Commercial Spaces
Commercial Spaces
Summary 4
Loro Piana
6
Fila Sport
8
Porsche Centre
10
Gum Superstores
12
Max Mara
14
Dunhill
16
Delitto e Castigo Boutique
18
Maserati showroom
20
Reorganization of Studio Wella
22
EZ Neue Mitte
24
PhĂśnix shopping centre
26
Ortona Center
28
Barker & Stonehouse
30
Emporio Armani
36
Daimler Chrysler AG Mercedes-Benz Center
42
Fendi Boutique
48
Y’s point of sale
54
External lighting of commercial spaces
58
Light Campus
Clients: This monograph issue of incontroluce appears as a special selection of the international lighting journal launched in 1999 and edited by iGuzzini illuminazione; a publication designed to enhance the image of a company already known to many, and reveal its identity more fully to others less familiar with the name. From the way the journal is conceived and presented, there will be little doubt as to the kind of market it serves, and to the nature of the company behind its publication. incontroluce profiles some of the most important and interesting designs commissioned around the world, in various sectors. This issue presents lighting designs commissioned for commercial spaces.
Adolfo Dominiguez Alessi Waterstone‘s Antonio Pernas Argos Armani Audi B&B Italia Barker & Stonehouse Bay Trading Co Benetton Blanco BMW Boffi Bricofer Buffetti Bulgari – corner Bulthaup Burger King C&A Calvin Klein Camper Caramelo Cartier Ceramiche Ragno Club Vacanze Coop Co-Operative Corneliani Coronel Tapioca Cortefiel Custo Barcelona Daimler Chrysler Stuttgart Derothy Desigual Deutsche Bank Deutsche Post Dixons Douglas Dufrital R. Ginori Dunhill Eduscho
El Corte Ingles Emmanuel Schuili Escada Euro Trade Flughafen Fendi Ferrari Fila Sport Fratelli Rossetti Spa Gas Natural Gaumont Gruppo Intercrest Gucci H&M Harrods Haspa Hettlage Hilton Hipovereinsbank HMV Hugo Boss Inditex Karstadi Hertie Halifax Kartell Spa La Perla Les Copains Levi’s Lior Terranova Lladró Loro Piana Maserati Mandarina Duck Mango Marina Rinaldi Marks & Spencer Max Mara Max&Co Mayoral McDonald Molteni Moss Bross Murphy & Nye
Natwest Group Nike Pans & Company Pathé Perkins Podium Porcelanosa Porsche Principles Pronovias RCS Rizzoli Librerie Reebok Safeway Sainsbury’s Saller Gewerbebau Sava Schmidt Bank Selfridges & Co Sfera Sixty Sportmax Suit Company Swatch Telecom Tesco The Body Shop The Disney Store Tie Rack - Gucci Tooman Topshop Trussardi TSB Valtur Venini Spa Versace Company Store W’S Warner Village Weitnauer Wella Swiss Wormland Yohji Yamamoto
2
Introduction
The lighting of showrooms and retail spaces is a field of application that presents a considerable number of design problems. The type of store and its target clientele, the size and location of the premises, the way merchandise is displayed and the message the vendor wants to send out to customers... these are just some of the factors combining to dictate lighting design criteria. Nonetheless, it is possible to focus on certain factors common to almost all commercial premises, and to identify the overriding objectives of the lighting design: to render the visual composition of spaces appropriately; to create an atmosphere conducive to trading, highlighting the focal points of the retail environment; to enhance the quality of the merchandise on display; to control the negative effects of radiated light on merchandise. The common requirement that all lighting systems must fulfill is that of high flexibility - a key attribute ensuring adaptation to continual changes in store layout. The evolving philosophy of display In any store or showroom, lights have a role of primary importance in establishing the overall image of the surroundings. One can look perhaps for connections between styles of shopfitting and lighting, but it must be appreciated that there have been significant changes over recent decades in the way goods are displayed. In the early 1950s, the display of merchandise was based on the simple presentation of products in a setting where design played no part. This was a period characterized by low expectations: huge satisfaction came simply from the novelty element and the symbolic importance of the