Incontroluce 15 - April 2007 - EN by iGuzzini illuminazione

9.1911.000.0

Incontroluce XV / The Marches: The universities and the territory / Design: New perspectives in room lighting / Projects: Restoration of the Pirelli skyscraper. Lombardy Regional Government Headquarters / Renovation of the Casalpusterlengo Town Hall / Maybe Business Lounge / MNAF - Alinari National Photography Museum / The towers and spires of Oxford illumination as town planning / Lighting the Big “T”. The Bovisa Triennale / Shedding light on Audi cars / Illumination to revitalize a historic town centre / Cinema and fashion: the Gaumont multiplex in Amiens / iGuzzini illuminazione opens its new facility in Shanghai / Am Kaiser’s Turm: rebirth of an industrial monument / Ankara Esenboˇga airport / Corporate culture: Giannunzio Guzzini, 1938-2006 / Onesixtiethofasecond / Riba Stirling Prize 2006 / Researchers’ Night / IF Award / “I Monili”. Charity auction for Amref (African Medical and Research Foundation) / An audience with Enrico Bertolino / Meeting with Philips / Wines of the Marches in London / iGuzzini Partners assistance in Barcelona and Lisbon / “Lumen. Light and Perception” / iGuzzini On Board

English version

I. 2007

Editorial

Dear Readers,

Incontroluce

I. 2007

Incontroluce Six-monthly international magazine on the culture of light

Allow me to dedicate this space to my brother Giannunzio, president of iGuzzini illuminazione, who passed away on 20 December last, and with whom I shared an enduring commitment to the growth of our company. A month before his death, the University of Camerino had named him Doctor Honoris Causa in Chemistry, in recognition of his outstanding contribution to society, not only as an entrepreneur, but also as a knowledgeable expert on many technologies and a promoter of innovation and research. His enthusiasm and determination were undiminished even under the burden of a worsening illness, as he maintained a close involvement with the creation of our new production site in China. The plan for the new facility at Fengxian, on the outskirts of Shanghai, is to make lighting products for the Chinese market, manufactured to European standards of quality and reflecting the Made in Italy tradition - those same standards that have secured leader status for iGuzzini at European level in the field of architectural lighting.

year VIII, 15 Editing Centro Studi e Ricerca iGuzzini Fr.ne Sambucheto, 44/a 62019 Recanati MC +39.071.7588250 tel. +39.071.7588295 fax email: rc@iguzzini.it iGuzzini illuminazione spa 62019 Recanati, Italy via Mariano Guzzini, 37 +39.071.75881 tel. +39.071.7588295 fax email: iguzzini@iguzzini.it www.iguzzini.com video: 071-7588453 Graphic Design Studio Cerri & Associati

Thanks, Giannunzio.

Publisher iGuzzini illuminazione spa

Adolfo Guzzini

Contributors to this issue iGuzzini illuminazione China iGuzzini illuminazione Deutschland GmbH iGuzzini illuminazione Espa単a S.A. iGuzzini illuminazione France S.A. iGuzzini illuminazione UK Tepta, Turkey Cover photo Rendering by Arnaboldi & Partners Printed: April 2007 Tecnostampa, Recanati

Errata Corrige Incontroluce 14 Cover photo: Paolo Carlini

The Editors are not responsible for inaccuracies and omissions in the list of credits relating to projects and supplied by contributors. Any additions or amendments will be included in the next issue. II

III

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Summary

Editorial

The Marches The universities and the territory

Design New perspectives in room lighting

Projects Restoration of the Pirelli skyscraper. Lombardy Regional Government Headquarters

Renovation of the Casalpusterlengo Town Hall

Maybe Business Lounge

MNAF - Alinari National Photography Museum

The towers and spires of Oxford illumination as town planning

Lighting the Big “T”. The Bovisa Triennale

Shedding light on Audi cars

Illumination to revitalize a historic town centre

Cinema and fashion: the Gaumont multiplex in Amiens

iGuzzini illuminazione opens its new facility in Shanghai

Am Kaiser’s Turm: rebirth of an industrial monument

Ankara Esenboˇga airport

Corporate culture Giannunzio Guzzini, 1938-2006

Onesixtiethofasecond Riba Stirling Prize 2006 Researchers’ Night

IF Award “I Monili”. Charity auction for Amref (African Medical and Research Foundation)

An audience with Enrico Bertolino Meeting with Philips Wines of the Marches in London

iGuzzini Partners assistance in Barcelona and Lisbon “Lumen. Light and Perception” iGuzzini On Board

I. 2007

The Marches

The universities and the territory Interview with Roberto Sani, rector of Macerata University

The university has undergone important changes under recent and current reforms. Have these reforms also affected the relationship between the university and its local environment, the Marches, where there are so many small businesses?

There are no real working links between Universities and SMEs as yet. They still have to be built. We are in the very early stages, both locally and nationally. There is still too much wariness, and difficulty in communicating. Understandably so, since we have always spoken different languages. Paradoxically, graduates find it hard to make headway in the corporate environment, and especially in small-medium enterprises. Our best placement results are in the public sector: government agencies, civil service... The culture of innovation has a hard time breaking through. If the universities are to make an impact, they need to elicit trust and interest through the mediation of representative bodies. This is the route we are taking at the University of Macerata. We need to show humility, and willingness to cooperate with everyone, regardless of individual associations and preferences. Hence our invitation to the heads of the Chamber of Commerce, Banca Marche and Carima Foundation to come and sit on the management board of the university. There was a positive reaction to our invitation, and it is being discussed currently by the single organizations.

Photos: University of Macerata

4. Francesco Cesarini, leading economics expert on the economics of financial brokerage. Named Doctor Honoris Cause in Banking Economics, April 2006.

1. University of Macerata, the Great Hall 2. Rector Roberto Sani

5. Victor Uckmar, expert in tax law and currently president of CERTI (Institute of Tax Research for Enterprises) at the Bocconi University in Milan. Took part in a conference organized by the University during 2006.

3. Piero Alberto Capotosti. President emeritus of the Constitutional Court, and a former lecturer in constitutional law at the university. In attendance to inaugurate the 2006 academic year

To what extent does the University of Macerata invest in research? Are there research programmes and projects currently in progress? Which sectors in particular do the university's research activity target? Are there collaboration agreements in place? Internationalization, interaction with the territory, high quality research and training: these are elements of our core activity - principles for day-to-day guidance, and the focus of our longterm commitment. Work done by the university in this area has been extensive and complex, as it has involved all departments of our organization. With this in mind, we have created the post of officer for technological development and development processes, assigned currently to professor Francesco Adornato. The university has deployed a rich and diversified range of initiatives in the field of technological innovation. The board favoured a dual approach, in keeping with the predominantly humanities-oriented nature of our establishment. First, the training of professional figures who will be required to promote technological innovation at various levels, in both the private and the public sector. Second, the attention given to particular spheres of skill, such as marketing, law, merchandizing and computerization in specific areas of activity: tourism, rural development, heritage, foreign trade. This has become possible through the

introduction of Masters courses - specializations managed and conducted in collaboration with businesses - and innovation projects; these too are designed in collaboration with businesses, and with chambers of commerce, regional government and provincial authorities. At Fermo, for example (around 40 km from Macerata on the Adriatic coast), a school of higher education has been set up for students specializing in the management of museums, archives and libraries across Italy. In addition, we have pooled our resources with other universities on certain projects. The results of these have undergone extensive scrutiny, to establish how things stand: in effect, certain Masters courses and other initiatives were found to be less important than first thought, and have been dropped.

