkways and iWay

fixtures for roadways.

Text adapted freely from monograph by

Sebastiano Brandolini in “Brembo Research

and Development Centre 2004-2007”

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6. Detail of overhead walkway seen by night

7. Jean Nouvel and Luca Bombassei

8-9. Colour variation in the corridors

Studio Blast Architetti

Bombassei, Siccardi, Traversa

Luca Bombassei (born 1966, Bergamo) and Simona

Traversa (born 1968, Milan) set up their Milan-based

Blast practice in 2001. In 2005 they were joined by

Franz Siccardi (born 1964, Milan). Having completed

their studies at the Architecture Faculty of the Milan

Polytechnic and graduated, Luca Bombassei, Simona

Traversa and Franz Siccardi took up a variety of training

and work experiences in Italy and the US, which today

provide the versatile knowledge base of Blast Architetti,operating currently with twenty associates. Numerous

projects have been completed recently, including the

renovation of several historic buildings in Venice, the

new Brembo stand, and the Casa del Habano in Milan.

In addition to a great number of private dwellings, works

now nearing completion include the Milan headquarters

of Rezia Energia Italia, the Master Plan for a residential

centre in Ivory Coast, and a redevelopment project for a

former industrial estate in Tuscany. As part of the Master

Plan by Jean Nouvel, The Kilometro Rosso Science and

Technology Park represents the studio’s most complete

experience to date. The Centro delle Professioni, the first

architectural project in the province of Bergamo to be

certified energy-efficient, will be completed by the end

of 2007. The building operates with an overall energy

requirement less than half of that needed by a traditional

building, and releases harmful emissions into the air at

a rate 70% lower. These results qualify the Centro delle

Professioni as falling within the parameters of excellence

established by the top certification protocols, namely

class A of the Italian CASACLIMA scheme, and the

Platinum level specified by the US certification program

LEED (Leadership in Energy and Environmental Design).

These are targets that Blast is also intending to emulate

and surpass with its Interdisciplinary District of Research

and Technology (completion due at the end of 2008).

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Palazzo Madama and the Civic Museumof Ancient Art in Turin

Turin, Italy

Projects

Turin, December 2006: with the reopening of the

Civic Museum of Ancient Art at Palazzo Madama,

the renovation and refurbishment works begun

in 1997 were brought to a close. Because theproject was a complex one, considerable time

went into studying and carrying out the necessary

work on the Palazzo. During the period in

question, while restoration work proceeded on the

Palazzo, research was conducted in collaboration

with the Energetics Department of the Turin

Polytechnic, and the “Palazzo Madama Project”

team, on how best to provide lighting and

climate control in the spaces housing the exhibits.

The Palazzo Madama stands on a 2000-year

old site presenting a remarkable stratificationof architectural styles from different periods of

history: originally a city gate, in Roman times, it

became a fortified castle during the 14th century.

Thereafter, the stern for tress was redesigned by

architect Filippo Juvarra and converted into a

residence, inhabited first by Marie Christine of

France, then by Marie Jeanne Baptiste of

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Photos: Paolo Carlini

1. Royal Lady's Chamber

2. Four Seasons Room

Project DirectorCarlo Viano, architect

Assistant to project directorDiego Giachello, architect

Technological systemsAlfonso Famà, engineer

Lighting designProject Team: City of Turin and TurinPolytechnic, Department of Energetics,within the scope of pertinent researchand consultancy agreements, viz. “Designresearch and laboratory experimentrelating to problems of lighting andclimate control in temporary andpermanent exhibition spaces”,leader Prof. Marco Filippi; team:

Savoie-Nemours; with the addition of an elaborate

and imposing frontage, completed in 1721,

Palazzo Madama became a showpiece of

European baroque. The monumental staircase

in the added front section is flanked by large

expanses of window glass creating a two-way

communication between interior and exterior,

a feature characteristic of Juvarra’s architecture.

During the day, these large openings admit

natural night and “life on the outside” can, as

it were, permeate the hall. At night, conversely,

the brightly lit interior and the activities carried

on inside are showcased for the townspeople

in the piazza to see. To obtain a perception

of the depth built into the frontage, a luminance

contrast is created between the surfaces within

the staircase hall - visible from outside - and

the external surfaces of the façade. It was

decided to replace the chandeliers lighting the

monumental staircase with new fixtures that

would meet the specified requirements of keeping

the same overhead power supply points and

avoiding further alterations to the building.

The new “chandeliers” made by iGuzzini, based

on the company’s Cestello fixture, are able to

guarantee perception of the architecture and of the interior decorative elements; they are flexible

structures, equipped with light sources directed

upward and sideways to flood the ceiling and

the walls, and downward for efficient illumination

of the stairs. Given the dimensions of the frontage

structure and the texture and colouring of the

decorative elements, the designers decided on

metal halide light sources rated 70W with colour

temperature 3000 K.

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Chiara Aghemo, Anna Pellegrino, LauraGaleazzo; “Definition of artificial lightingsystems in exhibition rooms and along tourroutes of the Civic Museum or Ancient Artin Palazzo Madama”, leader Prof. AnnaPellegrino.

Consultant on lighting designfor museum installationsAnna Pellegrino



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Projects Palazzo Madama and the Civic Museumof Ancient Art, Turin

The formal characteristics of this system

provided a basic reference for the solutions

adopted elsewhere in the Palazzo, maintaining

a uniformity of design and form throughout.

In particular, a similar structure - albeit on

smaller scale and equipped with QR 111

halogen light sources (IRC technology) -

was adopted for the Acaja and Stemmi rooms

on the first floor. With the need for a significant

number of diversified terminals and the intention

not to expand the wiring layout beyond that

already in place, a suitable engineering

solution was found in a multifunctional systems

concentrator, studied by the design team and

implemented ad hoc. In the context of the

overall tour around the Palazzo, the concentrator

is the single overall control element to which

the terminals of the warning and public address

systems are interlocked, together with the

lighting fixtures. While central to the principle of

minimising alterations carried out on the building,

the concentrator solution presented a particularly

tough challenge to the l ighting designers:

the positioning of the concentrators would be

predetermined by the number and location of

power supply outlets; also, the number of lightingpoints was limited by the size of the concentrator

and the presence of other system components.

