Incontroluce 25 by Bellatrix Bellatrix

English edition

I. 2012

Editorial

Dear readers, Does light have its own shape or does it give shape to other things? This is a dilemma that has always been discussed by lighting professionals, but without ever arriving at a clear conclusion. More than a dilemma it is in fact a case of different ways of interpreting reality. Rather than just a philosophical issue, it represents a tangible guide for those whose job is to define the features of an architectural space. This edition of Incontroluce includes examples in which the matter seems obvious. The work of Dean Skira, with its lines of light and colours, unambiguously contributes to giving the constructed space its own specific image and dimension, just as Satoshi Uchihara’s work transforms architecture: “architecture is square and light makes it round”. These two different approaches: creating a space or reinstating its shape, can also take on greater importance, extending beyond architecture to become a landscape. The hill on which Assisi rises at night also shows off the magnificent great basilica of St. Francis, which thanks to artificial light emphasises not only its physical presence, but above all its history and cultural significance in the vertical Umbrian landscape. In the same way, the late Baroque architecture of the Peterhof monumental complex stands out even more at night-time, casting a shadow over the great Italian-style garden opposite. In a very different way, light turns the Lynetten incineration plant into a luminous sculpture, transforming the harbour landscape around it, meaning that there light takes on its own form irrespective of the object it interacts with. In other cases light adopts a tangible physical form because it is concrete, as in the Timber Wave, a sculpture which is the solidification of light vibrations projected beyond the facade from the entrance to the Victoria and Albert Museum. I also believe that, in defining the architectural form of the iGuzzini premises in Barcelona, architect Josep Mias wanted to shape the light both through the intricate contrast between light and shadows of the structures and through the transparent features of the facade, creating an important landmark on the landscape too. In contrast, in Recanati, light alters the shape of the Light Laboratory: closed and impermeable by day, it becomes open and transparent at night. Perhaps the most obvious example of the dilemma which prompted this article is: does light have its own shape or does it give shape to other things? Adolfo Guzzini

Incontroluce

Contents

Editorial

Design The pleasure of lighting (Dean Skira)

Interview with Satoshi Uchihara Part one

Projects New headquarters for the company Legendre

Tarazona Cathedral

Dover Esplanade: breathing new life into the city’s sea front

Rosenberg shopping centre

Light for the architectural complex of the Kutna Hora Jesuit College

New outside lighting for the Sacred Convent of Assisi

Peterhof monumental complex

“Lynetten” incineration plant

Marttiini store: the most beautiful “Puukko” store in the world

Light Laboratory

“Il Cielo” the new iGuzzini España premises

Design Italia AAA

Company culture Timber Wave

Pasajes Competition - iGuzzini

Archilede: tests and applications

I. 2012

Design

The pleasure of lighting by Dean Skira

Light is the invisible form which reveals all other forms and creates another that we call shade. Understanding these relationships helps us to remember that lighting design isn’t just a question of calculation or specifications; it involves imagining the space, volumes and atmosphere and is linked to the architecture and distinctive spirit of a place, to create positive emotions for those who live and carry out various activities in that space. Satisfying all of these principles allows lighting design to be integrated with the architecture, requiring close collaboration between architects and interior designers. I have had the good fortune and immense pleasure of working on projects which allowed us to inspire each other and create lighting design and structural installations in spaces where lighting became an integral part of the architecture, irrespective of whether or not it was switched on. These creative solutions and the use of lighting control systems with good energy efficiency to obtain valid long-term visual, biological and emotional experiences are probably important qualities which we transfer to our projects. At the time of choosing general lighting fixtures for the Novamed general hospital, the decision went mainly in favour of fluorescents, keeping the focus on the specific colour temperature of each environment and on the performance of the luminaires in order to meet the most stringent standards.

Hotel & Spa Novi, Novi Vinodolski, Croatia This luxury resort required a particularly shrewd lighting design, due to the complexity and variety of the spaces that needed lighting. The lighting design for the corridor tunnel linking the hotel to the spa was quite a challenge because no daylight ever enters the tunnel and it is rather long. So, we decided to create continuously alternating colours and to change the shapes. Client: Hotels Novi Ltd. Architect: Ante Nikša Bilić Lighting design: Dean Skira, Dean Matika Photographs: Sandro Lendler

The projects presented by the Lighting Designers were created using luminaires from several manufacturers

The basic idea for this project was to create a space that was entertaining and dynamic, full of colour and welcoming, with a continuously evolving lighting design that changes the perception of the space, altering and emphasising particular aspects of it, where the patient is unaware of the pressure and formality of a medical facility. In the reception area, an organically-shaped channel winds along the plasterboard ceiling and extends to the cafeteria where it meets the opposite semi-circular glass wall. Hidden along this channel there is linear LED RGB lighting, in addition to the downlight luminaires recessed in the upper ceiling. The idea for this architectural piece came from an image of brain cells published in a local newspaper. Transforming the basic image of these cells into a curved organic illuminated form was a challenge not just in terms of presenting the idea, but also in regards to actually implementing it. We had to identify the precise location of the continuous curve, since there are many different installations in the ceiling. To reduce the number of visible elements, we would have had to use some existing solutions such as recessed multi-lamp luminaires which support three or four adjustable spotlights in the housing. Thanks to the well-designed height of the heating, ventilation and air conditioning systems, we were able to integrate the lighting dome in the ceiling, at a depth of 350 mm, to supply the amount of light

Novamed General Hospital (Zagred, Croatia) Client:: Novamed General Hospital Architects: Ante Nikša Bilić, Vanja Biščanić, Sunčica Mastelić-Ivić Lighting designers: Dean Skira, Maja Lipovčič Photographs: Vjekoslav Skledar

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Design

The pleasure of lighting

needed, wired for fluorescent lamps and LED RGB modules. In this way, we produced muted and diffused lighting with controllable intensity and changeable colours. At different stages when trying to implement a project it may be the case that you simply can’t find what you need to apply the idea in its smallest details. Lun-Up is the result of specific requirements that could not have been satisfied by any existing product. The idea was created due to the need to light a column and produce a linear, even light without the usual scalloping on the lower side. The basic idea behind Lun-Up is elimination of the normal centred lamp, splitting the typical recessed round lamp into 4 parts of the curve. One quarter of the circumference is the basic shape from which many different configurations are derived. The lamp design is very practical and adjustable, offering many new possibilities in terms of form and function. The LED technology can be used in many variations, both indoors and outdoors. The visual effect is completely different from that of the usual round recessed luminaires. Not just in the shape of the light emitted, but also in the volume of the body itself, which is reduced to the actual dimensions of the lamp. Lun-Up is one of the clear examples in which “form follows functions” and I think that it will be an extremely useful lighting tool for many different situations.

Product design Lun-Up: Dean Skira Photographs: Lumenart Ltd.