The University of Macerata has a collaborative relationship with iGuzzini illuminazione and the Guzzini group. What can you tell us about this? The â&#x20AC;&#x153;Third Italyâ&#x20AC;? scenario we have down here in the Marches now needs renewing: new, different and more advanced manufacturing processes, and new levels of support - primarily knowledge, research, innovation and training, provided systematically and constantly. To respond to these needs in the right kind of way, our university sees it as fundamentally important to collaborate with and measure our performance against the organization and business strategies of companies like iGuzzini and the Guzzini group, which have focused on fast innovation and swift response to the challenges of a more and more complex and dynamic market and exploited them as a key to success.

Has this research activity also be converted into tangible technological innovation? In which sectors has it been applied? Significant results have been achieved in the sectors mentioned previously. But there has also been individual recognition for our teachers, and more importantly, success at both national and international level achieved by our best students.

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New perspectives in room lighting

Design

In recent years, conferences organized on the theme of light have given an increasing amount of attention to the influence of light on psychological and biological aspects of the human organism. This is a trend that reflects a definite change taking place in the conception of lighting design. Generally speaking, in fact, almost the sole purpose of lighting design is to deliver visual comfort, which in basic terms equates simply to the absence of visual discomfort and often comes down to nothing more than compliance with technical standards. This approach has led to a more thorough technical and scientific knowledge of the effects that lighting has on eyesight. Latterly, the most advanced lines of research on lighting for interiors have been exploring the way in which lighting influences mood, and on behaviour, through the influence of light on circadian rhythms - hence on health and on psychological and physical efficiency.

So why conduct research in the lighting sector? The main reason is that light has an effect on the basics of human life: health, wellness and safety. There is no doubt that the visual environment can change peoplesâ&#x20AC;&#x2122; mood, and that the moods of people can affect their judgement and their behaviour. All the same, it is not known to what extent lighting can be a decisive factor; nor is it known how persistent the effects of light may be, compared to all other factors influencing mood and motivation. The International Lighting Commission (C.I.E. Committee International de l'Eclairage) held a conference during 1998 in Ottawa that summarized the state of the art pertinent to quality of lighting, and presented authoritative studies in which the authors sought to show how different levels of lighting quality influence the efficiency of office workers.

Photos: iGuzzini archive Pictures: Mirco Tangherlini 1. The figure shows neural pathways: visual (red), through which objects are identified, and circadian (blue), through which melatonin production is synchronized with alternating darkness/light, i.e. night/day 2. Correspondence between hours of the day and certain physiological functions

Growth hormone and prolactin: increasing

2 3

Body temperature: decreasing

Blood pressure and heart rate: decreasing

Body temperature: minimum value Melatonin: maximum value

7 PM

5 Blood pressure: maximum value

7 4

8 3

9 10

2 Body temperature: increasing continuously

Heart rate and blood pressure: start increasing Adrenalin: increasing

Prolactin: decreasing Cortisol: maximum value Heart rate: increasing continuously Body temperature: increasing Melatonin: decreasing Noradren: increasing Sympathetic nervous system activity: increasing until midday

These studied tend in general to produce two reactions. Sceptics maintain that manufacturers of lighting appliances have made it a simple matter to provide all the artificial light needed to ensure visibility without visual discomfort. Consequently, further studies on interior lighting are unnecessary, and any competent designer would be able to create optimum conditions using the right fixtures. The argument put by supporters of the need for further research on the quality of lighting is that, until now, there has been scant success in identifying the parameters and elements of lighting that determine the overall quality of surroundings, because we have been looking in the wrong place and using the wrong instruments. The other reason - more important - for conducting research on light is associated with a determination to reduce the energy and cash costs of lighting.

It would be a simple matter to reduce the demand for electricity by lowering or completely ignoring recommendations concerning the quantity of light, without any immediate effect on the efficiency of workers. At some future time, when proposals are made to reduce quantities of artificial light more drastically, the scientific community will need to have detailed knowledge as to minimum essential levels of illumination, below which there could be serious consequences for people in terms both of visual comfort and of productivity. To establish whether or not research into room lighting has effectively run its full course, consideration must be given to the three main systems by way of which light influences the human organism: visual, circadian and perceptive. In the case of the visual system, a series of models for assessing eyesight have been defined recently, along dependable lines. Any further studies on lighting quality - conducted

along traditional lines of research linked to the visual system - will serve to only to increase the amount of detailed knowledge available, whereas the impact on architectural design will be negligible, given that there is enough information already available to cater for visual needs. As regards the perceptive system, research has already afforded reliable answers on how visual discomfort can be managed. Interior lighting can generate visual discomfort and glare, typically veiling reflections or veiling glare, unwanted shadows and flicker, but these effects are well documented, and the designer is able to anticipate and control them at will. It is also the case that certain visual conditions can be considered undesirable in one context, but agreeable in another. There are numerous mechanisms available when designing interiors, by which mood and behaviour can be influenced through the perceptive system: organization of spaces, furnishings, acoustics, colours.

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Design

high

illuminance

decreasing

increasing

low time

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decreasing increasing low

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high

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-10 arousal

Lighting is just one of these mechanisms, and probably not even the most significant. There may be a certain uneasiness among lighting engineers at having to acknowledge that light is just one among a host of possible factors and may be of limited importance; nonetheless, increased knowledge would lead to a clearer understanding, shared with other engineers and designers, as to the impact of lighting on mood and behaviour. Conversely, not much is known of the effects that lighting has on the circadian system, as the subject has been studied in depth only over the last ten years or so. Today, the physiology of the circadian system in humans is understood at least in part. The human body clock is piloted by changes between light and dark, which synchronizes many and various bodily activities; the spectral sensitivity of the human circadian system is known, as are the effects produced during exposure to the changes. Research on the circadian system has already shown that exposure to light in various forms and at different times is the factor with the most power to affect the efficiency of individuals through mechanisms both physiological - linked to the production of hormones, especially melatonin - and psychological. It has been observed, for example, that when circadian rhythm is broken, efficiency in the performance of both visual and cognitive tasks can be reduced in the short term, and there may be consequences for health in the long term. Given the awareness of this contingency, and the tendency of industrialized societies to work around the clock, the effect of light on the circadian system clearly becomes a topic of interest to manufacturers and designers of lighting equipment and systems: the importance of lighting is no longer confined to vision alone.

New perspectives in room lighting

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time hours after midnight 4

3.4. Graph of four lighting conditions tested at L.R.C., and curves showing state of arousal (emotive and perceptive presence) in response to the four different lighting conditions 5.6. Management offices at Mercedes, Münich. Ceiling-mounted Sivra luminaire supplies artificial lighting at different colour temperatures.

To improve and expand research on lighting in this more fertile direction, professionals engaged in architectural design need to know about the effects that light induces through the circadian system. This topic is addressed by iGuzzini in the latest book of the ilibriGuzzini series, “More than vision”. The book presents speeches by Mark Rea, director of the Lighting Research Center at the Rensselaer Polytechnic Institute of Troy, New York and by Italian experts on endocrinology and neurology: Pasquale Montagna, Valerio Chiarini and Roberto Piperno, with whom iGuzzini collaborated on a research programme conducted with “La Casa dei Risvegli Luca De Nigris” in Bologna.

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Projects

Restoration of the Pirelli skyscraper. Lombardy Regional Government Headquarters Milan, Italy

In 1998 the Lombardy Regional Government announced two international competitions for refurbishment projects in its headquarters, the Pirelli building: the Auditorium (won by Corvino+ Multari) and the Belvedere on the 31st floor (won by Renato Sarno). For the auditorium, in particular, affording some 1000 m2 of floor space and destined to serve as a Conference Centre, the key principle was to be guided by the intention of GiĂ˛ Ponti. It was decided to retain the long sequence of exposed beams characterizing the volume of the interior, and provide the main access route into the auditorium from the piazza. In a mirror image of the original design, a small cut was made in the elevated garden along the front overlooking the piazza, creating an access way to connect the foyer with the street. This feature renders the Conference Centre easily identifiable and accessible, while maintaining the integrity of the overall complex. From the entrance hall, new stairways and lifts connect the foyer beneath to the auditorium, services and ancillary areas. The tower block housing the offices of the Lombardy Regional Authority communicates with the ground floor via the access way created along the internal ramp, which connects directly to the foyer. The functional layout of the new conference area is organized around the main 348-seater auditorium. Visitors enter by way of a vestibule area, from which a stairway and a lift take them up to the original two-stories-high foyer where the reception, wardrobes and screens are located. The foyer provides the main entrances to the auditorium, which is laid out with seats organized in three sections split by an aisle.

