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English version
II. 2006
Editorial
Dear Readers, this is the fourteenth issue of our journal, now in its sixth year. A big issue, in which we present a variety of projects and events to which the company has contributed in the role of lighting consultant. These include projects of undoubted importance like the Morgan Library in New York, the Gentile da Fabriano exhibition, the SIEEB building designed by Mario Cucinella - the first building erected in response to the energy saving programme initiated jointly by the Italian Ministry for the Environment and Land protection and the Ministry of Science and Technology in China - the new Palace of Justice in Antwerp designed by Richard Rogers, and many others. We also continue our dialogue with rectors of universities in the Italian Marches, exploring topics linked with relations between education and local industry. Generous space is also dedicated to the “Conoscere la Forma” (Appreciating Form) project launched by iGuzzini’s Study and Research Centre in collaboration with the Istituto Centrale per il Restauro (Central Restoration Institute). Behind this particular project is a research programme aimed at identifying methods of analysis, and lighting design application, that will provide curators of museums and shows with a greater awareness of how three-dimensional exhibits can be illuminated to best advantage.
Adolfo Guzzini
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Summary II
Editorial
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The Marches The universities and the territory
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Projects SIEEB Sino-Italian Ecological and Energy Efficient Building
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Light for the Morgan Library expansion
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Gentile da Fabriano and the other Renaissance
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The Palace of Justice in Antwerp
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Relocation of the Egyptian Collection in the Altes Museum
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Reorganization of the Picasso Museum
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New headquarters of the Calem Wineries
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Thales Research and Development Centre
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“Words” Work by Alfredo Pirri
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New illumination for the Mitchell Library
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A new building for the Welsh National Assembly
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Design The lighting designer’s toolbar 2005 (part 2) Corporate culture “Conoscere la forma” project
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iGuzzini and the America’s Cup The Barrajas airport project Contemporary art along the motorway The Highway 4 Monument Nordic Light Award for the Blue Lagoon Medical Centre
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Visionitaliane. Architecture and design for a sustainable environment
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ATP Guzzini Challenger final “50+2Y Italian Design” exhibition “Concurso” for young architects
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Venice Architecture Biennial for Croatia iGuzzini illuminates the G8 venue for 2006 “Tracks. Founding an Industrial Heritage Museum”
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Opinion
II. 2006
The Marches
The universities and the territory
Interview with Fulvio Esposito, rector of the University of Camerino
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Photos: University of Camerino, Giuseppe Saluzzi; other material supplied by Pippo Ciorra 1. Metamorphosis. Exhibition: “Tracks. Founding an Industrial Heritage Museum” Recanati, June-November 2006 Display by the University of Camerino 2.3. New home for the Department of Molecular Biology. Design by architects Pippo Ciorra and Massimo Perriccioli
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The university has undergone huge 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? Has it been made easier? Well, even when interpreting “straightforward” laboratory experiments, the most difficult thing is to establish causal links between two phenomena, as there are always confusing variables, some known and foreseeable, others not. Just think then, how much this kind of difficulty is magnified when trying to interpret trends and events involving complex entities like human beings! So yes, the university has indeed been hit by change, in fact far more than a change: a genuine revolution. Look at words like productivity, competitiveness, benchmarking and - of course - quality (as a concept associated with all the various activities of a manufacturing concern); these were notions foreign to the world of academe, but now they are recognized and shared by everyone. These new developments - not least in vocabulary - have helped the dialogue between business and university enormously: at long last we speak the same language, and though there may be one or two here who have yet to realize it, our sums have to add up at the end of the year too! For example, I would never have dreamed, even just 10 years ago, that an
establishment like ours would be engaged in the demanding process of incorporating a Quality Management System into the fabric of its everyday operations. And yet, this is now a reality in three of our five faculties, affecting all our crossover services (vocational guidance, tutorage, training, placement, internazionalization…), for which Certification to ISO 9001 has been issued (and confirmed now for three years in succession) by the prestigious AFAQ-AFNOR International organization. Thorough-going comparisons made with exponents of the major manufacturing concerns, and from the world of labour and professions, have led to the design of a wide-ranging and diversified prospectus of training programmes, with the emphasis on both cultural content and professional skills. The teaching approach seeks to combine theoretical training with “slices” of real work experience, in pursuit of the two key objectives in higher education: “knowing” and “knowing how to”. In collaboration with Confindustria Marche, for example, the University of Camerino has set up “UnicamSTAGE” and “UnicamJOB”, two Web services designed to bring together businesses, students and graduates. In essence, these are suitably user-friendly databases accessible from our site, www.unicam.it, which offer important employment and recruitment opportunities both to our students/graduates, and to businesses. The system works: agreements for scientific projects and arrangements