In certain rooms, halogen sources (QR111

with various beam spread angle and output

combinations, IRC technology) had to be

integrated with metal halide types to ensure

the required quantity and distribution of light,

even where available space might be limited.

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3. The Acaja room

4. Staircase of the Juvarra frontage



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Nhow Hotel

Milan, Italy

Projects Client - InvestorDHD - Design Hotel Development -Emanuele Garosci

Architectural designDaniele Beretta

Interior designMatteo Thun & Partners

The Hotel Nhow, in Milan, is a renovated factory

building occupied formerly by General Electric,

and one of the biggest premises in the Tortona

district, an industrial estate dating from the

1930s. Today, the area is a well-known fashion

and design quarter. The architectural design

by Daniele Beretta reflects a commitment to

preserve the history of the place, ensuring its

original character can be retained even amid

the current spate of development activity, with

disused industrial buildings being converted

everywhere into showrooms, workshops and

design studios. Accordingly, the General Electric

building has kept its original volumes, thanks

to the shed type roof typical of factory buildings

and the grey render of the outer walls, which

are given a lighter feel and added vibrancy by

large windows with stained glass. The interior,

designed by Matteo Thun, makes use of

industrial construction media such as concrete

for floors and steel for columns, alongside more

traditional materials like natural stone and wood,

of which certain surfaces are left untreated to

create a particular visual effect, but also to

provide a different tactile sensation. In reality,

the Nhow is a hotel and more besides.

It provides a venue where structures and

furnishings can be changed around and

combined to stage events such as exhibitions,

fashion shows and the like, put on in association

with the Milan Triennale and a network of art

galleries. The lighting of the interior caters for

this multifunctional requirement: installed

together with the decorative lighting fixtures are

Trimmer spots, recessed in shallow channels

at ceiling height. With this intelligent solution,

changes can be made to suit the lighting needs

for different types of events. On the outside, the

window surrounds are highlighted by Glimcube

fixtures with blue Leds.

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Photos: Giuseppe Saluzzi

1. Exhibition area

2.3. Exterior of the building.Window surrounds illuminated by Glimcube fixtures

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Blue Room. Memorial to the victimsof the 11th March bombings

Madrid, Spain

Projects Architectural designStudio Fam

Team membersSON3-Produzioni Digitali,Alvaro León-Keloide,Rubén Coca (video)Oliver Acosta(technical assistance)

1

In April 2007, three years after the horrific train

bombings of 11th March in Madrid, a memorial

to the victims was unveiled by members of the

Spanish royal family: an imposing cylinder placed

in front of the Atocha rail station. The monument,

a sculpture, appears as a cylindrical glass tower

11 metres high fashioned from special blocks

measuring 30x20x7 cm, the largest size possible

using this type of material, according to architect

Esaú Acosta of the “Fascinante Aroma a Manzana”

(FAM) partnership that won the competitionto design a fitting memorial in memory of the

victims. Mauro Gil-Fournier, another partner

of FAM along with Raquel Buj, Pedro Colón de

Carvajal and Miguel Jaenicke, explains that the

sculpture makes sense only in association with

the large “Blue Room” underneath, from where

visitors can read messages written by members

of the public in the aftermath of the bombings:

whilst the glass tower in the square is the more

visible manifestation of the memorial, it is

only from this underground enclosure of some

500 square metres that the significance of

the memorial can truly be understood.

The underground chamber incorporates a

membrane of ETFE (ethylene-tetrafluoroethylene).

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The room is isolated from outside noise, so that

silence and light dictate the mood. The structure

weighs 160 tonnes overall and is completely

transparent. It is also colourless, as the glass

blocks are bonded together with a special

adhesive. The messages will be visible against

the glass during the day, and take on a different

form at night. This completely dematerialised

internal dome consists only of letters giving

shape and proportion to the membrane, which

has the property of being undetectable with 97%transparency. Access to the Blue Room is from

the interior of the Atocha station, via the main

hall. Once inside the room, the perception of

space disappears, and light becomes the

predominant medium: a blue-coloured space,

with the gaze drawn automatically to the “eye”

looking up into the glass dome. Every other part

of the installation is designed around this one

mechanism. The room is inundated with light,

carrying nuances and reflections induced by

the glass and the ETFE membrane, to create

a discreet and delicate spatial effect. At night,

the words written on the ETFE material are

shown up by 12 ColourWoody fixtures placed

between the membrane and the glass.



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Avinguda de Meritxell

Andorra la Vella, Andorra

Projects ClientMunicipality of Andorra la VellaManel Blasi, aldermanJordi Pujol, councillorJoan Rodríguez, architectVíctor Soto, lighting planner

The principality of Andorra is a small state

situated in the heart of the Pyrenees, between

France and Spain. Andorra’s main source

of revenue is tourism. Thanks to a notable

cultural heritage embedded in its upland valleys,

mountain sports and business activity, Andorra

is able to attract a healthy number of tourists the

whole year round. The capital is Andorra la Vella,

and it is here that most of the population lives.

The city is located at the confluence of the rivers

Valira del Nord and Valira d’Orient, which join

to become the Valira. Andorra la Vella is where

most of the Principality’s main state agencies

and institutions have their offices. It is a city that

combines history and important monuments,

with the cosmopolitan air of a capital accustomed

to receiving large numbers of visitors.