Client Lombardy Regional Government, emergency services commissioner Roberto Formigoni Architectural design Corvino+Multari s.r.l. Renato Sarno group s.r.l.

Visibility of the proceedings is assured by the retention of the original staggered rows of seats and the inclusion of a raised platform. The walls of the access area and auditorium are clad in makorĂŠ wood. The decor also features floors of prefinished wood, light-coloured rubber and elements in glass and satin-finished steel. The structures of the auditorium, designed by Pierluigi Nervi, are accommodated in a suspended ceiling of microperforated panels filling the spaces between the beams overhead. The new entrance on the Piazza Duca dâ&#x20AC;&#x2122;Aosta features a roofing system located at the level of the existing lawn, between the void and the

overhang of the forecourt roof, defining the external public space. General restoration work on the Pirelli tower began following the accident on 18 April 2002, when a light aircraft hit the building. There were three basic guidelines for the project: an organic conception; proper compliance with principles of conservation and restoration; observance of current safety, comfort and energy saving requirements. This also serves to underscore the monumental value of a building long considered - both by the people of Milan and by Italians at large to represent the conjunction of entrepreneurial intelligence and polytechnic culture.

Structural design A.Migliacci, M. Acito

Fire system design M. G. Monelli

Continuous façade A. Crotti

Mosaic G. Torraca

Safety design Idesi - G. M. Rossi

Systems design Ariatta Ingegneria dei Sistemi srl

Surveys and searches Tecno Future Service

Technical-scientific committee G. Ballio, G. Carbonara, M. A. Crippa, C.Di Francesco, A. De Maio, P. Petraroia

Photos: IDRA Photo Produzioni 1. Entrance hall of the building 2. Exterior of the building 3. View from 31st floor

Corvino+Multari Vincenzo Corvino (Naples 1965) graduated as architect in 1990. Since 1993 he has been Specialist in Urban Design at the Federico II University in Naples. He has been advisor to the Order of Architects of Naples since 1990. Giovanni Multari (Cosenza 1963) graduated as architect in 1991, and in 1997 became Doctor of Research in Urban Design at the Ministry for University Education and Scientific Research in Rome. In 1995, the two set up their Corvino+Multari Associated Architects practice, headquartered in Naples and with offices in Milan and Cosenza. They established their reputation in a number of competitions, thereafter designing public and private offices, residential buildings and renewal projects for open public spaces. In 2000 they won the European “Luigi Cosenza” Award for the Piazza die Bruzi in Cosenza, and in 2001, the Premio Centocittà sponsored by the Compagnia di San Paolo, for their renovation of the Quartiere Militare Borbonico in Casagiove. Since 2000 they have been founder members of the Aid’A Italian Architecture Agency. Designs and implementations have been shown at exhibitions in Milan, Rome, Naples, Bolzano, Graz, Prague and Havana, and published in national and international architectural journals. In 2006, their work on the Pirelli building won them the Triennale Gold Medal, a Special Award for Restoration projects.

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Projects

Restoration of the Pirelli skyscraper. Lombardy Regional Government Headquarters

Contractors La Manutenzione s.r.l. Eleca s.p.a. Impresa Costruzioni Grassi e Crespi srl Marcora Costruzioni s.p.a. ISA s.p.a. Impresa Magatti s.r.l. Impresa I.C.G. s.r.l. Impresa I.C.E.M.S. s.r.l.

The refined elegance of its three-dimensional profile and its singular formal completeness are still strikingly evident to any visitor “disembarking” at Milan’s Stazione Centrale. In the words of Ponti himself, the skyscraper is an “opera finita”, an exemplum of what architecture can ultimately be likened to: a crystal. The project responds to the need for a new functional balance in institutional facilities, for conferences and meetings, communication, shows and exhibitions. This is achieved in concept and in composition with three attributes, par excellence, of the high rise building: its streamlined structure; the transparency dictated by maximum freedom and usefulness of the interior; and the unity of conception that links architectural organism and furnishings. From a methodology standpoint, accordingly, knowledge of the building is an absolute premiss both for evaluating the general notion of the project and for addressing problems connected with conservation, in order to establish on a caseby-case basis whether the situation merits painstaking conservation or bold renovation. The purpose of the project, and its main theme, is to restore the integrity of the monument by renewing its status as executive headquarters of the Lombardy Regional Authority, through an improved distribution and clarity of its functions, introducing new support services and technological systems, adopting a different hierarchy and a layout respectful of the original spaces. In detail, design solutions were adopted for the refurbishment of certain reception areas (access from Via Fabio Filzi), distribution of serial spaces and the relative architecture (offices), repair and finishing of existing spaces (31st floor), organization and accessibility of ancillary areas (housing systems and utilities), philological reinstatement of certain spaces in accordance with the formative ideas of Ponti (one floor per office), also the recovery of formal and material quality, and of a certain presentational value of functional areas (auditorium).

4. Hall 5. Auditorium

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Projects

Renovation of the Casalpusterlengo Town Hall

Client Municipality of Casalpusterlengo Architectural design Studio Architetti Associati Mario Antonio Arnaboldi & Partners Structures Mario Antonio Arnaboldi

Casalpusterlengo, Italy

Project Coordinator Laura Francesca Ammaturo

The existing Town Hall in Casalpusterlengo, built to a neoclassical design and opened 30 April 1933, is a model of architecture faithful to the time when it was erected, but the structure of its systems was outdated and due for a complete overhaul. Accordingly, the building was redeveloped to meet the new administrative needs of the Municipal Authority. The immediate and pressing needs were to bring the fire prevention and electrical systems of the building into line with regulations, likewise the installation and performance of the internal climate control system; there were also architectural barriers to overcome, and the need to meet current health and hygiene standards, perform extraordinary maintenance, and create more space while rationalizing the access to upper floors. The redevelopment project envisaged the erection of a continuous faรงade with a steel skeleton structure, enclosing the extension destined to provide the new office space. The extension would incorporate the new main entrance, the lift shaft, new toilet facilities, the additional office space, corridors and access ways.

The problem of air-conditioning the offices was overcome without any alteration to the existing masonry and structural layout, by installing a raised access floor (25 cm high approx) on the first and second floors, under which the various pipes for the different systems were laid on the original floors, and a false ceiling extending throughout both the new and old parts of the building, accommodating primary air ducts,

Structural coordination Claudio Chesi

Lighting design Piero Castiglioni

Main Contractor Spinelli Costruzioni e Architetture S.r.l

Structural analyst Paolo Rugarli

Climate control systems Lorenzo Nicolini

Structural faรงade Seralwall s.r.l.

Collaborating architects Davide Benini, Piercarlo Bonori, Francesca Borini, Francesca Malaguzzi, Christian Manusardi (iconic model), Elena Puccio (3D rendering), Alessandro Rollino, Sergio Rocca

Electrical systems Bassano Donati

Systems Kone Ascensori, Progress Impianti Idraulica Colombi

Photos: Arnaboldi & Partners 1.2.3. Exterior of the building

Team members Sabina De Nitto

lighting, alarms, fire detection sensors and sound insulation. These installation solutions minimize disturbance to the fabric and avoid weakening the structure, while guaranteeing faster implementation, a cleaner environment with the offices in service, and above all, greater flexibility for future rearrangements of furniture and functions that will no doubt take place over time. Preparatory work involved installing a steel frame within the existing building, to provide an anchorage for the internal reconstruction works. This done, work could proceed on the isostatic faรงade designed for the extension of the Casalpusterlengo Town Hall, which is inspired by the sailboat: the idea was to create a glass wall some 18 metres high, which behaves statically and dynamically in much the same manner as a sail equipped with stays, mast and crosstrees. the design calculations are based on naval engineering.

