Incontroluce 20 - iGuzzini magazine 10.2009 - English

8/14/2019 Incontroluce 20 - iGuzzini magazine 10.2009 - English

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II. 200920 English edition


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Editorial

Dear Readers,

Given that Incontroluce is a six-monthly publication, we cannot providenewspaper coverage of all the latest world events.The global economic crisis, now a year old, has affected the entire worldeconomy and impacted on architecture no less than other sectors, with manyprojects big and small being shelved or delayed. Nonetheless, the crisis hasalso induced a marked acceleration toward a sustainable economy, whichmeans more and more attention is now being given to research andtechnological innovation. And this surely will be the way to overcome thepresent impasse and generate new opportunities -opportunities offered not

least by new products, for which companies and designers need to pool theirbest efforts, deploying experience, creativity and the ability to envision newscenarios. The Lightinprogress show organised in April at the Milan Triennale,during the 2009 Furniture Show, provided an opportunity to present someexamples of the firm commitment made by our company in this area, as welook to invest and take a leading role in this process of renewal by adoptingan innovation-based strategy. With this type of strategy, the entire processof innovation is design-driven, involving different players and resources, andproviding a source of energy that can help to bring about change with regardto the meaning, the language, the value and the identity of a product (andindeed of the company as a whole). It is the approach taken by the Italiancompanies that created Italian design, whose attributes are summed upperfectly by Ezio Manzini in one of his recent essays: In the past, Italian

design was able to pick up very early on certain aspects of the greattransformation that was starting to take place. And to act accordingly.This ability to anticipate events, and to offer the right products and ideasfor the occasion, did much to establish the international reputation widelyenjoyed by Italian design today.The world is now faced with a new frontier of sustainable development,and of an economy that must address the social dimension of the crisis -an economy that puts people first - while also addressing the problems ofclimate change (as agreed at the G8 summit held in LAquila). In this scenario,design must articulate its capacity to interact with different disciplines(humanist, technical, economic and social) in defining new approaches, skillsystems and methodologies, and always with the same ultimate aim in view,namely to generate innovation.

Adolfo Guzzini


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20 Incontroluce

Summary

II. 2009

Editorial

The Marches

Master in Eco-design& Eco-innovation

Projects

San Paolo Parish Complex

A lighting scheme for the hundredtowers of Ascoli Piceno

New showroomfor Schneider Electric

California Academy of Sciences

New Miss Blumarineand Blugirl boutiques in Milan

The Linked Hybrid project

New corporate identityfor Honda

Changzhou Olympic Sports Centre

Lighting for Emilio Vedovasmoving canvases

The Constitution BridgeDynamic lightingin the new H&M store

The Liangzhu Museum

The Paks contemporaryart gallery

Tenerife Espacio de las Artes

The iTrust offices

The Mardan Palace Hotel

The Park der Sinne (Park of the Senses)

Corporate culture

The lost space of Stiller

New lightingfor the Rondanini Piet

iGuzzini at the Shanghai 2010 expo

Adolfo Guzzini appointed presidentof the Italian Design Council

Lightinprogress:iGuzzini at the Fuori Salone 2009

An awardfor iGuzzini communication

iGuzzini wins DAFZA award

International Design prizeBaden-Wrttemberg 2009


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Master in Eco-design & Eco-innovation.Strategies, methods and tools for designingand developing eco-sustainable products

written by Lucia Pietroni

The Marches

Designers can contribute more to slowing

down environmental decay than economists,

politicians, businesses and even environmentalists

(...).Once a certain, environmentally healthier,

model of designing penetrates the market, its

beneficial effects will multiply.

Alastair Fuad-Luke

The level 1 Masters degree in Eco-design &

Eco-innovation was added to the courses offered

by the Architecture Faculty at the University of

Camerino, in Ascoli Piceno, during the

2007/2008 academic year. Organised as part of

the DISIA (Industrial and Environmental Design)

Degree Course in collaboration with numerous

businesses in the Marches and other institutional

partners, it is intended as a new training

experience focusing on experimentation in the

field of sustainability-oriented design and aimed

at spreading a responsible and sustainable

approach. The principal objective of

the Masters is to give enrolees a competitive

and strategic technical and scientific grounding

in the field of product eco-innovation, that

will enable them to make their way as designers,

consultants or freelance providers in a variety of

corporate and professional fields, public and

private. It will provide them with the tools needed

to maximise the environmental performance

of products, so that Ecodesign criteria can be

integrated into the traditional design process,

in line with the current Integrated Product Policy

(IPP) adopted at European level. Teaching activity

includes theory lessons, practical sessions, visitsto companies, seminars with experts, technicians,

designers and representatives of the entrepreneurial

sector, as well as participation in intensive design

workshops conducted in direct collaboration with

partner enterprises under the guidance of one or

more designers. To finish, there will be a period

of work experience with a company, during which

the student will develop a final thesis project.

Especially important in this new training course

are the workshops and the work experience

(350 hours minimum). For a young designer

taking the Masters course, these offer innovative

ways of acquiring knowledge and experimenting

in the area of Eco-design, whilst for the

companies, the designers involved in the trainingprocess, and the university, they provide effective

media through which to exchange, transfer and

share a variety of know-how.

This is a training project that involves different

groups (university, businesses, agencies,

associations, etc.) from Day 1. It seeks to define

a strategy whereby methods, tools, and knowledge

gained from research in the field of Eco-design

can be absorbed more quickly into business

and professional practice, and to create an

engine that will help to activate a process

of innovation and development shared by

the university, businesses and designers.

Among the most positive outcomes produced

by the first year of this Masters course has

been the obvious satisfaction of companies

in collaborating actively on the 6 design

workshops, which saw the development

of some 80 designs for new eco-sustainable

product concepts in various sectors: packaging,

footwear, Led technologies, lighting appliances,

furnishing, and eco-friendly commercial

vehicles. By virtue of being developed in close

collaboration with businesses, these designs

drew much approval for their highly innovative

content, but equally for the attention given

to aspects of engineering and manufacturing

feasibility, hence underscoring the significant

role of design as a tool in the process and

product innovation, and not only as a means

of aesthetic and formal definition.

Another gratifying upshot of the Masters was

the positive response of the public to theexhibition Eco-design & Eco-innovation.

Projects and products for a sustainable future,

organised in February 2009 to mark the

end of the first edition of the course, at the

Palazzo dei Capitani in Ascoli Piceno, where

the 80 designs produced by course students

were among the items that attracted the

greatest curiosity and interest of visitors.

Lastly, but not least importantly, the fact

that best demonstrates how the synergy

between university and businesses can

work in the context of a specialist training

course, is that more than half of the

enrolees to this first edition of the course

went on to secure a collaboration agreementor a scholarship with the businesses involved

as partners. Such results provide encouragement

to keep moving in this direction, in the shared

conviction that design and environmental

sustainability are among the key factors

influencing innovation and competitive

growth, in the face of the current crisis.

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Photos: Raniero Carloni

1. Site of the Eco-design and Eco-innovation exhibition

2.3. Exhibit rooms

Lucia Pietroni

Director of Masters Course in Eco-design &

Eco-innovation and lecturer on the Degree

Course in Industrial and Environment Design

(DISIA) - Faculty of Architecture - University

of Camerino

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San Paolo ParishComplex

Foligno, Italy

Projects ClientDiocese of Foligno,Italian Episcopal Conference

Architectural designMassimiliano and Doriana Fuksas

In 2001, this design was the winning entry ina national competition announced by the Italian

Episcopal Conference for the building of a new

church. Explaining its choice, the jury saw the

design as: a firm and innovate sign that responds

to the most advanced international research,

becoming a symbol of rebirth for the city following

the earthquake. The new San Paolo Parish

Church Complex designed by Massimiliano and

Doriana Fuksas is a monolith of pure geometry,

a box within a box. The structure comprisestwo main architectural elements, which are also

identifiable with the functions of the religious

centre. The first element - the Church - consists

of two parallelepipeds, one placed inside the other.

The second element, likewise parallelepiped in

shape but elongated and low, houses the Sacristy,

Pastoral Ministry facilities and Priests House.

