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English version
I. 2010
Dear Readers, In 2009, iGuzzini began celebrating its first half-century in business. The company was founded back in 1959 by my elder brothers Raimondo, Virgilio and Giovanni, and we the younger ones - Giuseppe and Giannunzio were soon involved and playing our part in its expansion. Trading initially under the name of Harvey Guzzini, the company was among the leading standard-bearers of the Made in Italy revolution - indeed of the whole culture embodied by Italian design. I take great pride in seeing how far we have come since those early days. We made innovative choices, most notably that basic decision taken during the 1970s, to switch from the manufacture of home lighting products to engineered lighting systems: we were among the first to raise awareness in Italy as to the importance of light in adding value to architecture, and one of the first to insist on the need for lighting design and promote the profession of Lighting Designer. These commitments led to others, notably the campaign against light pollution in the early 1990s, and the efforts being made currently to curb energy consumption and reduce CO2 emissions. In this issue, we have decided to look at some of the visual elements associated with our history: our logos, our catalogues, our general style of communication adopted down the years, since it is through these media, not least, that we can be seen as keeping pace with the culture of design or in reality staying slightly ahead, by that finest of margins allowing ideas and their originators to be contemporary yet unique. It is a strategy that characterises our company, but equally the industrial group created by our generation - the sons of Mariano Guzzini - an organisation existing since 1982 under the umbrella of the family holding company FIMAG (Finanziaria Mariano Guzzini), which owns Fratelli Guzzini, Teuco and Gitronica, as well as iGuzzini. And it is thanks to FIMAG that the member companies, while operating independently, are able to maintain a common cultural identity based essentially on: a sensitive and eco-sustainable approach to growth and technology, constant attention to the performance of the newest materials, a vocation for innovation in technology and design, an awareness of the central role played by design in responding to the needs of users, and a healthy respect for the market, and the value of human resources. For iGuzzini, in particular, these are the guidelines that have led us to where we are today, celebrating our first half-century - “50 light years� - in business.
Adolfo Guzzini
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Summary
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Editorial
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The Marches 1959
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Design Questions and answers: Leni Schwendinger
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Projects The Sala dei Mesi in the Palazzo Schifanoia
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Aquaniene
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Frank O. Gehry since 1997
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Pierre-Joël Bonté High School, Higher Institute for building
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Dot Baires Shopping
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Pangu Plaza Hotel
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Lights on the Aalborg waterfront
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The Dhoby Ghaut Park
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Blue Water Black Magic
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An award-winning wine store
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Corporate culture Zaha Hadid at Padua
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New LED fixtures for street and public lighting
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4th edition of the Architecture Competition Sponsored by “Pasajes de Arquitectura y Crítica” and iGuzzini illuminazione
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Dancing with Light: “Framed”
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Sharing knowledge
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LightMapping NYC “LED - Light Exhibition Design”, 2009 edition
I. 2010
The Marches
1959
Fifty years have passed since the incorporation of Harvey Guzzini - now iGuzzini illuminazione. There have been significant milestones in the evolution of the company logo, along a journey that has taken us from being a small craft business, producing decorative lamps, to become a major industrial concern manufacturing technologically advanced lighting fixtures and collaborating regularly with top architects on projects everywhere in the world.
Logo used between 1959 and 1964. Inspired by the 1950 film “Harvey”, starring James Stewart
Logo used between 1965 and 1977. This logo was designed by Luigi Massoni. The architect Massoni was invited to work with Harvey as the company’s art director, a move that gave further impetus to the idea of collaborating with designers. Between 1967 and 1971, Ennio Lucini designed the catalogue for the DH brand, under which lamps for home lighting were marketed.
Logo used between 1974 and 1981, designed by Advema G&R Associati. This logo embodied the company’s entire output, which was marketed under other brands such as DH, Doma and Atelier. It was during this period that the company began making technical products, spot and flood lights in particular.
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Logos and pictures taken from the iGuzzini archive
The DH brand, in use between 1972 and 1976, was designed by Mimmo Castellano and recalled the optical culture of the 1970s.
The current logo, in use since 1982. It was in 1982 that an iGuzzini catalogue with this logo first appeared, presenting the company’s entire range of products. In 1986, the coordinated graphic design of the general catalogue was entrusted to Ennio Lucini, and fixtures for indoors and outdoors were presented in two separate books.
In 1999, Pierluigi Cerri - the company’s current graphic design coordinator - designed the general catalogue in collaboration with Studio Conti.
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Questions and answers: Leni Schwendinger
Design
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Leni Schwendinger Light Projects Ltd creates lighting environments all over the world. For over a decade, Leni Schwendinger’s Light Projects studio has been a magnet for multi-disciplinary collaborations with project-specific design teams including architects, engineers and graphic designers, all committed to her vision of what lighting should be about. Balancing technological sophistication, solid project management and artistic verve, the Light Projects methodology has produced a series of interactions with clients ranging from public sector agencies and architectural and engineering firms to museums and events planners. Recently completed projects include Chroma Streams, Tide and Traffic, a site-specific installation that explores the relation between traffic flow and changes in tidal flows at the Kingston Bridge in Glasgow, and the Coney Island Parachute Jump Tower, a local landmark in the Brooklyn district of New York. Leni Schwendinger has lectured and taught widely throughout the United States, Europe and Japan, and is currently on the teaching staff of the Department of Architecture, Interior and Lighting Design at Parsons School of Design in New York City.
What do you think about the relationship between daylight and artificial light? And again, what do you think about the relation between light and architecture? The relationship is very basic. As all people are affected by light - I think the real question is “what is light? How does it influence our life?” As a designer, because we’re so into the minute details of light and lighting I don’t ask myself that question, because I’m so busy thinking about it… Light influences what we feel, where we look, where we direct our gaze. It gives us a sense of warmth, and a sense of every atmosphere, so the lack of light even on a grey and rainy day is also very special. And then moving into the evening, the sunset and that kind of magical phenomena, logical influence on our life which is colour and the sky, and whatever topography... then to move into these artificial worlds at night time in the cities… and of course, that’s my subject. For instance, I was on a ferry last Friday for a big event in Staten Island; we came by a nontraditional ferry route (it was a private ferry, so it was a different route from Staten Island), and going along the entire waterside, the shore line of NYC from Wall Street to mid-town, just being reminded once again of the spatial, perspectival relationship of the buildings, first they were flat, then we went by and saw the cross streets where the angles of the buildings appear, then you go by and they’re flat again. The true physical form of the city at night is revealed by the building lights which enthrall us.
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Text adapted from an interview with Leni Schwendinger.
Photos: ArchPhoto. 1.2. Pictures of the ‘Triple Bridge’ project
The designs presented by the Lighting Designer are created using appliances made by various manufacturers.