The Avinguda de Meritxell is Andorra la Vella’s

main arterial route, a thoroughfare teeming

with business activity. The road is lined with

an infinite variety of shops, and typified by an

energetic bustle that continues deep into the

night. Intent on revitalizing business activity

along the Avinguda de Meritxell, the Municipal

Authorities recently approved a plan for renewal

and improvement that includes new paving,

street furniture and lighting, all specified with the

end in view of rendering the area a pedestrian

precinct. The design by ACXT looked to provide

an original and characteristic lighting system that

would prove effective for a high street with heavy

pedestrian traffic. The ACXT engineering team

decided on a post 8 metres high, of 400x200

mm rectangular section. The top part of the

post carries a projecting panel set at right angles

to the vertical, parallel to the ground, measuring

1700 mm long and widening from 400 mm at

the post to 900 mm at the free end. The panel

incorporates a reflecting element, finished in

white. The post, galvanized steel, is fitted

with iGuzzini light sources. These include 2

Maxiwoody street-lighting floods with 150 W

metal halide lamps, placed at a height of 6metres. The two fixtures are directed toward

the carriageway and pavement, and fitted to

each side face of the post. Slightly higher, at

6.6 metres, a single Colourwoody spot is directed

upward at the reflecting surface of the overhead

panel. This fixture produces dynamic coloured

light, and the optical assembly will take a metal

halide lamp rated 250 W. Accordingly, this lamp

post has both functionality - afforded by the

Maxiwoody floods with street-lighting optical

assembly, guaranteed to provide excellent levels

of illumination - and originality, a feature of the

indirect dynamic coloured light generated by the

combination of Colourwoody spot and reflecting

panel. The posts are installed along both sidesof the street in staggered formation, spaced

apart at around 18 metres one from the next.

This arrangement gives an average luminance

of 70 lux, with average uniformity of around 0.5.

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Photos: José Hevia

1.2.3. Avinguda de Meritxell

Architectural and engineering designACXT-Idom Ingeniería y Sistemas S.A.

SystemsGEA, General Eléctrica Andorrana S.A.

Partners AssistanceiGuzzini illuminazione España, S.A.

The electrical installation is designed to give 3

on-off controls per lamp post, as well as a signal

cable for control of the Colourwoody spot.

With these light sources and the associated

control function, the Municipality can select

the colour reflected by the overhead panels

according to the calendar: ordinary weekdays,

holidays or national festivities: single colours,

or different colours in programmed sequence.

As an item of street furniture, the lamp post also

incorporates a flagpole bracket for occasions

when the Municipality chooses to put out flagsand banners, and is also prewired for Christmas

illuminations. The lighting fixture, manufactured

especially by iGuzzini, has been named Meritxell.

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Trésors englouits d’Egypte

Grand Palais, Paris, France

Projects Exhibition organizerFranck Goddioand Hilti Arts & Culture GmbH

Lighting designThierry d’Oliveira

During the six months from September 2006

to March 2007, the Grand Palais in Paris

hosted the Trésors engloutis d’Egypte exhibition.

For the first time, the French public were able

to see almost 600 exhibits constituting just a

small part of the artefects brought to light during

the maritime archaeological missions led by

Franck Goddio and his team in the Bay of

Aboukir - mapping the cities of Heracleion and

Canopus - and the ancient Port of Alexandria.

These sites were submerged during the 7th

century A.D., following a rise in the level of

the Mediterranean sea.

Among the main items on show at the exhibition

were three colossal statues, one of which the

great statue of Hapi, known in Egypt as God

of the Nile, symbolizing abundance and fertility,

and the imposing sculptures of a Ptolemaic

king and queen fashioned from red granite,

standing over five metres high. The installation

of a lighting scheme for this show, designed by

Thierry d’Oliveira with assistance from Jacques

Biderman, was a particularly complex operation,

given the complete absence of lighting fixtures in

the 40-metre high roof of the Grand Palais, other

than a few suspended safety l ights. This problem

1

was overcome by Philippe Délis, who designed

the exhibition for the same pieces in Berlin,

with the creation of semi-enclosed spaces using

screens seven metres high, equipped with fixtures

placed in such a way that the beams would cross

to provide accent lighting on the more important

items. The exhibition is lit using Gabbiano and

Le Perroquet Professional spots with halogen

light sources, mounted on tracks. The same

fixtures - again track-mounted - were used in the

bookstore and restaurant. 400 Led fixtures rated

1 watt, designed by Thierry d’Oliveira and made

by Panavision, were deployed to illuminate the



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Photos: Didier Boy de la Tour

1. Themed illumination of the Grand Palais

2. One of the exhibition rooms

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ScenographyPhilippe Délis

Partners AssistanceiGuzzini illuminazione France S.A.



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3.4. Other areas of the exhibition

display cases. Given the theme of the exhibition,Philippe Berthé took his inspiration for theillumination of the façade from water, usinga blue-green coloured light rippled by waves,

created using a traditional technique of gold mirrorsstirred by the slightest breath of air. The columnsand cornices of the façade were lit by Plateafixtures with superspot optical assemblies.

The columns were also backlit using PlateaSpot fixtures with a blue filter. Also contributingto the ripple effect are Woody fixtures withdischarge lamps: the beam from these is reflected

by the system of gold mirrors. The entranceto the exhibition is accented by high powerMaxiwoody spots with blue filter, andnarrow-beam Platea Superspots.

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New illuminationfor Romsey Abbey

Hampshire, England

Projects ClientRomsey PCC Fabric Committee

Main contractorA.C. Lighting

The magnificent Norman church at Romseystands on a religious site that has been occupiedsince early Saxon times, and certainly longbefore the convent was founded in 907.The church was abandoned by the nuns duringDanish raids in the late 10 th century.On their return, the church was restored andextended. The Norman church was begunaround 1120. It is cruciform in shape, 77.7metres in length, and built mainly of Binsteadstone from the Isle of Wight. The Nave wascompleted in the early 13th century, withthe last arches in the Early English style.Recently named as one of the 100 best loved