items on display. The product spoke for itself. Communication strategies were unnecessary. The art of displaying merchandise began to evolve in the boom years (1960s to mid1970s). The intrinsic value of the object was transcribed into a parallel language shopfitting - which took on an importance, in terms of design, complementary to the actual product. It was the ambient and architectural context that distinguished the product on display, making it unique and attractive compared to other offerings. This marketing technique seemed to meet the need for a way of leading and influencing the unprecedented willingness to spend that typified the period. In fact, the marketing practically created the need. Through the 1980s to the early 1990s, furnishing and décor began actually to supplant the merchandise in terms of importance, with the result that the product almost disappeared or in any event became marginal, smothered by the force of communication, style and “look”. The sale of goods was stimulated and sustained merely by symbolic imagery, by the most flimsy of advertising messages, quite unrelated to the real needs of the consumer. This past decade has seen the emergence of a new philosophy in designing retail spaces: the style and image of the furnishing and décor become the identity of the store and of the company offering the product. Shopfitting is minimal and elegant again, as if reflecting a quest for conceptual clarity. Products are selected and displayed with skill and flair, underlining the centrality of the service offered.
incontroluce
3
Loro Piana
Lighting designer Piero Castiglioni Photo Giuseppe Saluzzi
Milan, Italy
Light Shed The lighting system best able to show up the consistency and elegance of fabrics is one ensuring a soft and uniform distribution of luminous flux. Light Shed is a recessed luminaire created especially for Loro Piana stores, using low voltage halogen light sources ordered in rows of no fewer than three and no more than six. Equipped with symmetric and asymmetric optical assemblies.
4
Loro Piana
incontroluce
5
Layout design Matteo Thun Marco Rossi
Fila Sport
Photo Emilio Simion
Milan, Italy
Frame Certain architectural spaces require luminaires that will have a minimum visual impact when installed. Frame fixtures are recessed units utilizing ultra low voltage halogen light sources that can be installed in combination with compact fluorescent lamps. The halogen lamps are adjustable for direction independently and offer the advantage of being deployable as accent lights where required.
6
incontroluce
7
Porsche Centre Stuttgart-Zuffenhausen, Germania
Architectural design Werkgemeinschaft CEPEZED B.V., Delft (Netherlands) and Kilian + Hagmann, Stuttgart
Electronic design AXYZ AG, Zurich (Switzerland) Electronic design Raible Engineering, Ditzinger Photo Studio Anker
Trimmer In stores and showrooms where frequent changes of layout are necessary, it is good policy to specify an adaptable luminaire that will provide both general background and accent lighting. Trimmer is a modular recessed unit housing spots that are fully extendable and adjustable for direction. Can be used with a wide range of light sources.
8
Porsche Centre
incontroluce
9
Gum Superstores
Photo Giuseppe Saluzzi
Moscow, Russia
Frame Certain architectural spaces require luminaires that will have a minimum visual impact when installed. Frame fixtures are recessed units utilizing ultra low voltage halogen light sources that can be used in combination with compact fluorescent lamps. The halogen lamps are adjustable for direction independently and offer the advantage of being deployable as accent lights where required.
10
Gum Superstores
incontroluce
11
Max Mara
Layout design Duccio Grassi Architects Photo Enrico Lattanzi
Milan and Moscow
Pixel Plus Maximum flexibility in terms of beam direction combined with minimum intrusiveness: this is what can be expected from a lighting system for stores subject to frequent changes in layout. Pixel Plus is a recessed unit with an optical assembly that tilts both inwards and outwards and swivels on its axis. Uses a wide range of light sources.
