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English Edition
II. 2011
Editorial
Dear Readers, Is light something that adds to architecture and spaces, or is it a part of them? This question may seem rhetorical, but depending on the meaning we assign to the relationship we give between light and architecture, can also help us gain a better understanding of what is behind the revolution in progress in the lighting design sector with the appearance of LEDs. Even from a technological viewpoint, light is a “material” which is part of a building’s structure, deeply penetrating it. Thanks to the small size of LEDs and their long-lasting maintenance-free operation, these luminaries are able to be embedded and integrated perfectly in to buildings. The great lighting-related insights of the 1930s from Mendelson or Mies Van der Rohe can now be further developed with the possibility of changing the colour quality of light, its intensity and direction. In this way by night we have changing architectures and spaces, as demonstrated by the blue domes of Delhi or the lighting patterns on the Dallmayr facade in Munich, or the interiors of the new Lombardy Regional Authority headquarters. Another step forward made possible by the increasing accessibility of technologies is the chance to project digitally processed images onto buildings. Like the pediments of Greek and Roman temples and the great Renaissance frescoes, architecture can provide a backdrop to visual works of art and make them part of itself. Not just decoration, but an added ingredient, which when in synergy with the architecture enhances the value of the space. This is how we should see the work in Beaune, with its “fantastic tales” leading visitors in the discovery of the city’s history and culture. It is my intention to offer a particular “viewpoint” for interpreting the many and interesting projects included in this issue of Incontroluce.
Adolfo Guzzini
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Incontroluce
Contents
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Editorial
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Design Beaune lighting design
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Projects Nordkraft cultural centre
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Albany Lakes Civic Park
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Office building in Rue de Colisée
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Media-TIC
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The Capstone Theatre
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Rox Jewellers Flagship Store
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Monumental lighting for Delhi’s beauties
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Italian lights in Istanbul
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Dallmayr facade lighting
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The Sun Station
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National Museum of China
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Palazzo Lombardia
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Colonial style in Sihlcity: lighting for the new Colonys store
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Repower Shop
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Niemeyer Cultural Centre
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Company culture More light? Less light? Better light!
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We want to be modern
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The dream factories People, ideas, businesses and paradoxes of Italian design factories
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French Touch presents at iGuzzini France the “2010 Optimiste d’Architecture” annual
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New premises for the dealer in Bulgaria
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“Genesis of a Dialogue: Italy - Bulgaria” Boosted cooperation with the Troy Lighting Research Center
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Light & Fashion Competition
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“2011 Olivetti Entrepreneur” Award
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Agreement between iGuzzini and Tongji University, Shanghai Professional Lighting Design Convention A national dimension for the iGuzzini Historical Archive
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Design
Beaune lighting design Beaune, France
Client City of Beaune Energy production and management Ineo (GDF-Suez group) Project artistic director Jean François Touchard
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Beaune is the old capital of the Duchies of Burgundy. Now a spectacular route of lights and video projections on the facades of the buildings accompany visitors in the discovery of the city’s history and architecture. The project stems from the city authority’s desire to make the place attractive even during the evening, entertaining visitors and offering a pleasant environment to wander through and discover. Jean François Touchard describes the initial idea for the project as follows: “It was a city that people pass through. They stayed and then went away in the afternoon… With this project I tried to recreate the feeling that I myself had the first time I saw the city, when I first discovered its incredible buildings.
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Video-projections Cosmo - Jose Cristiani
Photographs: Didier Boy de la Tour 1.2. Church apse and facade
Partners Assistance iGuzzini illuminazione France
3. Areas where video projections and architectural lighting were used
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Jean-François Touchard Jean-François studied plastic arts at the Fine Arts academy in Paris and since 1984 has been a lighting designer for theatre and events. He also works as an architectural lighting designer. Since 2005, he has been registered with the Maison des Artistes as a lighting and video artist. Latest work 2007: “La traversée du 104”. An interactive video and lighting installation for the 104 centre in Paris. 2008: Facade of the National Theatre in Bretagne di Rennes. Square and facade of the Clamart landscape cemetery. Since 2009 he has worked on the Beaune “Immagine e Luce” (Image and Light) project.
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Design
Beaune lighting design
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The city is full of it extraordinary architecture. On this lighting route I wanted to re-establish the softer side of the city, made up of its walks. So we worked on that, selecting buildings and trying to keep the distances between them, following the rhythm of the walk. We chose around thirty sites and presented lighting proposals for them. Then, to link these places we created signs using colours to give the walk a sequence… Also, to tell the story of the city and offer tourists something unknown, or which invited them to go to a precise place, we set up
video - projections showing the history of the buildings on which they appeared, for example the Beaune Hospices, where, thanks to the projection, you go through the wall and into the interior…”. The luminaires for this complex plan were industrial, chosen from those using LED lamps and allowed a 47% reduction in consumption. Jean-François Touchard: “Lighting Beaune meant above all making the lights as direct as possible, as close as possible to the buildings so as to give the impression that the light comes out of the
building. We also used LEDs not just for energy saving, but for the softness of the lighting they provide. Beaune is a small city. The buildings are very close to each other, the streets are 10 m wide, so everything is always very close to the buildings. This allowed me to work with LEDs, soft light sources, and thanks to this type of lighting I managed to respect this closeness. I worked with floodlights which would allow me to be discrete, integrating the luminaires in the architecture as far as possible without making
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4.5. The Hospices with up-lighting and video-projections
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them visible. For the signs I used the RGB system. The iGuzzini range let me do all of that. It was a challenge too, managing to use basic products, and taking full advantage of their potential�. In accordance with Beaune city authority requirements, the designer set out a route which, starting from Rue de Lorraine leads visitors to the video-projections by Jose Cristiani of Cosmo: “This is a city fully of history and we had to tell the story of Beaune. A story traced out with special narration in the form of images.
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Design
Beaune lighting design
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6.7. City Council Building 8.9. Lighting along the walls
We used video to animate some particularly important sites, but the continuity of the story is entrusted to the general lighting which pulls together all of our work�. This relationship is created using coloured light which leads the visitor to see the videoprojections on the clock tower; on the church; on the St. Etienne Chapel, on the Duke’s Palace and the Hotel de Dieu. The coloured light is obtained using Platea RGB LED floodlights controlled with the Master Pro system. The coloured beams on the building facades created by the Platea floodlights are also boosted by narrow light beams from below, from Light Up Walk Pro and Ledplus luminaires. Another route relates to the city walls, highlighted with coloured light to obtain spectacular effects. Platea spotlights were used for this too. Inside the city there are also lighting features separate from the video-projections which underline the cultural and historic value of the buildings: lighting that emphasises the architecture was designed both for the facade and the apse of the church. Miniwoody, Woody, Maxiwoody and Linealuce accentuate and highlight architectural features with accent lighting. The City Council Building is lit with RGB Glim Cubes which pick out the windows with coloured light, also controlled by the Master Pro system.
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Projects
Client Aalborg Kommune DGI - Danish Gymnastics and Sports Associations Skråens Venner
Nordkraft cultural centre Aalborg, Denmark
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In 2004, Aalborg City Council bought the old Elsam electricity plant with the intention of creating “Nordkraft”, a centre for culture, sports, leisure and more. The old electricity generating plant has become a place which focuses on music, teaching, theatre and art, and the old concrete structures have been preserved. The project was awarded to Cubo Architects A/S together with Brix & Kamp AS, Korsbæk & partnere AS, Arkitektfirmaet Nord and Egebjerg By og Landskab. The idea was to maintain the original rough, industrial look, combining it with optimum solutions for culture and leisure activities. This “industrial” effect was also sought for the lighting and the luminaires selected were Maxiwoody spotlights and Berlino pendant luminaires. The Berlino was chosen for its dimensions and the possibility of using different lamps.