Dean Skira Dean Skira is a lighting designer based in Croatia with more than twenty years of experience creating innovative lighting design solutions for institutional, public, company, residential and hospitality projects. In 1986 he went to the United States to study interior design and lighting design at New York’s Fashion Institute of Technologies (FIT). Since establishing his lighting design firm in 1990, he has become a member of IES, The Illuminating Engineering Society of North America, New York division, specialising in urban and commercial lighting at Philips Corp., New Jersey. In 1995 he continued his work in Croatia together with his team of professional designers and engineers through the Lumenart Ltd. and Skira Ltd. lighting design firms. He has received many awards for his projects. Dean Skira is also a member of the Croatian Designers Association (HDD) and vice - chairman of the Croatian Lighting Association.

For further information: www.skira.hr

Dean Skira believes in teamwork. Every year, members of his firm together gather olives from the olive trees surrounding the House of Light. The oil obtained is then given to clients as a gift.

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The House of Light, Pula, Croatia The headquarters of the Lumenart Ltd. and Skira Ltd. lighting design firms won over leading architects and designers, becoming an indispensable reference point for information and knowledge about lighting technology, perhaps one of a kind in the whole of Europe. Client: Lumenart Ltd. Architects: Andrija Rusan, Ljerka Kabelka Photographs: Lumenart Ltd.

Design

Interview with Satoshi Uchihara Part one

What do you think about the relationship between light and architecture, and the relationship between light and space? I think many people feel that space exists in architecture but that is not completely true. Architecture is structure that is created to enable people’s comfortable life, and the square shape comes from a structural reasonability. As a lighting designer, the first step is to recognize space as ‘un-square’. Projecting light into a space where nothing exists creates ‘round’ space. If we then create a wall in empty space the projected light illuminates the wall. Then people just perceive the divided area as ‘squared’ space. The natural shape of space created by light should be, however, a feeling of a sphere or round shape. From this concept, I don’t recognize true space as square but as a distribution of rounded energy. There is a relationship with architecture in volumes of light; dark volumes and pale volumes create layers. I think the relationship between architecture and light is one which makes architecture with this sense of space.

The projects presented by the Lighting Designers were created using luminaires from several manufacturers

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What part does artificial light play in architecture? When I think about artificial lighting, I think it should be the element with which to project realistic human scale into architecture. For example, imagine there is a table in a cubic space. The type of lighting we use depends on the human activity to be carried out or what we want people feel in that circumstance. If we think about human scale, psychologically it is difficult to approach that scale from architectural modules. Thinking about uniform illuminance, when using a downlight in a corridor, is not enough. We also have to think about people’s speed of movement and their perception of progression through the architecture and how these elements will make a rhythm. In architectural space, lighting design has to be based on how many people and what kind of people will be there. In square or architectural space, lighting design should project human energy and human scale. In theatres, indicators are mounted to fit with the pitch of the seats. This is basically for safety but it matches the scale of a person and gives a certain level of comfort. For me designing huge spaces (stations, halls, stadiums) is interesting. Even in airports, it is important to use the human as the scale unit.

Design

Interview with Satoshi Uchihara Part one

What is your understanding of “light culture”? I often hear the word ‘culture’, especially in China. People also talk about light culture but there is no clear definition about light culture. I think the lighting field is always united with cutting edge technology. Therefore, lighting culture changes accordingly. It should include an identity for each country, region and nationality. There is an original idea of light in Japanese culture and it is important for the Japanese to pass down our culture through lighting. This culture will include our life, what we feel in our life and our mentality. These feelings are often impacted by light. Therefore, by researching them, we can create light as culture. My theme since I established my office is light as a communication method. I always try to express human communication in a design concept.

3. Tokyo International Airport International Passenger Terminal Building. 4. Roppongi Hills Hills Arena

Satoshi Uchihara Born in Kyoto in 1958 Graduated from the Design Department of Tama Art University in 1982. After working for several years at Motoko Ishii Lighting Design, Inc., he set up Uchihara Creative Lighting Design, Inc. in 1994. Uchihara’s portfolio includes the design of the Omotesando Hills Bright-up Wall, the Roppongi Hills Arena and the Hirakawacho Mori Tower.

Of course this kind of communication is not as clear as conversation and can’t inform things directly. However, I think the important thing for human communication is to feel something behind the words and light is a wonderful tool for that purpose. We think of light as rationale for communication design. It should include personality, identity and nationality so that we may create lighting culture through communication design, especially as the Japanese have little sense of the ability to express direct feelings and can’t speak definitively. It can easily seem like a lack of communication skill. However, speaking definitively is actually a one way process and it is not a real communication. In the Japanese language, many questions, confirmations and agreements are involved, the conversation flows back and forth under equal conditions. This is a special way to communicate but a Japanese lighting designer originally has this kind of sense. Our culture consists of this kind of communication.

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Projects

New headquarters for the company Legendre Rennes, France

Client SCI Parc de la Courrouze Legendre Group Architectural design Agence Unité - Anthony Rio and Jean-Charles Colliot Jean-Claude Pondevie

For its 60th anniversary, in November 2011, the Legendre Group inaugurated its new company headquarters. Built at La Courrouze, opposite the headquarters of Crédit Agricole bank, the new flagship of the Legendre Group gives the impression of great strength, reflecting the French group’s long, well-established history. Eight storeys high and 100 metres long, the structure has concrete visible on the outside

and glass, allowing natural light in by day and filtering artificial light at night. This low energy consumption building expresses the group goals: to maintain a consolidated presence in the “big west” and a strong commitment to environmental protection. Located in the Les Dominos eco-district, on the industrial estate, the building’s figures are impressive: an extensive 10,000 square metres, half occupied by company employees and the

Landscapers Agence Phytolab

Photographs: Phillipe Ruault, Marc Domage

Partners Assistance iGuzzini illuminazione France

2. Hall

1. Facade with alternating glass and concrete 3. One of the offices

other half by tenants. The building uses only 40 kW/m2/year, while the environmental standard allows for 50. In addition to this building, on the same site 64 homes will be built, plus an inter-company crèche, all in compliance with the strictest environmental standards. All of the buildings will be heated with a wood-burning boiler, which will also be used to provide hot water. The Unité architectural firm designed an extremely bare building: no “outer skin”, just visible concrete: the group’s grey matter. This same logic was also applied for the lighting. The 400 Action luminaires used in the offices become a minimalist object, purified and, suspended above the workstations, giving a changed, spectacular perception of the space. Architect Anthony Rio emphasises: “We put the lighting where it was needed”. Also, remove all of this text. Will read: ‘Also the Le Perroquet.....’, at the entrance which is bathed in light, the Le Perroquet luminaries light up the pyramids by artist Nicolas Milhé, while iPro spotlights guide visitors to the lifts.