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So you don’t see artificial light as a distortion of the natural course of daylight? Just a natural process of… I actually have a theory about “Shades of Night” as I call them. We have an understanding of the shades and the zones during the day. It starts with breakfast, and it goes to tea-time at 11:00, and it goes to lunch at 12:00, and dinner… and then you begin to get into the darkness in public spaces, which is my biggest concern. People go out with their friends right after work, this is the first zone of night, the first Shade of Night; it continues and is very site-specific to every district and neighbourhood. How the activity in the street changes throughout the night depends on the inhabitants, it a commercial zone? A residential zone? Is it institutional? Is it a park? What are the buildings on the edges? Each zone, each Shade of Night characterises the activity on the street. So when the shops close at 8:00 pm and the restaurants close at 10:00 pm, the streets become dark. What can we do with the knowledge of the Shades of Night with our understanding of the daytime? This is the question for me. And it goes deep into the night: the clubs, with people who work on a nightshift, with people who wake up and are commuters - who wake up at 4:00 am, at 5:00 am getting on the commuter’s train. So my interest is: how do we light these streets to counterpoint or to be sympathetic with the street traffic, the sidewalk traffic of the night? For me this is the future of lighting design and urban design, and the way in which they interact with each other: to have changeable lighting throughout the night.
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Design
Questions and answers: Leni Schwendinger
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Which one of your projects is the most impressive or the one that you remember the most? I think our project in Seattle, ‘Dreaming in Colour’, is very important. It is composed of nine metal-mesh scrims of very thin interlocking wire. They are almost transparent and very few lights are used - twenty-two on the whole project. It is about 450 feet long (137 metres) and 50 feet tall (15 metres). I have to say that my deepest dream was to create pure colours in air. That’s why I am here, to create colours in air. And as soon as I turned the lights on for this project - even before focusing - the scrim caught the light huge planes of colored light were captured in the air. So it’s a very abstract project. What is really nice is that the light comes down in angles, and they’re captured by the first scrim; then the light continues to the next scrim. Then the light reaches the ground. Whenever people walk through it, they’re covered with light, and they’re breathing in the light. The planes of light become gigantic backdrops and at the same time the project is very immersive and very experiential, as well as something you can see in the distance. So that project is almost like it should have been my last project, not my first. I’ve done other projects, but this has been the most ‘milestone’, ‘landmark’ project. But I think also the “Triple Bridge”, the project of the Port Authority of New York and New Jersey Bus Terminal is another important one. The reflections created by our “Triple Bridge Gateway” are an homage to the perfect quintessential urban light - that which is reflected from buildings - is created by mirrors of high-polished stainless steel, bringing the light to the ground. Up until the very end of the installation we didn’t know truly if the Port would allow it - the light covering the road: so that was nine years worrying, because it took nine years to be installed.
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3.4. Pictures of the ‘Dreaming in Colour’ project
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This question is about energy. How can lighting design support the environment in a period when energy resources are short? What can you do, and what can the lighting manufacturing sector do? First of all, I don’t think lighting is the worst thing. I think that air conditioning and systems that burn fossil fuels are the worst thing. So I have to say that I’m just angry at the press, as they’re trying to make lighting into this devil, this evil thing. That said, I think that optics and light control are essential in helping to save energy. Let’s say we talk about street light because I’m interested in this sort of thing. Five or six years ago I envisioned flexible night time street lighting. Now this can be done. Now control systems are coming to market. Soon public lighting will have software, the light sources - with the proper optics will work together as a system. I’m very interested in systems, more than I am in just the light. We ask ourselves: when should the lights go dimmer? After everything is closed down? Or should they actually get brighter when everything closes down? This to me is a very important question. If we have what I call ‘found’ light, which is in part, light from the shops illuminating our sidewalks, we may need less public light. Also, I think sustainable lighting design is not only about saving energy. I think it’s also about people. I think sustainable cities, sustainable places, are places where people like to be. Because we will have less crime, less graffiti, less vandalism, fewer muggings, because people are having a better life. So to me, good lighting that is responsive - controlled properly throughout the night to help the environment where people live - is just as important as saving energy.
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The Sala dei Mesi in the Palazzo Schifanoia
Projects
Client Municipality of Ferrara Lighting design Piero Castiglioni
Ferrara, Italy
During the second half of the 15th century, Borso d’Este commissioned a cycle of frescoes from the leading painters of the officina ferrarese, which are among the foremost examples of profane art originating from the Italian courts of the Renaissance. The Sala dei Mesi is a rectangular hall with a notably high coffered wood ceiling (6.2 m approx). The predominating feature overhead is a succession of large historiated transverse beams. The longitudinal walls - one with well preserved frescoes, the other showing only faint traces of the former decoration - are punctuated by a set of windows. The frescoes on the transverse walls - one with an entrance door, the other with a door leading to adjacent rooms - are severely degraded at one end of the room, and in a better condition at the other. The space enclosed by the room is
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imposing in every sense (materials, dimensions, and decorations). It is flooded uniformly with natural light, at low levels of illuminance, entering through the windows and reflected off the floor. A system of light-diffusing curtains has been installed to eliminate the projection of the window shadows onto the floor and give the entire interior a quiet sense of order. The solution proposed by architect Piero Castiglioni for the general lighting of the Sala, and of the frescoes which represent the cycle of months and scenes of life at the Estense court, consists of a single, direct lighting appliance, specially created and produced by iGuzzini. Light sources are housed in a column 85 cm high with a rectangular base, made of titanium (a metal with little or no heat conduction properties), balanced with a lead counterweight to ensure stability, and anchored
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Photos: Giuseppe Saluzzi 1. The main door of the Palazzo Schifanoia 2. Detail of the product created especially for this installation 3.4. Views of the Sala dei Mesi illustrating the integration of artificial and natural light
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to the floor with a masonry plug. It also has a rubber foot to create friction and increase stability. The columns are interconnected by the power cable not only electrically, but also visually thereby giving continuity in space. In addition, the columns and cable have a security function, serving as an effective barrier to ensure visitors stay at a safe distance from the vulnerable frescoes. The distribution of the luminaires
(28 columns) around the periphery with no break, and the appropriate directional orientation of the light sources - completely concealed from the visitors’ view - guarantee illuminance values of around 150 Lux on the walls. The light is evenly distributed, with colours and paint shown to her optimum advantage, with no shadows or reflections, while generating minimal visual impact.
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Aquaniene
Projects
Aniene Rowing Club Rome, Italy
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Client Aniene Rowing Club Architectural design Luca Braguglia with Marco Gigliotti, Alessandra Prezzi, Maria Antonietta Motta
At the time of the FINA World Swimming Championships held in July 2009 in Rome, the Aniene Rowing Club submitted a bid in response to a notice from the event’s organising committee announcing the construction of a brand new aquatic sports centre that would provide the city with swimming facilities for the world championships. An area was selected - a plot of some 21,800 m2 - and the AquAniene was built in around 17 months: a complex offering 10,000 m2 of floor space on three levels, in an envelope of 55,000 m3.