with businesses increased from 200 in 2002 to around 900 in 2006; and there was a similarly enormous boost given to training schemes for UNICAM students, which rose from just under 60 in 2002 to 600 in 2005. But there is more besides: I think the biggest challenge facing business and university partners in the Marches is in the move toward internationalization, in other words creating an active, vital, visible and effective presence on the European and world stage. With this in mind - exploiting the margins afforded by the reform - UNICAM responded last year by setting up Degree Courses and Specialist/Honours Degree courses conducted entirely in English, in an attempt to attract students from other countries. In addition, all activities of the UNICAM School of Advanced Studies are conducted strictly in English. And the result is already plain to see: in terms of foreign student enrolment, the University of Camerino is top of the table among state-run universities of general studies, with 8% (and up to 20% in the case of research doctorate courses).
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The Marches
The universities and the territory
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To what extent does the University of Camerino invest in research? Are there research projects in progress? Which sectors does the university target particularly in this area? What collaborations have there been? The University spends around 40% of its “outgoings” on research, which in money terms is around 25 million euros: no mean sum, when one considers that incoming funds actually “earmarked” for research amount to some 7 million euros. This means that a substantial proportion of “free” resources (the operating fund the university receives from the Ministry, and student fees) is invested in research. In any case, our researchers deserve the backing: they represent 0.5% of all researchers in Italian universities, and yet they are responsible for 0.8% of Italian scientific output recognized at international level. Success indeed! Another gratifying result is that of the financing for Research Projects of Significant National Interest (PRIN - Progetti di Ricerca di Rilevante Interesse Nazionale): in 2005, pro-capita financing of UniCam researchers was the highest among state-run universities for general studies, registering at a value (5560 euros/researcher) almost double the national average (2930 euros/researcher). The figures I am quoting have all come from external sources, which is another sign of the changing times: the end of self-referentiality and the introduction of assessment, applied to all aspects of university performance. In this context, the practice of assessment by an outside body the Committee for Evaluation of Research (CIVR Comitato d’Indirizzo per la Valutazione della Ricerca) - is a “historical first” for the university system in Italy.
As part of a fairly complex procedure, CIVR assessed 102 institutions (including 77 universities) engaged in research activities. Here again, the University of Camerino was well placed. Remember that we are not actually a Research Agency, and that a substantial proportion of our resources must be allocated to teaching and training; nonetheless, the University of Camerino sets great store by research, for the status and prestige it carries. You ask what kind of projects. One thing I can say: we have decided to end the debate once and for all on dualism between basic and applied research. As far as we are concerned, there is only good research and bad research. Good, we are interested in, bad, we are not. Certainly, we are well aware that our research can lead to products in a number of sectors - environment and energy, agrifood, architecture and design, biodiversity, bio-pharmaceutical sciences, information technology and computerization - and that some of these will find a commercial outlet more easily than most. And there is research in other sectors - chemical, physical and geophysical, mathematical, biomolecular, historical, legal, social and economic sciences, international and constitutional law which today present challenges mainly in terms of the creativity and imagination of researchers, but nonetheless provide the basis for products of tomorrow’s market. An example: back in the 1950s, when Townes, Bassov and Prokhorov (Physics Nobel Prize Winners in 1964) began experimenting with what we know today as the laser, they certainly never imagined that 50 years on, eye surgeons would be using that little “toy” of theirs to remove cataracts. It is a piece of history we should never forget. And this is our
methodology too. The “sale” of products derived from research with immediate application generates resources, and these are used to finance curiosity-driven research, which in turn will spawn the products of the future. Perhaps it is an approach that ought to be adopted by the nation as a whole: look around and ask yourself, how many of the hi-tech products in your home are made in Italy? Not many, in fact too few, because we do not invest enough in basic research, the kind that generates innovation further down the line; we need to start over again, and quickly, or the decline will be inevitable! We are playing our part, at any rate. And then there is the third mission of the university (in addition to Training and Research), which we want to fulfil. Innovation. The exploitation of knowledge and its conversion into economic resources for the country. If readers would like to see a list of current research projects, I would recommend a visit to the university’s website: www.unicam.it.