Both the large version with direct/indirect lighting and the small glass version were used. Berlino luminaires are installed at the entrance, in the connecting areas and at reception. The Maxiwoody spotlights light the outer square and highlight some interior features of the building. Maxiwoody luminaires were used inside and pole-mounted outside to try to establish a link between the interiors and the urban setting. Wallmounted Linealuce luminaires light the cinema posters, while Ledplus luminaires line the cinema steps. Nordkraft is located close to the port district where a new area was developed. It has become one of the features of the skyline there and represents a link between the industrial architecture and the silos in that zone. Nordkraft is one of the largest buildings in the area, with a surface area of 30,250 square metres.
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Architect Cubo Arkitektfirmaet Nord
Engineering KorsbĂŚk & Partnere Brix & Kamp
Landscape architect Egebjerg By & Landskab
Partners Assistance iGuzzini illuminazione DK
Photographs: Ole Ziegler 1. Work done outside the cultural centre 2.3. Leisure areas
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Projects
L’Albany Lakes Civic Park
Client North Shore City Council Contractor NZ Strong
Albany, New Zealand
The park, extending over approximately six and a half hectares, was a visionary investment by North Shore City Council and some private investors. A team of architects, landscapers and construction firms designed this park to enhance the cultural, social and ecological aspects of the new centre of Albany. This is a project to make the most of the area and is part of major work undertaken for the October 2011 New Zealand Rugby world cup. 17,000 plants were planted, including local plants which grow spontaneously and fruit trees such as apples, plums and olives. The park isn’t just a treat for the eyes, it’s a positive environmental resource: the trees covering its surface are part of a system for the treatment of rain water. Rain is conveyed to the holes in which the trees are planted.
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Lighting Designers Light Works
Photographs: Simone Devitt Photographer 1. Daytime overview
Landscaping Soul Environments
2. Detail 3. Night-time view with the bridge across the lakes
Partners Assistance E.C.C. Lighting Ltd
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These holes contain special earth which filters the rain, before excess water is carried to the two lakes, effectively keeping the water in the lakes clean. The architecture firm and landscaper chose iGuzzini luminaires for the Albany Lakes project. The FrameWoody system was used to support a set of MaxiWoody floodlights angled to achieve the correct photometric distribution. The floodlights light up the lakes and surrounding area. Thanks to the system’s linearity, the visual impact of the luminaires is minimal and they do not intrude on the natural landscape.
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Projects
Office building in Rue de Colisée
Client Private group Architect Jean-Michel de Poulpiquet (ARCAD)
Paris, France
Partners Assistance iGuzzini illuminazione France
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This building was originally built at the end of the nineteenth century, inspired by the work of engineer Gustave Eiffel. Back then the area being renovated today was used for garaging horse drawn vehicles and for stables. Usually, in this type of structure the coachmen and grooms lived on the first floor, above the horses. A ramp allowed the horses access up to their mezzanine. Of course, soon after the building went up the «hanging stables» were covered with a glass canopy to protect the horses. The ground
floor and mezzanine were closed off with grey aluminium-profile frames and glass in the early ‘60s and then in 1988. The current project for renovation of the building located close to the Champs Élysées preserves the initial spirit of the complex by using the original architectural style. A rock garden was created in the courtyard, inspired by Japanese gardens and with a natural wood access walkway and a small pond. The wall opposite the main facade was covered by a vertical garden around 8 metres high.
This space is accessed through a private atrium, exclusively for use by residents. The entrance is lit with Cup luminaires. The building’s floors are very similar and have open space office areas, equipped and airconditioned as well as all service areas, from toilets to technical areas, to connecting zones. Different lighting levels were provided for each of these areas: from 150 lux for technical rooms and corridors, to 400 lux for offices and the entrance hall. Glim Cube luminaires were used
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Photographs: Didier Boy De La Tour 1. The building’s courtyard 2.3. Office areas
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with a special paint to make them blend in and to help camouflage them. The garden also uses Miniwoody floodlights to emphasise some zones and plants, plus Light Up-Garden luminaires. Paths are lit with Ledplus luminaires fitted on the wood. In the office environments Wideplus recessed luminaires, pendant Light air luminaires and Easy system luminaires are used. Some ceiling-mounted iRolls feature in the first floor meeting rooms. Halls and landings are lit with adjustable recessed LED Express luminaires.
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Projects
Media-TIC
Promoter El Consorci de la Zona Franca Architectural design Enric Ruiz-Geli, Cloud 9
Barcelona, Spain
Structure Boma, S.L. - Agustí Obiol
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Media-TIC was promoted by El Consorci de la Zona Franca. Located in the 22@Barcelona district, in the multi-discipline Parc Barcelona Media installation, the structure is designed as a city forum whose aim is to become a centre for communication and meetings linking Barcelona’s businesses and institutions in the technology, information and communication sectors. The building’s name, Media-TIC, refers to Information and Communication Technologies. It offers infrastructures and incubation or financing services to media companies (audiovisual, production, digital effects, etc.). It also houses the TIC Technology Centre and has areas for companies and institutions. The TIC Technology Centre (CTTIC) has a clear aim: to facilitate the various economic sectors, the mechanisms for the incorporation, use and application of ICT (Information and Communication Technologies) in order to increase their productivity and competiveness in the digital economy, at the same time contributing towards training and boosting talent and human capital. The 22@Barcelona district is making a name for itself throughout Europe, setting the benchmark for Information and Communication Technologies thanks to the advanced infrastructures being created there.
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Installations PGIGrup - David Tusset
Partners Assistance iGuzzini illuminazione España S.A
Photographs: Luis Ros, Iwan Baan 1. A model of the building
Technical Management Técnics-G3 -J.M.Forteza
2.3. The building by day and in the district setting
Project Manager CAST- Angel Rotea
4. Coloured lighting effect for interiors
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The building designed by Enric Ruiz-Geli and his firm Cloud 9 reflects the switch over from an industrial to a digital society. The building is a digital architecture, built using CAD/CAM processes, in which connections are more important than the materials. The Media-TIC facade does not show industrial mass production, instead developing and demonstrating information construction. Media-TIC pays homage to the principle and to the aim for which it was designed with more than 300 sensors. On the ground floor, presence sensors adjust consumption based on the number of people in the hall. The facade sensors connected to the lighting system save energy by avoiding consumption
over the first 3 metres of facade. And last but not least, 104 sensors with CPU connected to the ETFE bearings makes each one a component part of a smart facade. The building’s roof is fitted with photovoltaic units which produce up to 29,000 kWh/year, giving a saving of 18.8 tonnes of CO2, and a roof garden with two grassy areas. Media-TIC lighting is another significant aspect aided by the ETFE covering, since this “skin” allows temperature control, at the same time optimising the entry of natural light. As well as having a specific lighting system, the central structural elements of the office floors use a fluorescent film which supplements the nighttime lighting. In the interiors, artificial lighting adjusts to the purposes and flexibility of the
various floors and takes on a further communication function thanks to the use of colour. Line Up recessed luminaires with the latest generation T16 fluorescent lamps arranged in continuous rows become part of the encompassing structure, providing uniform general lighting for the working environments. The linearity is also maintained in linking zones by using the colour green which is characteristic of the building. All of the perimeter modules are fitted with DALI devices, which allow the lighting level to be adjusted depending on the level of natural light. On the balconies, along the stairs and in other linking and stopping areas, continuity is achieved by using iSign fluorescent lamps.