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Projects

Maybe Business Lounge

Client Private Architectural and lighting design Dante O. Benini & Partners Architects

Milan, Italy

To translate new needs and expectations for meeting spaces into spaces that are functional, yet personalized and fashionable, reliance is placed increasingly on the “trade” of the architect. Dante O. Benini created the “Maybe Business Lounge” in Milan, between 2004 and 2006. It is a private premises with 500 m2 floor space, created to host and cater for: events, conferences, parties, training lessons, and concerts (group and solo). Facilities include a seating capacity of 100 organized in 5 multimedia rooms, 2 bars, and a professional kitchen. Very few materials, but all with characterizing attributes and “feeling” (mottled favalle stone, soul cement, glass, sheet metal and industrial parquet). Acoustic ceilings become walls, audio and video systems are integrated into the finish details, and furnishings feature the XYZ system of chairs and tables (designed by Dante O. Benini and Luca Gonzo) with seats in Technogel® by Bayer® and glass tops in DécorGem® by OmniDecor®, which cover a variety of functions in association with

other different elements - cocktail or piano bar stool, conference seat and table, snack table or small console table. The lighting, also designed by DOBP, has special and innovative worth and application; the system features Led and Fluo RGB tube sources, which besides providing illumination are used in sensory association with water and music. The architect selected luminaires from a number of manufacturers: In the case of iGuzzini, the choice fell on Linealuce Uplight recessed units.

Principal in Charge Dante O. Benini

Project and site engineer Francesco Molinari

Project Team Dante O. Benini, Stefania Cerri, Francesco Molinari

Consultants Gianfranco Gambalonga (Heating and plumbing);

Paolo Orazi (Electrical system) Federico Nicoloso (Acoustics) Attilio Schinelli (Audio-video)

Photos: Nicola Giacomin (DOPB) and Toni Nicolini 1.2.3. Various parts of the Lounge

Contractor Archital Srl

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Projects

MNAF - Alinari National Photography Museum Florence, Italy

On 28 October 2006, the Alinari National Museum of Photography (MNAF) was inaugurated In the 13th century Leopoldine complex (former convent) of Piazza Santa Maria Novella, Florence, opposite the church of the same name, famous for its Renaissance frescos and for the façade by Leon Battista Alberti. The museum takes its name from the Florentine studio of international renown, whose archive boasts one of the most important world

collections of 19th century images in existence. Making its debut together with the MNAF was a temporary exhibition gallery, staging the first of many exhibitions scheduled for the next two years, “Vu d’Italie 1841-1941. The great Masters of Italian photography in the Alinari collections”, curated by Anne Cartier-Bresson and Monica Maffioli, scientific director of the museum. The MNAF is structured in 7 sections showing period pictures, instruments and

Promoting Bodies Municipality of Florence Cassa di Risparmio bank, Florence Alinari Brothers Foundation for the History of Photography President Claudio de Polo

artefacts. Among the absolutely novel attractions is an experimental tour of 20 special images for the visually impaired, designed in collaboration with the Braille printing house for Tuscany’s regional government authority. The experience is both photographic, with images treated to enable tactile appreciation, and physical: the direction to follow and the obstacles to avoid - if any - are indicated by a special wall-mounted handrail and a ridged floor strip.

Scientific director Monica Maffioli Curators Monica Maffioli, Italo Zannier, Charles-Henri Favrod,

Gallery tour Guido Cecere, Maurizio Rebuzzini, Ferruccio Malandrini, Luigi Tomassini, Maria Possenti Tour for the visually impaired Tuscany Regional Authority, Braille Printing House

Staging design Giuseppe Tornatore

Photos: A. Magherini ©Archivi Alinari 1.2.3. Inside rooms

Architectural design Armando Biondo, Lidia Fiorini, Studio Associato ARKTRE

The blind or visually impaired can visit the museum completely on their own terms, and “view” exhibits fully integrated into the regular gallery tour. There are two gallery areas: one for temporary exhibitions, the other for permanent. The restoration project for the building complex housing the museum was by architect Armando Biondo, the design and preparation of the interiors by architects Luigi Cupellini and Carlo Pellegrini. The staging, by Oscar-winning film director Giuseppe Tornatore, is based on the notion of a photographic exhibition resembling an interstellar voyage, as it were, or a leap into a Night of Time lit up here and there by luminous images that float in the immense recesses of the memory, like stars and galaxies in infinite darkness: the staging solutions suggested by Tornatore and implemented by Cupellini and Pellegrini to entertain the public visiting the MNAF are based emphatically on darkness and on the magical evocation of faces, and forms, from a past waiting to be discovered (or rediscovered). In both areas of the MNAF,

the staging reflects the notion of a voyage through darkness. To give these ideas full scope, the pictures are displayed against black panels, segmented at the bottom to create an effect reminiscent of the tractor holes on a roll of film, but also as a way of resolving certain functional issues. From the lighting standpoint, the designers had to focus on solutions that would guarantee visibility, generate “surprise” and favour conservation of the exhibits. In the case of the area devoted to temporary exhibitions, it was considered best to install a flexible system that would allow curators and designers to adapt their lighting plans as appropriate, given the changing nature of successive exhibitions. Accordingly, these rooms were equipped with tracks suspended from the ceiling and carrying directional Cerchio spots. The museum proper, on the other hand, was equipped with concealed Le Perroquet type fixtures incorporated directly into the gallery furniture and provided with dimmer-timer controls to optimize the intensity of the light cast onto older and more delicate

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Projects

MNAF- Alinari National Photography Museum

Interior design Luigi Cupellini and Carlo Pellegrini Artistic direction and coordination Castello50 srl

exhibits, such as daguerreotypes. For these delicate items, a setting of around 40 lux is used, whereas for most of the exhibits, 80 lux is the average. The lamps are dichroic, with light cones of varying width. In certain cases, Shuttle units are used to obtain precise and definite lighting effects. The museum occupies two floors, and it is on the ground floor that the input of Tornatore is most in evidence. Visitors

find themselves practically enveloped by images, some fixed to the walls, others projected onto large picture frames hung from the ceiling. The journey through the history of photography presents the visitor with wonderful early daguerreotypes and other pioneering techniques, then landscapes, portraits and art reproductions of the boom years, the great names and works of the 20th century, and finally the momentous

impact of new technologies. The upper level houses collections of cameras, from the very earliest apparatus to the hi-tech photocell devices of today, and albums, together with an extensive display of items (documents, postcards, advertisements, ceramics, glass, fabrics, jewellery) connected one way or another - professionally and otherwise - with the photographic image.