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4. The Scialoja Hall 5. Enrico Loccioni is presented with an Honoris Causa degree in Innovation Technologies 6. May 2005. Mario Clementoni is presented with an Honoris Causa degree in Architecture
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Has this research activity also translated into technological innovation? Applied in which sectors? Or, has it led directly to new enterprise initiatives?
The University of Camerino has a collaborative relationship with iGuzzini illuminazione and the Guzzini group. What can you tell us about this?
This is covered partly in my previous answer. Still, I can add that some months ago we set up an Industrial Liaison Office (ILO), a task force of highly motivated young people whose job is to handle knowledge transfer between university and businesses. Among the aims of the ILO is to provide support for the creation of spin-off companies. This initiative has been well flagged, but it is a tricky one that the Italian university system still struggles with, after an initial period when besides the expected and foreseeable quota of "normal" failures, there were also instances of bogus entrepreneurs interested only in the Ministry grant. But the system is being refined and cleaned up, and there are now some genuine attempts being made to convert ideas and findings from research into business activity. One good example is Synbiotec, a private limited company that specializes in the development of functional foods containing symbiotics able to trigger positive modulation of the intestinal ecosystem in humans. The strains of bacteria utilized were patented by a UNICAM research group.
For my part, I can say simply that our researchers involved in projects with companies of the Group are highly satisfied with the results achieved, and with the “climate� of the relationship, but, to avoid falling into the typically academic trap of blowing our own trumpet, I would be happier for you to put that question... to the Guzzinis!
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SIEEB Sino-Italian Ecological and Energy Efficient Building
Projects
Project Ministry for the Environment and Land Protection, Italy Ministry of Science and Technology, China Project leader Politecnico di Milano, BEST Team
Beijing, China
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In December 2005, extensive coverage was given in the Italian media to the Far East visit of a delegation led by former President of the Republic Carlo Azeglio Ciampi and accompanied by a corps of businessmen looking for investment opportunities in the new China. The trip also coincided with the presentation, in Beijing, of the SIEEB project (Sino Italian Ecological and Energy Efficient Building), inspired by a joint initiative of the Italian Ministry for the Environment and Land Protection and the Chinese Ministry of Science and Technology in response to the Kyoto accords on the reduction of CO2 emissions and as part of a broad programme of measures targeting environmental problems.
More exactly, it was on 16 February that the Kyoto protocols on global warming became legally binding. China emits a quantity of greenhouse gases equivalent to 11% of the world total, but is not bound by the protocols as the country is not yet classified as a major power, notwithstanding its rapid economic growth in recent times. This cooperation between the two Ministries has resulted in a project for a building on the campus of the Tsinghua University, situated north-west of the capital Beijing. The designer is architect Mario Cucinella, working with a team from the Milan Polytechnic. The building, which will be situated in a particularly dense urban complex, surrounded by other very tall buildings, has been conceived as a leaf capable of converting sunlight into energy. A series of south-facing garden terraces will be planted with rich vegetation and more than 1,000 m2 of solar panels able to meet the greater part of the electricity demand for the building.