These two main structures are interconnected

by a smaller third element.

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Photos Moreno Maggi

1. Exteriors

2. View from the entrance

StructuresGilberto Sarti

SystemsA.I. Engineering

Art workEnzo Cucchi, Mimmo Paladino

Building contractorEdiltecnica spa

Stone church furnitureFUKSAS DESIGNMade by stonemason Maurizio Volpi

Wood furnitureFUKSAS DESIGNMade by Falegnameria Bertini

Lighting appliancesFUKSAS DESIGNiGuzzini illuminazione

The church building, composed of two parallelepipedsone inside another and reaching skywards, is elevated

1.5 metres above ground level to accentuate the vertical

nature of the composition. It is characterised by an

architectural element that consists of shafts of light

penetrating and linking the two parallelepipeds

together. Indeed the inner and outer skins are

interconnected by passages that create a number

of apertures allowing light into the enclosure.

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The shafts of light penetrate and bind the

parallelepipeds together, entering through a

set of apertures placed strategically to illuminate

the interior and pick out the main features,

namely the Altar, the Pulpit and the Baptismal

Font. In the words of architect Fuksas:

The suspension of one volume within another.

Seeing through concrete to the heavens,

from outside, to inside, to outside.

The interior space is laid out to guarantee the

centrality of the Altar, whilst the Font and Pulpit

are located in asymmetrical positions relative

to the Altar. The effect created by the light that

enters during the daytime, through the openings

in the walls, is replicated at night using lamps

suspended from the ceiling.

Standing 13.5 metres tall outside the church,

the monumental sculpture Stele Croce by

Enzo Cucchi, a composition of concrete and

white Carrara marble, becomes an architectural

element in its own right. The 14 Stations

of the Cross are by Mimmo Paladino.

The furniture, pews and lighting appliances

are by Fuksas Design.

3.4. Interiors

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San Paolo ParishComplex

Projects


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A lighting scheme for the hundredtowers of Ascoli Piceno

Ascoli Piceno, Italy

Projects DesignersEmidio Sofia and Rodolfo Terpolilli -Municipality of Ascoli Piceno

Some years ago, the Ascoli Piceno local authority

set in motion a programme for renewal of the

citys historic centre, which has already seen the

two most important squares regenerated: Piazza

Arringo and Piazza del Popolo. Given the success

of the initiative, it was decided to create a new

and evocative nocturnal image of the city in its

entirety, highlighting the 34 towers that are still

a visible feature of today's urban fabric. Ascoli is

in fact known as the city of a hundred towers,

and even today it can boast a good number

of towers in the historic centre, still in a good

state of repair, standing as testimony to the

wealth and prestige of the city in mediaeval

times when there were around two hundred.

The project envisaged the illumination of 34

structures: 18 civic towers and 16 bell towers.

To minimise the environmental impact of the

lighting, the designers selected compact fixtures

of grey colour, positioned mainly under the eaves.

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Photos: Giuseppe Saluzzi

1. General view of the city. The coloured tower is that of thePalazzo dei Capitani, in the Piazza del Popolo.

2. View of Porta Tufilla.

3. The Porta Solest bridge.

Systems installerESSEGI di Schiavi Gianluigi e C. snc -civic towersElettroimpianti di Vittori e C. sas -bell towers

The problem of intrusive light was reduced by

installing floods as near as possible to the towers,

located high up on the roofs and balconies

of selected buildings. Road glare is also

much reduced by adopting this strategy.

34 distinct and separate mini electrical

systems were created for the project,

one for each tower. The systems are all

different from one another, using various

types of lighting appliances, accessories

and special parts. Most of the illuminated

towers are surrounded by or attached to

other buildings; they are predominantly

square in plan, measuring about 5 metres

per side and rising above the adjoining

buildings by some 20 metres on average.

Single free-standing towers are between

25 and 30 metres high.

To illuminate these particularly slender and

tall surfaces effectively, the lighting designers

selected Lingotto, MaxiWoody and Platea

fixtures with spot and super spot optical

assemblies, emitting narrow ellipsoidal

beams, and with flood optical assemblies.

The lamps are low power metal halide,

70 and 150W, colour temperature 3000 K.Thanks to the efficiency levels of the optical

assemblies, it was possible to use a smaller

number of fixtures, around 100, thereby

saving on energy and running costs.

A special effect was created for the best

known tower - that of the Palazzo dei

Capitani located in the citys main square.

This is illuminated using Platea fixtures with

RGB Leds, piloted by a special control unit,

which mix and direct varying combinations

of coloured light onto the walls of the

tower in a programmable timed sequence.

The colour illumination can be limited to

a few hours after dark, and to certain days

in the week, whilst the basic lighting (sameas used for the other towers) will operate

continuously.

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Rueil Malmaison, France

Projects ClientSchneider Electric

Architectural designPhilippe Proisy

Schneider Electric, a multinational corporation

specialising in the production and distribution

of electrical energy, announced an interior

architecture competition in 2008 for a new

showroom at its Rueil Malmaison headquarters.Architect Philippe Proisy joined forces with

the designer Christian Ghion to undertake this

project, which introduces visitors to the world

of Schneider Electric by moving them around

in a space designed to elicit sensations

and perceptions. The showroom is described

as the International customer lounge: an

extraordinary international reception facilityproviding information on products, services

and solutions offered by Schneider Electric.

In organising the new showroom, the designers

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Photos: Didier Boy de La Tour

1. Alley

2. Zen garden

DesignerChristian Ghion

Partners assistanceiGuzzini illuminazione France

incorporated interactive technologies such as RFID

(Radio Frequency Identification for automations)

in a setting that engages all the senses.

Ghion and Proisy focused attention on the

management of spaces, materials, furniture

and lighting in order to create an environment

that visitors can explore with ease, looking,

listening, understanding and learning as they go.

The lighting uses low power energy sources,

such as Led and fluorescent.

The layout of the showroom is devised on the

basis of certain key words: discover, exchange,

sense, know, understand, anticipate, and

there are six corresponding stages: the hall;

the square; the living; the tube; the gallery;

the vision. The Hall is the reception area.

Here, Schneider Electric states its role in

the world and its environmental approach.

This hall leads to the Alley of the showroom:

a long tunnel of back-lit Corian imprinted with

images of trees. Passing through this tunnel,

the visitor leaves the outside world and enters

a dreamlike, contemporary universe.

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Projects

The light is generated at floor level and directed

upward from recessed fluorescent strips at the

base of the Corian walls. The Square is the

point where visitors are welcomed and given

an RFID badge that they will keep for the

duration of the tour. The fixtures used in this

area are Linealuce, and in particular Lineup,

crossed and recessed into the ceiling, piloted

by the Scene Equalizer control system to produce

alternating warm and cool colour temperatures.

The Living is a wellness space relating

to the home and the workplace.

It features an area characterised by elliptical

openings in the suspended ceiling, lit by

DMX-controlled RGB strips.

There is also a micro Zen garden in this third

space, lit by Glim Cube and Ledplus fixtures,

as well as Linealuce with Leds to illuminate

the water running under the wall, and a

bar area in the form of a futuristic kitchen,

lit by Deep Minimal fixtures with Leds.

The tube is the image gallery, a total

immersion in the world of Schneider Electric.

Sound and image penetrate the bodies. The

entire commentary is available in 6 languages.

In the Vision section, the visitor enters adiscovery space enhanced by a projection

introducing the eye to a futurist environment,

with stainless steel eggs providing receptacles

for technological research themes of tomorrow.

This is Schneider Electric in 5 or 10 years time.

The architects took their inspiration from the

artist James Turell for this space. DMX-

controlled strips with T16 RGB lamps create

light signs on the walls. The Gallery is the

place where Schneider Electric products are

displayed: the visitor can see, touch and learn

about the functions, the characteristics and the

capabilities of Schneider Electric appliances.