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Projects
The Capstone Theatre
Client Liverpool Hope University Architectural design DV Architects
Liverpool, United Kingdom
Services Consultants TDS
The ultra-modern Creative and Performing Arts Centre incorporating the Capstone theatre is the result of a renovation project started at the end of the ‘90s thanks to remarkable work by DV Architects on the former Roman Catholic School, which saw it transformed into the Cornerstone building. The name comes from Psalm 118:22, the stone the builders rejected and which became the cornerstone. The renovation work, which won the Liverpool Architecture and Design Trust Award as the best contribution to the sustainability of the urban environment, cost in excess of £20 million and was financed by the generous support of many partners, including the North Liverpool Partnership, English Partnership, European Regional Development Fund, Higher Education Funding Council for England, Esmee Fairburn and Garfield Weston Trusts, the Heritage English Lottery Fund, the Jesuit Provincial Authority, the Archdiocese of Liverpool, the Historic Churches Preservation Trust and Hope University funds. iGuzzini’s involvement extended to various areas with many types of luminaires. iRolls were used in the auditorium. Action luminaires were installed in the connecting zones between the various areas and in the foyer. The foyer luminaires are controlled using the Master Pro system. Easy system PL-R recessed luminaires are fitted in the dressing rooms. Meeting rooms are lit by Light Air luminaires, and the area outside by Lavinia CPO-TW, iTeka, Miniwalky and Vis.
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Electrical Client A&B Engineering
Partners Assistance iGuzzini illuminazione UK
Photographs: James Newton Photographs 1. The foyer
Main Client Allenbuild
2.3. One of the dressing rooms and a meeting room 4. The auditorium
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Projects
Rox Jewellers Flagship Store
Client Rox Interior design Graven Images
Glasgow, United Kingdom
Cost control Fitzsimmons
Rox boasts a long tradition as a prestigious Scottish jewellery company, famed for its excellent customer service and the absolute originality of its designs. With four stores located all over Scotland, the flagship store in Glasgow’s Argyll Arcade recently underwent a £1 million refurbishment. The Graven Images design team and cost consultants Fitzsimmons asked iGuzzini to collaborate on the Rox project to find a lighting solution which would interact with and enhance the refurbishment work, providing the correct lighting levels for both ambient and accent lighting. Since the goods on display are worth several thousands of pounds, particular care was taken to supply different types of lighting so as to highlight the various items displayed. The lamps were chosen first through a series of workshops held at the iGuzzini showroom in Glasgow. The aim was to provide a different take on the traditional approach which had involved enhancement of the product exclusively with metal halide lamps. The result was a mixture of metal halide, dichroic and LED lamps for lighting the products on display by placing the right emphasis on each of them. The mixture of lamps highlights the gold, white gold, platinum and diamonds, revealing their true potential, accentuating their sparkle. The upper floor is set up as a private lounge (or salon Privé) where customers can receive individual attention, browsing products in a relaxing, informal atmosphere with a bar (sponsored by Moet). The iGuzzini products used include trackmounted Tecnica, Deep Frame and Pixel Plus spotlights, together with Ledstrip luminaires for highlighting the detail of the profile.
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Partners Assistance iGuzzini illuminazione UK
Photographs: iGuzzini Archive 1.2. The Salon PrivĂŠ on the upper floor 3. Shops windows giving onto Argyll Arcade
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Projects
Monumental lighting of the beauties of Delhi
Client Delhi Government ASI - Archaeological Survey of India Lighting design Lucent Consultants
Delhi, India
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For the 2010 Commonwealth Games the Delhi Government renovated many neglected monuments. The lighting of these monuments is part of a general architectural restoration process. The basic idea was to breathe new life into these historic sites around the city and to arouse new interest among tourists. The projects observed a very strict schedule and were completed long before the Games which took place in October 2010. The well-executed restoration and the fantastic lighting created a splendid sight for tourists, showing the
architectural marvels of India’s great history in their full splendour. The lighting design for emphasising the monumental beauty of the building and the supply of the luminaires needed was handled by Lucent Consultants. Both the tomb of musician Abdul Rahim Khan-I-Khana and the two Dadi and Poti tombs are lit with Maxiwoody and Miniwoody models. At night the domes are coloured, producing a marked difference between how the monuments look during the day and after dark.
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Photographs: Taj Mohamad 1. Tombs of Dadi and Poti 2. Tomb of Abdul Rahim Khan i Khana
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Projects
Italian lights in Istanbul
Client ICE Lighting design for the Fountain of Ahmed III Studio Annunziata e Terzi
Istanbul, Turkey
During 2011 iGuzzini’s presence in Istanbul resulted in two jobs which were very important in terms of Italian - Turkish cooperation. In March 2011 iGuzzini’s dealer in Tepta, Turkey, sponsored the new lighting of Palazzo Venezia, the residence of the Italian Ambassador in Istanbul. The building is in the very central Beyoğlu district, close to the famous Istiklal Caddesi Avenue and not far from the Galata tower. On 17 March, to mark the celebrations of 150 years since the unification of Italy, the new lighting of the facades of Palazzo Venezia was unveiled, featuring the use of exclusively LED luminaires: Linealuce, Glimcube, Miniwoody, iPro, with warm white light LEDs. In this way the details of the facade are enhanced and at the same time there is a 50% energy saving. In July 2011, Istanbul saw the lighting of various city monuments as part of the “Italian Lighting Design for Istanbul” project started in 2009 and promoted by ICE (Italian Institute for Foreign Trade). The project was created thanks to collaboration between Italy and Turkey leading up to the celebrations for Istanbul being awarded the title of European Capital of Culture for 2010.
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Photographs: Archivio iGuzzini 1. Palazzo Venezia facade 2. The Fountain of Ahmed III 3. Inauguration of the new lighting for the fountain
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The dual purpose was to promote Italian experience lighting cultural heritage sites and to encourage exchange and partnership between the two countries which share important elements of their histories. The programme included a 2009 conference on architectural urban lighting and the creation, in collaboration with leading lighting designers and Italian lighting companies, of the lighting for Istanbul’s three most famous monuments. The Dolmabahçe Clock Tower, the IMA (Istanbul Fashion Academy) and the Fountain of Ahmed III. iGuzzini participated as technical sponsor of the lighting for the Fountain of Ahmed III, a real jewel of Ottoman Istanbul. The Fountain was built by Sultan Ahmed III
opposite the Imperial Gate (Bāb-ı Hŭmāyūn) of the Topkapi palace. The design, by the Studio Annunziata e Terzi firm, had three objectives: to improve the perception of the plasticity and colours of the decorations; to minimise the impact of the luminaires; to harmonise and screen the lights of the area surrounding the Fountain so as to improve the night-time appearance and allow a view of the new lighting. Woody floodlights were used, with metal halide lamps having different power ratings, installed on a metal structure which was specially created for the project. iPro luminaires were also used. All luminaires were managed with the “Colour Quick” Light Management System.
From left: Ferdinando Pastore (ICE Istanbul), Gianluca Alberini (Italian Consul in Istanbul), Gianpaolo Scarante (Italian Ambassador to Istanbul), Huseyin Avni Mutlu (Governor of Istanbul), Mustafa Demir (Mayor of Fatih, the district where the fountain is located), Paolo Guzzini, Ibrahim Ozekinci (Director of Istanbul Foundations). On the far right is Mohammed Garip, who is responsible for lighting in the city.