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General contractor Technorestauri srl
Pool and filter systems Piscine Castiglione
Photos: Sergio Grandi
Lighting consultants Luciano and Marco Stignani
Electrical, heating and plumbing systems NCS srl
1. View of the facility by day 2.3. Pictures taken at the opening ceremony
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The architecture is typified by a sense of weightlessness, enhanced and emphasised everywhere by the quest for translucence between exterior and interior. The design is almost obsessive in its pursuit of osmosis visual and functional - between activities carried on inside and outside the building. The building is designed on three levels, housing the facilities AquAniene has to offer: indoor pools, an outdoor pool and two gymnasiums one on the first floor looking out onto the woods, and one directly overlooking the pools - plus all the features of a modern sports centre… pro shop, cafeteria, offices, fitness room, games room, athletes’ accommodation, indoor and outdoor leisure spaces, changing rooms on two levels, and a wellness centre. Maximising the influx of natural light and
selecting white as the dominant colour were two of the basic principles on which the designers based their approach to the lighting scheme. To obtain the right architectural balance, a minimal number of product families and light sources were used therefore reducing maintenance and relamping costs as far as possible. Fixtures from the iRoll family were selected with various wattage, light emission and IP specifications. These are installed outdoors, with metal halide lamps of between 35 and 70 W, giving emphasis to the architecture of the building and lighting the access ways that link the indoor and outdoor environments. The atrium is lit by iRoll pendants with 70 W lamps, which guarantee average illuminance levels of around 500 Lux even in double-height interiors. The same fixture, with a fluorescent lamp, was selected for stairs used
by the public. In the reception area, the designers selected Reflex Wall Washers with metal halide lamps to guarantee optimum vertical lighting in combination with good visual comfort. Accent lighting on the counter is provided by track-mounted Lux units with QR111 halogen lamps and ellipsoidal lenses giving a soft projection of light onto the worktop and ensuring average illuminance of 500 Lux. General lighting in the refreshments area is provided by recessed LineUp fixtures, with recessed Deep Frame dichroic units selected for accent lighting on the tables and the service counter. The sculpture “Uomo galleggiante” (1984) by Mario Ceroli, displayed in the hall, is lit by a single surface-mounted Le Perroquet spot overhead.
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Projects
Frank O. Gehry since 1997
Milan Triennale, September 2009 - January 2010 by Germano Celant
in collaboration with Frank O. Gehry and Gehry Partners LLP and thanks to Guggenheim Museum of Bilbao AGO - Art Gallery of Ontario, Montreal DAC - Dansk Arkitektur Center, Copenhagen
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In September 2009, the Triennale dedicated an exhibition to the recent work of Frank O. Ghery, selecting 1997 as the symbolic year the year the Canadian architect unveiled his Guggenheim Museum in Bilbao. It was a project that also brought him to the attention of a public with no special interest in the world of architecture. In consultation with the architect, curator Germano Celant selected photographs, film clips, drawings and models of his designs:
the DZ Bank Building in Berlin, the Art Gallery of Ontario, the Jay Pritzker Pavilion in Chicago, the Interactive Corporation Headquarters in New York, the Atlantis Sentosa resort in Singapore and the Guggenheim Museum in Abu Dhabi, which is still under construction. To provide the lighting for these varied items, Studio Cerri & Associates selected Le Perroquet fixtures. Winner of the Pritzker Architecture Prize in 1989, Frank Owen Gehry was present at the opening of the exhibition on the 26 September 2009.
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Installation and graphics Studio Cerri & Associati Pieluigi Cerri Alessandro Colombo architects
Technical sponsor iGuzzini illuminazione
Photos: Fabrizio Marchesi 1. Installation 2. Model of Atlantis Sentosa project
in collaboration with Francesca Ceccoli Marta Moruzzi Francesca Stacca
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Pierre-Jo毛l Bont茅 High School Higher Institute for building studies
Projects
Client Regional Council of Auvergne Technical director Ophis Puy-de-D么me General contractor Groupement Sobea Auvergne Eiffage Construction Auvergne
Riom, Puy de D么me, France
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Supervisory office Groupement Socotec / Veritas
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The design of the higher institute for building studies has various objectives. On the one hand, it is a place of learning that looks to affirm the nobility of professions connected with the world of building, and therefore seeks to interest young students in taking up these professions. The construction of the building itself is intended as an advertisement for the effectiveness and versatility wood in the erection of large public buildings. And finally, the building itself is a significant element in town planning initiatives being implemented in the southern sector of Riom. There are paths taking the students through the different areas, and every room has a particular atmosphere: controlled lighting in the classrooms, soft lights for the documentation centre, and brighter lighting for the dining room. Public and private areas are clearly differentiated: living quarters are cosy, and the surroundings pleasant.
Public access areas, including classrooms and laboratories, are places of learning and experimentation, as well as being representative of the building institutionally: the architecture itself is didactic, physically demonstrating the link between knowing how to think and knowing how to act - an instructional tool available to the teaching staff. Particular attention has been given to the interaction with the external environmental conditions and with the landscape. The design of the building ensures minimal exposure to the fierce winds typical of the region. Rainwater is abundant, and harvested. The distant views of the mountains of the Auvergne blend agreeably with the outlook onto the courtyard and its internal gardens. In short, here is proof that architectural and environmental quality are interlinked, and must keep pace one with another.
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Building procurement Mazet & Associés Coordinator SPS Ingerop Architectural design Emmanuel Nebout Architect Bruno Berthier - head architect Baptiste Lebihan - assistant
Laurence Javal, Jéròme Fuzier, Bruno Dumontet, Laurence Damour, Muriel Bacher Structural design A. Verdier Wood design and construction 3B Fluids / SSI Auvertech
VRD Cap Vert
Photos: Didier Boy de la Tour 1. Exterior
Acoustics J.P. Lamoureux
2. Corridors and hall 3. Documentation centre
Signage Laurence Ravoux Landscaping Agence Laure Quoniam
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Projects
Dot Baires Shopping
Client Grupo Irsa Architectural design Studio Pfeifer y Zurdo
Buenos Aires, Argentina
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Dot Baires Shopping is the biggest and most modern shopping facility in Buenos Aires: with 189,000 m2 of indoor floor space and an exceptional location - on the city's most important road intersection - it is a complex project offering the community not only a shopping centre, but also a meeting place. The lighting design was developed in tandem with the architectural design, at every stage of the project. The light lends dynamism to the geometrical shapes of the building, with dots, lines and accents.
From the engineering standpoint, the lighting design was conceived making use of the very latest fixture and lamp technologies, and concentrating particularly on the question of energy efficiency. The lighting scheme makes extensive use of Leds, and low power fittings with electronic components. One example is the main faรงade, visible from the crossroads, where red Leds were used to create a pinpoint effect on the curved surfaces of this complex geometrical composition, giving the building a singular luminous consistency at night.
Leds also feature on the lateral frontages, yellow in this instance, and arranged in bands dotted randomly over the entire surface. Other Led fittings are installed throughout the shopping centre as part of the emergency lighting system. Similarly, recessed Led units of the latest generation are used in the service areas, emitting controlled beams of warm white light. All levels of the shopping areas afford a view onto the outdoor spaces, which are terraced and picked out by bands of Leds following the curved contours of the flowerbeds and benches.