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3. Living spaces

4.5. Another Living area

6.7.8. Coloured effects for The Vision

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California Academyof Sciences

San Francisco, United States

Projects ClientCalifornia Academy of Sciences

Architectural designRenzo Piano Building Workshop,in collaboration with StantecArchitecture (San Francisco)

The California Academy of Sciences in San

Francisco is one of the few natural scienceinstitutes combining public education directly

with scientific research, conducted on site.

The primary objective in deciding to remodel

the new Academy was to expand its activities,

and to enlarge the exhibition spaces and research

centre, while also finding new and innovative

ways to welcome and accommodate increasing

numbers of visitors. The building houses a

natural history museum, an aquarium and

a planetarium, bringing together the themes

of nature, science and civilization.

The new Academy is fully integrated into its

natural environment, the Golden Gate Park, and

makes extensive use of energy saving techniques.

The declared mission of the Academy is toExplore, Explain and Protect the Natural World,

creating the ideal premiss for the development

of sustainable design strategies. Choice of

materials, recycling, exploitation of natural light

and natural ventilation, the utilisation of water,

including the recovery of rainwater, and energy

production were all design issues that would

become an integral part of the overhaul, helpingultimately to secure Platinum certification for the

museum under the LEED programme.

Some of the old buildings were demolished,

reduced to rubble and reused in the new

structures. Wall insulation was made from

scraps of denim cloth provided by Levi Strauss

& Co. 95% of the steel utilised came from

recycled material.

Three of the existing buildings - the African Hall,

North American (California) Hall and Steinhart

Aquarium - were reclaimed and rebuilt in their

original volume. The new building retains the

position and orientation of the original Academy

and all the attractions are organised around the

central piazza.The dome of the Planetarium and the rainforest

biosphere flank the piazza on either side.

This is the point interlinking all sections of the

museum together, and is covered by a glass roof

with a lattice structure suggestive of a spiders

web. The centre of the structure is open to the sky.

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Photos: iGuzzini archiveDrawing by kind permission of RPBW

1. Section drawing

2. View of the Academy and the Golden Gate Park

3. Rainforest biosphere

General contractorWebcor Builders

Engineering and sustainabilityOve Arup & Partners

Civil EngineeringRutherford & Chekene

Aquarium managementsystemsPBS&J

ExhibitsThinc DesignCinnabarVisual-Acuity

LandscapingSWA Group

Living roofRana Creek

The features of the piazza also combine to

provide an ideal venue for concerts and otherevents. The roof formally unifies the organism as

a living structure, covered with a shallow layer

of soil providing a bed for 1,700,000 small

plants selected to survive in the microclimate

of the Golden Gate Park without the need for

fertilizers or ar tificial irrigation systems.

Whilst the vegetation is decorative, it also serves

a practical purpose: the moisture in the soil has

the effect of lowering the temperature inside the

museum by 5 or 6 C, and this - uniquely in

the US - means that there is no need for air

conditioning in the public spaces on the ground

floor, or in the research offices along the faade.

15% of the museums electrical power

requirement is produced by 55,000 photo voltaiccells, sandwiched between two sheets of glass,

which make up a transparent canopy around the

perimeter of the living roof. The fixtures used by

Renzo Piano for this project include Le Perroquet

in a special outdoor version, used also at the High

Museum of Art in Atlanta, coloured grey and red.

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New Miss Blumarine and Blugirlboutiques in Milan

Milan, Italy

Projects ClientsBlugirl boutique - Blufin SpaMiss Blumarine boutique -Spazio Sei srl

During 2009, Blugirl and Miss Blumarine opened

their first twin single-brand boutiques in Milan,

on the Via della Spiga, one of the city's best

known shopping thoroughfares.

The Blugirl boutique is laid out on three levels

with over 200 m of floor space which, has a

contemporary sophisticated loft type atmosphere.

Purity of line and transparency of materials are

the hallmarks of this new store, where the spaces

are neatly connected with each other.

Particular care has been taken over the lighting,

which functions in total harmony with the formal

concept of the interior design.

The fixtures, which are all iGuzzini - Deep

Surface, Tecnica and Minimal - were selected to

give the surroundings a strong sense of theatre,

highlighting forms and materials.

The windows on the street and the glass fronted

to the mezzanine floor overlooking the two-storey

entrance hall have the effect of modulating the

respective interiors, which are interconnected by

stairs surfaced with white composition marble

slabs, as are all the floors.

The ground floor has two shop front windows,

the first floor includes a VIP room, and the

basement is given over to collections andaccessories. The blue coloured walls combine

with the white ceilings to generate a relaxing

interior, lit by either recessed or exposed lamps

which are according to the nature of the spaces,

characterised by a soft atmosphere, and by target

lighting produced with incandescent lamps

designed to create an enveloping and uniformly

balanced mood.

The merchandise is displayed on rounded panels

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Photos: Chiara CadedduBy kind permission of Blumarine Press Office.

1. Blugirl boutique

2.3. Internal views of Miss Blumarine boutique

Architectural designStudio Indik RomaC. CannavM. CritelliShay PeriC. Volken

Engineering calculations -systems/building worksImpresa La Ca

ShopfittingFazzuoli,Campi Bisenzio (Florence)

finished in metallic white with shiny tubular

edge trims and stainless steel shelves,

complemented by bright chrome plated tubular

metal hanging rails on shiny steel bases. Tables

of transparent plexiglas with tubular stainless

steel frames incorporate white drawer pedestals.

The Miss Blumarine boutique, occupying 180 m

on three levels, is characterised by pink walls,

buttoned velvet upholstery, antique brass

hanging rails and mother-of-pearl pink lacquered

child sized furniture with bevelled corner edges.

The ground floor is dedicated entirely to Miss

Blumarine fashions for various age groups.

The basement houses the Miss Blumarine Jeans

collection, and a small sitting area, furnished

with a chaise longue covered in pink buttoned

velvet. Stairs with sand-coloured coir treads

connect the ground floor to the first floor: a loft

set aside as a childrens play area is furnished

with large pouffes, table and chairs, and a small

bookcase. Great care was taken over the lighting

design to ensure the most comfortable and

natural atmosphere possible, giving visitors

a sense of ease and tranquillity. Similarly,

particular attention was given to accent lighting.

Apart from a small number of designer lamps,the entire lighting system for the store and shop

windows is based on Guzzini fixtures: Deep

Surface, Tecnica and Minimal. The internal

showcase window, with its full width, full length

pink velvet backdrop curtain, is enhanced by a

cascade of crystal beads supplied by Swarovski.

The designs for both boutiques are by Studio Indik,

which has extensive international experience in thefashion sector and took special care over the needs

of the very young, in the case of the Miss Blumarine

boutique. Studio Indik has also designed the new

concept for Blumarine flagship stores, its portfolio

including the boutiques in Milan, Paris, Dubai,

Tokyo, Hong Kong and Venice.

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The LinkedHybrid project

Beijing, China

Projects ClientModern Green Development Co., Ltd.

General contractorBeijing ConstructionEngineering Group

Architectural designSteven Holl ArchitectsSteven Holl, Li HuHideki HiraharaYenling ChenChris McVoy, Tim Bade

The Linked Hybrid complex in Beijing covers an

area of 220,000 m. This is a project in which

commercial, residential, educational and leisure

facilities combine to create a three-dimensional

city within a city. The ground level offers a number

of open passages for residents and visitors to walk

through. These passages create small scale, micro-

urbanisms, with shops activating the urban space

surrounding the large reflecting pond. On the

intermediate level of the lower buildings, publicroof gardens offer tranquil green spaces, and at the

top of the eight residential towers there are private

roof gardens connected to the penthouses.

All public functions on the ground level - including

a restaurant, hotel, Montessori school, kindergarten

and cinema - have connections with the green

spaces surrounding and penetrating the project.

From the 12th to the 18th floor, a multi-functional

series of skybridges with a swimming pool, a

fitness room, a caf, a gallery, auditorium and a

mini salon connects the eight residential towers

and the hotel tower, and offers spectacular views

over the unfolding city. The intention of the

architects was to ensure that the public sky-loop

and the base-loop will constantly generate random

relationships, functioning as social condensersgenerating in a special experience of city life

for both residents and visitors.