Staging Eurostands Gruppo Fiera di Milano Graphic Design Stefano Rovai

Educational/laboratory services Gabriella de Polo - Spark

4. Detail of exhibition layout

Multimedia Leonardo Lemmi, David Bozza, Stefano Lupi ORION Studio

6. Left to right: Giuseppe Tornatore, Monica Maffioli, Anna Cartier-Bresson, Claudio de Polo

5. Early cameras

Castello50 and Luigi Cupellini Castello50 srl is a company set up by architects Lando Viti and Carlo Pellegrini around two years ago to design and create interiors and events of various types: fashion shows (Pitti Uomo, Bread and Butter etc.); trade fairs (CERSAIE, Salone del Mobile etc.); shop and office design; museums, galleries, permanent and temporary exhibitions. Luigi Cupellini designed the furnishings and gallery tour for the Alinari National Photography Museum with Castello50. Carlo Pellegrini and Luigi Cupellini began working together in 2000, the year they collaborated on the Annigoni exhibition at the Palazzo Strozzi in Florence. Some of the shows they have staged are: “Continuità”. Art in Tuscany 1945-1967, Palazzo Strozzi 2002; Fratelli Alinari, photographers in Florence. 150 years that illustrated the world, 1852-2002, Palazzo Strozzi 2003; Italian Still Life. From Caravaggio to the 18th Century, Palazzo Strozzi 2003; Peru. Three thousand years of masterpieces, Palazzo Strozzi 2003/2004; Botticelli and Filippino, inquietude and grace in Florentine painting of the Quattrocento, Palazzo Strozzi 2004; Perugino in Florence. Quality and fortune of a style, Cenacolo del Fuligno 2005 /2006; The Great War of the artists. Wartime propaganda and iconography in Italy in the years preceding the First World War, Marino Marini museum 2005/2006; the Renaissance man. Leon Battista Alberti and the arts in Florence reason and beauty, Palazzo Strozzi 2006.

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The towers and spires of Oxford illumination as town planning

Projects

Oxford, England

Project financier Ian Laing Lighting design DPA Lighting Consultants Partners Assistance iGuzzini illuminazione UK Ltd

The Oxford City Council has developed a plan to illuminate the town’s historic towers and spires. Saint Michael’s Tower is the first building to be illuminated under the plan, which will be extended to others and ultimately form a “Cross of Light”, visible from the air. Speed of implementation, limited budget, low energy consumption, minimal light pollution, and the need to highlight the architectural importance of the tower… these were the main requirements for a project that would also have an experimental purpose: namely, to bring about a change of mindset among Oxford residents, traditionally unenthusiastic on the idea of lighting up historic buildings. A lighting design was selected to illuminate the Saxon Tower and the South Elevation of the nave. Used intelligently, illumination has the effect of enhancing this important historic site and giving it greater prominence in the Cornmarket area of central Oxford. The Saxon Tower is illuminated from Cornmarket Street by luminaires with an elliptical beam, which are able to throw light on the full height of the structure. The illumination of the North Elevation highlights the irregular texture of the stone blocks used to construct the tower, with light directed up from the bottom. The windows are also illuminated, utilizing fixtures equipped with lamps having a colour temperature lower than the surface of the tower. This produces a contrast, creating the impression of a warm and welcoming atmosphere inside the building.

Photos: DPA Lighting Consultants 1. Entrance 2.3. Details 4. Illumination plan

The illumination of the South Elevation focuses on the main door and stained glass windows. These are lit by concealed Linealuce fixtures. With this approach to the project, an agreeable setting is created, achieved with a minimal number of luminaires and consequently with the additional merit of having kept to a modest budget, as requested. What is more, the running costs have been cut to a bare minimum - around 54 pence per day for the entire building, based on approximately 5 hours use daily - with energy consumption of 1.1kW. Recently. the project was judged worthy of the Oxford Preservation Trust 2006 Environment Award Certificate, set up to reward initiatives making a significant contribution to the improvement of Oxford’s architectural heritage. The success of this project has given impetus to the initiative for illumination of the locations making up the “Cross of light”, with the aim of creating new visual perspectives for the city.

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Projects

Lighting the Big “T”. The Bovisa Triennale

Architectural design Studio Cerri & Associati Pierluigi Cerri, Alessandro Colombo Direction of works ing. Nicola Sardano

21 November 2006, Milan, Italy

On 21 November 2006, Francesco Rutelli, Deputy Prime Minister, Roberto Formigoni, Head of the Lombardy Regional Authority, Filippo Penati, Head of the Milan Provincial Authority, and Letizia Moratti, Mayoress of Milan, were in attendance to open the new premises of the Triennale, a new centre for contemporary living. As Pierluigi Cerri the architect has himself stated, this fibrillated fabric installation at Bovisa does not come under the normal heading of “architecture”. Cerri has come up with a big white parallelepiped covered in PVC, conceiving it as a temporary structure, though in the sense of a structure catering to the needs of an area in the throes of transformation. More exactly, it is conceived as a structure able to communicate or amplify the events organized within its compass: the frontages of the building, for example, can function as screens for projection purposes, or as backgrounds for printed images. The tension membrane structure

covers an area of over 2000 m2 dedicated in part to shows and in part to recreational pursuits: the bookshop, the Bovisa Bistro - entrusted to Moreno Cedroni, the well-known chef from the Marches and the conference hall. iGuzzini is among the business partners on the project, having provided both the internal and the external lighting for the new facility. Around one thousand track-mounted Le Perroquet spots are used to light the indoor exhibition space, which can be adapted to host different types of shows. The stock Le Perroquet lighting is supplemented by a number of different fixtures: Light-pooling Compact Easy modules in the conference hall, Lineup wall-washers for the bookshop shelves, Lingotto wall-mounted fixtures for all emergency lighting. The exterior lighting, similarly, utilizes iGuzzini fixtures: Lavinia and Platea floods for the façade, Woody floods for safety exits, and for entrance routes to the exhibition areas and bookshop.

Work schedule management PRO.TEAM s.r.l.

Technical sponsor iGuzzini illuminazione

Photos: Fabrizio Marchesi, Giuseppe Saluzzi 1.2.3.4. Hans Hartung. In the beginning there was lightning”, November 2006 - 11 March 2007. Inaugural event of the Bovisa Triennale

“Triennale Bovisa” is a project undertaken jointly by Triennale Milano and Euromilano

5. iGuzzini full page advertisement

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Projects

Shedding light on Audi cars

Client Audi Architectural design Miguel Gorostiza Otero, Josep Maria Soto Arquitectura Corporativa, S.A.

Vitoria-Gasteiz, Spain

The hangar is a building emblematic of the Audi corporate image; an architectural entity differing from the normal run of showroom premises where automobiles are sold, by reason of its clear volumetric statement. The new hangar for the Spanish Audi dealership Ciarsa, in Vitoria-Gasteiz, is a perfect example of this architectural preference. The curved roof structure is characterized by three-dimensional metal trusses resting on alternate upright members. The roofing material itself is a lightweight sandwich with coated pressed steel outer skins, and on the inside, a microporous core layer designed to attenuate background noise in the hangar. The lighting was designed using Le Perroquet fixtures with 150 W metal halide lamps in the roof, mounted to tracks positionable within the free areas between the trusses.

The individual cars are placed under accent lights, each created by a group of six fixtures equipped with spot type optical assemblies. To show off the curved roof, which ran the risk of being sidelined as a result of the light intensity focused predominantly on the cars, it was decided to introduce a beam of indirect grazing light, provided by Woody floods suspended along the front of the structure and angled in such a way that there would be no heavy shadows cast by the balcony where the offices are located. The cars are shown off to best possible effect by the combination of architecture and lighting, notwithstanding the unfavourable absorbent effect of the floor, which is black vitrified stoneware. Illumination levels of around 900 lux are achieved on the target surfaces, with peaks of up to 1300

Partners Assistance iGuzzini illuminazione EspaĂąa, S.A.

Photos: JosĂŠ Hevia 1. The building at night 2. Showroom area viewed from above 3. The roof of the hangar

lux, accenting the contrast on the surfaces of the vehicles. In the sales areas, a pleasant feel is created by using 70 W metal halide lamps with a ceramic discharge tube and warm colour temperature, offering an average illumination level of around 700 lux with optimum visual comfort. The luminaires in this instance are Reflex, with darklight flood optical assembly. As regards the administrative areas - given the relatively small spaces to be lit and the type of day-long activity carried on there - it was decided to use recessed Sistema 43 fixtures equipped with compact TC-D 26 W fluorescent lamps, which give an average illumination level of 500 lux on desks and worktops, and luminance

control entirely suitable for areas where computer screens are in constant use. The hangar includes dedicated reception and workshop areas, which are lit by suspended Berlino fixtures with 150 W metal halide lamps. A uniform illumination level is achieved on work surfaces - average 700 lux - which combines with the indirect light picking out the structure of the hangar roof and maintains the overall sensation of volume. At night, the hangar becomes a showcase, allowing spectators on the outside to view the brilliance of its contents in a unique light; accordingly, the illumination of the exterior is absolutely discreet and integrated into the architecture, facilitating recognition and orientation.