places of worship in Britain in a nationalnewspaper survey, the Abbey also hostsseveral high profile concerts a year and variouscommunity activities. Regular visitors includethe Romsey singers, Romsey Choral Society,the Bournemouth Symphony Orchestra andthe City of Southampton Orchestra.During 2007, a new architectural lightingsystem was supplied and installed, utilisingmore than 300 individual fixtures. The Abbeyapproached A.C. Lighting to provide a solutionthat would address the poor general lighting andexpensive running costs of the Church’s existingsystem. As the project’s primary lighting contractor,A.C. Lighting employed David Atkinson LightingDesign (DALD) to design and specify a newlighting system, then supplied, installed,commissioned, and programmed the controlsystem. To increase the general lighting levelsalong the Nave, Crossing, North & SouthTransepts, Chancel and Sanctuary, the existingETC Source 4 Pars were repositioned from theTriforium level to the Clerestory level. The fixturesare now fitted with anti-glare louvres to helpminimize the off-access glare, which previously

had been a major issue with the Abbey.With sustainability, maintenance and energyefficiency as key considerations, the project teamwanted to minimise the use of incandescentlamps. Accordingly, it was agreed to placeparabolic reflectors with 150W long life metalhalide lamps from the Triforium level, to be usedas general lighting throughout the day whenthere are no services or events. With the Abbeyhaving such an abundance of outstandingarchitectural detail, the team decided to pick outkey features such as archways and windowreveals with uplighters, in this instance Woodynarrow beam fixtures fitted with a spreader lens.

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Photos: A.C. Lighting Special Projects

1.3. The Nave

2. Details of Triforium lighting

To ensure conservation issues would be suitablyaddressed, fresco wall paintings and carvedwooden panels are illuminated using UV filtersand controlled lighting levels. On the ground floor,low voltage fittings are positioned on the capitalsof the various columns to uplight the vaultingand downlight the side aisles and chapels.Long life lamps have been used throughoutthe Abbey, with the added advantage thata presettable dimming system can be used.The dimming system is controlled by four LCDtouch panels which provide access to numerouscustom scheme presets for the different servicesand events held and staged in the Abbey.

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Lighting designDALD - David Atkinson Lighting Design

Partners AssistanceiGuzzini illuminazione UK LTD



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GN Store nord

Copenhagen, Denmark

Projects ClientGN Store Nord

Architectural designNOBEL arkitekter

EngineeringEKJ Rådgivende ingeniører as

GN Store Nord is a world famous manufacturerof wireless headsets, an organisation whoseexpansion has resulted in a demand for newsystem management solutions. To guarantee theexpansion of production as planned, it becamenecessary to shorten the communicationspath between development and manufacture.To achieve the objective of optimizing workflow, GN Store Nord purchased an existingcommercial building, erected in 1995 andalready redeveloped, with a small office blockattached. The building has been completelyredeveloped and refurbished, given a new mainentrance and equipped with 500 workstationsstructured as offices in a flexible open landscape.The redevelopment has produced a floor area of 34.500 m2. The architectural side of the projectwas placed entirely in the hands of the NOBELarkitekter practice, whose consultants designedthe new development laboratories in the oldpart of the original building. One of the moreimportant tasks was to establish a connectionbetween the various departments that would givegreater cohesiveness and a more agile work flow.

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Photos: Hviidphotography - Anders Hviid

1.2. Corridors and quiet room

3. Atrium

LandscapeHenrik Jørgensen landskabsarkitekter plr.

AcousticsJordan Akustik

Partners AssistanceiGuzzini illuminazione Danmark

3

All of this was achieved by reorganising theoutside area, originally laid out as gardens.The space was covered over with a new steel

and glass structure, creating a large atriumthat affords access to the building. From anarchitectural standpoint, the atrium linksthe components making up the core of thecomplex, logically and satisfyingly.

The walkways crossing the atrium serve toconnect the various departments, while alsosymbolising the dynamic image of the company.

In addition, the atrium of the new GN buildingfunctions as a reception and meeting area, aswell as providing the focal point of the complex,with its auditorium, conference rooms, lifts,staircases and sitting areas.



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Lighting for fun.Sihlcity and Rüsterei

Zurich, Switzerland

Projects Sihlcity clientKarl Steiner AG

Sihlcity Architectural ProjectTheo Hotz AG

Sihlcity lighting designReflexion AG

Sihlcity, the new leisure and shopping paradiseon the south side of Zurich, was designed by theTheo Hotz architectural practice as a fascinatingcombination of glass, concrete and brick.Four buildings of the original complex - anold paper mill around which the centre isconstructed - have remained intact, bearingwitness to a chapter in the history of Zurich.The old factory buildings have been carefullyrestored and integrated into the new construction.The landmark emblem of Sihlcity is the sixty-metre-high chimney of the old paper mill, while its coreelement is the multistorey shopping and leisurecentre. Notable among the eating places in Sihlcityis the Rüsterei - restaurant, bar, event location andspeciality store in one - designed by the well-knownartist Zermatt Heinz Julen and run by the Zurichcompany Five AG. The special architecturalcharacter of the Sihlcity complex is showcasedby the lighting. The aim adopted by Reflexionof Zurich, the lighting design contractor, was toreinforce the notion of a “city within a city”, notleast by fashioning a clear distinction betweeninteriors and exteriors. On the outside, the lightis concentrated by spots, in such a way that areas

open to the public, frontages and buildings arepicked out with narrow beams placed to accentselected elements of the structure by highlightingtheir three-dimensionality. The interiors, by contrast,are bathed in diffused light, with no accent areas.The project called for a number of adaptationsto standard products: hardware and wires had tobe altered to suit the existing electrical systems,and the colours of exposed parts adapted to thedecor of the building. One distinctive feature of the Sihlcity project is the lighting scheme for theRüsterei. For the design of the system, the artistHeinz Julen and Ralf Gubler, executive officer of theEidos AG architectural practice, elected to approach

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Photos: ARTCOM Architekturfotografie - Günter Laznia

1. Exterior of Sihlcity

2.3.4. Colour changes inside the restaurant

Rüsterei clientSihlcity Gastro AGFive AG

Rüsterei Architectural ProjectEidos AGRalf Gubler, Heinz Julen

Lichtkompetenz GmbH of Zurich. The lightingdesigners duly took on board the artistic concept

expressed by Heinz Julen, regarding the use of lights, and used iGuzzini fixtures and technologiesto implement it. The lighting is based on the use of lateral sources directed at fabric surfaces positionedalong the sides and middle of the room. Completingthe spectacular effect are tables and counters withrecessed fluorescent tubes, of which the colour canbe changed utilising an RGB control unit piloted bya Colour Equalizer system preprogrammed toproduce the effects indicated by Heinz Julien.Numerous static and dynamic programs are storedin the system, so as to guarantee the most suitablelighting at different times of day, and for the varioustypes of event held in the bar and restaurant.