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Tarazona Cathedral

Projects

Tarazona, Spain

Promoting body Ministry of Culture and Aragona Government Architectural design Fernando Aguerri and Jose Ignacio Aguerri

The test stage for Tarazona Cathedral lighting began way back in 2004 and the architectural lighting was mainly set up using spotlights with metal halide discharge lamps. In recent years lamps have undergone a transformation, with the success of LEDs, which inevitably brought changes to the already complex art of lighting holy places. LEDs have many advantages, both in terms of energy consumption and maintenance, but in this case, the extremely cool colour temperature made the designers hesitate. A series of in situ tests led them to choose Miniwoody LED spotlights. The spotlights were selected on the basis of positioning and maintenance. The dimensions had to be within certain limits and, ultimately, from a lighting design viewpoint, they had to be able to use various optics and accessories to suppress glare. The lighting system set up by the architects in cooperation with Soluciones Luminotecnicas aims to emphasise the main features of the cathedral, and, at the same time, to satisfy requirements for religious use of the space. The gothic cross-shaped vaults which close the aisles, the presbytery with large retable, the transept and the dome lantern are the stand-out elements. The lower area of the aisles and the transept needed more diffused light for those present, so pendant luminaires were preferred. The presbytery fixtures installed were designed to allow stronger lighting to emphasise the importance of the ceremonies in there. The lighting design for the main nave and transept provides 3 light levels. The vaults are directly lit by resting the spotlights on the capitals at the start of the ribs.

Lighting design Aguerri Arquitectos y Proyectar Soluciones Luminotécnicas Partners Assistance iGuzzini illuminazione España

Photographs: 274 Km 1. Integrated lighting of the vaults 2. Dome lantern lighting

Each bay is lit by 4 Miniwoody 3x1W LED luminaires with 10º optic, plus 8 units with 24º optic. The second, lower, level is for the area with large lancet windows. In this case the spotlights rest on the vault impost. A Miniwoody 3x1W LED luminaire with fresnel lens lights the large lancet window opposite it. The central aisle is instead lit with pendant luminaires using compact 2x26 fluorescent lamps, supplementing the light from the spotlights. The side aisles have 2 levels: architectural lighting, similar to that of the main nave and transept, that is to say, resting on the capitals, 8 Miniwoody 3x1W LED luminaires with 24º optic for each bay, and circulation lighting from applique luminaires in the rear choir, fitted with new generation 7W compact fluorescents. In the ambulatory the principle applied to the side aisles is used, but the number of spotlights in each bay is halved, meaning that the 9 bays each have 4 Miniwoody 3x1W LED luminaires with 24º optics. The dome lantern also has different levels: a first level, located at the start of the spherical pendentives, is lit by 8 3x1W LED luminaires with 10º optic; a second level corresponding to the octagonal tambour with 16 units consisting of 3x1W LED luminaires with 24º optic for lighting the vault, plus 8 units of 3x1W LED luminaires with 10º optics and fresnel lens for the opposite niche. All of the spotlights are located at the foot of the niches on each side of the octagon. Finally, a third level for the skylight with four 3x1W LED spotlights with 24º optics. The cathedral’s architectural lighting, designed to remain on during opening hours for the public, as well as for religious services, has a total installed power of less than 1,000 W.

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Dover Esplanade: breathing new life into the city’s sea front

Projects

Dover, Great Britain

Co-financer clients Sea Change – British Department for Culture, Media and Sport English government Commission for Architecture and the Built Environment (CABE) funding programme Sea Change Kent County Council (KCC)

The features of work to upgrade the Dover sea front were set out by a partnership including Kent County Council, the Dover Harbour Board, Dover District Council, SEEDA and English Heritage. The invitation for tenders for esplanade restructuring and enhancement was handled by the Landscape Institute. The project was funded half by Sea Change, a government initiative run by CABE, and half by the other project partners. The two million pound project has created a new promenade connecting the eastern harbour to the western side. To the west of the Esplanade there is a new sea sports centre, to the east a crossroads connected to a tunnel which links the sea front with the central square. The backdrop to the Esplanade consists of Waterloo Mansions, a 5 storey terrace dating back to 1834. As well as being the face of the city for many ferry and cruise passengers, the current Esplanade has been designed as a gathering place to attract Dover residents.

Tonkin Liu radically changed Dover’s sea front. The project, called “Lifting Wave, Resting Wave, Lighting Wave”, was designed as a set of three works of art created from their social and environmental context because Tonkin Liu is always looking for solutions that are specific to the place, people and period. Using a design method known as ‘ask, look, play, do’ the Tonkin Liu architectural firm investigates the character and potential of the place and puts forward specific proposals for that site and for the people living there. The Esplanade reconnects with the architectural language of Dover’s identity: the delicate nature of the waves on the beach, the rhythm of the Georgian terrace on the sea front and the undulating topography of the white cliffs of Dover. For the “Lifting Wave” part of the project, a repeated rampsand-stairs shape sculptured in prefabricated white concrete rises and falls to link the Esplanade to the pebble beach. The “Resting Wave”, including a set of seasoned oak benches, treated to look like driftwood,

Dave Hughes, project sponsor Dover Harbour Board Dover District Council Art, Architecture, Landscape Tonkin Liu - Mike Tonkin and Anna Liu

Structural engineer Rodrigues Associates with Jacob’s Engineering

Lighting design Tonkin Liu - Mike Tonkin

Photographs: Mike Tonkin, Robbie Polley

Civil engineering, services, Quantity Surveyor & Project Manager Jacob’s -Ron Newport

Prime contractor Ringway Infrastructure Services Limited Ken Buncher

2. View from above of the project area

Soft Landscaping Jacob’s - Lindis Danson

Partners Assistance iGuzzini illuminazione UK

1. Detail of the ring column 3. Night-time view

represents a sculptural supporting wall running the length of the Esplanade and is designed to prevent unauthorised application of posters and other items. In contrast, the “Lighting Wave” is a sculptural wave of white columns. Along the Esplanade the columns rise and fall like the spray on the crest of a wave, decorated with a structure made of rings that really resemble sea spray. The columns support all of the Woody floodlights which light up the area: both the “Lifting Wave” and “Resting Wave”. Miniwoody floodlights are used to light the decorative “spray” of the “Lighting Wave”. All of the lamps are programmed to provide lighting which marks the passage of time, generating a sequence of lighting every hour and a simplified sequence every quarter of an hour. The project won the Riba Award on 1 October 2011, as the best project implemented in South-East Great Britain.

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Rosenberg Shopping Centre

Projects

Client Genossenschaft Migros Ostschweiz Architectural design atelier ww Architekten SIA AG

Wintherthur, Switzerland

Lighting design Reflexion AG

The Rosenberg complex features the combination of commercial and residential premises. The shopping centre has a pleasant appearance, flooded with light and built in a contemporary architectural style. Carefully selected elements in the lighting and colour, together with a shrewd choice of materials have created a warm, enjoyable atmosphere, despite the impressive dimensions.

Electrical engineering design HEFTI.HESS.MARTIGNONI. AG

Photographs: Günter Laznia

Partners Assistance iGuzzini illuminazione Schweiz AG

2.3. Shopping centre communal areas

1. The outside of the building at night

Particular importance was attributed to environmentally-friendly construction principles and to innovative methods, such as the recovery of dispersed heat. In this way, the new complex consumes substantially less energy than the old shopping centre, despite its larger size now.