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Projects

Illumination to revitalize a historic town centre

Client La Paeria Ajuntament de Lleida Carles Sáez, Arq. Tomás Ferre, Ing. Partners Assistance iGuzzini illuminazione España, S.A.

Lleida, Spain

and street furniture was replaced. There is also new street lighting, with coordinated fixtures: medium size Framewoody and Multiwoody floods equipped with 150 W lamps, and large size with 250 W lamps. The first stage concentrated on the narrower streets, where Framewoody fixtures giving different levels of intensity were suspended from the frontages of buildings lining the routes. The two models have a street-light optical assembly and are equipped with 150 W lamps. The Framewoody units are placed at around 6.5 m above ground, set apart 20 m approx one from the next and equipped with metal halide and sodium vapour lamps, arranged in a chequerboard pattern so as to provide an agreeable colour temperature. After the shops close, only the units with high pressure sodium vapour lamps remain alight, so that important energy savings are also achieved.

The historic centre of Lleida, in north-eastern Spain - home to numerous shops and businesses, certain of the city’s more important monuments and buildings, offices of public institutions, municipal and provincial authorities - underwent a general reorganization between 2004 and 2006 that has also injected new life into the area. Taking in a cluster of adjoining main streets, Sant Antoni Major, Plaça de Sant Joan, Portaferrisa, Carme, Magdalena, Pi i Margall, and a number of side turnings, this is the longest pedestrian precinct (4 km) in Spain. The project for renewal of the shopping centre was made possible through the efforts of the institutions and the various business and retail associations involved. In the course of the works, paving materials were renewed, utilities were buried (water and gas pipes, power and communications cables),

Photos: Josè Hevia 1. Multiwoody fixtures in the Institut d'Estudis Ilerdencs square 2. Multiwoody fixtures hung from overhead wires 3. Via Pi i Margall

For the second stage of the installation - Calle Major and Calle Magdalena - the same types of fixtures were used as for the streets of the first stage: suspended units with two floods. The square around the historical IEI building (Institut d’Estudis Ilerdencs) was lit using Multiwoody units, and a number of Maxiwoodys fitted with 250 W HIE E40 or 250 W HSE E40 lamps, secured with brackets to poles at a height of 10 metres. The lighting plan includes lamps having various colour temperatures and fixtures with different optical assemblies: Flood, Medium and Spot, as well as colour filters and refractors giving an elliptical distribution, so as to reach isolated buildings like the cathedral. Via Pi i Margall - 12.9 m wide - is lit by Framewoody fixtures, each combining three sources with street-light optical assemblies (2 x 150 W HIT-DE lamp, and 1 x 150 W HST-DE) set at different heights. The distance between fixtures is 18 m, the three light sources together give approximately 50 lux and average uniformity better than 0.8, whereas at night, with only the HST-DE sources left on, the level is 16 lux. In the Auditorium area, the Framewoody fixtures incorporate five sources each, again with street-light optical assemblies, all at the same height. Three are directed toward the traffic boulevard, and the remaining two toward the pedestrian precinct. Likewise in this instance, two types of lamp are used. The third stage, still in progress at the time of writing (2006), will complete the lighting plan along Lleida’s main shopping thoroughfare, the Viale d’Europa.

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Projects

Cinema and fashion: the Gaumont multiplex in Amiens

Client Gaumont - Europalace Architectural design Xcl (Christian Lacrox) aBfM (Alain Balzac & FranĂ§ois Michel)

Amiens, France

In 2005, the Gaumont film company and French fashion designer Christian Lacroix began working on a lexicon of shapes, colours, volumes and materials that would embody the spirit and image of the Gaumont brand - recognizable from the moment of purchasing a ticket at the box office to the moment of leaving via the exit. The collaboration stems from a competition launched in 2004 by EuroPalaces, operator of Gaumont and PathĂŠ, the biggest cinema circuit in France. The famous French designer presented a project inspired by the symbol of the Gaumont brand - a daisy - and proposing a new presentation format that was adopted for cinemas of the giant French group in 2005. Suns made of coloured plastic resin, petalshaped lights and modular furniture arranged as flowers are the basic elements of solution proposed

by Lacroix and interior designers FranĂ§ois Michel and Alain Balzac, who did the development. Presenting their project, which aims at a union between the history of the brand and the utmost modernity, the statement of the design team was one of having taken inspiration from the past, but being fully committed to the future. They imagined a setting in which constellations and starry skies recall the big bang that was the invention of cinema, and daisy petals evoke the rich feelings and sentiments that can be triggered by films of any era. Original furnishings combine with a colour palette predominated by red and black to create an original environment of sound and light. The format - defined with input from iGuzzini, whose fixtures enhance the forms and colours of the design - will be adopted in all new cinemas of the French chain.

Photos: Didier Boy de la Tour 1. Exterior 2.3. Interiors

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iGuzzini illuminazione opens its new facility in Shanghai

Projects

Shanghai, China

April is the month that the new iGuzzini facility in China becomes operational. A new manufacturing site near Shanghai becomes the headquarters for the Recanati company in China. iGuzzini has had a presence on Chinese territory for some years, through representative offices in major cities like Beijing, Shanghai and Hong Kong, and already contributed to the implementation of projects by architects of international renown such as Paul Andreu, for the Oriental Art Center in Shanghai, or Mario Cucinella for the SIEEB building in

Beijing, as well as collaborating with the Hong Kong city authorities on the illumination of the Tsim Sha Tsui promenade, a vantage point from which to view the spectacle of Hong Kong after dark. This new building recalls the model of the Recanati headquarters: a product of contemporary architecture, designed above all with quality of the work environment in mind, presenting a glass faรงade and greenery around the exterior. One of the aims behind the new premises is to set up a base on Chinese soil, and an organization,

The iGuzzini logo with the slogan “Better Light for Better Life” written in Chinese characters. Wherever it appears in China, the iGuzzini logo will always be accompanied by this slogan, which is considered an essential statement of the company’s mission and activity.

Photos: Archive iGuzzini 1. The façade, during construction 2. Exterior

through which to offer Italian manufacturing and know-how to Chinese and international designers and architects operating in the region. The plot on which the new facility is built measures 22,000 m2, though the area effectively under cover at the present time is 9,500 m2. The building incorporates a production area proper, and offices, as well as a showroom and meeting room. A laboratory has also been set up, where products can undergo quality testing. The production area is laid out on two floors of 4000 m2 each, with the stockroom on the ground floor; the upper floor houses the paint shop and an assembly department with six

lines. The offices are laid out on four floors along the glass frontage of the building, and occupy around 1200 m2. The showroom and meeting room are on the top floor, as at Recanati. The location selected for the new premises is in the municipality of Fengxian, an industrial area destined for future expansion, easily accessible at just 40 km south west of Shanghai, on the route to the already mature industrial centre of Ningbo.