Geo-thermal wells (660, at a depth of 100 metres)

provide the Linked Hybrid complex with cooling in

summer and heating in winter, making it one of

the largest green residential projects in the world.

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Photos: Hengzhong Lv

1.2. The central plaza

Associate architectsBeijing Capital EngineeringArchitecture Design Co. LTD

Structural engineersGuy Nordenson and AssociatesChina Academy of Building Research

Mechanical engineersTranssolarBeijing Capital EngineeringArchitecture Design Co. LTDCosentini Associates

Lighting consultantLObservatoire International

Curtain wall consultantsFront Inc.Xian Aircraft Industr y Company LTDYuanda Curtain-wallJianghe

Landscape architectsSteven Holl ArchitectsEDAW BeijingTSLD

Partners AssistanceiGuzzini illuminazione China

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The Linked Hybridurban complex

Projects 3.4.5. Partial views of the complex

All the water is recycled. Greywater is piped into

tanks with ultraviolet filters, and then put back

into the large reflecting pond and used to water

the landscaped areas. The earth excavated for

the new construction was used to create five

landscaped mounds on the north side, providing

recreational functions.

The colours of the complex are inspired by

the polychromy of ancient Chinese architecture.

Coloured membranes on the undersides and

cantilevered parts of the bridges are designed to

glow in nightlight, and window jambs are painted

using the colours found in ancient temples.

The polychrome effect is maintained through the

night hours by artificial lighting. 150W MaxiWoody

fixtures with metal halide lamps and a variety of

optical assemblies - Super Spot, Spot and Flood -

are used in the different areas of the complex to

highlight the colours.

In specifying just one product and one type

of lamp, the intention was to facilitate

maintenance operations as far as possible.

Metal halide was selected as the type of lamp

that would give the best colour rendering.

The Linked Hybrid complex was adjudged by

the Council on Tall Buildings and Urban Habitat

(CTBUH) to be the Best Tall Building in Asia

and Australasia. This is an award given by CTBUH

every year to buildings in four regions: the

Americas, Europe, Africa and the Middle East,

Asia and Australasia. The selected buildings are

those that successfully integrate architectural form,

structure and construction systems, while also

possessing clear merits of sustainable design that

help to guarantee quality of urban life.

The award ceremony for the Best Tall Building

Overall will be held on 23 October 2009 during

the CTBUH Conference in Chicago.

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New corporate identityfor Honda

Romford, United Kingdom

Projects ClientHonda

Architectural designMorton Wykes

Partners AssistanceiGuzzini illuminazione UK

Following a long and successful collaboration

with Honda UK, iGuzzini was approached by

Honda Europe to advise on the development

of a lighting solution appropriate for the

organizations new Corporate Identity in Europe.

In keeping with the Honda philosophy, the

lighting design had to feature the most

innovative technology in terms of fixtures

and reflectors. The light sources selected were

those considered most efficient in terms of

their capacity to use less energy yet guarantee

excellent colour rendering and ensure a true

reproduction of the finishes on vehicles. The

project as a whole needed to be inexpensive,

offering ease of installation, reliability, efficiency

and low maintenance costs, as well as bearing

in mind the ultimate disposal of the products

utilised. iGuzzini was named sole supplier for

all sectors of the dealership structure - showrooms,

offices, workshops, sales counters - and all

outdoor areas, including forecourts and used car

lots. Indoors, particular care was taken over the

showroom lighting. The ceiling is coffered, with

fluorescent lamps installed in the square recesses.

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Photos: Martine Hamilton Knight

1.2. View by day and by night

3. Workshop

4. Showroom

Tracks installed on the sections between the

recesses carry 150W Tecnica spots with metal

halide lamps; these provide accent lighting

under which vehicles are shown off to

maximum advantage. Considerable thought was

given to the lighting for the workshop, which

is conceived as a theatre where customers can

look on as spectators while their cars are being

repaired. The fixtures used in this area needed

to ensure levels of luminance as required by

safety standards for the workplace, both at floor

level and on the ramps, besides being visually

attractive. Central 41 pendants were selected

for this task. Offices and areas open to the

public are equipped with Frame, Action and

Sistema Easy fixtures. Offices not open to the

public are provided with recessed Sistema 43

downlights and Light Air pendant fixtures.

This is a solution that both saves energy and

creates an Up/down lighting effect tending to

emphasise the height of the building. Indirect

outdoor lighting, using Nuvola fixtures, provides

visual comfort and ensures that the forecourt

and car park are invitingly and uniformly

illuminated.

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Changzhou OlympicSports Centre

Changzhou, China

Projects ClientChangzhou City Government

Architectural designJiangsu Century ArchitectureDesign Co., Ltd

The Changzhou Olympics Centre and international

Exhibition Centre (COCIEC), completed in

September 2008 after more than two years of

construction work, is the cultural and sports centre

of Changzhou, and one of the city's most importantprojects. The design of the new facility, which

includes an open air stadium, an indoor stadium,

a swimming pool and an exhibition centre,

embodies the concept of a region of water and

magnolia flowers, south of the Yangtze river.

The magnolia, appropriately, is the emblem of

the city of Changzhou. Accordingly, everything

from the basic architecture to the stadium

skylights had to resemble this symbolic flower.

The client and the architects also wanted thelighting concept to fall in with this requirement.

Working with the architects, the iGuzzini team

put together a complete proposal for the project.

After a number of discussions, the idea of using

variable, coloured light for the stadium was

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1. General view. In the middle, the Olympics Centre

2. The central piazza.On the left, the International Exhibition Centre

General ContractorChangzhou Tianyu


accepted. The 18 entrances to the stadium and

the pool are equipped with transparent panels

that reflect sunlight during the daytime, whereas

at night a change of colour occurs, piloted by

the control system.The faade is lit by Platea floods. The lighting

for the exhibition centre and the relative faade

is provided by Gem pendant fixtures.

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Changzhou OlympicSports Centre

Projects 3.4.5.6. Different coloured light effects7. Coloured light effect seen from inside

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Lighting for Emilio Vedovasmoving canvases

Emilio & Annabianca Vedova Foundation, Venice

Projects Design and architectureRenzo Piano - RPBWwith Alessandro Traldi - Atelier Traldi

General coordination and engineeringFavero & Milan IngegneriaMaurizio Milan

The first dynamic museum designed by Renzo

Piano, dedicated to Emilio Vedova, is located in

one of the nine 16th century Salt Warehouses

on the Zattere island, where the great Venetianpainter had his home and studio.

The relationship between the Genoese architect

and the Venetian painter was forged back in

1984 when the two worked together on the

Luigi Nono opera Il Prometeo (libretto Massimo

Cacciari), conducted by Claudio Abbado.

They had discussed the idea of mobility at

the time, and earmarked the old warehouse

as a future home for the painter's works.

The Vedova foundation is the first art museum

with no pictures actually hung on the walls:

here, the visitor finds only bare walls of old brick.The paintings, which vary in size - 18 measuring

280x280 cm, 9 measuring 180x280 cm -

are set in motion by a mechanical arm and are

manoeuvrable along the entire length of the

warehouse. The pictures stop at various points

and then disappear, circulating in sequence.

This revolutionary approach to exhibiting works

of art, and the considerable size of the

warehouse, imposed certain conditions on

the layout of the lighting scheme.

The pictures are lit by Le Perroquet spots,

positioned in groups of three on the rafters,at a height of about 15 metres.

These spotlights use the DALI protocol and are

piloted by the Master Pro control system in such

a way that the smaller canvases will be lit only

by the middle fixtures of the groups, which are

equipped with 75W halogen lamps and 24

optical assembly. For larger pictures, the light

from the middle fixture is augmented by that

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Photos: Michele Crosera

1.2. Pictures in motion

3. Picture storage system

Artistic consultantGermano Celant

Design and technological realizationMetalsistem - Fabio Roncati

Installation contractorIccem

Technical sponsoriGuzzini illuminazione

of the lateral fixtures, equipped likewise with

75W lamps, but using 8 optical assemblies.