The special architectural atmosphere is emphasised by lighting design which caters for the various requirements linked both to residential and commercial use, as well as the distinctive features of the outside lighting. In the entire shopping centre area, which has a maximum internal height of 15 metres, the

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Projects

Rosenberg Shopping Centre

4. Detail of the ceiling 5. Accent lighting for the first floor

Reflex Professional recessed luminaire was used, allowing the high lighting intensity needed, at the same time avoiding glare. This guarantees excellent visual comfort for customers and employees. In the nearby streets and the squares facing the structure, pole-mounted MaxiWoody luminaires are used which, thanks to their flexibility,

provide an ideal lighting system for public spaces. The outer structures such as balustrades, railings and handrails, which encircle the residential area, are lit by Walky model luminaires. Recessed wall luminaires produce warm accent lighting providing a harmonious background to the extremely simple design.

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Projects

Light for the architectural complex of the Kutna Hora Jesuit College Kutna Hora, Czech Republic

Together with Saint Barbara Cathedral, the Kutna Hora Jesuit College forms an impressive complex which majestically dominates the Vrchlice river valley. Its construction, based on a design by Domenico Orsi, the famous Jesuit building architect, began in 1667 and was completed in the mid-18th century. The building is rather austere and only the front facade brings to mind the Italian palaces of the early baroque period. The Jesuit College was used as a military depot before its ownership passed to the Czech Museum of Fine Arts in 1998. Since 2010 it has housed the Central Bohemian Art Gallery (GASK). The new lighting for the Jesuit College is part of the project to regenerate the areas surrounding Saint Barbara Cathedral and Corpus Christi Chapel and was inspired by the idea of lighting for the main Kutna Hora historic monuments created by architect Ladislav Monzer. The project was implemented in 1995 and included, as well as Saint Barbara Cathedral, the Corpus Christi Chapel, the Jesuit College, Hradek, the archdeaconry building, St. James’s church and Vlassky dvur (the ancient headquarters of the Mint). The best views of the Jesuit College are from a short or medium distance. From there the front facade and the twin towers become the predominant parts. For views from a medium distance, it is important that the lighting of the Jesuit College follows the lighting model of Saint Barbara Cathedral in terms of the luminance of the facade and light colour temperature. In addition to the facade, the building’s roof and the two towers must be lit to give the general impression of the building in the context of the whole panorama. One problem that had to be overcome was that of integrating the bright effect of public lighting in via Barborska, which runs along the Jesuit College.

Lighting design for Kutna Hora historic monuments Ladislav Monzer Lighting design for the Jesuit College Apis s.r.o. - Jan Hasenohrl

It consists of reproductions of old lanterns on cast iron poles using 70 W high-pressure sodium discharge lamps. Looking at the building from a medium distance, at night, these public lights affect the perception of the Jesuit College: they create points of light which are quite intrusive in the lower part of the facade. The lighting design for the outside of the Jesuit College is in three parts: the first part lights the base of the facade. Light Up Walk professional ground-recessed luminaires using 35 W metal halide lamps are used here at a distance of 1 metre from the facade on the axis of the pillars. The second part relates to lighting for the upper area of the facade, obtained using Maxiwoody floodlights mounted on six 5-metre high poles in a garden area behind the wall with statues. One floodlight has a refractor, to give off an elliptical beam which lights the closest part of the facade. The third part of the project is for lighting the roofs and lateral towers with Maxiwoody luminaires using a spot optic and two floodlights with medium optic for 150 W metal halide lamps. All of the floodlights have side screens to reduce intrusive light effects and minimise the likelihood of passers-by being dazzled. The system is designed to be controlled in such a way that when the public lighting is ON, the architectural lighting is OFF and vice versa. The lamps used have colour temperatures of between 3000 K and 4000 K. The architectural lighting has two operating modes. In the first, only the groundrecessed luminaires are switched on. The lighting is muted and is ideal for views from a short distance. This mode is designed to operate on weeknights. In the second mode, both the ground-recessed luminaires and all of the floodlights are switched on. The architectural lighting remains on until midnight. Then it is switched off and the public lighting comes on.

Installation THK Elektropráce Partners Assistance Etna s.r.o.

Photographs: Tomáš Bogner 1.2.3. Effect on the facade of switching on only the public lighting; the public lighting with Light Up; Light Up and floodlights 4. Fully lit college facade

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Projects

New outside lighting for the Sacred Convent of Assisi

Client Sacred Convent of Assisi

Assisi, Perugia

The new system, at the Sacred Convent of Assisi, was switched on in the presence of the Pope, for the 25th anniversary of the day of reflection, dialogue and prayer for peace, on 27 October 2011. The Sacred Convent basically had two requirements: the first was to reduce the energy consumption of the old system, which used floodlights with a 1000 W halogen lamp for lighting the vertical walls of the Sacred Convent, while the porticoes were lit by 150 W halogen floodlights. The second was to obtain lighting that would be the same all over the complex and which could highlight and show off, even at night, the aspect of the complex that was seen by day. All of that was achieved with 85 Maxiwoody floodlights rated between 150 and 250 W plus 90 Miniwoody 20 W HIT for the porticoes.

Two iPro luminaires were fitted to light the Lower Basilica entrance, set on the outermost columns of the renaissance atrium. The Maxiwoody luminaire was chosen for its extreme versatility: available with many power ratings and optics as well as the possibility of fitting many accessories with a light flow that can be directed, screened and expanded. The main difficulties faced were linked to the height of the surfaces to be lit and the limited distance at which the floodlights had to be placed in some cases. On the walls of the Western side lighting to a height of 50 metres was needed: with evenness obtained thanks to the use of medium optics for lighting the highest section and a wide flood for the lower part. The floodlights also light the entire expanse of the wall extending along the Southern Palace,

Photographs: Luca Petrucci 1. Night-time impact of the new lighting 2. The complex seen from the Lower Basilica

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the Main Refectory and the Friars’ Dormitory, connected to the Lower Basilica. Along this huge surface a superspot optic was only used once, directed onto the sculpture depicting Pope Sixtus IV. The highest power ratings, 250 W, were used to light the walls, and 150 W for the Church. Uniform lighting was also needed for the facade of the Upper Basilica, and the decision was made to lessen the shadows in the bays of the small corridor at the side of the facade as well as the shadows of the bell tower’s two-light and three-light windows. To light the bell tower, floodlights with 150 W metal halide lamps were placed on the roof of the inner courtyard. The lamp used is the Mastercolor with 3000 K colour temperature. This lamp was also fitted in the old floodlights which in some particular positions were not substituted.