For example, a static mode is selected for useat sittings, so as to avoid altering the colour

of the food on the table and ensure dinerswill not be disturbed by repeated changes,whereas functions and events can be lit moreadventurously. Whatever the lighting schemesprogrammed into the system, the RGB controlunit ensures that colours can be varied andused selectively, for example with colder toneson hot summer days, and warmer tones in winterconditions. Another aspect of the need for greaterflexibility of the lighting system is connected withthe possibility of reorganising the interior layout:for certain events, the legs of the tables can beclosed up, and the illuminated surfaces raisedoverhead to function as lighting panels.

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Rüsterei lighting designLichtkompetenz GmbH

Partners AssistanceiGuzzini Schweiz



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The right light for Bally shops

Basel, Switzerland

Projects ClientBally Schuhfabriken AG

Architectural designMach Architektur

Partners AssistanceiGuzzini Schweiz

The new Store Concept adopted by historicfootwear and clothing brand Bally is an expressionof harmony, from the structure of the buildingfacade through to the way the products arepresented. A template for use worldwide.Dark brown tinted glass, classic white logo,shop window displays… the high end qualityof the products is immediately apparent. Inside,the atmosphere is one of calm and tranquillity,thanks to the colours and the natural materialsadopted. Operating through its Swiss branch,iGuzzini worked in close cooperation with Macharchitektur of Zurich, the company contractedto design and implement construction workson the store. As regards the lighting installation,the architect specified a complex system of channels incorporating fixtures with two differentlight sources. The choice of fixtures was limitedfurther by the enormous height of the ceilingin one of the main areas of the store; here, thedecision was taken to use a special version of the Metro spot, or rather, groups of three spots.Frame spots were adopted for the area with thelower ceiling, and Astra wall lamps for the corridor.All fixtures are integrated into a control system

that can be used to create different types of mood.During business hours, maximum luminousintensity ensures optimum presentation of theproducts in the store. At night, only the windowsremain illuminated, with low-level lighting.The internal lighting accentuates the depth of thefront part, effectively transforming the interior of this exclusive store into a veritable shop window.Events are organised regularly in the store, andfor these, predominantly accent light is used.

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Photos: ARTCOM Architekturfotografie - Günter Laznia

1.2.3. Store interiors

The collaboration between Bally and iGuzzinibegan in August 2006 with the design of thefirst store in Basel, which opened at the endof January 2007. Thereafter, the collaboration

extended to all other Bally branches aroundthe world, and there are seven such projectscurrently in progress.

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Augustinus Muziekcentrum

Antwerp, Belgium

Projects Architectural designVanhecke & Suls

Partners AssistanceiGuzzini Benelux

In January 2006, a new performing arts venuewas opened in Antwerp, dedicated to early music.The Augustinus Muziekcentrum - aka AMUZ -houses a singular concert hall, which is set ina historic building and yet equipped with allthe technological aids needed to qualify it as amodern auditorium. The deconsecrated baroquechurch of Saint Augustine has been restoredand renovated, with the exclusive intent of turning it into a hi-tech venue for concertsand recordings of early music. The reconversionof this church is a project unique of its kindin Europe, and was made possible thanks tothe experience of architects Vanhecke & Suls,who have undertaken other renovations of thiskind in the past. The works were carried outwith maximum care for the historic building, andit was on their completion that the altar triptych,by Old Masters Rubens, Jordaens and Van Dyck,was restored to its original place in the church.It is a piece that provides an additional featureof special interest for this fine heritage site.

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Photos: Paul Van Den Brande

1. Winter Chapel, now the foyer

2. Concert stage

3. Sound diffusers along the right aisle

In the side aisles, Le Perroquet fixtures are usedto light the public access and seating areas,whilst the illumination for the paintings is provided

by Cestello fixtures with halogen lamps. The WinterChapel dates from the 17 th Century and isdecorated with frescoes of the period. This isthe foyer of the new AMUZ. Again, the Cestellois used, in this instance as a suspended centrelight incorporating 21 sources (AR 111) and opticalassemblies with a variety of beam spread angles.

The music centre can be divided visually andlogistically into two parts. On the one hand,the newly constructed elements - including

offices, platforms and atrium - and on the other,the renovated fabric functioning as concert halland foyer, where iGuzzini was involved. Lightingthe space in the baroque concert hall called for a judicious balance, not least as the system wouldinvolve the use of stage lighting equipment,which by its nature is appreciably powerful.

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Melbourne Airport,international arrivals

Melbourne, Australia

Projects ClientAustralia Pacific Airports(Melbourne) Pty Ltd

Architectural designDesignInc.

In 2006, with the advent of the new AirbusA380 and the accompanying increase inpassenger traffic, Australia Pacific Airports wereobliged to expand the baggage handling systemat Melbourne airport. The arrivals terminal wasduly upgraded, with changes affecting thereception area and baggage reclaim hall.

The architectural design of the enlargementproject was entrusted to DesignInc, whoseconsultants selected an indirect lighting solutionfor the new hall, using Greenwich fixtures with250W metal halide lamps trained upwards ontocircular diffusers of large diameter.