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Projects
Dallmayr facade lighting
Client Alois Dallmayr KG Lighting design Tom Schlotfeldt, Schlotfeldt Licht
Munich, Germany
Fitters Seidler & Freinecker
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Alois Dallmayr, the famous delicatessen store in Munich established more than 300 years ago, is synonymous with tradition and quality. But tradition shouldn’t be interpreted as meaning arrival at one’s destination, but rather the opposite: “Tradition is legitimised only if you can give it a sense of the future”, is a company belief. This eye to the future has driven the company’s development from “spice traders” to the current internationally-renowned producer.
This desire for progress was also decisive when choosing new lighting for the original Dallmayr premises, the company’s flagship, with more than 1.5 million visitors a year. Since last December the historic facade of the building in Dienerstraße, at the heart of the city in Bavaria, has had truly innovative LED lighting. The basic aim of the new lighting was to show the splendour of the entire surface of the facade. The previous solution only lit the first two floors.
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Photographs: Frank Vetter, day & light 1. Lighting of the building’s entire facade 2.3. Details
The new lighting focuses on details, the features of the columns and the window openings, highlighting the facade’s plasticity and regular structure. Miniwoody LED floodlights were used to light the garrets and features of the columns on the third floor. The pilasters running across the first and second floors are lit by Woody LED floodlights with a spot optic. Glim Cube luminaires accentuate the fourth-floor window openings. The light intensity of all of the luminaires can be adjusted using the DALI system. The choice of lighting colour temperature was inspired by the “sunny yellow” colour used to paint the facade and a warm white was selected.
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Projects
The Sun Station
Client Metro de Santiago, Chile Architectural design and works supervision BAC S.A.
Santiago, Chile
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Estaci贸n Intermodal del Sol is one of the stations in the Santiago metro system, arranged on two levels and providing a change-over point for city and intercity buses. In this way, it increases links to the zone to the west of Santiago, which thanks to this station gains quick and easy access to the entire Santiago metro system. The architectural proposal for this terminal is particularly innovative in Chile, thanks to use of a large canopy made of a tensile structure having
the design line chosen for all of the surface projects for new Metro stations designed by the BAC S.A. architectural firm. This canopy was designed with the dual functions of protecting passengers from the weather and offering a covered circulation area with few vertical structural elements. Its shapes favour ventilation and permanent air circulation, allowing the creation of a large ventilated waiting area without the build-up of exhaust fumes from the buses.
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Engineering designs Zañartu - MC – PM
Tensile structure Cidelsa
Lighting design Opendark S.A. - Karin Vásquez
Construction firm Constructora Internacional S.A.
Photographs: Cristian Barahona M. 1. Evening view of the tensile structure 2. Detail of the tensile structures of the canopy
The architectural development is simple: 13 bus bays, two sets of staircases and a central body with services for passengers and ticket offices. The latter are equipped with Easy luminaires fitted with Dark Light screens. An essential feature of the project was limiting the number of luminaires with their relative supports as far as possible, since they usually obstruct circulation: that’s why the decision was made to use the huge structure’s supports as fixing elements for the Woody symmetrical and asymmetrical floodlights with 150 and 250 W metal halide lamps. The number of luminaires is low, but they are highly efficient for a covered surface area measuring 3000 square metres, minimising electricity consumption for lighting and air-conditioning. The final overall configuration gives a particularly attractive bus terminal which captures the observer’s attention, successfully updating the urban image of a place that until not long before the project began to take shape was dreary, bordered by three motorways and practically abandoned on the outskirts of Santiago.
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Projects
National Museum of China
Client National Museum of China Design Meinhard von Gerkan and Stephan Schütz with Stephan Rewolle and Doris Schäffler
Beijing, China
Design staff Gregor Hoheisel, Katrin Kanus, Ralf Sieber, Du Peng, Chunsong Dong
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The conversion and extension of the Chinese National Museum combines the former Chinese History Museum with the Chinese Revolutionary Museum. Completed in 1959 as one of ten important public buildings in Tiananmen Square, in direct proximity to the Forbidden City, the museum is still a milestone in the history of modern Chinese architecture. Outline plans were invited from ten international architectural firms and the project was awarded to Gerkan, Marg & Partners (gmp) for its submission, together with Beijing’s CABR, ahead of Foster & Partners, Kohn Pedersen Fox, OMA & Herzog & de Meuron. The original GMP submission envisaged gutting
the existing museum. The central block would be removed and the large space thereby created spanned by a bronze flying roof linking the old building and the new one. Following a discussion with the client and Chinese architectural experts, this scheme was revised, with the aim of integrating more of the external impact of the old building in the new building, though without abolishing the immediately obvious distinction between old and new. This would allow the building to illustrate the continuity of history. The aim was to join the northern and southern wings in a single complex, by removing the central structure.
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Revised design Meinhard von Gerkan and Stephan Schütz with Stephan Rewolle Project leaders Matthias Wiegelmann with Patrick Pfleiderer Project management Beijing Guojin Consultants Co., Ltd.
Chinese partner firm and Electrical engineering CABR (Chinese Academy of Building Research) Structural engineering schlaich bergermann und partner CABR - Chinese Academy of Building Research
Events and acoustics technology Müller-BBM Group ADA Acoustic Design Ahnert Lighting design conceptlicht GmbH TsingHua Design Institute
Photographs: Christian Gahl 1. The Tiananmen Square entrance 2. The central hall with red wall covering
Facade SuP Ingenieure GmbH
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The 260 metre long hall acts as its central access area. It widens to embrace the existing central entrance which opens onto Tiananmen Square. The ‘forum’ thus created acts as an atrium and multi-functional events area, with all services for the public, that is to say, cafes and tea shops, book shops and souvenir stores, ticket offices and toilets. The classic three-part division of Chinese historic buildings also dominates the design of the ‘forum’. A stone base serves as a platform for a wooden structure, with a coffered roof resting on a grid. For this coffered roof extending along the entire forum and in the central Hall, iGuzzini developed a special luminaire which
uses light to help create the welcoming atmosphere that was required throughout the building. This atmosphere is also created by the harmonious use of materials: local granite for the floor and walls of the base layer and wooden cladding in the gallery area. Rooms of particular importance can be recognised by the use of different materials. The central hall opposite the main west entrance and the theatre have red wall coverings to improve acoustics. The museum’s main entrance continues to face west but, for the first time, the north and south entrances are linked by the ‘forum’. The architectural form of the space is a
contemporary interpretation of traditional elements of Chinese buildings. This is already obvious in the west courtyard, accessed via broad steps reminiscent of the steps in front of the temple precincts in the Forbidden City just around the corner. The west entrance of the current building, the “Mengguobao” facing Tiananmen Square is notable for a series of wonderful pillars, linked to each other by an entablature in the style of temple and palace architecture, with the roof structure resting on it. In historic Chinese architecture this sophisticated system of beams and shelves supporting the roofs of imperial palaces is called ‘dougong’.
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Projects
National Museum of China
3. The Forum 4. The traditional style of the colonnade and the windows translated into a contemporary language 5. The west entrance
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The western facade of the new building is designed in a similar fashion. The entrance doors to the new buildings are made of perforated bronze plates that filter the daylight, producing a muted atmosphere, like that of traditional Chinese buildings obtained through typical decorated shutters. The motif of the perforation was inspired by an ancient bronze panel - one of the extraordinary items among the one million works of art that make up the National Museum collection. This ornamentation also recurs in the form of the balustrades inside the museum. The north wing facing Chang’an Avenue houses
the exhibition of Chinese modern history, while the south wing houses the administrative offices and the library. In the new building, the main exhibition areas are distributed over four superposed storeys north and south of the central hall, where state receptions, banquets and similar events are held. Below the central hall there is a cinema and a theatre, an events room suitable for conferences and, thanks to the fine acoustics, classical music concerts and other events requiring a stage. The base level and basements contain the museum’s laboratories and workshops, storerooms and the underground garage.