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Lighting designer Pablo Pizarro
Photos: Francisco Nocito 1. Main entrance
Partners Assistance Iluminación Sudamericana S.R.L.
2. Grazing light on the fountain
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The cavernous multi-level atrium is like a huge window, through which visitors can enjoy an unparalleled view of the world outside. This high concourse is the pivotal point of the design, and Leds are used here too, with Ledplus units in the risers of the main staircase, and MiniWoodys in the columns, as well as MaxiWoody, Woody and iRoll fixtures. The entire shopping area is lit by fixtures with electronic ballasts, using low power light sources (80% of lamps are 35 W, and there are none more powerful than 70 W). The curve of the
glass façade is accentuated by continuous lines of warm white light from T5 fluorescent tubes. Each of the three malls is identifiable by the lighting: a succession of segments with fluorescent tubes in the first; curved lines with a coloured paper background in the second; wall-mounted and recessed units with metal halide lamps in the third. The passages between the malls are differentiated using large translucent fixtures, complemented by randomly interspersed recessed fixtures with 35 W 24° beam lamps designed to create pools of light on the floor.
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Projects
Dot Baires Shopping
Photos: Francisco Nocito 3. Large cones with Gem fixtures at the centre 4. Effects created with Led lighting
Along the walkways, there are large doubleheight sections interconnecting all levels of the building visually, with ample skylights overhead. From the third floor, where the restaurants are located, visitors can appreciate the size of the four large natural light inlets, which function in the same way even after dark, thanks to the use of Gem pendant fixtures with induction lamps. The suspended ceiling segments resembling large triangular sails - some matte finish, others gloss - provide visual interest above the restaurant area. The matte sails are illuminated indirectly by small strip lights with T5 14 W tubes, concealed in the structure. In addition, there are fixtures with 35 W 30° beam metal halide lamps installed in suspended containers positioned above the sails. With these light sources, the area occupied by the tables can be accented, creating a warm and welcoming space to sit. The parking areas are also thoughtfully illuminated. The main transit areas are lit by suspended strip units with white fluorescent tubes, and coloured dots identifying each of the three levels. Similarly, colour is used to distinguish the garage area from other areas; the lighting is provided by ceiling units with high pressure sodium lamps. A proximity sensor located in each garage indicates whether the space is free or engaged, by switching on green or red Leds. The outside areas are designed as attractive extensions of the building. The main patios (forecourt and fountain) are laid out with flowerbeds, fountains pergolas. MiniWoody floods installed in each flowerbed are equipped with wall washer screens to illuminate the palms. Continuity between the indoor and outdoor areas is achieved using Radius fixtures positioned along the façade. Pencil bollards line the access ramp to the car parks.
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Projects
Pangu Plaza Hotel
Client AC Morgan Investment Inc Beijing Morgan Investment Architectural design C.Y.Lee Architects
Beijing, China
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The Pangu Plaza is the first 7-star hotel in China. It opened during 2008 Olympic Games is part of the Pangea Plaza, an architectural complex near the Olympic Stadium - the ‘Bird’s Nest' designed by Herzog & de Meuron. Designed by C.Y.Lee, architect of the Taipei 101 building, the Pangea Plaza comprises an office tower, a museum, a heliport, three apartment blocks, and the Pangu Plaza Hotel with its 270 suites. The billion-dollar project was undertaken by AC Morgan Investment Inc. and Beijing Morgan
Investment. Thanks to the enthusiasm of AC Morgan president Miles Kwok for Italian design, the hotel has become a splendid showcase for Italian companies and designers: furnishings by Alberto Meda, doors designed by Antonio Citterio, all coordinated by the Italo-Brazilian architect Ricardo Bello Dias. iGuzzini provided lighting for the suites using discreet and extremely versatile recessed downlight fixtures Deep Frame - with multiple lamps.
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Architectural design - interiors Ricardo Bello Dias Lighting design Studio Methis - Marinella Patetta, BPI - Brandston Partnership Inc
Photos: Lv Hengzhong 1. The hotel and the Bird’s Nest stadium, designed by Herzog & de Meuron 2.3. Interiors of the hotel overlooking the 'Water Cube’, built to host the 2008 Olympics swimming competition
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Projects
Lights on the Aalborg waterfront
Client Municipality of Aalborg Lighting design Ă…F - Hansen & Henneberg
Aalborg, Denmark
Over the last 4 years, the Aalborg waterfront has undergone a massive redevelopment programme, with former industrial sites being transformed into cheerful and pleasant leisure areas for the townspeople. The illumination of the new areas located along the waterfront, including the playground completed in late 2009, saw a number of different lighting solutions adopted. The lighting design company Ă…F - Hansen & Henneberg opted for a general illumination scheme using white light, combined with a lively display of coloured lights for the playground.
The lighting around the kiosk and public conveniences is self-activating, whilst the general lighting for the playground must be activated by users, operating one of the tactile switches positioned at various points on the site. The lighting remains on for 45 minutes, then switches off automatically and is replaced by coloured lights, which remain on until such time as the general lighting is activated again. This functionality gives rhythm and variety to the illumination of the area, favouring an effective interaction with the spirit and function of the amenity.
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Architectural and landscape design C.F Møller Architects
Photos: SHRPA - Peter Ehlers, Ole Mikael Sørensen 1.2. The park, with accent lighting in operation
Installation AKE Entreprise
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The attractive coloured effects are provided by lights applied to various distinctive elements such as posts and wire netting, which define the identity and character of this area, as well as creating a unique aesthetic and visual impression. The playground is illuminated by inclined posts 9 metres high, located near the play areas and the wire netting, which carry MaxiWoody foodlights with 250 W lamps and Platea foodlights with 150 W lamps emitting a soft light that provides indirect, glare-free illumination in the surrounding space. The fixtures are equipped with metal halide lamps giving a warm white light and excellent colour rendering. Each post is illuminated by 2 recessed Light Up Walk Professional units. The wire netting is illuminated from the outside by Light Up Walk Professional systems with spot optical assemblies trained on different areas of the netting. This creates an interplay of light and shade, accentuating the profile of the wire netting and highlighting the different angles of the posts. These same posts also carry the colour lighting for the playground, which accentuates the graphic design of the pavement and picks out the netting and posts.
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Projects
The Dhoby Ghaut Park Singapore
Client URA - Urban Redevelopment Authority Architectural design SCDA Architects Pte Ltd Chan Soo Khian
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A new public space above the MRT (Mass Rapid Transit) station of Dhoby Ghaut was opened in September 2009. Known as Dhoby Ghaut Green, it is situated on Orchard Road, at the gateway to the historic Bras Basah-Bugis district, a centre of Arts, Culture, Education and Entertainment, and is designed both as a place where people can meet, and an oasis of calm amid the hustle and bustle of the city centre. Dhoby Ghaut Green was developed by the Urban Redevelopment Authority (URA) and is managed and maintained by the National Parks Board (NParks).