12
incontroluce
13
Dunhill
Architectural design RPA, Architects Lighting design Light on Line, Martyn Cresswell
London, UK
Photo Alfred Dunhill archive
Sivra Compact In certain surroundings, importantly, the general level of comfort offered goes beyond visual comfort pure and simple. The Sivra Compact fixture was developed from a research project initiated in 1988 jointly with the Italian CNR - National Research Council - and the Lighting Research Center of the Rensselaer Polytechnic Institute of Troy, New York. The aim was to design a lighting system that would reproduce the characteristics of natural sunlight, featuring variable and automatically controlled output (acronym SIVRA). The Sivra Compact can vary colour, temperature and intensity according to scientifically predetermined programs. The system is composed of: modules containing fluorescent lamps an electronic control unit a set of electronic power adapters The operation of the system is managed by a computerized system able to read smart cards programmed with specially calibrated lighting cycles tailored to suit the latitude, longitude and other geographical data of the location where the system is installed.
14
Dunhill
incontroluce
15
Delitto e Castigo Boutique
Architectural design Teresa Sapey Photo Claus Breitfeld
Madrid, Spain
Cestello It may be necessary to change the layout of a retail store from time to time, and this dictates the need for a system that will provide both background and accent lighting with a limited number of fixtures. Designed for display applications, Cestello is an extremely flexible lighting system incorporating different light sources in a single luminaire. Each source is adjustable for direction independently of the other.
16
Delitto e Castigo Boutique
incontroluce
17
Maserati showroom
Architectural design Ron Arad Associates Ron Arad, Asa Bruno Project team Geoff Crowther, Egon Hansen Paul Gibbons
Consultants: Direction of works Pierandrei Associati Electrical systems Electrical consultancy Photo Maserati archive
Modena, Italy
Trimmer Spot and discharge lights can combine to good effect in certain spaces. The Trimmer modular recessed unit has single spots that are fully extendable and adjustable for direction, and can be used with a wide range of light sources, which means they can provide both general background and accent lighting.
18
Reorganization of Studio Wella
Credits Contractor Mc Connel by Kuhn Zürich Designers Welonda AG, Allschwil, Daniel Huber, architetto d’interni
Electrical systems Elektro Winter, Jona Photo Marcel Schläfle
Zurich, Switzerland
Sistema Easy Certain spaces need luminaires that will offer long service life, ease of maintenance and high light emitting efficiency while creating minimum visual impact. The Sistema Easy features recessed units of round and square outline that can utilize fluorescent, halogen and metal halide light sources.
20
EZ Neue Mitte
Architectural design H.+ P. – Bad Berka
Photo M+M Video-Fotowerbung
Lighting design H.+ P. – Bad Berka
Jena, Germania
Minimal Certain architectural spaces require luminaires that will have a minimum visual impact when installed. Minimal fixtures are recessed units in which the light sources are set back slightly from the surface of the ceiling. They take ultra low voltage halogen lamps that can be combined with compact fluorescent lamps. The halogen light sources are adjustable for direction independently and offer the advantage of being deployable as accent lights where required.
22
incontroluce
23
Phรถnix shopping centre
Architectural design ECE Projektmanagement GmbH Lighting design Luna Lichtarchitektur Matthias Friedrich
Hamburg, Germany
Photo MM-Video Fotostudio
Pixel Plus The Pixel Plus has a hinged optical assembly that can tilt both inwards (up) and outwards (down).This ensures the luminaire has minimal impact visually, while on the practical side offering flexibility, reliability and ease of maintenance - important advantages in stores and showrooms where the lights typically are kept on for prolonged periods of time.
24
Phรถnix shopping centre
incontroluce
25
Ortona Center
Architectural design Giuseppe Margiotti Photo Giuseppe Saluzzi
Ortona, Italy
Le Perroquet It may be necessary to change the layout of a retail store from time to time, and this dictates the need for a system that will provide both background and accent lighting with a limited number of fixtures. Designed for display applications, Le Perroquet can be suspended pendant style, track-mounted or surfacemounted, and offers a choice of light sources.