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Photos: Infinite Photography - Justin Matthews

1.2. Interiors

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Building Services EngineerMeinhardt (Vic) Pty Ltd

Partners AssistanceECC Lighting LTD



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Lighting plan for Old Havana

Havana, Cuba

Projects ClientOficina del Historiador y Consejode Estado

Project CoordinatorJosé Linares, Ing Jorge Candelaria

A decision was taken during the course of 2006,by the Oficina del Historiador, to address theproblem of energy consumption, starting withreorganisation and modernisation of the streetlighting in the Old Havana district, a project thatwill take around two years of work to complete.Accordingly, the main objective of the lightingplan drawn up for La Habana Vieja was toachieve significant energy savings: this wouldmean utilising fluorescent, discharge and LEDlight sources to replace the existing halogen lamps.iGuzzini will be the main partner on the project,providing consultancy on matters of lighting designand supplying fixtures under the terms of anagreement with the Oficina del Historiador andthe Consejo de Estado, drafted in April 2007.In reality, collaboration between iGuzzini and theCuban institutions dates back to 1998, when theCathedral was illuminated for the visit of PopeJohn Paul II, and the company was also involvedin the illumination of Havana’s Museo De BellasArtes. 2007 has brought a new opportunity forcollaboration: the illumination of selected historicalbuildings in the old town centre, in particular theexterior of the “Palacio de los Capitanes Generales”,

which houses artefacts and exhibits from thecollections of families by which Cuba was ruledin former times. This building is now lit externallyby Miniwoody fixtures with discharge lamps,mounted on brackets for the lower walls, and onbases to uplight the perimeter. The power cablesare concealed in the balconies to minimise theirvisual intrusiveness. Another interesting buildingis the former convent of Santo Domingo, latterly agovernment office and now part of the university:today, the building houses the Faculty of Architecture and Restoration.

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Photos: Enrique Padron

1. The Santo Domingo buildingAbove the doorway, the “box” specified by the architect

2. Cathedral square

3. Signing of the agreement drawn up in April 2007left to right: Italian Ambassador Domenico Vecchioni,Paolo Guzzini, l’Historiador de La Habana Vieja Eusebio Leal

The first two floors of the building retain a historicallink with the façade of the old convent, in terms of the materials utilised, the bricks, an old tower andthe entrance doorway. To highlight the architecturalfeatures of this historic building, the two lowerfloors are illuminated using Linealuce fixtures

with xenon lamps, and Radius units for the arches.The structure of the 3rd, 4th and 5th floors is a recentaddition: a glass shell, encasing the old bell tower.Architect José Linares wanted to create a sort of “light box”: the effect was achieved with a Lineupwall washer of the type used for window reveals.3

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Ideapark

Tampere, Finland

Projects Clientldeapark Development Ltd

Architectural designSchauman Architects OyArkkitehtuuri OyTAKT

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entrances. Lighting schemes for the buildingfrontages, pedestrian area, market place and OldTown were designed by Timo Alhanen of InLightOy and Jaakko Kiukkanen of TAKT. The streetlighting for the Ideapark complex was designedwith the notion of “not too much light” in mind,primarily to minimize the use of energy forlighting purposes but also, indirectly, to cutdown on energy usage for air-conditioning.The solutions adopted for lighting the entrancesand squares are designed to ensure ease of orientation for visitors. Overhead, fixtures installedon the main roof trusses are directed towardthe trees of the pedestrian area, so that the lightwill filter through the branches and create awelcoming atmosphere. Standing on a site of 10 hectares, the Ideapark centre has 180 shoppremises with floor areas from 11 up to 6600 m 2,and generates 1200 jobs. Between 6 and 8 millionvisitors are attracted each year. The surroundingshops are seen as a market undergoing acontinual process of renewal throughout the year.

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Ideapark is located in Finland, just off theHelsinki-Tampere motorway, about a 30-minutedrive from Helsinki and 12 km from Tampere,the country’s third largest city. The type of construction and the layout were determined inthe autumn of 2004 following development andintegration of the architectural design, commercialstrategy and business plan. The idea behind thedesign was to replicate the atmosphere of a smalltown in a combination of two main structures:the Business City, a covered, welcomingenvironment, and the City Wall, encircling thecentral pedestrian precinct with its buildingsand lanes. The downtown flavour of the settingis accentuated by a marketplace in the parkadjacent to the Old Town area. The buildingspresent a fragmented profile, a simple andintelligent way of creating narrow and elongatedgreen areas. Surrounded by parking areasradiating away from the roofed structure thatskirts the City Wall, the pedestrian precinct isquickly and safely accessible by way of four



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Photos: Voitto Niemelä, Topi Jalonen

1. Entrance to the shopping centre

2.3. Indoor areas of Ideapark

Building contractorTeräselementti Oy

Electrical systemsSähköinsinööritoimistoMatti Leppä Oy

Lighting systemsTAKT - Jaakko KiukkanenInLight Oy - Timo Alhanen

Partners AssistancePejan Oy

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Sales space is dedicated both to fashion andto beauty products. Here, the visitor will findconcept stores and boutiques of many housesthat have not had a presence in Finland hitherto.High fashion boutiques and budget stores are

found side-by-side under the same roof.Architecturally, the Old Town stands out from therest of the complex. The Old Town seeks to breakthe pattern set by many of today’s malls andshopping centres, in that it offers an opportunityfor small businesses to become involved.

This area - where things are “small” - isthe gravitational hub of the surroundingspace, and allows visitors to find their waymore easily around the centre. Inside theIdeapark complex, Le Perroquet indirect and

Le Perroquet spot fixtures are used to providea blend of diffused and accent lighting.In areas where pedestrian traffic is heavier,the lighting is provided by outdoor fixtures:Platea with asymmetrical optical assemblies,and Citywoody.