This has the effect of creating two greatly

elongated cones of light, broadening the cone

formed by the middle fixture. As for the

surrounding walls, these are also lit using

75W Le Perroquet spots, but in this instance

with a much wider angle (45) and fresnel

lenses, and directional louvres serving to shape

and expand the light cone still further. To give

a softer and more diffused light, shadows are

attenuated using Le Perroquet fixtures with

75W lamp, 24 optical assembly and wall

washer screen.

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The selection and installation of worksby Emilio Vedova in the Magazzinidel Sale exhibition hall was undertakenby Germano Celant and FabrizioGazzarri.


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The Constitution Bridge

Venice, Italy

Projects

The fourth bridge over the Grand Canal, designed

by the architect Santiago Calatrava, connects

the Piazzale Roma with the railway station.

Besides being an architect, Santiago Calatravais also an engineer and sculptor, and has other

famous bridges to his name: the Puente de la

Mujer in Buenos Aires, the Puente del Alamillo

on the River Guadalquivir, and the

Oberbaumbrcke in Berlin. His design for the

new bridge in Venice features a single self-

supporting arch composed of three tubular

sections. It is a blend of the contemporary,

ClientMunicipality of Venice

Architectural designSantiago Calatrava

in its forms and construction techniques, and of

the traditional, in its use of materials: steps of

Istrian marble, the stone found most commonly

in Venice, glass parapet panels, and bronzehandrails. The bridge and the landing areas on

each side are illuminated by MaxiWoody fixtures

mounted on poles and on the surrounding

buildings, equipped with HIT 70, 150 and 400W

lamps and accessorised with diffusing, antiglare

and refracting filters. This ensures optimum levels

of vertical illumination, and of luminance on

the bridge deck.

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Photos: Paolo Carlini

1.2. The single self-supporting arch of the new bridge

Direction of worksRoberto Scibilia - Municipality of Venice

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Dynamic lightingin the new H&M store

Barcelona, Spain

Projects ClientH&M, Hennes & Mauritz

Architectural designEstudio Mariscal

Building contractorDula Bau

H&M has a new store on the Portal del ngel,Barcelonas most famous shopping street, in alate 19th century building by Domnec Estap.

Reconciling the old and the new was thechallenge facing the Studio Mariscal, andthe outcome is a retail space in which theremordimiento style, typically bourgeoisand baroque, interacts with pop, modern andcontemporary. The conception of the interiordesign is suggestive of transitoriness, consistingof easily replaceable elements. A second skin

was applied to the original architecture, creatinga new look, but without concealing what liesunderneath. This second skin incorporates

the lighting design, which creates a displayenvironment using T16 fluorescent tubes ofvarious wattages (depending on length). Thelight emitted through the horizontal louvres ofthe selected fixtures is diffused and fragmented,providing a level of background illuminationthat allows the eye to take in the entire interior.The merchandise is lit by spots installed in the

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Photos: Rafael Vargas

1.2. Some of the interiors

Shop fitting and furnitureDula Ibrica

Technical architecture and systemsMC Arquitectura e Ingeniera

LEDSBARCO (supply)SONO (installation and assembly)

RefurbishingArtecc

suspended ceiling. Like a cluster of clouds, theplates are equipped with three-phase electrifiedtracks carrying Tecnica units with two types of

light source (35W and 70W HIT metal halide,and QT12 100W/12V halogen), some usedas spots (~10), some as floods (~30).The entrance is an explosion of light, colourand movement created with Led displays,designed to attract the attention of the crowdspassing through the pedestrian precinct. Twoother especially important features of the new

interior are the staircase and the dome.Emphasis is given to the void created by thestairwell, which conveys light from the dome

at the top of the building. In effect, the centralatrium interconnects the three floors and allowsnatural light to all parts of the interior. Specialsolutions are adopted for the central staircaseand dome, the sale nobili and the access stairs,so as to place the focus on the amalgamationof the existing architecture with the newlyintroduced contemporary elements,

underscoring the integration of the twoby means of accent lighting created usingspots with a variety of beam geometries.

All fixtures are operated using DALI protocoland piloted by the Scene Equalizer, whichallows adjustment of the fluorescent stripsand on/off control of the various spots andfloods in preset groups. As a result, the differentparts of the interior can be configured dynamicallyaccording to the time of day and the level ofcustom, and in response to events.

Partners AssistanceiGuzzini illuminazione Espaa

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The Liangzhu Museum

Liangzhu, China

Projects ClientZhejiang Vanke NaradaReal Estate Group Co., Ltd.

The museum houses a collection of archaeolo-gical finds from the Liangzhu civilization, alsoknown as the Jade culture (circa 3000 BC).Located at the northern extremity of the LiangzhuCultural Village, in the neighbourhood ofHangzhou, is a new park and buildings complex.The building is situated on the edge of thelake and connected to the park via bridges.

The architecture of the building becomesapparent to visitors by degrees, as they approachthe museum via the park. The museum buildingconsists of four units clad in Persian travertine,all 18 metres wide, but of different heights. Eachunit has an internal courtyard interconnecting

the rooms of the museum; a space that invitesthe visitor to pause a while and relax. Whilstthe exhibit rooms are linear in character, theynonetheless afford a number of individual routesthrough the museum. To the south of the buildingis an island with an exhibition area, connectedto the main body of the museum by a bridge.The materials used in all public areas of the

museum - Ipe wood and travertine stone - areboth tough and resistant to aging. The entrancehall is accessible from a courtyard of which thecentrepiece is the reception counter, made ofIpe wood and lit from above. Consultancy onthe lighting for the museum was provided by

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1. Exteriors

2. Hall of the columns

3. Exhibit reproducing primitive lifeduring the Liangzhu period

Architectural designDavid Chipperfield Architects - LibinChen, David Chipperfield, AnnetteFlohrschtz, Marcus Mathias, MarkRandel, Christof Piaskowski, ArndtWeiss, Liping Xu

Local architectsZTUDI The Architectural Designand Research Institute ZhejiangUniversity of Technology

Landscape designLevin Monsigny Landschaftsarchitekten

InstallationGuangdong Jimei Designand Engineering Co.


iGuzzini China. The Liangzhu Museum has 3public exhibition areas, decorated with backdrops,showcases and special settings. In the secondroom, where the backdrop describes the primitiveway of life during the Liangzhu period, with blueand green as the main colours, i24 wall washersare used, with lamps of colour temperature 6500K. In the third room, where the backdrop shows

a sunset, the fixtures used are Parallel spots withwall washer screen and light sources of colourtemperature 2800 K. Recessed Deep Framefixtures and Lux spots are used to provide accentlighting for the showcases. Recessed Light UpGarden units are installed in the grounds outside.

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The Paks contemporaryart gallery

Paks, Hungary

Projects ClientPaks CityGovernment

Architectural designIren Jaromi Ybl - Gyula Kiss DLA Ybl

the design of a single glass wall without trussesbeneath the arches, developed and patented inHungary, that would give emphasis to the feelingof suspension.The space taken up by service rooms is minimisedin order to maximise exhibition space. The firstfloor, which used to be the packing department ofthe old cannery, houses a multimedia library withmodern automatic archives and open shelves forart albums, and the administrative offices of thegallery, which now open directly onto theexhibition space. The laboratory and the art shop

are located on the ground floor, occupying oneof the long flanks of the old rectangular building.A loft has been added to this part of the gallery,with wood floor and diffused lighting.

From the time of its installation in 1991, untilrecently, the gallery of contemporary art in the cityof Paks had occupied a temporary home; in pointof fact, the collection was housed in one of thetown's old hotels, subsequently sold by the localauthority in 2005. At the same time, the authorityhad purchased a disused cannery at public auction.Today, the Paks Contemporary Art Gallery is amodern museum with a national and internationalcollection of exhibits; consequently, its culturalmission is not limited simply to serving the localcommunity. The artistic directors of the gallery

asked for a space sufficient to accommodate notonly the existing collection, but future acquisitionsas well. From an architectural standpoint, theproject presented certain key challenges, such as

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Photos: by kind permission of Iren JaromiYBl-Gyula Kiss DLA Ybl

1. Exterior of the building

2.3. Contemporary works of art on display

Design companyKiss-Jaromi Architect-Office Ltd.