26
Ortona Center
incontroluce
27
Barker & Stonehouse
Design concept Andrew Durham Photo Sasa Savic
Gateshead, Newcastle, UK
Berlino Barker & Stonehouse is a major chain of stores selling furniture and accessories for the home. This kind of showroom must be lit with visual comfort in mind, reproducing a typical home atmosphere but ensuring that the effect of the lamps used for the display lighting will not be cancelled out. Berlino luminaires combine the traditional look of the pendant lamp with optimum light emitting efficiency. Reflectors are offered in three versions - metal, satinated glass or aluminium and glass - so that direct or direct/indirect lighting solutions can be adopted. The version selected for Barker & Stonehouse is the aluminium and glass combination, which gives a wider distribution of the luminous flux and therefore a softer effect.
28
Barker & Stonehouse
incontroluce
29
Emporio Armani Hong Kong
Architectural design Massimiliano and Doriana Fuksas Project Leader: Davide Stolfi
Design Team: Iain Wadham Defne Dilber Motohiro Takada Model Makers: Gianluca Brancaleone Nicola Cabiati Andrea Marazzi
Photo Ramon Prat
The arrival of Emporio Armani in Hong Kong reflects an awareness that the milieu of global culture affords a proving ground for numerous identities. In this instance, a meeting of two creative forces, and a meeting of two different outlooks on the world. Architecture and fashion both mirror our reality; they belong to the same cultural universe. It would seem that architecture lasts, and fashions pass, but with the pace of life in our modern society, the two are bound to compete and to overlap. In designing the interiors of the Hong Kong Armani store, every traditional formalism of architecture has been rejected: the emphasis is on space more than substance. Flows, not dÊcor, are the true inspiration. Invisible layouts are the only possible reference. Three spaces are established by curved glass walls etched with an abstract pattern: internal, external and interstitial. There are no luminaires in sight, and the geometry of the light sources is unseen. Floors are neutralized and oppressive suspended ceilings become intangible. Glass components have a curvature, characterized by complex geometries, which becomes a light source. All this makes for a fluid space - a seamless passage between clothes, restaurant, bookshop, flowers, coffee shop, Armani cosmetics‌ The images are multiplied by the resin floor, redoubled to infinity. The walls are thrust beyond the confines of the masonry shell. The interior furnishings of steel, coated with a soft and translucent material, are unexpectedly comfortable.
30
Emporio Armani
Load-bearing structures vanish, flooded with light. In the restaurant, simple functions are complemented by an exhilarating “red ribbon” (moulded from fibreglass) that spirals toward the hall. The ribbon suggests resonances and tensions. A simple line, almost an automatic signpost, serving to create spaces (lounge, bar, restaurant, foyer). With the visual eradication of floor, ceiling, walls and other structures, the visitor becomes a “personality”. These are times when everyone can claim their fifteen minutes of fame.
The Emporio Armani in Hong Kong is a place where individuals can feel they are the centre of attention, in a space designed especially for them, and everything they encounter will be bathed in magical light. The strength and colour of the light will change through the day and the evening. The “shop window” on Chater Road mirrors the rhythms and images of Hong Kong with continuously changing illuminated signs. (Massimiliano and Doriana Fuksas)
incontroluce
31
32
Emporio Armani
1
Lighting solution The architectural design produced by Massimiliano Fuksas is more about spaces than solid structures. Light becomes a guide. A pathway. The display area itself is flanked by backlit walls. The luminaires, designed especially for this particular project, are carefully concealed from view. Downlight in the books, flowers and hairdressing departments is provided by Pixel Plus 35W CDM-T fixtures with the rim colour matched to that of the ceiling. Units used in the window are Le Perroquet (Piano Design) 70W HIT. In the restaurant and flower shop, dynamic and coloured lighting comes from the walls. This is a solution that creates the kind of weightless and transparent atmosphere envisaged and requested by the client.