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Palazzo Lombardia
Client Lombardy Regional Authority Architectural design Pei Cobb Freed & Partners with Caputo partnership Sistema Duemila
Milan, Italy
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Palazzo Lombardia is the new Lombardy Regional Authority headquarters, alongside the historic Palazzo Pirelli and consists of curvilinear buildings 7 and 9 floors high plus a central tower with 39 floors, 161 metres high, inspired by the principles of accessibility and saving. The buildings at the base of Palazzo Lombardia are divided into four 7- and 9-floor structures housing all of the councillors’ offices and head offices, as well as the cultural, entertainment and service departments.
Floors +00 and +01 contain an exhibition area, a multi-purpose auditorium, a crèche, a gym, a 500-seat conference room, a library, the Regional Area, the main Protocol offices, various areas for socialising and a restaurant, bar, cafe and shops. The tower will house the Chairman’s political - administrative offices, the representatives’ rooms, the council chamber and press hall. The skyscraper’s top floors are for the public, with a multi-functional belvedere and a terrace.
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Client Infrastrutture lombarde spa
Photographs: Paolo Carlini 1. Rendering del progetto di Pei Cobb Freed & Partners
Lighting design Studio Voltaire - Jacopo Acciaro
2.3. Chairman’s office
The work will include a mixture of administrative, cultural, representative and leisure functions, all around a large covered square extending over 4,000 square metres, with thousands of square metres of greenery, a new pedestrian and cycle path on via Restelli and hanging gardens on the roofs. There will be cutting edge environmentally friendly plants for heating and cooling rooms and for generating electricity (high output heat pumps using groundwater and photovoltaic panels built into the tower’s glass facades). No fossil fuels will be used. iGuzzini provided artificial lighting in the Chairman’s offices, with minimum visual impact, but with lighting effects that were even coloured. To light the area with the desk, iN 60 luminaires were recessed in the ceiling to create two types of light. Also in this office Hub luminaires were fitted along with fluorescent lamps. Lineup RGB recessed luminaires were also used, behind a curtain, and Deep Laser LED recessed luminaires. At the building’s ground level, the big auditorium was lit with Reflex professional luminaires and halogen lamps and on the first floor the conference room was lit with Reflex Fortimo LED luminaires. The foyer has been lit with Bespoke. The double-height reception and lift areas are fitted with the new Reflex professional recessed luminaires using metal halide lamps. Operations offices have pendant Lens luminaires with controlled luminance. In the connecting zone corridors (from the 32nd to the 35th), Reflex Professional recessed luminaires were used. The design by Pei Cobb Freed & Partners of New York, Caputo partnership and Sistema Duemila (both based in Milan) won the 2004 international design award. The winner was chosen from among ten designs presented by those allowed entry to the competition, who were in turn selected from a total of 98 candidates from prestigious architectural firms all over the world.
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Colonial style in Sihlcity: lighting for the new Colonys store
Client its COMPANYS AG Concept/Architecture/Design Ivo Tschümperlin/retailpartners
Zurich, Switzerland
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The Colonys store, specialising in footwear and accessories, opened in Zurich to offer a buying experience inspired by the colonial period. The inauguration of the Colonys store at the Sihlcity shopping centre in Zurich in April 2011 was a landmark event. The Colonys brand belonging to “its Companys AG” offers a wide range of footwear and fashion accessories, ideal for business, leisure and active time use, aimed at both male and female customers. “When they step into our store, we’d like customers to feel enveloped in the wellbeing of an environment inspired by southern countries and the colonial period, so that for a
moment they can forget the frenetic pace of everyday life”, said Ivo Tschümperlin, CEO of Companys. Retailpartners AG, a shop-fitting, interior architecture and interior design company, developed, working closely with Ivo Tschümperlin, a strong architecture and sophisticated lighting set-up which was implemented by iGuzzini. The aim was to make the Colonys style perceptible. The design drew inspiration from the atmosphere of colonial countries, where the hot rays of the sun penetrate shutter slats to light up dark interiors, creating an absolutely unique light and shade effect.
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Lighting design retailpartners
Photographs: Günter Laznia 1.2. The interiors
Partners Assistance iGuzzini illuminazione Schweiz AG
The pleasantness of the setting comes thanks to the use of colonial furniture and high output LED lamps. The store’s very muted basic lighting is from ceiling-recessed “Reflex Professional” luminaires with Fortimo LEDs. Since the lamps are operated at just 40% of capacity, visitors don’t even notice the ceiling lights. The ceiling is gently lit with backlit ornamental images using motifs which recur continually throughout the store. Contrasting with the muted ceiling light, the spotlights light up products on the wall shelves and display surfaces, placing just the right emphasis on them. Display furniture, such as the showcases and shelves, are lit using X26 lamps. At the back of the shop there is a lounge and the cash desks. While the rest of the store’s surface has warm, dark colours in keeping with the colonial style of southern nations, here light materials and white furniture dominate. In this area the background lighting is slightly paler. It comes from two Ledstrip rows arranged along the wall above the cash desk and the lounge. A mounting device hides the lamps from customers. They only see the light coming from a slit between the ceiling and the lateral walls, considerably enhancing the sense of depth of the premises. The Colonys Shop interior, lit exclusively using LED lamps, can only be seen by those who go into the store. Slatted shutters in the shop windows and a strategically placed partition wall at the entrance prevent those outside from seeing in.
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Projects
Repower Shop
Client Gruppo Repower Architectural design Daniel Huber
Ilanz, Switzerland
Partners Assistance iGuzzini illuminazione Schweiz AG
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The Repower group, operating in the electricity sector, has opened a new customer centre in Ilanz, in the Grigioni canton. The centre, called “Repower Contact”, was designed by architect Daniel Huber. In these premises Repower provides customers with advice and informs them about topical matters in the energy sector. The centre boasts a modern design, innovative technology and is lit entirely by LED lights. As lighting partner, Daniel Huber selected iGuzzini luminaires. Thanks to his design, the architecture and lighting blend seamlessly. The “Repower Contact” centre is split into three
modular islands, each with different functions: customer service, interactive Info-Centre and sales. Above the modular islands is a cube covering the counters below. Deep Minimal LED luminaires, adjustable and recessed in the cube, guide the customer to the counter. These recessed luminaires also provide targeted lighting on the Info-Centre’s interactive panels. To prevent the light from being reflected below in the displays housed in the counters, the architect reduced the number of light points and positioned the lights by shifting them relative to the schemes.
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Photographs: G端nter Laznia 1.Modular islands 2. Display area
At the centre of the three islands is the display area, lit by track-mounted Primopiano LED spotlights. In this way, Repower can easily move the spotlights and adjust the number of them for each display. The lounge area is lit by pendant Le Perroquet luminaires, creating a cosy, welcoming atmosphere. Against an initial investment that was higher than for conventional lighting, the use of LED luminaires resulted in a reduction from the 15-20 kW normally needed to light the 133 square metre space to just 2 kW. The LED lights also last much longer, bringing down maintenance costs. Added to that is the indirect advantage of reducing the heat produced by the lighting and therefore cutting airconditioning costs.