The conceptualisation and design of the park was entrusted by the URA to Chan Soo Khian of SCDA Architects Pte Ltd, who in 2006, the inaugural year of the President’s Design Award, was named Designer of the Year in Architecture and Urban Design, the highest accolade offered by the nation for excellence in design. Dhoby Ghaut Green is the latest addition to a series of open spaces created within the city through the URA's Public Spaces and Urban Waterfront Master Plan. This is a plan that aims to inject more vibrancy into the city centre by
integrating open spaces such as parks and plazas into commercial developments, so as to provide platforms for community gatherings and events. To conceptualise a space that would meet the programming needs of stakeholders and end-users, URA and NParks organised several meetings with arts and community groups, local education institutions and event organisers, with the aim of seeking their feedback early in the design process. The design of the park underscores the character of the natural landscape by dividing the area into
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Technical sponsor iGuzzini SEA Pte Ltd
Photos: SCDA Architects Pte Ltd. 1.2. The amphitheatre in the middle of the park
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three main zones, each having a distinctive atmosphere to suit different uses. The middle zone features a 250-seat amphitheatre inspired by the natural lines of a rattan basket, with a lighting scheme that uses Linealuce fixtures. Two forecourts to the amphitheatre serve as gathering spaces and double up as venues for other community activities. The gravel area in the western zone is well shaded by the existing trees, providing a peaceful environment that contrasts with the commotion of the surrounding cityscape. The eastern zone is
an open turfed field set aside for outdoor sports activities. Conveniently located on the northern side of the field between the two exits of the Dhoby Ghaut MRT Station is a cafeteria where people can eat indoors or al fresco. In the spirit of its development as a community project, corporate sponsorship opportunities were made available at an early stage so that businesses could become involved. Under these sponsorship agreements, iGuzzini SEA Pte Ltd provided lighting fixtures for the project: Woody, Ledplus and Light Up.
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Projects
Blue Water Black Magic
Client New Zealand National Maritime Museum Architect Pete Bossley Architects
Auckland, New Zealand
The lighting brief for the Blue Water Black Magic project evolved over a long period of gestation and development (3 years, in practice), with economic restrictions imposed from the very outset. The original architectural concept envisaged a full-scale glass container designed to house the boat that won the Americas Cup in 1995 - Team New Zealand’s NZL 32 ‘Black Magic’.
Once finalised, the brief was particularly challenging from a technical standpoint, given the totally unique interplays of light created on the façade by the Danpalon glazing system, which uses a relatively unknown material. To test the reaction of the material to different light sources, beam angles and effects, a demonstration model of the Danpalon façade was constructed for experimental purposes.
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Project Director MPM Projects
Photos: iGuzzini archive 1. General view of Auckland harbour
Lighting Designer Aurecon Specialist Lighting Group — Building Services
2. Detail of the building where Black Magic is housed
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By Pete Bossley Architects. The main problem was caused by the structural elements and the question of how exactly to position the internal light sources, with frame members crossing vertically and horizontally. The back-lighting had to be gauged in such a way as to ensure that the shadows cast by internal structures would not spoil the effect on the façade. Halogen sources were found to be the best, as these created special effect on the polycarbonate Danpalon material: when back-lit from a certain distance, the panel gathers all of the light and concentrates it transversely to the direction of extrusion, so that the remainder of the surface is illuminated uniformly.
The decision was taken to use floodlights equispaced along the entire length (60 metres) of the façades, creating a homogeneous visual effect. Seven Lingotto fixtures with 150 W halogen lamps were used, adopting an extremely wide asymmetrical beam pattern guaranteed to provide a particularly simple and at the same time solid illumination, culminating in an overall light output of relatively low intensity with localised points of greater intensity distributed along the surface. Importantly, 540 m2 of frontage can be illuminated during the hours before dusk through to 23.00, using little more than one kilowatt of energy.
After dark, a total load of 315 W can be used, if the façade is illuminated. Lingotto fixtures were fot their ingress protection category, IP66, and consequently their capacity to withstand saline conditions. The tests on lighting solutions were submitted for scrutiny to a large group of stakeholders and legal representatives. There were lively discussions regarding the level of illumination desirable for the surface and the times for which lights should remain on after dark, with municipal regulations and input for other interest groups all taken into account. In the end, the project was delivered well within the expenditure forecast.
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Projects
An award-winning wine bar
Client Volkhardt Brothers, Münich, wine merchants branch of the Hotel Bayerischer Hof Gebrüder Volkhardt KG
Münich, Germany
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Volkhardts Wein und Bistro, a hundred-plus year old wine bar in Münich's Hotel Bayerischer Hof, is a spacious store (3000 m2) offering over 700 varieties of still and sparkling wines from all around the world, which customers can taste in an architectural setting that was awarded the Red Dot Award for Product Design 2009 in the ‘shops and displays’ class. The design of the interior is inspired by the
notion of translating two essential and apparently conflicting characteristics of wine - simplicity and complexity - into a spatial concept. Screens of wine bottles allow only a selective view of the interior, inviting the curiosity of the passer-by. Light emanating from the inside and the outside creates the impression that the screens of bottles have their own source of illumination, changing with the time of day
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Architectural design tools off.architecture Eva Durant and Andreas Notter
Photos: Lothar Reichel 1. Accent lighting on bottles 2. Light and shade created for the tasting area
Art work Friederike Straub
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and the seasons of the year. The materials used to decorate the interior derive from elements at the very heart of winemaking: soil, wood and glass. Accent lighting predominates in the presentation of the wines, whilst the background lighting is kept at a comparatively low level so as to create a certain dramatic effect.The overall scheme is implemented using track-mounted Tecnica spots with 35 W lamps. Special accessories such as wall-washer
screens and honeycomb diffusers are used to achieve high levels of visual comfort and eliminate glare, even in conflict areas. The interior also features touches provided by artist Friederike Straub, consisting of a selection of quotes - chalked directly onto the walls -about wine and the pleasures of life, including the memorable saying of Oscar Wilde: “the only way to get rid of temptation is to yield to it�.
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Corporate culture
Zaha Hadid at Padua Padua, Palazzo della Ragione 27 October 2009 - 1 March 2010
The exhibition dedicated to Zaha Hadid opened in October 2009 during the fourth ‘Barbara Cappochin’ International Architecture Biennial. The exhibition occupied the entire Salone, as the huge mediaeval hall on the upper floor of the Palazzo is known: it is the biggest sala pensile in the world (measuring 81 x 27 metres, and 27 metres high). The installation was designed by Hadid’s London
office, with a lighting scheme using appliances made by iGuzzini, the technical sponsor of the event. Conceived as an urban landscape, the show combines the fluidity of the Hadid style and the splendour of the surroundings in which the exhibits are set. The exhibits are displayed on hundreds of assorted blocks, each presenting a particular project through a variety of media, including
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Photos: Fabrizio Marchesi 1.2. Views of the exhibition
drawings, paintings, photographs, models, prototypes and videos. The works on show range from the MAXXI in Rome to the BMW Central Building in Leipzig and from the Phaeno Science Centre in Wolfsburg to the London Aquatics Centre, and include design objects such as the Mesa table for Vitra, the Genesy lamp for Artemide, sofas for Sawaya & Moroni and B&B Italia, and the Louis Vuitton Icone Bag.