1. Pixel Plus
incontroluce
33
34
Emporio Armani
Reverse angle lighting This kind of effect is obtained by projecting light from behind the object, so as to create a sense of depth, throwing the illuminated object into relief by detaching it from the background and accentuating the silhouette. With this technique, objects appear moulded by the light and bathed in a luminous glow. Reverse angle lighting can also be used in conjunction with surface or front lighting.
incontroluce
35
Daimler Chrysler AG - Mercedes-Benz Centre Munich, Germany
Architectural design Studio LAI - Munich
Photo Fotostudio Anker
Lighting design Studio KBP - Hallbergmoos, Andreas Heiland AG-Licht, Klaus Adolf
Measuring 150 metres in length and with 75,000 square metres of floor space on each level, this building offers room for all kinds of uses: glass-walled workshop, parts store, display, new and used car sales, distribution, administration and a multi-storey car park with 350 places. Also housed in the building are an AMG/Design Center, a section showing the range of Mercedes motor cars, a Maybach Centre, an Italian restaurant, a number of art exhibitions and multimedia systems providing information to visitors. Given the glass architecture, with its transparent shell, and the intended use of the building, the task facing engineers concerned with technical aspects of the structure was not an easy one. The main challenge of the technical design centred on how to go about tackling the changeable daylight, and the gloom created by rain or by snow. The tower block and its elliptical contours are given prominence by directing light onto the underside of deflectors located in the ventilation cavity of the glass faรงade.
36
incontroluce
37
38
Daimler Chrysler AG - Mercedes-Benz Centre
1
Lighting solution The products used are Linealuce (Jean Michel Wilmotte), Pixel Plus and Le Perroquet (Piano Design). Using these luminaires in combination, the designers were able to provide both background and accent lighting while counteracting the reflections from the bodywork of the vehicles. Recessed Pixel Plus units are fitted with spill rings and lamped with metal halide sources for high colour rendering. Le Perroquet luminaires with spot type optical assemblies are used to light the central atrium. These fixtures were selected for their extreme versatility, given that the space would be subject to changes of layout and is also used for staging concerts or presentations. The design of the west frontage on the Donnesberger Bridge, which functions also as a huge shop window, is based on the cells of a hive. The individual vehicles are illuminated by spots equipped with reeded lenses allowing the light cone to be widened. The structure of the tower is highlighted using Linealuce units, positioned in the ventilation cavity of the glass faรงade so as to give a particularly uniform and well-diffused light that will show off the elliptical geometry. The overall lighting can be activated in such a way as to create the particular effect desired, and controlled according to requirements. Each set of luminaires can be switched and controlled independently of the time of day and the level of daylight outside. 1. Le Perroquet
incontroluce
39
Daimler Chrysler AG - Mercedes-Benz Centre
Accent lighting Cavernous spaces like car showrooms require light sources of high rated output and luminous efficiency that will guarantee a notably high level of illuminance (greater than 500 lux) on the vehicles, with high colour rendering and a neutral colour temperature (around 4,200 K), so as to show up chrome-plated metal parts to best advantage.
40
Concept Silvia Venturini Fendi Fendi creative director
Fendi Boutique
Photo Matteo Piazza Giuseppe Saluzzi
Lazzarini Pickering Architetti Lighting design Lazzarini Pickering Architetti
London, Paris, Rome
The new international image of Fendi boutiques is dark, architectural and luxurious. All elements of the interior (shelves, hanger systems, tables, etc.) are considered architectural elements and proportioned to the surrounding space. They are long and sculptural items (some shelving extends up to ten metres in length) designed to interact with the space three-dimensionally. The panel system incorporates all the technology (a.c. power supply, socket outlets, lighting), and running between the panels is a track to which all the display accessories are fixed, leaving the panels completely free. The stores are dark. The wall panels are black or dark brown; the floor and the display fittings fashioned from raw steel that gives off bluish reflections. The notion of a ’shop window’ is dispensed with. The entire store is exposed to view, with shopfitting components passing through the glass walls.