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“Praxiteles - Connaitre la Forme”

23 March - 18 June 2007,Sully wing, Salle Saint Louis, the Louvre

Corporate culture IdeationiGuzzini Study and Research CentreCentral Restoration Institute

Scientific CollaborationMuseo Tattile Statale Omero

“Conoscere la Forma” (Appreciating Form), aproject that had its first outing in Milan duringMay 2006, was set up for the period from Marchto June 2007 in Paris, at the Louvre. The teachingaspect of this project had special interest for CyrilleGouyette, head of educational programming atthe Paris museum, who asked iGuzzini to set upthe show as part of an exhibition dedicated toPraxiteles. Following the customary format, threeprofessionals were invited to interpret the sculpturethrough a choice of lighting: Alain Pasquier,director of the Louvre’s Department of Greek,

Etruscan and Latin Antiquities, Jean-Luc Martinez,curator in the same department, and partially-sighted opera singer Agnès Robert. Alain Pasquierbegan his reading by exploring the details: he usedlight to pick out certain details of the sculpture, asif bringing them into closer focus with a zoom lens.He then brought these together in a dynamicstudy, a gradual, almost emotional journey of discovery. Jean-Luc Martinez approached thesculpture full-frontally, seeking to use the light as ameans of flattening the form to a two-dimensionalshape, in an attempt to answer the question that

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Photos: Didier Boy de la Tour, iGuzzini Arch ive

1. Display niche and lighting for the Satyr

2.3. Organisers at work

4. Lighting by Pasquier.

5. Inauguration, 19th March. left to right: Juan Velasquez of iGuzzini France, Jean-Luc Martinez, Henry Loyrette,Director of the Louvre, Adolfo Guzzini.

6. One of the colour combinations selected by Agnes Robert

Thanks toTrapani Heritage Author itiesfor their kind permission to use the copyof the Dancing SatyrThe Louvre Museum

arises in scientific discussion of the work: was itconceived originally in two or in three dimensions?Agnes Robert explored the sculpture by touchinitially, before developing her appreciation of thepiece through the medium of light - in particularcoloured light, which as a partially sighted personshe is able to detect better than neutral light.To deliver the various lighting schemes selected,the sculpture was placed in a structure havingluminous walls, equipped with an RGB systemcapable of producing numerous colour variationsand nuances. The structure also incorporated

Tecnica spots fitted with a variety of opticalassemblies and light sources of different colourtemperatures, to provide maximum flexibility.A “Scene Equalizer” control system is set up tomanage, store and retrieve all of the lightingeffects produced. The inauguration on the eveningof 19th March was attended by former FrenchCulture Minister Renaud Donnedieu de Vabres,and the Director of the Louvre, Henry Loyrette.A meeting in Paris on 24 th April brought togetherrepresentatives of many French museums,with Roberto Farroni, Director of Italy’s MuseoTattile Statale Omero, also taking part.

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The mission of the French association Designer’sDay is to promote design and create links betweenall of the various players involved in the processof manufacturing design items. In recent times,the association has customarily identified a themeeach year, then organised visits to Paris-baseddesign locations connected with the theme.In 2007 the theme was “desire”, and iGuzzini -

having a branch in Paris - was able to take partin the initiative for the first time. On 15 th June,in Paris, iGuzzini France opened its doors to

Corporate culture Ron Arad at Designer’s Days

Paris, 14 - 18 June 2007

journalists and exponents from the world of designfor a meeting with Ron Arad, who set up theshowroom for the day, playing around with hislatest lamp designed for iGuzzini. The name of the lamp is PizzaKobra - appropriate in view of themany forms it is able to assume: flat like a pizza,or wavy like a snake. Ron Arad has come up witha lamp that uses innovative technologies, like

Leds (6 cool white, 1W each), and joints allowingcontinuously variable forms to emerge, whiledirecting the luminous flux onto the work surface.

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Photos: Didier Boy De La Tour

1. Ron Arad

2.3.4.5.6. Evening of 15th June

7. Installation at iGuzzini France

For more information:http://pizzakobra.iguzzini.com

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During the Fuori Salone 2007 days in Milan,concurrently with Euroluce 2007, the iGuzzinishowroom hosted a special initiative:“Less CO2ReLighting”, in a bid to demonstratewhat iGuzzini can do to help reduce carbondioxide emissions. For many years now, ourcommunication campaign has promoted theculture of light, speaking of the need to saveenergy and combat light pollution: the message“Who stole the Milky Way” dates back to 1993.Today, the theme is “Better Light for a Better Life”- a reminder that a well-designed lighting plan,implemented using the best technologiesavailable, has the effect of reducing energyconsumption and consequently cutting CO2

emissions. The iGuzzini commitment wasreinterpreted poetically by designer GiorgioDi Tullio and given visual expression in theinstallation “Visioni di Terratre”, exhibited at theMilan showroom during the Salone del Mobile.

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Corporate culture Less CO2ReLighting

iGuzzini Partner AssistanceMilan, 17 - 21 April 2007



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Photos: Carlo Anastasio

1.2. The “Visions of Terratra” installation

3.4. Evening of the inauguration



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Corporate culture

“Renzo Piano Building Workshop.The Visible Cities”

The Milan Triennale,22 May - 16 September 2007by Fulvio Irace

This year, the Milan Triennale dedicated an

extensive monographic exhibition to the work

of Renzo Piano: “Renzo Piano Building

Workshop. The visible cities”, which provided an

event ideally suited to open the fourth edition of

the Festa per l’Architettura. The achievements of Renzo Piano are recounted through the projects

that have placed him among the most important

architects on the international scene, and had

the effect of transforming our urban landscape:

from the paper-built prototype of the Beaubourg

in Paris to the conversion of the Lingotto in Turin…

the Cité Internationale de Lyon to the

Potsdamerplatz in Berlin… Renzo Piano has set

about transforming the old industrial cities into

centres of information and culture. Experiments

conducted on the disused industrial areas of

Milan and Sesto San Giovanni, Lyon and Paris,and Harlem in New York, on the other hand,

reflect the shift from city of manufacturing to city

of trading. The city according to Piano conveys

the notion of multifunctional spaces that translate

the restlessness of contemporary life through

complexity, transparency and permeability:

concepts dear to Italo Calvino, one of the authors

who most profoundly influenced the sensibilities

of the architect, and to whose “Invisible Cities”

the exhibition’s subtitle pays homage. The curator

of the exhibition is Fulvio Irace, and the installation

was done by the Renzo Piano Building Workshop,with Franco Origoni. iGuzzini illuminazione is

technical sponsor of the lighting for drawings,

photographs, models and prototypes, some of

which suspended from the ceiling. The fixtures

used are Le Perroquet spots (suspended version),

together with stage type spots.