Projects

Peterhof monumental complex

Client Peterhof Museum Complex Director: Elena Kalnitskaya Installation Candela

St Petersburg, Russia

In September 2011, to mark the events dedicated to Italian culture, in St. Petersburg for the first time the city’s inhabitants were able to see the full, permanent lighting of the monumental urban complex - the Peterhof which UNESCO has declared to be a World Heritage site, built as the summer residence for Tsar Peter the Great in the 18th century by architect Francesco Bartolomeo Rastrelli. iGuzzini lighting was applied throughout the

Partners Assistance iGuzzini Finland & Baltic Oy RO

Photographs: Sergey Timoschuck 1. The Peterhof facade overlooking the Lower Park 2. Detail of one of the churches at the complex

complex, including the orthodox churches with their extraordinary golden domes. Around 80% of the lengthy facade, was lit using Light Up Walk professional luminaires with metal halide, 3000 K colour temperature lamps, arranged in pairs. The Light Up luminaires were arranged in that way to light the entire height and slightly accentuate the upper part of the building, which is visible above the trees from the

surrounding roads. Only in the central section, due to the presence of a large terrace, was the upper part lit using Maxiwoody floodlights placed opposite the building on an existing embankment. Maxiwoody floodlights were also used to light the domes of the two churches. The power ratings used were 70 W and 150 W. The project was ranked second, among 35 entries, in the Interlight Moscow Award.

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“Lynetten” incineration plant

Projects

Client Lynettefællesskabet I/S Architectural design Creo Arkitekter A/S

Copenhagen, Denmark

The “Lynetten” sludge incineration plant is located along the eastern waterfront of Copenhagen’s inner harbour. The location makes the plant clearly visible to anyone visiting the city’s western waterfront and entering the harbour on a yacht or cruise liner. Lynetten purifies Copenhagen’s waste water and partly produces power, and it is one of the most energy efficient plants of its kind in the world. The client wanted the beauty of Lynetten’s industrial nature to be highlighted by suitable lighting at night. Copenhagen-based Rambøll Lighting was commissioned to come up with the lighting design.

Technical and lighting design Rambøll Lighting

Photographs: Ole Ziegler 1.2. The plant in the harbour and residential context

Partners Assistance iGuzzini illuminazione Denmark

The client’s main requirements were: to maintain Lynetten’s unique architectural features and guarantee a solution with low energy consumption. These two requirements were met thanks to the lighting design which used Maxiwoody and Woody LED luminaires. Rambøll Lighting presented an idea with the visual focus on five large cylindrical silos, painted in different colours and positioned inside the building, immediately behind the facade’s cladding. Maxiwoody floodlights with half amber, half warm white LEDs, were placed in the ceiling and light the silo from above.

Plus, Woody floodlights with half amber, half warm white LEDs were arranged on the floor, lighting the silo from below. With such an idea, where light radiates from inside the building, the transparent nature of the architecture can be emphasised. So, the facade isn’t a visual barrier at night, but a transparent surface that reveals the inside and the purpose of the structure. Plus, the new chimney, which is an integral part of the plant, is lit as a vertical accent in space, using another Maxiwoody floodlight. With the new lighting design, Lynetten “shines” by night like a new urban reference point in Copenhagen’s inner harbour.

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Projects

Marttiini store: the most beautiful “Puukko” store in the world Helsinki, Finland

Client Marttiini Oy Retail space design Amerikka Oy Partners Assistance iGuzzini Finland & Baltic Oy RO

The "Puukko" is a traditional Finnish knife, considered both a craft object and a tool for daily use. Marttiini has been producing knives in Lapland, northern Finland, since 1928. The new Marttiini store is at the heart of Helsinki, and its shop window provides an amazing view of the Cathedral and Senate Square.

The new store combines Marttini's extensive tradition and history with contemporary design. The materials used in the store, (wood, metal and leather), are the same as those used to make the knives. All of the details were designed while keeping in mind the functional aspect, to allow this small space to display more than 200 different products.

Photographs: By kind permission of Amerikka Oy 1.2. Images of the interior design 3.4. Details

The challenge was to design a solution which would allow the store to display a wide variety of products. In fact, to find the right product, customers have to be able to see each item close-up. The walls show the products secured to a wooden block at a slight angle using powerful magnets. The designers spent a lot of time finding a simple enough combination which would work will all of the 'puukko' knives, displayed with and without a sheath. The use of magnets also means that the product layout can easily be modified, so that staff can change the products on show whenever necessary. Since the store also asked for the presence of a storage area close to the products for day-to-day use, a small space was created behind each product so that staff can easily find the product required. The functional details are closely linked to the place’s appearance and atmosphere and play an important role in promoting sales. The lighting is supplied using Pixel metal halide recessed luminaires with different power ratings: 20 and 35 W also using wall washer screens. This little store won the WAN Awards 2011 in the category for stores with a surface area of less than 200 square metres.

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Projects

Client iGuzzini Illuminazione s.p.a.

Light Laboratory

Architectural design Maurizio Varratta, architect

Recanati, Italy

The Light Laboratory is a building covering around 6,000 m2 designed as an extension to the iGuzzini Illuminazione headquarters in Recanati, which after a lengthy planning and development period was completed in 2010. The building as a whole consists of 4 storeys above ground, of which three are dedicated to offices for designing new products and research, while the ground floor is used for training - meeting rooms and the catering area. The ground floor also provides access to the corporate meeting room, a double-height space which can accommodate around 300 people, completed in 2011.

On the basement level, around the large meeting room is the showroom, an area specially designed to show light and its effects using the products made by the company. Also on the basement level, outside the building’s profile, are the technical premises, the beating heart of the new system. iGuzzini illuminazione asked for a multi-functional building, with a simple shape and structure, a “cube” able to fit in and integrate with the existing industrial complex and which at the same time was designed in line with the most modern energy efficiency and environmental sustainability requirements.

Photovoltaic plant data The plant was built by Energy Resources Total installed power

1599,61 kWp

Number of plant sections

Photovoltaic modules installed

6529 modules 245 kWp monocrystalline type GEEG

Modules total surface area

10577 m²

Forecast annual production

1.935.500 kWh

Company total annual 8.000.000 kWh average electricity consumption Total power required from electricity supplier

1932 Kw

Panel orientation

19° relative to north

Design team Maurizio Varratta, Luca Massone (project manager) Valentina Noli, Stefano Russo Valentina Fenoglio

Plant-engineering Design Manens Intertecnica S.r.l. Acoustic Design Müller BBM

Photographs: Gabriele Basilico, Giuseppe Saluzzi, Daniele Domenicali and by kind permission of Energy Resources 1. Integrated photovoltaic plant 2. Front view of the buildings by Maurizio Varratta (on the left) and Mario Cucinella (on the right)

Structural Design Favero & Milan Ingegneria

The design prepared for the complex system of architecture and plants allowed energy efficiency that was 30% better than that of a similar building using conventional technology. Architect Varratta adopted an integrated design method, where all aspects contributing to environmental sustainability criteria were approached in parallel and design decisions were assessed with the intention of maximising the level of environmental

sustainability defined by the Sustainable Building Challenge certification system of the iiSBE (international initiative for Sustainable Built Environment). That system allows objective and measurable evaluation of the energy - environmental performance of buildings, assigning a final score for the level of sustainability achieved by the building.