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Niemeyer Cultural Centre
Client Principality of Asturias
Avilés, Spain
Architectural design Oscar Niemeyer Roberto Alonso Martínez Javier Blanco García Castañón Jair Rojas Valera Almudena Fernández Menéndez
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The Niemeyer Centre is a project promoted by the Spanish government and the Principality of Asturias, whose main aim is to build a cultural complex of international importance which will drive the economic and urban relaunch of an entire region in the midst of industrial transformation, the “ria”, typical river valley with fjords, of Avilés. The complex transformed what was a contaminated industrial zone into an area dedicated to excellence and creativity. It has already become a symbol of modern and prosperous Asturias of the future, a land which, without losing its industrial roots, is backing sustainability, technology, teaching and culture to drive development. The Centre is the heart of what will one day become the “Isla de la Inovación”, one of the most ambitious urban regeneration projects contemplated in Spain, assigned to the team led by Norman Foster, through an international invitation to tender.
Brazilian architect Oscar Niemeyer has come up with a design that aims to make the place an international focal point in the production of culture, dedicated to teaching, culture and peace. It’s his only work in Spain and, in his own words “the most beautiful and best loved one that I’ve done outside of Brazil”. The Centre also has an international consultation committee which works with the management team to define objectives and prepare content. The committee is made up of high profile international figures: currently film-maker Woody Allen, scientist Stephen Hawking, author Paulo Coelho and the creator of the internet and vicechairman of Google, Vinton Cerf. The Centre was opened to the public for the first time on 25 March 2011.The cultural complex consists of five independent areas which complement each other: the Auditorium, the Dome, the belvedere tower over the “ría” and over the city,
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Technical architects Manuel Gutierrez Torralba Jaime Vila Plant design Euring Ingenieros Felipe Cicujano Carrión Everproject José Manuel Fernández Arrufat
Structures José María Macías Cano civil engineering Fhecor Ingenieros Consultores S.A. structures
Photographs: 274 Km 1. Belvedere tower and dome 2. Plastic without the multi-purpose Centre 3. Dome and multi-purpose Centre
Partners Assistance iGuzzini Illuminazione España S.A
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the multi-purpose building and the open Square. The 26 metre high auditorium is the tallest building in the Niemeyer Centre and was the most difficult to build due to the complexity of the shapes. It has 961 seats and the architect’s trademark feature: there are no boxes, just the stalls, forming “democratic tiered seating”. A key feature is the “large window”, providing a view of events. This is the most unique aspect of the building. It can be opened onto the Square for open-air shows, extending the entertainment outwards for the enjoyment of thousands. This is a place for big events: concerts and international meetings and cultural gatherings. The lighting consists of Optica recessed spotlights with compact fluorescent lamps and dimmers, which combined with the lighting lines built into the acoustic ceilings allow the set up of the atmosphere best suited to the nature of the event being held.
The “Dome” houses a 2,000 square metre exhibition area. It is a sprayed concrete halfsphere, inside which a lamp designed by the architect is a stand-out piece. This lamp, which is like an architectural design, uses recessed Pixel luminaires combined with built-in indirect light luminaires that light the two-storey space featuring the helical staircase with great plastic value and provide perimeter ambient lighting for the entire space. In the lower level exhibition section the installation of tracks and use of Tecnica spotlights with various accessories allows the lighting to be adapted to the requirements of each exhibition. The 20 metre high tower is the Centre’s belvedere and is dedicated to gastronomy understood as a form of culture comparable to cinema, literature or painting. There are two different zones: the restaurant and the cocktail bar.
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Niemeyer Cultural Centre
4. The entrance to the Auditorium 5. The Belvedere Tower
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In both we find a radial arrangement of pendant Action luminaires supplying general light with fluorescent lamps and accent lighting with halogen lamps so as to obtain the most suitable setting, by using a control system, from a restaurant with general lighting to a lounge with more intimate light. The multi-purpose building houses the “Cinema�, the only permanent screen in Asturias for original version films. Woody Allen is the honorary president of the Cinema and a consultant for content.
In addition to other screening rooms, the building contains administrative offices and the bar and restaurant. Precisely because it’s a multi-purpose building, the lighting design has different features depending on the functions of the various areas. Deep Frame recessed luminaires allow correct operation of the screening rooms. The shop has general lighting combined with accent lighting and the possibility of including spotlights, all integrated in a single lighting system, Action.
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Niemeyer Cultural Centre
The administration area has lighting suited to the visual requirements in that environment. The entire building acts as a single space in which floor-recessed Light Up luminaires emphasise the cornices and envelop the walls thanks to the possibility of combining various optical solutions in the same group of lights. Oscar Niemeyer designed the Square for social occasions: “A big square open to all the men and women of the world, a great theatre stage over the “ria” and over the old city of Avilés”. The characteristic white finishes of Niemeyer’s architecture are provided with a perfect counterpoint in the lighting design solutions with metal halide lamps or if necessary fluorescent or LED lamps with neutral colour temperature. So the light which bathes the spaces is complemented by the accents of the floor and the groups of Maxiwoody spotlights allow light with great impact to be obtained, which brings the square to life. The columns supporting the walkway which connects the Auditorium and the Dome are laterally highlighted by Linealuce lamps, while floorrecessed LED spotlights wrap soft light around the base of the belvedere. Finally, Comfort wall-mounted luminaires are used in corridors and connecting zones, Pencil way-marker lights in the car park and the Platea system at the road access point.
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6. Cocktail Bar in the Belvedere Tower 7. Exhibition area in the Dome 8. Dome interior with the lamp designed by the architect
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Company culture
More light? Less light? Better light!
Gallery set-up design Studio Cerri & Associati
Triennale architecture gallery 12-17 April 2011
This is the second in a cycle of exhibitions presented by iGuzzini relating to current progress, which can be seen in the science and art of illumination. The 2009 “Light-in-progress” explored the systemic approach in urban lighting innovation. In that case, the main question was “how do we provide better lighting at a lower cost?”. A lower cost sustained both in economic and, above all, ecological terms: an effort requiring a different approach from all parties involved, that is to say, more lighting culture. The 2011 “Light-in-progress” exhibition saw iGuzzini invite visitors on a 3D journey in Google Earth. Starting from Turin’s Venaria Reale palace and passing through Hamburg and L’Aquila, finally reaching Beaune in France. Four different international teams, made up of designers, architects and lighting designers, tell us about and guide us through their projects, giving practical examples of how they apply lighting in public urban areas. It is a highly evocative virtual journey in which new lighting systems specially designed for those areas reveal technical and design innovations. Maxi-screens project videos of interviews with the architects and designers.