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Corporate culture

iGuzzini at the Salone del Mobile

Milan, Euroluce, 18 - 21 April 2007

After a period of absence, iGuzzini returned tothe Salone del Mobile this year to present itslatest innovative solutions for energy saving -the main theme addressed both at the main

event and elsewhere. During this edition of theSalone, iGuzzini took an active part (with itsLess CO2ReLighting initiative) in the sustainabilitydebate “Best Up. Circuito dell’Abitare Sostenibile”.Best Up is an acronym for Bello Equo Sostenibile,promoting themes of sustainability applied todesign and living, and communicating them tobusinesses, professionals and ordinary membersof the public. The lighting for “Dawn at Midnight”an event-cum-performance organized by StudioAzzurro, was created using Platea and Woodyfixtures. The new Tecnica spot was used toilluminate the installations of Michele De Lucchi,Denis Santachiara and Luca Scacchetti, for theexhibition “All you need is light”: curated by Aldo

Colonetti. Light Up floods illuminate the Ssssthtower by Michele De Lucchi for “Decode Elements”:designers and planners compare notes on thetheme of reading, through a series of installationsdedicated to the four elements: air, earth, fireand water.



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Corporate culture

Primavera italianaarthouse film & Alinari photographs

Genk, 5 May – 7 June 2007

With a Belgian branch of iGuzzini illuminazionebased in Antwerp, the company was well placedto contribute to the “Primavera italiana” eventheld in the country. The show was organized aspart of celebrations marking the 50 th anniversaryof the Treaty of Rome and made possible withthe patronage of the Italian Embassy in Brussels.iGuzzini supplied Cestello Applique andLe Perroquet track-mounted fixtures for thelighting at an exhibition entitled “Self-celebration,The Sacred, and Masterpieces”, a selectionof photographs from the Alinari archives,staged in the old Winterslag mine.

A show for iGuzzini Partners

Rome, Santo Spirito in Saxia complex5 June 2007

Some 250 persons including architects,lighting designers and figures from the worldof show-business and culture were the guests of iGuzzini at a convivial evening spent in the SantoSpirito in Saxia complex. Entertainment wasprovided by the Roman comedian Enrico Brignano.

Photos: Paul Van Den Brande

Top right:right to left: The Governor of Limburg, the French Consul,the German Consul, the Spanish Consul, the Italian ConsularAgent, and the Burgomaster of Limburg.



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Workshop on Lighting Plans

For people who work at iGuzzini, training isa part of life: in May of this year, iGuzziniilluminazione organized two seminars withPietro Palladino. In the course of these meetings,under the guidance of the well-known LightingDesigner, iGuzzini technicians conducted an

authentic workshop on lighting for town centres.

Corporate culture

“More than Vision” presentation

Milan, FORMA - International Centreof Photography 26 June 2007

“More than vision”, the eighth volume of theilibriguzzini series prepared by the Study andResearch Centre and published in collaborationwith EditorialeDomus, was presented in Milan,26 June 2007. Attending the launch were AdolfoGuzzini, Luigi Spinelli of Editoriale Domus, MarkRea, Director of the Lighting Research Center atRensselaer (Troy, NY State), and Fulvio De Nigris,founder of the “La Casa dei Risvegli di Luca DeNigris”. In the course of the presentation, MarkRea spoke about some of the latest discoveriesemerging from studies on the relationshipbetween light and wellness.

Photos: Carlo Anastasio



III

IncontroluceSix-monthly international magazineon the culture of light

year IX, 16

EditingCentro Studi e Ricerca iGuzziniFr.ne Sambucheto, 44/a62019 Recanati MC+39.071.7588250 tel.+39.071.7588295 faxemail: [email protected]

iGuzzini illuminazione spa

62019 Recanati, Italyvia Mariano Guzzini, 37+39.071.75881 tel.+39.071.7588295 faxemail: [email protected]: 071-7588453

Graphic DesignStudio Cerri & Associati

PublisheriGuzzini illuminazione spa

Contributors to this issueiGuzzini illuminazione Benelux Bvba/Sprl

iGuzzini illuminazione DanmarkiGuzzini illuminazione España S.A.iGuzzini illuminazione France S.A.iGuzzini illuminazione Schweiz AGiGuzzini illuminazione UKE.C.C. Lighting LTD, AustraliaPeyan Oy, Finlandia

Cover photoPietro Savorelli

Printed: October 2007Tecnostampa, Recanati

II. 200716 Incontroluce

The Editors are not responsible for inaccuraciesand omissions in the list of credits relatingto projects and supplied by contributors.Any additions or amendments will be includedin the next issue.



Incontroluce XVI / The Marches: Industry and Territory: support for schools and for youthsports / Design: The power of light / Projects: New Brembo Research and Development

Centre / Palazzo Madama and the Civic Museum of Ancient Art in Turin / Nhow Hotel / BlueRoom. Memorial to the victims of the 11th March bombings / Avinguda de Meritxell / Trésorsenglouits d’Egypte / New illumination or Romsey Abbey / GN Store Nord / Lighting for fun.Sihlcity and Rüsterei / The right light for Bally stores / Augustinus Muziekcentrum /

Melbourne Airport, international arrivals / Lighting plan for Old Havana / Ideapark /

Corporate culture: “Praxiteles, connaitre la forme” / Ron Arad at Designer ’s days / LessCO2ReLighting / “Renzo Piano Building Workshop. The Visible Cities” / iGuzzini at theSalone del Mobile / A show for iGuzzini Partners / Primavera italiana - arthouse film& Alinari photographs / Workshop on Lighting Plans / “More than Vision” presentation

Incontroluce 16 - iGuzzini magazine 04.2007 - English

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Transcript of Incontroluce 16 - iGuzzini magazine 04.2007 - English