CuratorZoltan Prosek, art historian

ContractorDunacenter-Therm Ltd.

LED technologyLedium Ltd.

Partner AssistanceK-light Lighting technologies Ltd.cooperative partner: Nora Timar

This allows the museum to put on displaysof photographs, graphics and small sculptures,for which limited headroom is not a problem.The decision was taken to retain the bare '60 s

style concrete of the original fabric for theexhibition spaces. The exposed surfaces werepolished and waterproofed.The exterior of the building is clad with Cortensteel panels.The space afforded by the old factory is ideal forexhibiting contemporary paintings and sculpturesof monumental proportions, but with the selectedlighting system and the special pedestals adopted,much smaller paintings, sculptures and modelscan also be shown to equal advantage.The gallery is also perfect for entertainmentshows and multimedia installations.Self-evidently, an extremely flexible lighting systemwas required. The designers sought a deliberatecontrast between the iGuzzini luminaires and theoriginal lamps of the factory; these however wereupdated by fitting Led sources. The interior lightingis provided by Le Perroquet fixtures, somepositioned to give indirect lighting, others track-mounted and ceiling-mounted. Elsewhere, i24

fixtures provide indirect light for the loft and offices,and recessed Linealuce wall-washers are installedalong the public access corridor. The exterior ofthe building is also attractively lit, utilising mainlyLight Up Walk professional units at ground level,which are also fitted with coloured filters to showup the trees, whilst the statues in the grounds areilluminated by 5 narrow beam Flash fixtures.

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Tenerife Espacio de las Artes

Tenerife, Spain

Projects ClientCabildo Insular de TenerifeSanta Cruz de Tenerife

ConstructionOHL S.A., Santa Cruz de Tenerife

In October 2008, the Tenerife Espacio de las Artes(TEA) di Santa Cruz was inaugurated on the islandof Tenerife. With its 20,000 m of floor space, theTEA is primarily a cultural infrastructure with aclear contemporary vocation of bringing togetherdifferent types of art in one place; but it is also,and no less, a fragment of urban fabric connectingthe old world and the new in the city centre.Architects Herzog & De Meuron had the idea ofcombining a series of diagonal elements andsloping floors with a ramp of steps, by way of

which the public can gain access to the building.The geometric architectural elements favourexposure to the world outside, bringing dynamismand brightness, even after dark, when artificiallight passes through the irregular openings in thewall and out toward the city. The structure housesart collections, temporary exhibition galleries, anauditorium, the Tenerife Photography Centre, thescar Domnguez Institute, and a Library (part ofthe islands library network), as well as a cafeteria,restaurant and shop.

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Photos: Jos Oller, Iwan Baan

1.2. The building in its urban contextView by day and by night.

Architectural designJacques Herzog, Pierre de Meuron,David Koch

Associate ArchitectVirgilio Gutirrez Herreros

Architectural planningHerzog & De MeuronVirgilio Gutirrez Herreros

Systems engineeringTECHNE Ingeniera y Arquitectura

Lighting engineeringOve Arup

Partners AssistanceiGuzzini illuminazione Espaa

The main feature of this building is the profusionof small glazed openings spread across theentire shell. More exactly, there are 1200 ofthese windows, in 720 different shapes and sizes.The idea was inspired by the pixellation of adigital image picturing reflections of sunlighton the ocean waters of the Canary Islands.The preparation of the concrete frontages,punctuated with pixel-like perforations thatprovide the building with a truly singular typeof lighting, serves both to enable a unique

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Tenerife Espacio de las ArtesProjects

distribution of natural light admitted during thedaytime, and produce a magical radiation ofartificial light from interior to exterior at night-time. iGuzzini was involved in the design of the

lighting system, providing expert advice andsupplying products to meet the many differentrequirements presented by the different areas(The exterior is illuminated by recessed Linealucefixtures, which adapt to the architecture with

minimal visual impact, ensuring a suffused anduniform glow; recessed Light Up Walk fixturesinstalled at floor level guarantee maximum visualcomfort; MaxiWoody and Light Up Walk

Professional spots are positioned at the end ofthe ramp, tracing atmospheric trails of light.Inside the library, fluorescent Lineup fixturescreate the ideal indirect lighting for readingand browsing, whereas the exhibition halls

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3.4. Interiors of the TEA

are equipped with special products (fluorescentstrips). The permanent exhibition room is litby a mixture of Tecnica spots and floods andLe Perroquet pendants which, thanks to their

ease of directional adjustment, can be usedboth to pick out individual features and, whenfitted with a diffuser, to provide uniform lightingfor vertical surfaces, functioning effectivelyas wall washers.


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The iTrust offices

Cham, Switzerland

Projects ClientiTrust

Architectural designBeat Schpfer, [punkt-s] gmbh

iTrust, a systems integrator incorporated in 2003and based in Cham, in the Zugo Canton, decidedrecently on a heavy investment to renovateits headquarters. The aim was to create anenvironment reflecting the philosophy and cultureof the company, based on values of transparencyand accountability. The supervision andimplementation of the project was entrustedto interior architect Beat Schpfer, who calledin iGuzzini as lighting design consultant.The lighting serves to emphasise the atmosphereof the single rooms. The designers decided onmainly indirect luminaires to create suffusedbackground lighting, with spots and other fixturesto provide accent light. The middle of the officepremises consists of an organically structuredentrance. In keeping with the iTrust philosophy,the rooms adjoining the entrance are notcompletely isolated: staff must not be excluded

wallpaper and three Gem pendant fixtures createa lively atmosphere in which to seek inspiration -and not only for the staff of iTrust: this is also theroom preferred by clients to discuss their projects.The second room, the Innovation Trust, iswhere ideas are implemented. The room isreduced to the bare essentials, with soft anddiscrete lighting supplied by iSign fixtures, whichblend effortlessly with the dark colour schemeand futuristic lines.The implementation step is followed by a pausefor relaxation: the atmosphere in the RelaxationTrust is typical of an oasis. Light is provided bysome 15 Ledplus type units recessed into thefloor, which project the shadows of numerousplants onto the ceiling. This is a place wherestaff can chill out, especially at the end ofthe working day.The workstations are separated one from

from what is happening around them. The floorspace is divided substantially into openworkstations, a meeting room, a Directorsoffice and three themed rooms - Trusts,so-called - created for specific work processesand planned as single enclosures, separatedfrom the remainder.In reality, iTrust has no fixed workstations.When staff are not with the clients, they simplysit with their notebook PCs in whichever placeis most suitable for the project they happen tobe working on. If extra concentration is required,or there is a long phone call to be made, theywill move into one of these three isolated spaces.The Trusts are separated from the central areaby curved partition walls approximately twometres high.The first, the Creation Trust, is for the initialconception of ideas. Aubergine carpeting, lilac

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Photos: Gnther Laznia

1. Entrance

2. Relaxation area

Direction of worksBeat Schpfer, [punkt-s] gmbh, Zrich

Partners AssistanceiGuzzini illuminazione Schweitz

another by sound absorbent panels that alsofunction as notice boards and are fixed to wiresso that they can be raised, as required, in theevent that teams wish to work together arounda single large table.In this instance the lighting needs to be suitablefor working in front of a computer screen.Accordingly, a combination of direct light andindirect was adopted, using Mini Light Airpendant fixtures, which also incorporate DALIprotocol and consequently are dimmable. Thefixture used in the meeting room and Director'soffice is a recessed Wide Plus rated 55W, whichcreates a soft and diffuse light. The lights are alsooperated from a central control unit with remotehandset and touch panel, which allow users toretrieve and select different preprogrammedsettings. The walls of the meeting room andDirectors office, and the front walls of the officesin the main entrance area, are lit by 100W PixelPlus units equipped with Wall Washer screensso that the entire wall can be lit uniformly fromthe ceiling.