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“More Light? Less Light? Better light!” Video
Script and direction Hans Suter and Fritz Tschirren, partners STZ
3D effect Dario Caramelli
1. Luminaire for the Venaria by Michele De Lucchi Sound Design General Jingles
Production 3DSwitch
Photographs: Archivio iGuzzini
2. Luminaire for Hamburg 3. Design by Enzo Eusebi
Interview video Multivideo
4. Visitors viewing the 3D film
La Venaria Reale Client: “La Venaria Reale” cultural enhancement consortium Product: Venaria Design: AMDL Mönckebergstrasse - Hamburg Client: Trägerverbund Projekt Innenstadt e.V. Product: Ex-centric Designer: Studio &Partners Lighting designer: Tom Schlotfeldt “Church of the resurrection (308)”, L’Aquila Client: Federazione delle Banche di Credito Cooperativo Abruzzo e Molise Product: System 4in1 Design: Enzo Eusebi- Nothing Studio Beaune Client: City of Beaune and Ineo (GDF-Suez group) Product: mass-produced luminaires iGuzzini illuminazione Lighting designer: Jean Francois Touchard Video-projections: Cosmo - Jose Cristiani
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We want to be modern
Curators Anna Maga, Anna Frąckiewicz, Anna Demska
Polish design 1955-1968 from the Warsaw National Museum collection Warsaw, 4 February - 17 April 2011
Exhibition design Miśka Miller-Lovegrove with the collaboration of Małgorzata Benedek
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This exhibition of 180 objects from the Warsaw National Museum collection displays the elements most representative of Polish design. The Warsaw National Museum’s post-1945 collection is the best and most complete in the whole of Poland: including the entire range of applied arts for the period, such as ceramics, glass, fabrics, furniture and other objects for household use, magazines, photographs and films. The exhibition presents one of the more exciting periods of Polish design, between the political thaw of 1955 and the social changes
which took place in 1968. In just over a decade, a wealth of experiments were produced, which were to have a lasting impact on design for many years to come. The political thaw led to a sudden and new acceptance of modernism. But, for the leading designers, such as Roman Modzelewski or Teresa Kruszewska, that didn’t mean a return to the previous mechanical constructivism, but rather a new art with organic shapes, paralleling the work of Alvar Aalto or Charles and Ray Eames. In experiments in the
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Exhibition graphics Rafał Benedek Antonina Benedek / Mesmer Studio
International communication Paulina Shearing The National Museum in Warsaw Anna Pietrzyk-Simone Young Creative Poland
Photographs: iGuzzini Archive 1.2. Set-up 3.4. Opening of the exhibition
Technical sponsor iGuzzini illuminazione
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furniture sector, metal frames were filled with metal meshes, nylon thread, straw or wicker. The end result is more like a sculpture than a piece of furniture. iGuzzini was the event’s technical sponsor. The lighting concentrates on the use of Lux spotlights supplementing the general lighting, but above all to create accent lighting on some special pieces. The exhibition was produced in cooperation with Young Creative Poland, an initiative by di Miśka Miller - Lovegrove and Anna Pietrzyk - Simone to promote Polish design.
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The dream factories People, ideas, businesses and paradoxes of Italian design factories Triennale Design Museum, Fourth edition 5 April 2011 – 26 February 2012
To mark the fiftieth anniversary of the Salone del Mobile (Furniture Exhibition), the Triennale Design Museum dedicated its fourth edition to people, companies and designs that contributed to creating the Italian design system from the post-war period to the present and resulted in the success of the Salone del Mobile around the world. A parade of iconic objects develops a history that aims on one hand to illustrate the peculiar activities and profound nature of what Alberto Alessi called “Italian Design Factories”, which move along a line oscillating between the functional value, sign value and poetic value of products, and on the other hand to show the great capacity and ability of these “research
laboratories” to attract even foreign designers, who choose to work in Italy because they recognise the excellence of its products. Martí Guixé’s set-up makes the objects interact with the designers and the histories of great businessmen intertwine with their personal biographies in a playful atmosphere full of emotion and charm. That same atmosphere can also be found in the graphics linked to the exhibition and in the catalogue. iGuzzini used iconographic material to contribute to production of the catalogue, and the Lingotto luminaire designed by Renzo Piano for the renovation of the Lingotto, the first Fiat factory, was displayed at the show.
Director Silvana Annicchiarico Scientific adviser Alberto Alessi Set-up design and graphical design for the exhibition and catalogue Martí Guixé Photographs Fabrizio Marchesi
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French Touch presents at iGuzzini France the “2010 Optimiste d’Architecture” annual
On 23 June, the French Touch Architecture group was the guest of iGuzzini France for the launch of the 2010 Annuel Optimiste d’Architecture (Architecture Optimist Annual). The initiative’s success - more than 400 people including architects, journalists, students and opinion leaders took part in the event which has reached its fourth year - confirms the level of interest in the principles of the group, fully shared by iGuzzini which has supported it as a partner since it was formed.
French Touch Architecture was created in 2007 with the intention of bringing together French architects and setting up discussion tables about projects in progress or completed, favouring team work over individualism. Since 2008, French Touch has published an annual entitled OPTIMISTE D’ARCHITECTURE, a selection of projects implemented in accordance with the group’s principles which favour popular, shared architecture which respects the environment.
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New premises for the dealer in Bulgaria
During 2011 a series of initiatives boosted iGuzzini’s presence in Sofia and across Bulgaria. The most recent are linked to the inauguration of the new premises of the exclusive dealer, Synthesis Design and sponsorship of the Nunzio Bibbò exhibition at the Italian Cultural Institute in Sofia. The new Synthesis premises cover approximately 60 square metres in a contemporary building on Bulgaria Boulevard, in the area of Sofia which is turning into the city’s commercial core. Synthesis Design and iGuzzini have been working together for a decade now. Gregory Markov, company director, has undertaken many high-profile lighting jobs in the city. He created the lighting designs for the Italian Embassy in Bulgaria and the square in front of the church of St. Sofia, a place of huge historic importance. This new space is, rather than just a showroom, a meeting place for sharing and spreading the culture of light and the successful inauguration showed how interested people are.
Photographs: Daniel Ahchiev
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Boosted cooperation with the Troy Lighting Research Center
“Genesis of a Dialogue: Italy - Bulgaria” Museum of Foreign Art, Sofia 6 June - 8 August 2011
iGuzzini was the technical sponsor of the “Genesis of a Dialogue: Italy - Bulgaria” exhibition held in the main hall of the Museum of Foreign Art in Sofia in collaboration with the Italian Cultural Institute. The exhibition is part of the Venice Biennale, which is linked to other initiatives outside the Venice site: the Biennale in the Regionals and no less than 89 exhibitions at the premises of Italian Cultural Institutes in the main capital cities around the world, linked to Venice’s Arsenale via video, to create the “Italy around the world hall at the 54th International Exhibition of Art for the 2011 Venice Biennale” in the Italy Hall set up for 2011 by Italian architect and Barcelona resident Benedetta Tagliabue Miralles. Nunzio Bibbò was selected as an Italian artist living in Bulgaria and 15 of his sculptures plus 10 preparatory sketches of the works and a video about the artist were used. The lighting was provided by 12 Cestello units, 4.5 m high, with 100W QR111 lamps and 6°, 24° and 45° optics depending on the specific requirements.
The Lighting Research Center is part of the Rensselaer Polytechnic Institute of Troy, N.Y. and it is the biggest university research centre for the lighting design sector. Since 1988 the LRC has built its international reputation as an authoritative source of information about lighting design technologies, applications and equipment. The LRC also runs training programmes for government agencies, buyers, lighting designers and other professionals in the lighting design sector. Cooperation between the company and LRC began in 1988, for SIVRA research. In February 2011 iGuzzini joined the LRC Partners Program promoted by the Rensselaer Polytechnic Institute Lighting Research Center (LRC) for coordinating the efforts of public and private organisations in the development of research, education and technology in the lighting design sector. The LRC Partners Program includes: AES Latin America, California Energy Commission, Con Edison, GE Lighting, New York State Energy Research & Development Authority, OSRAM SYLVANIA, Inc., Philips Lighting, Philips Professional Luminaires North America, Swedish Energy Agency, United States Environmental Protection Agency, WattStopper, and Xcel Energy. For more information, go to: www.lrc.rpi.edu
Exhibition presentation press conference with Nunzio Bibbò and Anna Amendolagine, director of the Italian Cultural Institute in Sofia.