Customers moving around the store become items themselves, placed in full view of those looking in. The customers in their turn see the world outside through the window, as if viewing an exhibition. The clothes are hung or placed informally, but sculpturally. The ‘apparent’ disorder encourages customers to touch the sumptuous materials and try out the merchandise. The concept of the store interior has received careful attention too: the generally dark atmosphere provides a background against which to create chiaroscuro effects underscoring the desirability of the items on display; furnishing materials appear low-key by contrast. The store has sufficient flexibility to allow changes in the display while at the same time maintaining the functional efficiency of all essential services (lighting, power and DT cables).
42
Fendi Boutique
incontroluce
43
Fendi Boutique
1
The lighting solution It was decided to use Minimal and Frame luminaires (G. Aulenti - P. Castiglioni) as these respond to three different needs. First, the unfussy nature of the interior design called for lighting fixtures that would guarantee minimal visual intrusiveness; second, any change in layout of the store would be dependent on a degree of flexibility in the lighting system; and third, the quality of the fabrics and furs, and of the materials utilized, needed to be accentuated and highlighted. The facility of adjusting single lamp assemblies for direction independently makes the design an extremely flexible one, whilst the use of halogen lamps ensures optimum colour rendering.
1. Minimal
incontroluce
45
46
Fendi Boutique
The shop window Through the transparent front, the entire store becomes a big shop window with everything on display: merchandise, interior design, staff and customers. In this situation, the lighting selected for the window must be coordinated with that of the interior, and settings blended with the level of illumination needed to run the retailing operation smoothly.
incontroluce
47
Y’s point of sale
Architectural design Ron Arad Associates Chief designer: Ron Arad Design architect: Asa Bruno
Roppongi Hills, Tokyo, Japan
Team: James Foster, Paul Gibbons
Executive architecture (Tokyo): Studio Mebius, Shiro Nakada Satoru Ishihara
Hoops: Marzorati-Ronchetti, Italia Roberto Travaglia
Contractor: Build Co. Ltd. (Japan), Minoru Kawamura
Photo Yuki Tango Mamoru Miyazawa Nakasa & Partners
Floors: ABC Flooring, Japan
Early in 2003, Yohji Yamamoto Inc. engaged the services of Ron Arad Associates (RAA) to design “Y’s”, the new single brand Prêt-a-Porter outlet planned for the prestigious Roppongi Hills complex in downtown Tokyo: 570 m2 of floor space, punctuated more or less centrally by 3 massive load-bearing columns. From the very start of the design process, RAA decided these columns should be concealed so as to create an impression of lightness and movement in space. Inspired by the turntable systems of multi-storey car parks, found typically in Tokyo, the designers elected to embed 4 such tables in the floor (creating a fourth dummy column), so that the focal elements of the design could be set in rotation, and the surrounding space transformed continuously. The result is that the ceiling and floor of the store seem to be separated one from another by four constantly evolving sculptural elements. Each one of these rotating “sculptures” appears as a stack of 34 tubular hoops ensheathing the steel columns, serving also as hanger rails for Y’s garments and, thanks to special coupling pieces, as capacious storage units. Each hoop is rotatable through 360°, and thus infinitely adjustable for position in space.
Ron Arad
48
Y’s point of sale
incontroluce
49
50
Y’s point of sale
1
2
The lighting solution Two luminaires are used for this interior: Spin (Arnold Chang) and Linealuce (Jean Michel Wilmotte). Spin is a recessed unit housing up to 4 single light sources adjustable independently for direction. The advantage here is that notable flexibility in control of the lighting system can be obtained with a fixture of minimal visual impact. In this instance, Spin was also selected to give strong accent lighting. Linealuce on the other hand was seen as the best fixture for highlighting the particular vertical surface of the counter where the tills are located. 1. Spin 2. Linealuce
incontroluce
51
Y’s point of sale
Accent lighting Accent lighting is achieved by creating strong luminance contrasts between object and background, projecting high luminous intensities and very narrow light cones. Directional and concentrated light generates shadows on objects, showing up parts in relief, rough or grainy patches, surface treatments, revealing volumes and contours.