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Projects

Light Laboratory

2 1

9 3 5

8 4 7 6 11

1) Double-skin facade. For the iGuzzini building a solution was selected with a dynamic outer construction that adapts not just to winter and summer conditions, but also to individual temperature conditions and effective irradiation at a specific moment. The outer glazing skin forms a continuous vertical surface and has glass plates which can be angled and opened at the bottom and the top. These plates remain closed in winter to increase the facade’s thermal insulation, creating an air space in the gap, while they open in summer, spring and autumn (when rooms need cooling) to promote natural ventilation of the gap. 2) Green roof. The use of a green roof allows a reduction of the "heat island" effect and minimises the impact on the local microclimate. The advantages of the green roof are: - Reduction of energy consumption for cooling, thanks to evapotranspiration (evaporation of excess water from the green surface) - Reduction of winter thermal loads thanks to a high insulating effect. - Reduction of the volume of meteoric water to be drained into the system of downpipes.

3) Screening. Located in the gap and consisting of a system of roller blinds, automatically operated to block the direct rays of the sun and so guarantee comfort for everybody in the building and minimise energy consumption from air-conditioning in the summer. If there are no direct rays of sunlight (in the morning for the west facade and in the afternoon for the south facade, or if it is cloudy) the screening is retracted to maximise natural light in the building, providing improved visual comfort for occupants and saving the electricity that would be required for artificial lighting. The artificial lighting system uses a system for regulating the light intensity according to natural light levels in the offices. In winter, with the screening up, free heat from the sun is exploited, when this does not cause any temperature/visual discomfort for the building’s occupants. 4) Motor-driven plates control the outfeed of air from the “double-skin” system.

6) Plant-engineering skylight well. 7) Water collection tank. 8) Heat pump. 9) Technical wall. 10) Hot and cold water for air-conditioning is produced using a plant equipped with heat pumps for geothermal exchange with groundwater. This system uses electricity and water drawn from the ground for condensation-based heat exchange, with energy efficiency much greater than more conventional machines which use heat exchange with the outside air. 11. Area with recharging "post" for electric motor vehicles. 12. Photovoltaic shelter covering the outside parking areas.

5) False ceiling with radiant panels.

3. Diagram of plants 4. Outside 5. One of the office levels

The overall sustainability score achieved by the iGuzzini headquarters using the Sustainable Building Challenge method is 3.5 (on a scale from -1 to 5), which is the highest score so far for any office building in Italy. In particular, the Light Laboratory has such low energy consumption that it was awarded full marks (5) according to the energy consumption criteria. This result was achieved thanks to features such as: use of passive systems for temperature and natural light control, use of renewable energy sources (an integrated photovoltaic plant was built), energy-efficient plants, both for airconditioning and for artificial lighting, comfort level for occupants, in terms of temperature, air quality and visual comfort.

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Projects

“Il Cielo” (The Sky) the new iGuzzini España premises

Client iGuzzini Illuminazione España Architectural design Josep Miàs – MiAS Arquitectes Project manager Silvia Brandi

Barcelona, Spain

The new iGuzzini illuminazione Spain premises were inaugurated on 6 October 2011 attended by journalists, architects, local business figures and government representatives including Mercè Conesa, Mayor of Sant Cugat and Italian Consul to Barcelona Federico Ciattaglia. The building in Sant Cugat del Vallès is the latest in a series of structures promoted by iGuzzini which has made energy sustainability and light management, - both natural and artificial - the foundations of the design. The building, in the Parque de Actividades

Empresariales Can Sant Joan was designed by architect Josep Mias who called it “Il Cielo” (The Sky), because of its aerostatic globeshaped central body that seems to be ready for lift off. The architect interpreted, the company’s requirements for the Spanish branch and the result is a formalisation of those needs in a neat building extending over a total surface area of 6,300 square metres on four storeys with offices, laboratories, a showroom and auditorium.

Design team Pablo Varesi, Adriana Porta, Fausto Raposo, Hélène Barbot, Andrés Dejanon, Mario Blanco, Horacio Arias, Anna Mañosa, Janine Woitoshek, Stefania Carboni, Margherita Corbetta,

Mannick Eigenheer, Isabelle Glenz, Diogo Henriques, Silvia Lai, Pier Francesco Lisci, Roberta Luna, Francisca Marzotto, Ines Reis, Diego Romero, Emanuela Scano, María Tapias

Structural design BOMA

Photographs: Adrià Goula, MiAS Arquitectes

Technical architect Carles Bou

2. From right: Sant Cugat Mayor Mercé Conesa, Paolo Guzzini, Miguel Chiva and Adolfo Guzzini

1.3. The building seen in the daytime

The basement area houses the warehouses, the showroom for luminaires for interiors, the car park and building’s plant room. The underground area is covered by a variableheight technical floor, used as a showroom for outdoor luminaires. “The fact that a company which produces artificial lighting should consider natural light so important in working areas was the main idea we shared. Other elements were the location of the building at a motorway junction, and the perception

that the building itself is moving, as well as its relationship with the topography of the place, which suggested to us a building without facades, delicately suspended on the site. The central patio forms a microclimate that allows climate control in the building. Decisions about controlling the sun’s rays on the building’s glazed surface are in line with absolutely practical criteria to optimise airconditioning energy consumption, as these plans formally show.

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Projects

“Il Cielo” (The Sky) the new iGuzzini España premises

4.5. Il Cielo becomes a landmark in the night-time landscape 6. Detail of the structure at the centre of the building 7. Cross-section of the whole building

In short, the building is energy efficient and communicates it's goals without words.” At night, the artificial lighting is created using low-consumption luminaires and LED technology, which are controlled by a control system that optimises the use of light and highlights the architecture. Horizontal lines are obtained using Linealuce and Ledstrip LED luminaires. The central structure is lit with Maxiwoody LED 36W fittings. Linear lights mark out the horizontal perimeters, while floodlights, used to obtain an accent light effect light up the vertical surfaces. LED luminaires were also used for the offices.

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AAA Italy

Design

For us here at iGuzzini Illuminazione, design has always been of value in our planning, and many awards and publications have proved that decision to be a good one. Among them, the latest was “Christmust 2011. 150% italiani”. The publication, sponsored by the Ministry of Foreign Affairs, was edited by Danilo Premoli (you can read the editorial article here), and Simona Lombardi for Ali SpA, and gathered together, among products and “success stories”, the 100 leading names in “Made in Italy” for the last year. These include iGuzzini Illuminazione for producing the Crown lamp, designed by Michele De Lucchi for urban spaces. To underline the importance of design in our proposals, we have published here the drawings of iGuzzini Illuminazione’s new products for 2012, created in collaboration with the most prestigious international design firms. We will cover them in more detail in future issues of Incontroluce.