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The Mardan Palace Hotel

Antalya, Turkey

Projects

The Mardan Palace Hotel, owned by Azerbaijanimultimillionaire Telman Ismailov, is one of themost luxurious hotels in the Mediterranean,located in the popular Turkish holiday resortof Antalya. The opening ceremony was attendedin May 2009 by such high profile A-listersas Richard Gere, Mariah Carey, Tom Jones,Sharon Stone, Seal and Monica Bellucci.The Mardan Palace in Antalya is a hotel inspiredby the architecture of the ancient Ottomanpalaces, a Tale of the Orient in its own right.The hotel is built on the splendid Mediterraneancoast of Southern Turkey, occupying a total areaof 180,000 m. It is divided into wings: theAnatolian Wing, with 225 rooms - the mostremarkable feature here provided by decorationsin the traditional Ottoman style, withcombinations of dark coloured woods and giltembellishment; the European Wing, featuringa post-modern design proclaiming simplicity,in all of the 203 rooms; and the DolmabahceWing, a block of 88 rooms furnished with themost luxurious pieces imaginable. The wingsstand along three sides of a pool recalling theBosphorus, straddled by a bridge based on

16th

century drawings by Leonardo da Vincifor the Galata bridge, which was never built.Guests can take a gondola ride across thepool, whilst one of the restaurants is a replicaof the Maiden Tower in Istanbul.The lighting was designed and implementedin direct collaboration with the proprietor.

ClientTelman Ismai lovAST 1989 Group

Project coordinationHseyin Davutoglu.

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Photos: By kind permission of AST 1989Group - Halkla iliskiler

1.2.3. Views of the complex

Partners AssistanceTepta Aydinlatma

The outer faades of the three wings areilluminated using cold cathode lighting:elsewhere, all of the lighting installation isspecified with iGuzzini fixtures. Uplightingon the columns is provided by Kriss and Yotafixtures and by recessed Light Up units; thetowers are lit by MaxiWoody floods; the bridgewalkway is illuminated using Led sources,whilst Radius and Platea were selected for

the Dolmabahe door and the boat moorings.64 Euclide fixtures are installed around thepool. The decorative pool on the entrance sideis illuminated by Led Glim Cube units; the stepsleading up to the entrance are lit by recessedLed sources, and the statues around the poolby Woody fixtures.Delphi lighting systems are used for thecar park.

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The Park der Sinne

Hanover-Laatzen, Germany

Projects

The Park der Sinne - Park of the Senses -represents the kernel of the KronsbergLandscape Plan, and is one of the finestparts of the legacy left to Germany followingExpo 2000. The organisations responsiblefor the project were the Hanover RegionalAuthority and the City of Laatzen.The park, designed by garden and landscapearchitect Hans-Joachim Adam, is intendedto develop the awareness of our five senses:sight, hearing, touch, smell and taste.The lighting scheme for the park was entrustedto students of the HAWK Higher Institute ofArt and Applied Sciences, Hildesheim, workingunder the guidance of lighting designer NorbertWasserfurth. The innovative landscapearchitecture is combined with technological

ClientsHanover RegionCity of Laatzen

Landscape designHans-Joachim Adam

modernity and with a sustainable use ofenergy. One of the aspects of the lightingdesign concerned the development of anoutdoor lighting device capable of producinga variable output.The Lighting Design course student JohannaHermann developed the preliminary designsand planning, as well as the design ofspecial fixtures, as part of her degree thesis.In the pilot project at Laatzen, the lightingeffects are not only designed to create anemotional experience; they also serve scientificpurposes, such as the study of light perception.It is a feature of the lighting design that visitorsshould be able to find their way around thepark simply by reference to the illuminationof the elements included in the landscape.

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Photos: Daniel Junker

1. Lighting effect2. Plan of the park3.4.5. Project

Lighting designStudio DL - Norbert Wasserfurthin collaboration withthe HAWK university, Hildesheim

Partner AssistanceiGuzzini illuminazione Deutschland GmbH

The discreet relationship with nature, in thisinstance, is as important as the idea thatvisitors should be allowed to test their capacitiesof perception and nocturnal orientation.Three basic dynamic processes are behind the

lighting design: dynamic adaptation of the lightconditions to the movement of people throughthe park, the areas where visitors can pauseand experience the light, and the directionalpositioning of fixtures according to the season.

These ambitious objectives are achievedwith the solution implemented by the HAWKuniversity of Hildesheim, in collaborationwith iGuzzini: a lamp of variable light outputequipped with three 1W Leds of different colour

and optical specification. Each Led is poweredindependently, and therefore adjustableindividually, so that the lighting effect canbe adapted to different objects. The colourtemperature can be varied from cool white

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to warm white, and the beam from narrow towide. The extreme flexibility of the appliance,and the sensors detecting movement in thepark, produce a wide variety of lighting effects.The entire installation is wired up to a centralcontrol system not iGuzzini. For reasons ofenvironmental protection, no lights are switchedon in the park unless visitors are physicallypresent. The system is also powered by solarenergy.


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The lost space of Stiller

Eidgenssische Technische Hochschule, Zurich19 February - 13 March 2009

Corporate culture

In the Spring of 2009, the Swiss Federal Instituteof Technology in Zurich (ETH - EidgenssischeTechnische Hochschule), hosted an exhibitiondedicated to the work of one of its most famousstudents: the architect and writer Max Frisch.Inspired by his novel Stiller, the exhibitionentitled The lost space of Stiller was promotedby architect Markus Seiferman of PATALAB,London, in collaboration with the Max FrischArchive in Zurich. Seiferman, who also directedthe installation, had the idea of recreating thespace, and spaces, inhabited by the centralcharacter of the novel, Anatol Stiller.Three wooden crates or boxes, representingStillers studio, dining room and bathroom,were arranged on an open platform, arounda tableau of a living room. The resulting collagewas installed in the main hall of the ETH.

Light was used by Seiferman to create theatmosphere for these spaces. It was not hisintention to re-create actual locations mentionedin the book Stiller, but rather to reveal the spacesexisting between the main characters of the novel.To achieve this objective, Seiferman enlisted the

help of both iGuzzini UK, and iGuzziniSwitzerland. Inside the hall, general lighting for theexhibit was provided by 18 Cestello stands placedon two levels. The dining room box was equippedwith 8 Led Express spots piloted by the MasterOne DALI system. In the bathroom box, afluorescent source rated 6500 K created a coldand sterile atmosphere.The exterior of the building was illuminated for theduration of the exhibition, using 4 MaxiWoodyfloods for the faade, and an array of 26 Linealuceand 13 Woody fixtures fitted with discharge andfluorescent lamps accentuating the windows of thedome alternately with hot and cold light.iGuzzini Switzerland invited a number of guests to

view the exhibition, which provided an opportunityto demonstrate the importance of a well-designedlighting scheme.1

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Photos: Gnther Laznia

1. Positioning of the Cestello stands

2. Exterior illumination

3. General view of the installation

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Corporate culture

The Rondanini Piet, Michelangelos last work,is an unfinished sculpture purchased in 1744by the Marchesi Rondanini, hence the name.The Piet was acquired by the Municipalityof Milan in 1952, and has undergone cleaningand restoration work in the years since, mostrecently in 2004. During 2009, a number ofmaintenance operations were also carried outon the installation designed originally for theRondanini Piet back in 1956 by theprestigious firm of architects BBPR (Banfi,Belgiojoso, Peressutti and Rogers). For the firsttime, attention has been given specifically tothe pietra serena and olive wood niches bywhich the sculpture is protected.These structures are examples of Italian design,and as such, attributed the same status asthat of a museum piece.In its capacity as sponsor during this phaseof the renewal, iGuzzini supplied fixtures andtechnical consultancy on the adoption of anew lighting system, utilising Le Perroquetand Le Perroquet Professional spotlights.