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Corporate culture
Zaha Hadid at Padua
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The lighting scheme for the Zaha Hadid personal exhibition was a complex task, given the appreciable height of the room and the fixed lighting points. It was accomplished using suspended tracks carrying Tecnica spots, and Mini Reglette strip units. Around 130 Tecnica spots (with a black finish to minimise the visual impact in space) were installed on two parallel runs of standard track located 10 metres above floor level. The fixtures had flood type optical assemblies and both metal halide and halogen light
sources, providing the required levels of illuminance and high colour rendering. Of this number, 20 were used for general lighting of the central area, while the others were trained on the various display blocks to provide accent lighting. Mini Reglette fixtures with 21 W and 28 W fluorescent lamps were installed along the skirtings and used as wall-washers. The lighting installation also featured luminous blocks designed jointly for the occasion by iGuzzini UK and the Zaha Hadid office.
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3.4. Views of the exhibition
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New LED fixtures for street and public lighting
Corporate culture
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Environmental awareness and a responsible, intelligent use of electrical energy have always influenced the design of lighting appliances manufactured by iGuzzini, whose 2009 catalogue offers a broad selection of Led fixtures for street and public lighting. The range of certain floodlights and street lamps already in production has been extended with the introduction of new Led light sources. The municipal authority of Lleida is currently replacing its older fixtures in the historic centre of the town, adopting Lavinia and Argo units with Led sources. Improvements in the area of Rambla Aragò and Avenida Catalunya will lead to a reduction of electrical power consumption from around 117,000 kWh to 75,000 kWh, while achieving an increase of 26% in illuminance levels.
A new fixture, the Archilede, has been developed for the Enel corporation under a framework agreement that also covers the marketing and sale of the product. The Archilede has already been installed in Italy. According to Enel, “the fixture has been on the market for one year, and results have been very encouraging: more than 250 municipalities, including Arezzo, Vasto, Alessandria, Erba and Lodi, have opted for the new Led systems, having immediately recognised the advantages provided by a technology now leading the way internationally. The strong interest shown by local authorities and leading private sector organisations in the new Enel Sole technology is the best possible testimony to the compelling market innovation introduced by our Archilede product which - if adopted on a wide scale -
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Photos: iGuzzini archive 1.2. Piacenza 3. Alessandria
will place Italian cities firmly at the forefront in the field of sustainable public lighting and energy saving�. The impact of the Archilede product will be appreciated by considering a few numbers on the energy saving front: with the first 400 fixtures installed, the 4 pilot cities of Alessandria, Lodi, Piacenza and Monza have saved some 90,000 kWh per annum on public lighting, which is equivalent to about 55% of the relative electrical energy consumption, benefiting also from a marked increase in luminance, lower bills, and around 45.5 tonnes less CO2 produced every year. Accordingly, if all municipalities in Italy were to adopt this new Led lighting system, using it correctly and exploiting its brightness and controllability to the full, the country could save between 2.5 and 3 billion kWh per annum, while at the same time reducing harmful CO2 emissions to 1.5 million tonnes, and complying with the cost constraints and energy saving policies to which local authorities are now giving more and more importance.�
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New LED fixtures for street and public lighting
Installations in Zurich and Geneva even attracted the interest of Switzerland’s national television news channels. In Finland, the Archilede has been added to the portfolio of the Finnish Road Administration Association as the only Led fixture approved for public lighting. Without this approval, fixtures cannot be installed for street and public lighting purposes in Finland. In the Czech Republic, the Archilede is one of a number of products being tested in 6 pilot projects set up by Eltodo, the company responsible for street lighting in Prague. Eltodo is currently designing a complete reorganisation of street lighting across Prague, and these pilot schemes are also being used to test the products of 5 other companies. The Archilede was selected for the trial on the strength of its energy efficiency, reliability and minimal maintenance costs. These same characteristics have already won two international awards for the product: The iF 2010 Award, and the FX International Interior Design Award 2009. 4
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4.5. Lleida 6. Tests conducted in the Czech Republic 7.8. Range of Led products for street and public lighting
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4th edition of the Architecture Competition Sponsored by “Pasajes de Arquitectura y Crítica” and iGuzzini illuminazione
Corporate culture
In October 2009, jury members adjudicating in the fourth edition of the Pasajes de arquitectura iGuzzini architecture project competition met at the headquarters of iGuzzini illuminazione España to select and judge the merits of 139 entries, first assessing the projects individually, then comparing the assessments with each another. This initial selection process reduced the number of entries from 139 to 57. Scrutiny of all the projects submitted for this year’s competition revealed an optimum level of proficiency among new architects in Spain. The variety of subject matter, designs, graphic representations and trends would appear to suggest an increasingly wide range of career paths being pursued by new architects in Spain; a variety not linked necessarily - as was once the case - to a future spent teaching at schools of architecture, or as a supercharismatic tutor. The architecture on display in this selection reflects a strong personal commitment on the part of students who entered. It is the result of a conviction - now widespread - that their way of doing things and what they are learning can be embodied in projects of great maturity, commitment and forward-looking vision. These are projects by architects who are already designing the architecture of tomorrow. Notwithstanding all the entries were very realistic, practically speaking, the judges were at pains to highlight the great quality of projects seeking to solve a problem in a professional manner. Equally one project that avoided practising cultured architecture, instead looking to solve a problem in Africa using limited available resources, without the cerebral design element implicit in the other projects submitted. After a further selection reducing the entries to 31, the jury members short-listed a group of 14 finalists from which they then decided unanimously on the award of the first prize,
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Jury Javier Jiménez architect, winner of the third edition of the competition; Piergiovanni Ceregioli architect, director of the iGuzzini Research Centre, Recanati
Jose Luis Penelas architect, lecturer in design at the School of Architecture, European University, Madrid Josep Miàs architect, head of Studio MiAS Arquitectes, Barcelona
After a thorough comparison of the other entries, they resolved not to award the second prize in view of the difficulty in separating any one project clearly from the remainder, and the lack of objective arguments on which to base an order of preference. The members of the jury pointed out that there is demonstrably more to the entry selected for the first prize, than simply an architectural project. Josep Miàs gave his personal reflection on this project in a written statement: “Undoubtedly, the winner is unaware of many magazines, and more interested in books. In reality, her architecture is not understood simply by looking merely at illustrations or photographs, but by reading and visiting locations, discovering and imagining the architectures and the occupants. She intends to weave a new web over the ruins near Alcoy that have for so long been forgotten. What a fabulous place! Enveloped as if in a new dress, on which the inhabitants appear, winged and crawling. A new place to live, unrecognisable as a place already known, much less imaginable. The references will belong only to the world of the author, or places shared with the authors of the books she has read. Not to all the things we can recognise easily - too easily. It is wonderful to play, not without a certain effort, at finding complicity with her drawings, her signs, her sketches, her tattoos, and becoming voluntarily spellbound by this magic. Certainly, we give the prize to someone who invites us into an imaginary world, who is struggling to find her project, as the project does not yet exist - but the true architect does already exist”. As regards the special prizes in the lighting section - in accordance with the competition rules - the jury selected those projects among the entries short-listed as finalists which, in
José Ballesteros and Josep Masbernat representing Pasajes de Arquitectura and iGuzzini illuminazione Gala Martínez secretary to the jury.