Photographs: iGuzzini illuminazione Archive

4. Massimo Iosa Ghini’s sketch for Pixel Pro recessed luminaire

1. Sketches by Renzo Piano for Wow luminaire

5. Cover of “Christmust 2011.150% italiani” 6. Mario Cucinella’s sketches for iPro Mini and Micro spotlights

2. Sketches by Maurici Gines for Palco spotlight 3. Sketches by Bruno Gecchelin for Light Shine luminaire

“Despite Standard & Poor’s rating, Italy still enjoys “AAA” status worldwide when it comes to Clothing, Food and Furnishings. So the excellent design and production of many Italian companies deserves to be promoted. That’s what is proposed, on its own small level, by the publication Christmust, convinced that promoting the Italian Way isn’t just a pastime for those with lofty ideas, but instead highlights a possible development model. What makes the successful products and companies collected in that text? You can sum it up as: honesty, beauty, innovation, discretion, consistency, simplicity and ethics. To be interpreted respectively as: the right product at the right price, with attractive formal qualities, the result of careful and curious research, neither excessive nor bulky, tuned into the surrounding world, basic but not ordinary or useless, sensitive in terms of use of resources, before, during and after being part of our surroundings. Obviously, behind every product there is a company, an entrepreneur, and that’s why the publication also tells their stories, full of intuition, risks, dreams, luck, memories, knowledge and emotions. There is more to design than philosophy can imagine”.

Danilo Premoli text taken from “Christmust 2011”.

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Sponsored by The American Hardwood Export Council

Timber Wave

Company culture

Victoria and Albert Museum London Design Festival 17-25 September 2011

Design AL_A ( Amanda Levete _Architects)

The grand main entrance to the V&A Museum was transformed for the duration of the London Design Festival, by a giant timber wave, created by Amanda Levete_Architects. Made by Arup using American red oak treated with oil, this 12-metre high spiral frame was formed by putting together several parts to produce a structure that gently rolls onto Cromwell Street. SEAM design was involved in the project in February this year, tasked with setting up a suitable lighting system. The challenge faced by Marci Song, SEAM director, was the fact that she had to achieve a strong, iconic image on a small budget. SEAM developed a very strong visual connection between the arch and the V&A entrance: the light enters the wooden mesh used to build the arch and produces marks on the facade: this gives a beautiful overall configuration and a strong night-time identity, as well as a new experience for visitors. In this way, the designers managed to combine a contemporary work with a historical facade and

to express the idea of elegance and dynamism in this unique gesture wanted by the architect in order to take the V&A out into the street. The arch is quite complex and Amanda Levete_Architects, ARUP and Cowley Timberwork really pushed to the limits the performance, appearance and strength of the timber. Since this sculptural arch was made thanks to the most recent technologies in generative design calculation and production methods, it would have been natural to use the most recent lighting technologies (i.e.: LEDs and sophisticated control systems), but Marci Song opted for a very simple solution. Selecting luminaires produced by the sponsor iGuzzini, SEAM used 15 Woody floodlights with spot optic and 5 Miniwoody floodlights with wide optic, as well as several accessories to prevent glare and to control and direct the beam of light from the base of the arched structure, the optimum position for obtaining both lighting of the arch and projections on the facade.

Structural engineering Arup

Lighting design SEAM Design

Photographs: Dennis Gilbert- V&A Images,Victoria and Albert Museum,Tom Lorton- Seam Design

Construction Cowley Timberwork

Technical sponsor iGuzzini illuminazione UK

1.2. Entrance to the Victoria and Albert Museum 3. Detail

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Pasajes Competition - iGuzzini

Company culture

Jury Amelia Vilaplana Architect, winner of the fourth edition of the competition and director of the Atelier Paipái architectural firm

The biennial competition promoted by Pasajes magazine and by iGuzzini, which has always been based on the belief that among new graduates there are the leading architects of the coming decades, has reached its 5th edition. The awards ceremony took place on 29 November at 8 p.m. at the Colegio Oficial de Arquitectos de Madrid (COAM). The jury gathered at the iGuzzini illuminazione Espana premises on 13 October 2011, and began a careful assessment of the 177 degree projects submitted. After an initial stage involving individual assessment of the works, the jury moved on to a comparison of opinions, identifying 30 designs that were then whittled down to 22 which will be included in the touring exhibition for the Pasajes - iGuzzini Architectural Design competition. Of those works, only 9 were selected to receive first and second prizes, two commendations and five mentions.

Manuel Ocaña, Architect, Director of Firm Architecture and Though Production Office Josep Miàs Architect, manager of MiAS firm Arquitectes di Barcellona

José Ballestero Pasajes Arquitectura Josep Masbernat iGuzzini illuminazione Silvia Carazo iGuzzini, secretariat

Photographs: iGuzzini Illuminazione Archive 1. Plate from the winning design 2. Prize winners 3. The jury at work 4. The large amounts of work presented

Finalist designs

Commendations

Mentions

First Prize Gonzalo del Val, “Berlín NEU - Bahnhof Zoologischer Garten” (Berlin new station and zoological gardens) Unanimous verdict: “a recognisable work but implacable in its determination”.

Ricardo Morcillo Pérez “Luz artificial y espacio público. Recontextualización urbana a través de la luz”. (Artificial light and public space. Urban re-contextualisation through light).

Laura Culiáñez Pina “Hay vida en el espacio interior?” (Is there life in inner space?).

Second Prize José Luis Susin Velilla, CICEC. Centro de Intercambio cultural España - China (Spain - China Cultural Exchange Centre)

Ignacio de Teresa Fernández, “La cementera. Producción y exposición de arte” (Cement factory. Production and art exhibition).

Rocio Pina Isla, “Efecto camping” bloque compacto de apartamentos en Mora (Suecia)” ("Campsite effect" compact block of flats in Mora (Sweden). David Cárdenas Lorenzo, “La Mancha, 6 reflexiones dibujan un presente.” (La Mancha, 6 reflexions drawing a present). Adrià Escolano Ferrer, “Laboratorio periférico” (Peripheral laboratory). Laura Ros Martínez, “Centro de artes escénicas Impulstanz+Mercado_Viena” (Stagecraft Centre Impulstanz+Market_Vienna).

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Company culture

LED technology has developed and continues to develop very rapidly. iGuzzini began making LED luminaires recently, but in doing so it set itself the goal to find the best possible quality. Given the rapid evolution of the features of LED lamps, to guarantee top quality we need an in-depth knowledge of this element and above all we have to know how luminaires based on the use of LEDs can be improved on. That’s why iGuzzini decided to work with and use qualified third party organisations such as universities and research centres to look closely at these subjects and test its products. Archilede for example was tested to demonstrate whether or not its efficiency can be affected by conditions outside normal limits, such as extremely high temperatures, as well as tests to check energy efficiency, both in the Czech Republic and in Finland. In the Middle East the Laboratory handling lighting for the department of Architectural Engineering at the University of the Arab Emirates was asked by iGuzzini to test the

Archilede: tests and applications

Archilede street light. Two Archilede luminaires were installed in a street in the city of Al Ain, in the Arab Emirates. The street was closed to traffic and the lighting levels were measured daily every 10 minutes for the entire summer of 2010. The temperature and relative humidity were measured both inside the luminaires and outside. The experiment aimed to test the stability, in terms of lighting, of the LED luminaire in an environment with high temperatures. The control for comparison was provided by a test carried out in the laboratory with indoor temperature conditions. The data measuring device was fitted in the Archilede optical assembly and was tested on 15 June. The test ran from 9.15 a.m. to 4.50 p.m. The data showed that the temperature rose from 24.8 to 41 Centigrade in less than two hours. The temperature measuring device gathered the data until 4.50 p.m., when the maximum temperature of 42° was reached inside the luminaire.