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Projects

Am Kaiser’s Turm: rebirth of an industrial monument

Client: Tengelmann arenhandelsgesellschaft, Mühlheim an der Ruhr Architects: müller. architekten, Heilbronn

Heilbronn, Germany

The industrial area of Heilbronn had been in decline for some time, and one building in a particularly dilapidated state was the 1930s-built administrative headquarters of the “Kaiser´s” supermarket chain, founded by Josef Kaiser, consisting in a three-storey complex with delivery areas and a landmark tower. In 2001, the Tengelmann Group took over the site, which has now been extensively renewed and modernized to plans drawn up by the Heilbronn firm of architects, müller architekten. The plan, first and foremost, was to enlarge the existing industrial monument, producing a floor area of 14,500 m2. A new building was added to the original klinker and reinforced concrete structure, appearing as

two elliptical blocks on two floors of different dimensions. The ellipses are also connected one to another by a glass structure on the top floor, and by a tension membrane structure. The architects gave special attention to the enlargement of the 30 metre tower, adding a glass cube 8 metres high, among other elements. To elevate the tower still further from its urban context, the designers opted for a lighting plan using Maxiwoody type floods, which illuminate the structure from the bottom and increase the perception of height. The two-storey glass cube provides a transparent cap, in which recessed Lineup fixtures (RGB version) were installed along all the inside faces.

With this lighting system, it becomes possible to control and manage a wide variety of colour combinations greeting a visitor to the top floor lounge, reflected onto the stair exit, which is clad with metal plates, or with the sunblind system lowered inside the lounge. The controllable dynamic lighting system also takes in the two ellipses. Colourwoody type fixtures produce different settings with their colour variation, ensuring an interpretation of the architecture that is always novel and engaging. Extensive parking space is provided by the area in front of the elliptical blocks, illuminated by Platea floods mounted on poles.

Lighting design: Ing. B端ro ITS Scholz GmbH, Essen Via Modular, Licht und Gestaltung, Leingarten

Photos: Dietmar Strauss 1.2. Exteriors

Partners Assistance: iGuzzini illuminazione Deutschland

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Ankara Esenboˇga airport

Projects

Client and main contractor TAV Esenboˇ ga Yatırım Yapım ve I¸sletme A.¸ S Architectural design Gruppo ESSA

Ankara, Turkey

In 1988, Turkey’s state-run airport operator announced a competition to undertake an architectural reorganization of the Ankara Esenboˇ ga airport. The competition was won by architects Ahmet Yertutan, Erkan Çoban, Suzan Esirgen and Süleyman Bayrak of the ESSA group. The project was contracted out to the TAV group, made up of two Turkish main contractors, Tepe and Akfen, and a minority partner VIE (operator of the Vienna airports). The same group had previously won the contract to build and run the terminal at Istanbul’s Atatürk airport. Following 24 months of construction, the terminal was opened in November 2006. The design team selected iGuzzini luminaires for their reliability, durability and ease of maintenance. Particular care was taken to minimize glare, precluding any possibility that the lighting could create difficulties for pilots when taking off or landing at night. Accordingly, only high cut-off fixtures were selected. Most of the fixtures utilized for external illumination

Project technical consultant Gruppo ESSA

Partners Assistance Tepta Ayd覺nlatma

Photos: Engin Ger癟ek 1. Exterior 2. Cafeteria

Electrical systems ANEL

3. Entrance to VIP lounge

purposes are pole-mounted. Nuvola floods were used along the entire frontage of the airport, set 6 metres high and equipped with metal halide lamps. The open air reserved parking area is lit by Platea floods mounted on 6-metre poles. The top level of the multi-storey car park is lit by Delphi system fixtures set 3.5 metres high. The main access roads to the airport are lit with Platea floods on 9 metre poles. The illumination for the surrounding landscape is provided by Woody units with metal halide light sources. A variety of iGuzzini fixtures can be found inside the building. The area set aside as a VIP lounge, in particular: the entrance to this section is lit by recessed Linealuce units fitted with xenon lamps, set at a height of 6 metres in the metal structure

overhead. Further Linealuce units are let into the floor and directed at the columns. The special wooden ceiling of the reception area is lit with cold cathode lamps, whereas in the access way to the waiting area, Linealuce units recall the effect created by the roof at the entrance. The corridors of this area are lit by recessed Reflex fixtures with aluminium reflectors. Corridors for staff use are lit by Lineup fixtures. The press room is furnished with Spin fixtures on the ceiling and Pixel plus reflectors on the walls. Nuvola poles are also used in the cafeteria area of the terminal, to create an outdoor feel.

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Corporate culture

Giannunzio Guzzini, 1938-2006

Photos: Guido Picchio and archive iGuzzini 1. Giannunzio Guzzini 2. Meeting with Rodolfo Bonetto, 1982: work on the Ala table lamp. 3. 1970s. Working meeting

It was 1952 when Giannunzio, still a youth, began working in the family firm Fratelli Guzzini with the same status as any other employee. Also there were his father Mariano, and his elder brothers, who helped him grow and learn all the things that would help him to make his way in life. Working in the firm would mean being unable to continue his schooling, but it nonetheless secured an education in â&#x20AC;&#x153;the University of Lifeâ&#x20AC;?, and this no less valuable training ultimately brought a Doctor Honoris Causa degree, given to him by the University di Camerino on 15 November 2006. In 1958, the elder brothers Giovanni, Virgilio and Raimondo set up the Harvey company, later to become the iGuzzini illuminazione of today, and after just a few months they were joined at the new company by the other brothers: Giuseppe, and the younger Giannunzio and Adolfo. It was to these two youngest of the brothers, who were Board members from the outset, that the task of developing the company was entrusted. Whilst Adolfo took care of the administrative and sales side, Giannunzio was concerned above all with technological and manufacturing

development, favoured by his knowledge of thermoplastics, and of thermoforming and injection moulding techniques. He would greatly extend this knowledge over the years, exploring all the engineering polymers and the different moulding methods employed - rotary, injection-blow, extrusion-blow for thermohardening rubbers, coinjection with compatible materials, extrusion and co-extrusion for thermoplastics, phenolic and melamine resins. Later on, as products became more complex, he began to look at light alloys and the various technologies used to exploit them in manufacture, such as earth-casting, chillcasting and pressure diecasting. He acquired a detailed knowledge of the chemical and physical properties of materials and of technologies, of their application to products and of the relative costs. In 1975, the company shifted from being a maker of lamps for furnishing, to a role as manufacturer and provider of fixtures and engineered lighting systems. This meant a change in production technologies. It was at this time that his enthusiasm for innovation and technology became so important, not only

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Corporate culture

Giannunzio Guzzini 1938-2006

4. Inauguration of the exhibition “Il bello e l’utile”, Recanati, 1998. Left to right, Adolfo and Giuseppe Guzzini, Cesare Annibaldi, Virgilio, Giovanni and Giannunzio Guzzini. 5. Giannunzio Guzzini with managers of the iGuzzini company 6. Giannunzio Guzzini accepts the IMQ award for safety. May 2005

in developing new technical solutions, but more especially in motivating and encouraging others around him to take on this new challenge offered by the market. Among the most notable achievements resulting from Giannunzio’s research was a patent on a process for moulding hollow parts, granted in 1978. The company would exploit this intellectual property in producing tens of millions of street lamp diffusers over a 30-year period. One key aspect of this project, as with all the others he took on during his life, was the value of working together with experts in possession of specialist knowledge and great innovative skills, which gave him the stimulus to keep looking for new solutions. He always had relations of great respect and esteem with these co-workers. In 2000 Giannunzio became President of iGuzzini, a post he held until his death in December 2006. He was also Vice-President of Fimag, the holding company that owns the individual companies of the Guzzini group: Fratelli Guzzini, iGuzzini illuminazione and Teuco. Mention should also be made of the particularly active part played by

7. Ceremony on appointment as president of CELMA (European Association of Luminaires Manufacturers),1995 8. Giannunzio hands Davide Sanguinetti the winner’s trophy at the 2006 “Guzzini Challenge” tennis tournament. 9. Giannunzio Guzzini receives an award from Luca Cordero di Montezemolo at the 60th anniversary meeting of Confindustria Macerata.