New lighting forthe Rondanini Piet

Castello Sforzesco, Milan

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Photos: Paolo Carlini

1. The installation designed by BBPR

2.3. The sculpture

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Corporate culture iGuzzini at the Shanghai2010 Expo

The theme selected for Universal Expo 2010,Better City, Better Life, expresses the interestof the international community in strategiesfor sustainable urbanisation and development.iGuzzini is involved as lighting partner ona number of high profile projects.One such project will be the lighting for theItalian Pavilion, designed by architect GiampaoloImbrighi. The Pavilion, which has a squareground plan of 3,600 m and stands 18 metreshigh, is divided internally into volumes ofdifferent sizes and irregular shapes, linked bysteel bridge-structures. The Pavilion will befilled with light, thanks not least to the useof transparent concrete, a recently developedpolyhedral material.It is also conceived as a special kind ofbioclimatic machine, designed to achievesignificant energy savings. Photovoltaic elementsintegrated into the outer windows will guaranteeprotection from solar radiation, whilst the lighting

design adopted for the building not only aims atemphasising the spaces, but also at favouringlow energy consumption.

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Another of the projects involving iGuzziniconcerns the environmental and operationalrestoration of former industrial buildings in theUrban Best Practices Area (UBPA) of Expo 2010;this project was won by mOa- Mario OcchiutoArchitecture in an international ideas competition.The lighting design was entrusted to FrancescaStoraro, with iGuzzini providing consultancy andproducts. The entry submitted for the competitionby Mario Occhiuto, who has been working onarchitectural sustainability for many years andalready has major projects to his name in China,focuses firmly on technology and eco-compatibility,helping to export Italian know-how to a countrythat hitherto has been little concerned withrecovery and restoration.Alongside the buildings to be recovered is oneof new design (C1 Building) that will providereception services for the entire Urban BestPractices Area.There is also another new pavilion, named B3-2,of which the design has been entrusted toArcheA. The idea centres on energy saving anduses high efficiency Led lighting technologies.

Photos: By kind permission of the architects

1. View of the area where building B3-2 will be erected

2. Plan with detail of the area

3.4. Rendering of the Italian Pavilion

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Corporate culture

Adolfo Guzzini appointed presidentof the Italian Design Council

2 July 2009 saw the establishment of theItalian Design Council, instituted by a decreeof the Ministry for Cultural Heritage andActivities, dated 12 March 2009.Minister Sandro Bondi stressed that this is

the first time that three strategic ministriesfor the Made in Italy brand - the Ministry forProduction Activities, the Ministry for ForeignAffairs and the Ministry for Cultural Heritageand Activities - are cooperating to promoteculture, business, home markets and exportmarkets, all under the banner of thinking,designing and producing Italian.The Italian Design Council is chaired byAdolfo Guzzini and made up of 24 membersrepresenting the world of enterprise, design,publishing and training.The members: Pietro Di Pierri, SilvanaAnnicchiarico, Giovanni Francesco Accolla,Massimo Arlechino, Andrea Branzi, LuisaBocchietto, Medardo Chiapponi, GiuseppeChia, Aldo Colonnetti, Pierluigi Cerri, RiccardoDiotallevi, Giorgio Di Tullio, Arturo DellAcquaBellavitis, Renza Fornaroli, Frida Giannini,Stefano Giovannoni, Carlo Martino, ClaudioMessale, Raffaella Panizzi, Antonio Paris,Antonio Romano, Nadia Salvatori, AndreaVallicelli.

Lightinprogress:iGuzzini at the Fuori Salone 2009

Milan, La Triennale, 22-27 April 2009

The off-site Fuori Salone fringe of the MilanSalone del Mobile 2009 provided iGuzzini withthe opportunity to present its lightinprogressinitiative, advertising the commitment made bythe company in offering viable solutions toprovide better street lighting, save energy, spendless money and care for the planet we inhabit.The lightinprogress project was designed by

the iGuzzini Study and Research Centre,with installation by Pierluigi Cerri and visualcommunication by STZ, and consisted ofan exhibition staged at the Triennale, with apresentation of new products for 2009 at theiGuzzini Partner Assistance premises in ViaSan Damiano.

On show at the Triennale were the resultsof three important collaborations: Archilede,the Led street-lighting system developed andproduced for Enel Sole; the lighting solutiondesigned by Piero Castiglioni for urban renewalof the old Osservanza asylum complex inImola; the wind powered urban lighting systemdesigned by Stefano Boeri for the island of

La Maddalena. In addition to these exhibits,the actions taken by the company to promotethe culture of light were documented in 7video chapters shown on monitors along theroute around the exhibition and summarisedin slogans.


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Corporate culture

An award for iGuzzinicommunication

TP 2009, San Patrignano 26-28 June 2009

The iGuzzini Better Light for a Better Lifeadvertising campaign won first prize at TP 2009Communicating sustainability, with the citationBest advertising campaign, characterised by strongcreativity expressed through traditional media.The award, promoted by the Italian Associationof Professional Advertisers in collaboration withthe Piedmont Regional Authority and its Uniamo

le Energie (Unit our energies) campaign, calledfor a message able to transmit values associatedwith eco-sustainability, such as would encouragethe public to consider environmental issuesand promote responsible behaviour in this area.The award ceremony was held at San Patrignanoduring the TP convention, which ran from26 to 28 June.

International Design prizeBaden-Wrttemberg 2009

Ludwigsburg, 16 October 2009

The Stuttgart Design Center announced itsInternational Design Prize for 2009 asFocus Open. For 9 years running, previously,this important national award of the Baden-Wrttemberg region had a single theme.

For the tenth anniversary, by contrast, thecompetition was opened up to all productcategories. For this international competition,accordingly, the jury looked solely at the qualityof the design: manufacturers and designerswere invited to submit products that hadbeen on the market no more than two years.The jury members met in mid-May, and selectedthe winning products from 438 entries.The Lux fixture, designed by Gerhard Reichert,was the winner of the Focus in silver award.The presentation ceremony will be held inOctober 2009.

iGuzzini wins DAFZA award

Dubai, 29 June 2009

iGuzzini illuminazione Middle East, basedin Dubai, was awarded the Eco-sustainableOffice Award offered by DAFZA (DubaiAirport Free Zone Authority), the body thatmanages the Free area of Dubai Airport -

i.e. a location where businesses can be setup without local sponsorship. In the otheraward category - safety at work - thewinner was Airbus Middle East.The adjudication committee first selectedcandidates for the award, and then visitedeach of the short-listed companies at theirpremises. The awards presentationceremony, held on 29 June, was attendedby Nasser Madami, assistant to the CEOof DAFZA, and by Ahmed Al Hashimi,Executive Director of Corporate Services.


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IncontroluceSix-monthly international magazineon the culture of light

year XI, 20

RedazioneiGuzzini Study and Research CentreFr.ne Sambucheto, 44/a62019 Recanati MC+39.071.7588250 tel.+39.071.7588295 [email protected]

iGuzzini illuminazione spa62019 Recanati, Italyvia Mariano Guzzini, 37+39.071.75881 tel.+39.071.7588295 [email protected] video

Graphic DesignStudio Cerri & Associati

PublisheriGuzzini illuminazione spa

Contributors to this issueiGuzzini illuminazione China Ltd.

iGuzzini illuminazione Deutschland GmbHiGuzzini illuminazione Espaa S.A.iGuzzini illuminazione France S.A.iGuzzini illuminazione Schweiz AGiGuzzini illuminazione UKK-light Lighting technologies Ltd.Tepta Aydinlatma, Turkey

Cover photoHengzhong Lv

Printed: October 2009Tecnostampa, Recanati

II. 200920 Incontroluce

Errata corrigeIncontroluce 19

On page 46, the name of the architecture firm Lewis& Hickey was indicated wrongly as Lewis & Hockey

The Editors are not responsible for inaccuracies andomissions in the list of credits relating to projectsand supplied by contributors.Any additions or amendments will be includedin the next issue.


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Massimiliano Fuksas / Philippe Proisy / Renzo Piano Building Workshop /

Studio Indik / Steven Holl Architects / Morton Wykes / Jiangsu Century

Architecture Design Co. / Santiago Calatrava / Estudio Mariscal / David

Chipperfield Architects / Iren Jaromi Ybl - Gyula Kiss DLA Ybl / Herzog

& De Meuron / Beat Schpfer / Hans Joachim Adam

Incontroluce 20 - iGuzzini magazine 10.2009 - English

Documents

Transcript of Incontroluce 20 - iGuzzini magazine 10.2009 - English