Photos: iGuzzini archive 1. First Prize - worksheet of the winning entry 2. The jury at work
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terms of development and of presentation, addressed the aspect of lighting design with thoroughness and actually used light as a design tool, considering its interaction with spaces and materials. In the case of the “New Cordoba airport” project, the jury appreciated the formal complexity of the project and its complete geometry, but equally, the sense of optimism at a time of crisis, when the prevailing mood is one of austerity. The entry entitled “Multi-use buildings: International Conference Centre of Almada” displays an ambition to resolve all issues in a wide-ranging project that actually goes as far as to convert a final test design into a definite project plan. The prize-giving ceremony was held in Madrid, 12 November, at the Matadero cultural centre.
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Corporate culture
4th edition of the Architecture Competition Sponsored by “Pasajes de Arquitectura y Crítica” and iGuzzini illuminazione
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Photos: iGuzzini archive 3. The winners 4. Project sheet, Juan Antonio Sosa Gallego 5. Project sheet, Javier Munoz Galàn
Prize-winning projects 1 Prize Amelia Vilaplana de Miguel River Moliner environmental and landscape recovery st
Special prize Juan Antonio Sosa Gallego New Cordoba airport Special prize Javier Muñoz Galán Multi-use buildings: International Conference Centre of Almada
Honourable mention Ion Cuervas - Mons Mostenses market and plaza Honourable mention Beltrán Presas Javaloyes 9 habitability strategies for the rural community of Dekiri (Ghana) Honourable mention Javier Santamaría Restoration of the old mill, Daular
Honourable mention Diego Ceresuela Wiesmann South Street Seaport Rehab Honourable mention Lys Villalba Rubio Architectural tools for the rehabilitation of degraded areas Honourable mention Gad Peralta Iglesias Reutilisation of water mills, bird research and recovery centre
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Dancing with Light: “Framed” London, UK
For one night, on 7 March 2009, an old London factory became a sonic and visual landscape, created by Ginger in Orange, a duo consisting of Christin Rauter, musician, and Camilla Maling, sound designer and dancer. Lighting played a special role, being designed to give emphasis to the relationship between sound and movement. Christin Rauter and Camilla Maling sought to create a number of spaces that would be evocative of as many places and times: an industrial warehouse, a turn of the century living room, an atmospheric soundscape, a costume parlour, a storybook… At given moments of the show, the audience was invited to explore its role as spectator - passive and active wandering through a kaleidoscope of information: installation and performance, live and prerecorded. The intention behind the lighting design, by Karolina M. Zielinska, was to draw attention to and focus on the artists, on their performances, or other visual objects, and the success of the exercise would depend on
reconciling aspects and elements quite different from one another. iGuzzini was involved as technical sponsor at the specific request of the designer. The aim of the show was to re-create settings and magical, surreal atmospheres in which music, dance and images could fuse together. iGuzzini was active especially in the ‘main hall’, where visitors where able to peer through transparent curtains into other rooms and see artefacts and objects, such as fluttering costumes suspended at various heights and turning slowly on an internal axis, creating a continuous interplay of light and shade on the floor beneath. The clothes, made for the occasion by designer Amin Philips, were lit from the inside by Led fixtures emitting an intense blue, which gave them the impression of flying through space. In one room, as an actor read passages from Alice in Wonderland, spectators could sit at the tea table on which Alice’s broken crockery and the cakes were illuminated by a low voltage Le Perroquet spot.
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Invited artists performing with the Framed team Tamara Hasselblatt - painter Carmel Morrissey - actor, singer Amin Phillips - fashion designer, DJ Gerd Schickentanz - DJ - Bing Smith photographer, actor - Georgina Toogood - photographer, graphic designer Adrianne Wininsky - cellist Karolina M. Zielinska - lighting design
http://www.gingerinorange.com/live-past.html
Photos: Julia Burstein; Lillie Toogood
Technical sponsor iGuzzini illuminazione UK
1.3. Scenes from the show 2. Spectators descend the narrow staircase connecting the rooms. Picture at the top of the stairs lit by Le Perroquet. 4. Spectators and musicians in the Tea room. 5. Clef and stabe - a visual and musical composition lit by Linealuce Uplight.
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In the corner of another room, two musicians playing piano and cello accompanied the entrance of dancers and their extemporised choreographic moves, inspired by the different sounds they heard. Installed in the space above the dancers were track-mounted Le Perroquet spots with 24° beams, creating accents on the floor while also throwing light onto the walls. Other low voltage spotlight fixtures with 10 degree beam angles were positioned towards the keyboard and the cello. There were also screens in the middle of the room, onto which shots of the pianist’s hands were projected live during the performance. In the ‘Gallery’, photographs on the wall were designed to represent the notes on a stave. Linealuce fixtures were used to flood the wall with grazing light, while also creating atmospheric shadows.
About the lighting designer Karolina M. Zielinska M.S.Arch., Dipl. Ing. Arch (FH). Karolina graduated in Architecture and Urban Planning at Gdansk Technical University in Poland, then took a degree in Architectural engineering at Hildesheim in Germany. She then moved from architecture into architectural lighting design, her previous activities include work for lighting consultants such as L-plan Lighting in Berlin, Fisher Marantz Stone in New York, and Speirs and Major Associates in London. In January 2008, Karolina joined the Light Bureau as Senior Designer, later becoming an Associate in the business. Her work includes
important projects such as: the new NATO Headquarters in Brussels, the King Abdullah International Gardens in Riyadh (Saudi Arabia), also winning urban/ design competition for Golden Square in Birmingham, the Verta 5 star Hotel in London and a side-wide lighting strategy for Porto Montenegro - luxurious marina in Republic of Montenegro naming only few. She is an active profession member of the PLDA and teaches about lighting and design at university level and currently working on her PhD Thesis on Light and Architecture. She has taken part in numerous international conferences and written articles for lighting magazines and journals worldwide.