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Light & Fashion Competition Moscow, Italian Embassy, 14 July 2011
On 14 July the Italian Embassy hosted the prize ceremony for the Light & Fashion competition which was held in the spring of 2011 and was open to architectural and lighting design firms and to students. The event was included in the Italian Week in “Krasnyj oktjabr”, (Red October), a former chocolate factory in central Moscow, now a multi-purpose centre which also houses the Strelka school of architecture and design. More than fifty works were submitted for the competition by professionals and twenty by students. The Italian - Russian jury headed by Aldo Colonetti, Director of the European Design Institute, and including lecturers from Moscow’s Faculty of Architecture, viewed the designs and assessed the solutions proposed for lighting a prestigious boutique, a single-brand store, international franchising chain and large-scale distributor. In the “Professionals” category prizes went to: Irina Alexeeva, with the Yutti Lamp biodynamic light system consisting of two versions, ceilingmounted and pendant, both using LED lamps and with up/down lighting. The different modules can be combined and produce special lighting ceilings, transforming the light into a proper furnishing element for the store. The other prize winner was Elina Shindler, with two lighting solutions, male and female: the former black and square, the latter white and rounded. In the “Students” category, the winner was Olga Dmitryeva with her BLISS luminaire, a two-version system - wall-mounted or pendant - able to create infinite colour combinations. The study which the student of Moscow University’s Institute of Electronics and Technology proposed for the system used to control the colour changes was particularly innovative. Another student awarded a prize was Oksana Bazanova, who came up with a very original application for LED light: Tag’s, a small light label that lights up on the item it rests on.
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“2011 Olivetti Entrepreneur” Award Studies and Experiences Centre Ivrea, 30 May 2011
Photographs iGuzzini Archive 1. From left, Paolo Guzzini, Aldo Colonetti, Italian Ambassador to Moscow Antonio Zanardi Landi and a woman 2. A moment during the prize ceremony
This is the reason why on 30 May 2011 Adolfo Guzzini was presented with the 2011 Olivetti Entrepreneur Award: “For guiding iGuzzini Illuminazione’s development with a constant commitment to innovation and the search for beauty in open architectures and design, making light a part of our culture. The world-wide success achieved is the result of an entrepreneurial style which combines passion and institutional roles for architecture and design with a strong commitment to collaboration and professional growth in the company and the Marches region through responsible attention to technical training schools and guiding the Adriano Olivetti Institute”. Established in 2008 by the Olivetti Historical Archive Association, the Award is dedicated to those captains of industry who, beyond the territory and sector in which they operate, have grasped and constantly applied Adriano Olivetti’s spirit of doing business. First, considering the company an open system, dedicated to constant interaction with the outside, responsible for the economic and social fabric in which it operates and produces goods, services, as well as knowledge and culture. Adolfo Guzzini was presented with the award by Laura Olivetti, Chairman of the Adriano Olivetti Foundation, and by Bruno Lamborghini, Chairman of the Olivetti Historical Archive Association. Together with the “2011 Olivetti entrepreneur” plaque, Adolfo Guzzini was honoured with one of the typewriters that was a landmark in the history of Olivetti, the famous Lettera 22. The Award was also presented to Gianluca Martino, founder of Smart Projects, in Scarmagno.
Photograph: Eugenio Cacciola for the Olivetti Historical Archive
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Agreement between iGuzzini and Tongji University, Shanghai
Professional Lighting Design Convention
A national dimension for the iGuzzini Historical Archive
Madrid, 19-22 October 2011
In February 2011 iGuzzini and Tongji University reached an agreement for collaboration between the company’s Chinese branch in Shanghai and the university. The collaboration will involve a scholarship offered by the company to the two most deserving students on the Chinese - Italian Campus in the faculties of Architecture and Engineering. The university will involve iGuzzini in all academic initiatives, even in collaboration with other universities. The university will organise annual lighting design workshops, inviting speakers from iGuzzini. A system will also be set up for sharing information about students, to allow the assessment of work or training opportunities.
iGuzzini will take part in the third Professional Lighting Design Convention organised by the Professional Lighting Design Association with the report “A proposal for a light plan for old Havana” which will be presented as a poster.
In March 2011 the iGuzzini historical archive was declared an archive of international interest. Several initiatives took shape around the subject of company archives during 2011. To mark 150 years since the unification of Italy, Rai Educational and the Ministry of Cultural Heritage and Activities Archives General Management rediscovered the historical value of archives, documenting people’s memories, ideas and the work of the Italian people who form the basis for them, in a five-part television project, with each episode dedicated to a different type of archive (screened on Rai Tre and Rai Storia from 17 March). This project was presented on 7 March at the Treccani headquarters in Rome. iGuzzini is in the first part, together with Enel, Martini e Rossi, Barilla and Piaggio. Since 24 June the Company Archives Portal has been online, designed and promoted by the Ministry of Cultural Heritage and Activities Archives General Management, in collaboration with around 30 company historical archives and foundations. The Portal is an online source of experiences of Italian public and private enterprises and enhances Italian business culture, at the same time safeguarding its historical archives.
Massimiliano Guzzini and professor Fang at the agreement signing ceremony.
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The Portal makes available to a vast public, above all youngsters and students, an extensive catalogue of archive and bibliographic sources and publishing content (themed dossiers, national and territorial chronologies from 1861 to the present, biographical profiles of more than 150 entrepreneurs), edited by a group of lecturers from the Bocconi University, in collaboration with the Italian Encyclopaedia Institute. iGuzzini and the other companies in the group are among more than 30 partners still contributing to the Portal and counting among them the leading figures in Italian industry. iGuzzini is also part of the Archive Office Unified Information System, known by the acronym SIUSA, which presents itself as the primary point of access for consulting and research related to non-state archives, public and private, kept outside of the State Archives. It describes: the archive units and how they are structured; the subjects (bodies, individuals and families) who produced the documentation while carrying out their activities; the subjects who keep the archives. It also has general forms providing historical, institutional and archive information useful for understanding the context. For more information www.imprese.san.beniculturali.it http://siusa.archivi.beniculturali.it
Sketches by Bruno Gecchelin for the Shuttle spotlight
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II. 2011
Incontroluce Six-monthly international journal of lighting culture year XIII, 24 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 China Ltd. iGuzzini illuminazione Deutschland GmbH iGuzzini illuminazione Espa簽a S.A. iGuzzini illuminazione France S.A. iGuzzini illuminazione Schweiz AG iGuzzini illuminazione UK E.C.C. Lighting Ltd L.S.I. Systems Pvt. Ltd Tepta Ayd覺nlatma, Turkey Cover photograph Carlo Anastasio Printed: October 2011 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
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Jean François Touchard / Cubo / Arkitektfirmaet Nord / JASMAX / Jean-Michel de Poulpiquet (ARCAD) / Enric Ruiz-Geli, Cloud 9 / DV Architects / Graven Images / Lucent Consultants / Studio Annunziata e Terzi / Tom Schlotfeldt, Schlotfeldt Licht / BAC S.A./ Opendark S.A. - Karin Vásquez / Meinhard von Gerkan / Stephan Schütz / Stephan Rewolle / Doris Schäffler conceptlicht GmbH / TsingHua Design Institute / Pei Cobb Freed & Partners / Caputo partnership / Sistema Duemila / Studio Voltaire - Jacopo Acciaro / Ivo Tschümperlin / retailpartners / Daniel Huber / Oscar Niemeyer / Roberto Alonso Martínez / Javier Blanco García Castañón / Jair Rojas Valera / Almudena Fernández Menéndez.