incontroluce
53
External lighting of commercial spaces
Photo 1. Emilio Simion 2. MMVideo - Foto Werbung 3. Zig Zag 4. Monica Rossello 5. Giuseppe Saluzzi 6. M + M Video - Foto Werbung
When selecting lighting systems for commercial spaces, the designer cannot ignore their interplay with the surrounding environment - the urban context in which the business operates indeed the main purpose of external lighting is to attract the consumer’s attention. This has been achieved in recent projects with dynamic and coloured light of the kind produced by the ColourWoody. Another issue to address is the safety of people who make use of these spaces. For the illumination of frontages, for example, a good solution is Light Up Walk, an inground luminaire guaranteeing surface temperatures lower than 75°C thanks to the thickness of the protective glass.
1. Galleria Vittorio Emanuele, Milan, Italy 1
2. Bleichenhof Passage shopping arcade, Hamburg, Germany
54
External lighting of commercial spaces
2
incontroluce
55
3
56
External lighting of commercial spaces
4
5
3. Mercado de Colon, Valencia, Spain 4. Tres Aguas shopping centre, Madrid, Spain 5. Esselunga supermarket, Lipomo, Como, Italy 6. Neue Mitte, Jena, Germany
6
incontroluce
57
Light Campus
Project www.iguzzini.com
The Light Campus section of the iguzzini.com site is dedicated to the culture of light and lighting engineering, and is open to anyone wishing to explore these subjects. The pages of this section allow visitors to engage in a learning process, on their own, selecting the study topics according to individual needs and preferences. The service is intended both as an aid to staff training within the company and as a facility available completely free of charge to outside users. Light Campus is a Competence Based Corporate Training Center oriented toward Life Long Learning in matters of Lighting Design.
58
Light Campus
Light Campus provides teaching material designed on the basis of the most recent methods applied in distance learning. Learning with Light Campus is quite simple. Students utilizing Light Campus select their own training programmes by enrolling for the courses or the competences available, and the programmes are added to their personal portfolios. The system then activates the student’s personal competence profile, which will be the guide throughout the entire Light Campus training process. Students can utilize the teaching material according to the natural order of the content, or at their own discretion. The system tracks the studies undertaken and updates the competence profile of the student step by step. An encyclopaedia containing definitions of the main concepts is available to
the student during the study period. A series of multiple choice questions and exercises at the end of each chapter enables the student to make a self-assessment of progress made in learning and digesting the main concepts encountered. Light Campus gives access to a forum where students can share their learning experiences with others, and where they can also communicate with tutors. Light Campus also offers a series of specific courses on lighting for different environmental situations. May 2004 saw the inclusion in the Light Campus section of a new course dedicated to the lighting of commercial spaces. The new course runs alongside the basic course, the course on lighting for exhibition and museum spaces and the course dedicated to the illumination of monuments.
incontroluce
59