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Sharing knowledge
Corporate culture
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Towards the end of 2009, iGuzzini attended a significant number of conferences in various capacities. The company was ‘Gold Sponsor’ for the second edition of the Professional Lighting Design Convention organised by the PLDA (Professional Lighting Design Association) held in Berlin, on the 29-31 October 2009. The convention had met with notable success when held for the first time in 2007 (London), and has become the main international event where lighting designers can gather to compare notes, discuss ideas and set new goals for their profession. The convention offered a programme of conferences covering the three days of the event. iGuzzini contributed with a talk on its “Appreciating Form” project. Through the direct involvement of its branch in China, iGuzzini also sponsored the ‘Tanteidan Beijing 2009’ forum, held on the 13-16 October 2009 in the Chinese capital. The theme of the international event, organised by the Tanteidan Group, was “Enjoy Lighting with Ecology”. Renowned international lighting designers joined students from around
the world to address the challenge posed by a need for the creation of better lighting systems, from the energy standpoint, without sacrificing the quality of our lifestyle. Tanteidan (Transnational Lighting Detectives) is a non-profit study group whose interest is in learning the culture of lighting design and engineering through practical methods. Established in 1990 by Kaoru Mende, Tanteidan now has a 500-strong membership that includes lighting designers, teaching experts, businesses, architects and students from all over the world. From 30 November to 2 December 2009, Cuba held its 8th International Event on the planning and management of historical centres, with the theme: “The historical centre: vulnerability, risks and mitigation in disaster situations”. iGuzzini’s contribution was in two parts. The first, a presentation of the methodology behind the lighting scheme for Old Havana, developed through an international agreement in 2007 between the Oficina del Historiador and iGuzzini. This was explained to more than 200 delegates from 14 different countries, mainly Latin
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1.2. Delegates at the Professional Lighting Design Convention 3. The “Italian Lighting Design for Istanbul” logo 4. The seminar in Havana 5. Brochure for the Havana seminar
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American, who listened to two talks and were shown a series of images simulating the new appearance the city will take on after dark. Following the conference, the display panels were set up in Havana’s Fototeca Pubblica, so that members of the public could also view the proposed scheme. On 7 December, a seminar was held at the University of Havana, open to professionals of the Oficina de l’Historiador, architects, engineers, and representatives from organisations such as the International Council of Museums (ICOM) and the International Council on Monuments and Sites (ICOMOS), concerned with the protection, conservation and development of Cuba. A talk by iGuzzini, entitled “General concepts of architectural lighting”, provided a detailed explanation of the new methodology behind the lighting scheme for the historic centre of Havana. On 3 December 2009, a seminar was held in Istanbul to discuss Italian technologies for street, museum and architectural lighting, organised by the ICE as one of various initiatives to promote
Italian know-how in the field of professional lighting, on the Turkish market. The event was part of a programme entitled “Italian Lighting Design for Istanbul 2009”; in addition to the seminar, this included the illumination of selected monuments in the city, notably the famous Galata Tower. iGuzzini presented same of the company's more recent and significant projects in these sectors. On 6-8 December 2009, the “Cultural Heritage Cairo 2009” convention was held in the Egyptian capital. It was attended by around 400 delegates from various cultural institutions, mainly European and African. Among the speakers was architect Piero Castiglioni, who addressed a range of topics connected with the illumination of cultural assets and, by way of example, illustrated a number of lighting projects implemented in Italy in collaboration with iGuzzini, notably that of the Palazzo Schifanoia in Ferrara, and the illumination for the steps of Santa Maria at Caltagirone.
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Corporate culture
Light Mapping NYC New York, November 2009
In November 2009, after the LightMapping events in London and Rome, iGuzzini again supported this initiative through its North America branch, sponsor of the NY session. LightMapping NYC - part of a global program developed by the PLDA, staged in collaboration with the Lighting Forum of New York (DLFNY) and the Illuminating Engineering Society, New York City Section (IESNY) - provides a forum at international level for the entire community of New York lighting designers, to discuss the current state of night lighting in the city, its origins, and the possible directions it could take in the future. The event offered a number of “Lightwalks” through areas identified as being significant from the standpoint of lighting design in New York. The tour guides for the walks were lighting designers of world renown. These same Lighting Designers then offered their thoughts on the week’s activity during a discussion and workshop on the final day, which was moderated by Glenn Shrum, PLDA coordinator for the USA. The event was open to everyone, and the guides were: Wayne Norbeck (Gluckman Mayner Architects), who encouraged his audience to seek out the darkness among the lights of Times Square; Leni Schwendinger, Ute Besenecker (Light Projects Ltd.) and Brian McGrath (Urban Designer), who illustrated the nuances of night in the area around Old St Patrick’s Cathedral; Julian Kline (Meatpacking District Initiative), who guided walkers through new and old architecture of the Meatpacking District; Francis Milloy (Terreform), who showed his party a cross section of Midtown West, Manhattan; Nathalie Rozot (Nathalie Rozot Planning & Design), who explored the virtual night of Second Life with the avatars, revealing new ways to light the cityscape; and Stephen Horner (Tillett Lighting Design), who rounded off the series of walks with a view of Manhattan from the outside, through Brooklyn Bridge and DUMBO (Down Under the Manhattan Bridge Overpass).
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“LED - Light Exhibition Design”, 2009 edition Milan, Italy
From 6 December to 10 January 2010, the municipality of Milan hosted “Light Exhibition Design” 2009 (LED), an event that saw architects, lighting designers and artists proposing lighting designs for various landmark architectural features of the Milan skyline. iGuzzini participated as technical sponsor for “A tower of light”, the tower being the Torre Branca, Giò Ponti’s masterpiece symbolic of Milan in the 1930s. standing 108 metres tall in the Parco Sempione, the tubular steel tower was illuminated with Platea Led fixtures emitting a variable coloured light and transforming the structure into a beacon on the city’s nocturnal landscape.
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I. 2010
Incontroluce Six-monthly international magazine on the culture of light year XII, 21 Editing Centro Studi e Ricerca iGuzzini Fr.ne Sambucheto, 44/a 62019 Recanati MC +39.071.7588250 tel. +39.071.7588295 fax rc@iguzzini.it iGuzzini illuminazione spa 62019 Recanati, Italy via Mariano Guzzini, 37 +39.071.75881 tel. +39.071.7588295 fax iguzzini@iguzzini.it www.iguzzini.com 071-7588453 video Graphic Design Studio Cerri & Associati Publisher iGuzzini illuminazione spa Contributors to this issue iGuzzini illuminazione China Ltd. iGuzzini illuminazione Deutschland GmbH iGuzzini illuminazione Espaùa S.A. iGuzzini illuminazione France S.A. iGuzzini illuminazione DK iGuzzini South East Asia iGuzzini illuminazione UK E.C.C. Lighting LTD, Australia Proyecto Illuminaciòn, Argentina Cover photo Lothar Reichel Printed: April 2010 Tecnostampa, Recanati
The Editors are not responsible for inaccuracies and omissions in the list of credits relating to projects and supplied by contributors. Any additions or amendments will be included in the next issue.
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Leni Schwendinger / Piero Castiglioni / Luca Braguglia / Studio Cerri & Associati / Frank O. Gehry / Emmanuel Nebout Architetto / Studio Pfeifer y Zurdo / Pablo Pizarro / George Berne / C.Y. Lee Architects Ricardo Bello Dias / Studio Methis / BPI / ÅF - Hansen & Henneberg CF Møller Architects / SCDA Architects Pte Ltd / Pete Bossley Architects Aurecon Specialist Lighting Group / tools off.architecture / Zaha Hadid