Giannunzio in a number of professional associations, which led to him filling important roles in this segment of industry. In particular, he was president of CELMA (European Association of Luminaires Manufacturers) for the year 1995-96, and president of ASSIL (Association of Italian Lighting Manufacturers) from 2000 to 2004. Latterly, he was a member of the Presiding Council and Committee of ANIE (National Federation of Electrotechnical and Electronics Enterprises), as well as Vice-President concerned with the Environment and with Corporate Social Responsibility. Closing his address at the investiture ceremony, just a month before his death, his concern was to make the young people present aware of the simple conviction that had guided him throughout his career, and express the hope that it would be as helpful in bringing them great satisfaction in life as it had been for him: “everything is possible; the important thing is to love the job and never give up. Add to that a bit of ‘nous’, a little luck and a touch of intelligence, and great things can be achieved”.

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Corporate culture

Onesixtiethofasecond Rome, MAXXI, National museum of 21st Century Arts 2 December 2006 - 28 February 2007 The MAXXI - Museum of XXI° century Arts has staged the first Italian exhibition of work by Massimiliano Fuksas. In the words of Doriana Mandrelli, the idea of the exhibition is one of watching a film in reverse, end to beginning. Starting from the finished piece and working back through maquettes, sketches, paintings, sculptures, to the earlier stages: “showing the pathway of the idea, materializing in a sixtieth of a second”. The show occupies the entire exhibition space of the MAXXI, at the centre of which a hi-tech capsule has been

created, in which visitors can watch a video of Massimiliano Fuksas talking about his architecture. With such a wide variety of materials being staged, the lighting has to be extremely versatile. The best solution is offered by Metro and Parallel fixtures with directional vanes. For mock-ups installed outdoors on the other hand, such as the big red ribbon characterizing the Armani Emporium in Hong Kong, six Woody fixtures were used, equipped with spot and flood optical assemblies and metal halide lamps.

Riba Stirling Prize 2006 London, 14 October 2006

The proficiency of iGuzzini as partners on top architectural projects has been recognized with the award of the Riba Stirling Prize 2006. Indeed, the company was involved on two of the projects selected by the Royal Institute of British Architects jury, both of which by the Richard Rogers Partnership: the National Assembly for Wales in Cardiff, and Madrid Barajas airport (see incontroluce 14). In each instance, iGuzzini provided lighting consultancy and equipment. The Richard Rogers partnership was awarded first prize for Terminal 4 at the Barajas airport.

Researchers’ Night Recanati, Piazza Giacomo Leopardi 22 September 2006 Researchers at the University of Camerino (Unicam) were the leading players at the second edition of the “Researchers’ Night”. During this event - staged simultaneously in 20 countries of the European Union and compered in Italy by television presenter Licia Colò - researchers from the various Unicam faculties were on hand, in laboratories opened up for the evening, to demonstrate in simple language just what the work of a researcher

involves. The life and professional activity of 4 researchers is also the subject of a short film made by the University of Camerino in collaboration with the University of Bolzano, the Provincial authority of Macerata and iGuzzini. Researchers’ Night is an event promoted by the European Commission as part of the Sixth Framework Technological Research and Development Programme.

Corporate culture

IF Award

The IF product design award 2007 was given for three iGuzzini products: i24, designed by the Renzo Piano Building Workshop, Radial, designed by Foster & Partners, and Glim Cube, designed by Piero Castiglioni. These fixtures were selected from the almost 2500 products entered, and will be on show from 15 March until the end of August 2007 at the IF design exhibition together with the other 756 products that were winners in the various categories.

“I Monili”. Charity auction for Amref (African Medical and Research Foundation) Milan, 16-18 November 2006 From 16 to 18 November 2006, the iGuzzini showroom at Via San Damiano 3 in Milan hosted a show by Marinella De Paoli, dedicated to a collection of unique jewels originating from the Horn of Africa. With the jewels also being sold to raise funds for charity, iGuzzini contributed to the effort by offering its premises as a venue, and setting up a lighting scheme designed to highlight the beauty of the exhibits. Part of the proceeds from the sale was destined for the Amref Italy “Children in Need Program”, an initiative designed to help street children, of which Marinella De Paoli is a joint founder and council member. Since 1957, Amref has run hundreds of projects in 14 West African countries, actively involving and encouraging the indigenous communities to take charge of their own development.

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Corporate culture

An audience with Enrico Bertolino Genoa, 14 November 2006

To thank those partners who have helped to carry through numerous projects in the Liguria and Piedmont regions of Italy, a number of architects, engineers, technicians and distributors were the guests of iGuzzini at a convivial evening in an unusual setting: the Genoa Aquarium. During the course of the evening, the assembled guests were regaled with a monologue by well-known actor Enrico Bertolino who - uniquely in Italy combines the activities of entertainer and educator. Photos: Merlo Fotografia

Meeting with Philips London, 28 September 2006

At a meeting open to anyone interested in light and lighting, organized by the UK branch of iGuzzini on 28 September 2006 at the Business Design Centre in London, Philips Lamps & Gear were on hand to present and discuss the latest innovations relating to products, technologies and areas of application.

Wines of the Marches in London London, 26 October 2006 The London Wine Show opened on 26 October. Taking advantage of the occasion, iGuzzini UK invited a number of architects and designers to sample the wine culture of the Marches, with tastings of the two main wines produced in the region, Verdicchio and Rosso Conero, together with other products typical of the Marches. The guests also received a complimentary ticket for admission to the Wine Show.

Corporate culture

iGuzzini Partner assistance in Barcelona and Lisbon New iGuzzini partners Assistance centres continue to open across Europe. The most recent has been set up in Barcelona. Work was completed at the end of October, and the new premises is ready to welcome anyone with an interest in light and lighting. The basic format is the same as in Paris, Milan and Münich: a plain space with white walls and floor, and wood ceiling, accommodating the display area for exterior fittings, smaller rooms where products for interiors are presented, also a "light laboratory” and an area where training sessions on control systems are conducted. There is also an area organized along the lines

of a theatre, equipped with 3 ceilings of variable height and black wings, set aside for the reproduction and comparison of lighting effects. Portugal now has a new iGuzzini partners Assistance centre too, in Lisbon. To coincide with the opening of its Galleria Promontorio showroom, Osvaldo Matos LDA presented the new facility, offering this new concept of technical assistance for the benefit of anyone looking to find the best lighting solutions for their projects. The iGuzzini partners Assistance centre in Lisbon is located in a long established industrial estate on Via Fabrica Material de Guena.

“Lumen. Light and Perception” Monaco, BMW Lenbach Platz, 19 October 2006 In October 2006, iGuzzini Deutschland organized an event in collaboration with the BMW group. German architects and designers were invited to a gathering in the BMW pavilion - which has acquired the status of a contemporary art installation thanks to the work of James Turrell - where they listened to addresses given by Günter Enhuber, director of iGuzzini Deutschland,

speaking on the relationships that exist between “Light and Perception”, also by Martin Enders, director of BMW’s lighting technology sector, and by Christa Häusler, art critic, manager of Häusler Contemporary and moderator for the evening, who paid homage to the art of James Turrell.

iGuzzini On Board Antwerp, 24 November 2006 Toward the end of November 2006, iGuzzini Benelux offered its Belgian, Luxembourg and Dutch clients an evening in which lighting culture was combined with entertainment. Guests were welcomed at the iGuzzini showroom in Antwerp with an aperitif, then invited to board a bus that would take them to visit one of the most notable buildings to be erected in Belgium, namely the Palace of Justice, designed by Richard Rogers The evening concluded with a dinner and a music show on board a riverboat.

Photos: Paul Van Den Brande

incontroluce 15

Editorial

Dear Readers,

Incontroluce

I. 2007

Incontroluce Six-monthly international magazine on the culture of light

Thanks, Giannunzio.

Publisher iGuzzini illuminazione spa

Adolfo Guzzini

Errata Corrige Incontroluce 14 Cover photo: Paolo Carlini

III

9.1911.000.0

English version

I. 2007