Subsidiaries Benelux iGuzzini illuminazione Benelux Bvba/Sprl Residentie “Het Museum II” Museumstraat 11, BUS A B-2000 ANTWERPEN +32 (0)3 241 14 00 tel +32 (0)3 248 66 48 fax info@iguzzini.be Denmark iGuzzini illuminazione Danmark Filial af iGuzzini illuminazione Spa, Italien Kalvebod Hus Bernstorffsgade 35 1577 KØBENHAVN 33 17 95 95 tel 33 17 95 96 fax info@iguzzini.dk France iGuzzini illuminazione France S.A. 10, boulevard de la Bastille 75012 PARIS 01 40528181 tel 01 40528182 fax iguzzini@iguzzini.fr Germany iGuzzini illuminazione Deutschland GmbH Bunsenstrasse 5 D-82152 PLANEGG 089 8569880 tel 089 85698833 fax info@iguzzini.de Hong Kong iGuzzini illuminazione Asia Ltd. Suite 401-2, Lincoln House, Taikoo Place 979 King’s Road, Quarry Bay, HONG KONG 852 2516 6504 tel 852 2856 2981 fax iguzzini@iguzzini.com.hk Norway iGuzzini illuminazione Norge A.S. Brynsveien 5 0667 OSLO 23067850 tel 22648737 fax iguzzini.norge@iguzzini.no Russia Meyerhold Centre Novoslobodsdkaya, 23 7 Floor MOSCOW, 127055 Spain iGuzzini illuminazione España S.A. Poligono Industrial Can Jardi Calle Strauss s.n° 08191 RUBI - BARCELONA 93 5880034 tel 93 6999974 fax iguzzini@iguzzini.es
Switzerland iGuzzini illuminazione Schweiz AG Uetlibergstrasse 194 8045 ZÜRICH 044 465 46 46 tel 044 465 46 47 fax info@iguzzini.ch United Kingdom iGuzzini illuminazione UK LTD Unit 3 Mitcham Industrial Estate 85 Streatham Road MITCHAM SURREY CR4 2AP 0208 646 4141 tel 0208 640 6910 fax info@iguzzini.co.uk
Show Rooms Milano Via S.Damiano, 3 20122 MILANO 02 7621161 tel 02 76211641 fax Roma Via Panama, 52 00198 ROMA 06 85354792 tel 06 8411790 fax iguzziniroma@iguzzini.it Paris 10, boulevard de la Bastille 75012 PARIS 01 40528181 tel 01 40528182 fax München Bunsenstrasse 5 82152 PLANEGG 089 8569880 tel 089 85698833 fax Düsseldorf Moerser Straße 72c 40667 MEERBUSCH 02132 961464/5 tel 02132 961472 fax Hamburg Rugenbarg 65-67 22848 NORDERSTEDT 040 52876812 tel 040 52876813 fax
London Suite 310 - 311 Business Design Centre 52, Upper Street LONDON N1 OQH 020 7288 6025 tel 020 7288 6057 fax Glasgow 4 Berkeley Street GLASGOW, Scotland G3 7DW 0141 229 1322 tel 0141 248 5301 fax Oslo Brynsveien 5 0667 OSLO 23067850 tel 22648737 fax iguzzini.norge@iguzzini.no Zürich Uetlibergstrasse 194 8045 ZÜRICH 044 465 46 46 tel 044 465 46 47 fax info@iguzzini.ch København Kalvebod hus Bernstorffsgade 35 1577 KØBENHAVN V 33 17 95 95 tel 33 17 95 96 fax info@iguzzini.dk Antwerpen Residentie “Het Museum II” Museumstraat 11, BUS A B-2000 ANTWERPEN +32 (0)3 241 14 00 tel +32 (0)3 248 66 48 fax info@iguzzini.be
Representative Offices China iGuzzini illuminazione Beijing Representative Office Suite I, 22nd Floor Oriental Kenzo 48 Dongzhi Men Wai, Dongcheng District BEIJING, 100027, P.R.C. 86 10 8447 6770 tel 86 10 8447 6771 fax iguzzini@iguzzini.com.cn
Madrid Doctor Esquerdo, 150 28007 MADRID 914 345 970 tel 915 017 947 fax info.mad@iguzzini.es Barcelona Calle Provença, 356, ppal. 1a 08037 BARCELONA 932 081 700 tel 932 081 701 fax info.bcn@iguzzini.es
60
Incontroluce
Commercial Spaces
Incontroluce International magazine on the culture of light Editing Centro Studi e Ricerca iGuzzini Fr.ne Sambucheto, 44/a 62019 Recanati MC +39.071.7588250 tel. +39.071.7588295 fax email: rc@iguzzini.it iGuzzini illuminazione spa 62019 Recanati, Italy Via Mariano Guzzini, 37 +39.071.75881 tel. +39.071.7588295 fax email: iguzzini@iguzzini.it www.iguzzini.com video: +39.071.7588453 Graphic Design Studio Cerri & Associati Publisher iGuzzini illuminazione spa
The Editors are not responsible for inaccuracies and omissions in the list of credits relating to projects and supplied by contributors.
9.1492.000.1