That test led to the following conclusions: - The light flux produced by the luminaire was quite stable during the entire summer period. - For the outdoor luminaires, average night-time temperature on the inside of the luminaire was 35-43 oC. The light flux remained practically constant, given that the variations were around 10%. - The average luminance of the street was 1.1 cd/m2, with a luminance Uniformity ratio (defined by the ratio of Average luminance to Minimum Luminance).

For more information: Saraiji, R., Harb, A., Hamdan, M.O., “Performance of LED Street Lightings In Hot Environments”, Lighting In Engineering, Architecture and the Environment, WIT transactions on the Built Environment, Vol. 121, 2001.

Photographs: iGuzzini illuminazione Archive 1. Diagram showing lighting and temperature levels reached inside the luminaires tested in Dubai 2. Lighting levels produced by the Archilede luminaires tested in the period August - September

3. AA483 Trunk Road before the work 4. Current situation. Greater uniformity and no invasive light on the facades 5.6. Tests the luminaire was subjected to at the iGuzzini laboratory

Figures for the project for the A483 Trunk Road Luminaires used 13 Archilede 84x1W Annual energy saving 3172 kwh Annual CO2 reduction 1,7 tons Photographs James Newton Use of this luminaire eliminated the problem of intrusive light for the homes overlooking the street.

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Company culture

Archilede: tests and applications

Igis project figures Client Igis Town Council Designer Leo Vetsch of Leo Solutions AG Installation Rhiienergie AG Installation technical consultant René Wildhaber Photographs Günter Laznia Luminaires used Archilede and Cut-Off Delphi Distance between poles. Since installation is in progress throughout the entire municipality the distances between poles vary from 20 to 70 m.

In Finland, on the other hand, the Archilede luminaire was assessed in research carried out by Aalto University, consisting of a questionnaire and a test by the University itself. The questionnaire was issued to municipal administrations which began, in a more or less extensive way, to adapt public lighting using new lamps, from simply retrofitting to whole scale substitution of old systems, and the results were evaluated. The test of performance of several LED luminaires from the leading European manufacturers was carried out within the University area. Comparison of the results with the old installation provided the following information. The Archilede 84x1W proved capable of savings of up to 31% compared with the old installation, against

savings which ranged from 7% to 24% by several competitors. The test using Archilede 55x1W luminaires showed a possible energy saving of 38%, at the same time guaranteeing unchanged lighting conditions. In Europe several countries are beginning to substitute old systems which used conventional lamps with LED luminaires. We chose three examples representing different types of intervention. The Swiss town of Igis decided to completely overhaul the old system and replace it with a system using exclusively LED luminaires. The Igis town council aimed to reduce public electricity consumption by 10% by 2012. The new system was officially presented with a press conference at the end of November 2011.

7. Igis, Station square in the Landquart hamlet 8.9. Street lighting installed for the Wolfschlugen country town

In the UK, in 211 Powys County Council together with Western Power Distribution installed new lighting along a stretch of the A483 at Builth Wells, replacing the old pole-mounted luminaires which used 150 W sodium vapour lamps with Archilede 84x1W LED luminaires, achieving energy savings of 40%. In Germany, in the town of Wolfschlugen in 2011 it became obvious that the street lighting needed to be made more energy efficient. In the spring of 2011 the town council resolved to change over from conventional mercury vapour lamps to LED technology. Amongst the alternatives examined was substitution of the lamps with sodium vapour lamps. In October 2011 more than 400 luminaires were replaced with the Archilede LED street lighting system. The redevelopment project aimed not just for improved lighting system efficiency, but also and above all to reduce costs. Compared with sodium vapour lamps, the LED lamps allowed

Wolfschlugen project figures Client Wolfschlugen town council Lighting design GA Energieanlagenbau Süd GmbH Andreas Mosel Electrical installer GA Energieanlagenbau Süd GmbH Photographs GA Energieanlagenbau Süd GmbH 400 punti luce a LED fanno realizzare un risparmio di costi energetici pari a 12.000€/anno rispetto alla tecnologia al sodio e 35.026,80 € rispetto al vecchio impianto.

a saving in terms of energy and maintenance costs of 35%. The higher initial investment linked to LEDs was covered by an incentive. The street lighting solution adopted in Wolfschlugen stands out because on all roads in the municipality only one type of lamp was used. With integrated “smart” control it was possible to meet the most diverse lighting requirements; different cycles for adjusting the light intensity allow the individual lighting levels needed. The possibility of turning down the level at night allows a further energy saving. The use of LED luminaires brought the town other advantages: the neutral white light from the LEDs guarantees greater road traffic safety than the yellow light from sodium lamps. Thanks to the highly efficient, patented Archilede street optic, the roads are lit in a uniform way and to the current standards, avoiding dispersion of the light flow and light pollution.

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Incontroluce

I. 2012

Incontroluce Six-monthly international journal of lighting culture year XIV, 25 Editorial office 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 Editor iGuzzini illuminazione spa Contributors to this issue iGuzzini illuminazione Danmark iGuzzini illuminazione Finland & Baltic OY iGuzzini illuminazione France iGuzzini illuminazione Iberica S.A. iGuzzini illuminazione Schweiz AG iGuzzini illuminazione UK Etna S.r.o Cover photograph Vjekoslav Skledar Printed: April 2012 Tecnostampa, Recanati

The editorial team is not responsible for errors and omissions in the list of credits relating to projects and supplied by collaborators. Any additions or corrections will appear in the next issue. III

9.2658.000.0

Dean Skira / Satoshi Uchihara / Agence Unité / Fernando Aguerri / Josè Ignacio Aguerri / Proyectar Soluciones Luminotécnicas / Tonkin Liu / atelier ww Architekten SIA AG / Reflexion AG / Ladislav Monzer / Apis s.r.o - Jan Hasenohrl / Creo Arkitekter A/S / Rambøll Lighting / Amerikka Oy / Maurizio Varratta Architetto / Mias Arquitectes - Josep Mias / AL_A / Arup / Leo Solutions AG - Leo Vetsch / GA Energieanlagenbau Süd GmbH - Andreas Mosel / Bruno Gecchelin / artec3Studio / Massimo Iosa Ghini / Piano Design