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Architectural design MCA Mario Cucinella Architects CAG China Architecture Design & Research Group
Photos: Gabriele Basilico Rendering and drawings: MCA Mario Cucinella Architects 1.2. Exterior of the building
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Projects
SIEEB Sino-Italian Ecological and Energy Efficient Building
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3. Rendering 4. Study of South-East façade
Designed on a horseshoe style ground plan, the building will optimize the capture of sunlight during the winter months while maximizing protection, likewise from sunlight, during summer. It will also ensure a continual influx of natural light to reduce reliance on artificial lighting, which in China is still produced predominantly with electricity generated by burning coal, the main source of CO2 emissions. The morphology of the building, its structure and orientation, and the technological systems incorporated, are quite simply a reflection of tests and research conducted by the design team in identifying optimum solutions to meet the required levels
of performance. The result is an energy-efficient building with a functional layout, producing minimal CO2 emissions. Around 40 metres high and affording some 20,000 m2 of useful floor space, the SEEB is home to an Italian-Chinese research centre specializing in environmental protection and energy conservation. It houses departmental offices, laboratories and an auditorium, as well as an exhibition space dedicated to Italian technologies. The façades facing east and west are of “double skin” type construction, with the outer panes of glass ground in such a way as to deflect the rays of the sun and eliminate glare.
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Projects
SIEEB Sino-Italian Ecological and Energy Efficient Building
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5. Rendering with artificial lighting 6. Cutting the ribbon 7. Side view with a clear illustration of the semi-reflective louvres
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Not only does the building save energy, it also saves resources; in particular, water usage is minimized and there is a rational use of construction materials, which will be durable and ensure low environmental impact. An automated system monitors the presence of staff in the rooms and opens or closes the semi-reflective louvres making up the faรงade and skylights to let in more or less light, as effectively required. And artificial light, similarly, is modulated according to the needs of the moment. The centralized control system is able to switch lights off automatically when rooms are left empty. The same automated control system manages temperature levels internally of the building, utilizing a system composed primarily of air ducts at floor level in combination with auxiliary radiant panels mounted overhead. The energy needs of the building are met by a cogeneration system (gas-fired and electric). In attendance at the inauguration of the building on 6 July were Shang Yong, Deputy Minister for Science and Technology, Zhang Xinsheng, Deputy Minister for Education, Alfonso Pecoraro Scanio, Minister for the Environment and Land Protection, the Director of Tsinghua University Gu Binglin, and Assistant Director Chen Jining. The ceremony was conducted by Assistant Director Zhang Fengchang.
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Projects
Client The Morgan Library
Light for the Morgan Library expansion
Architectural design Renzo Piano Building Workshop in collaboration with Beyer Blinder Belle LLP (New York)
New York, USA
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26 April 2006 saw the inauguration of the new Morgan Library & Museum, designed by architect Renzo Piano, following a three year construction project costing 106 million dollars. The original buildings are now linked by a “piazza” accessible from the new entrance on Madison Avenue, between 36th and 37th Street, and protected by a glass and steel structure almost 16 metres high, opening onto the street. The decision to expand and renovate was taken so as to provide more space and exhibit a greater number of items from the superb collection - totalling 350,000, including manuscripts, prints, books, drawings and seals - and create better facilities for the storage of items not on
display, but available to scholars and researchers. Renzo Piano has created new galleries, a naturallylit reading room, a spacious underground storage facility for works not on show and, also underground, a 280-seater auditorium. Visitors will be able to admire 300 masterpieces, including a selection of drawings from Leonardo to Picasso, music written by Mozart and Bob Dylan, manuscripts by Galileo and Poe. The challenge facing the Genoa architect was to integrate a structure of steel and glass - the main materials of modern architecture - into a setting characterized by buildings of the early 20th century, and the grand mansions and Palladian façades of Madison Avenue.
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Design team G. Bianchi (lead project partner), T. Sahlmann, K. Doerr, with A. Knapp, Y. Pages, M. Reale and P. Bruzzone, M. Cook, S. Abe, M. Aloisini, L. Bouwman, J. Hart, H. Kybicova, M. Leon; Y. Kyrkos, C. Colson, O. Aubert (models)
Consultants Robert Silman Associates (structure); Cosentini Associates (services); Ove Arup & Partners (systems design: heating and lighting); Front (façade consultants); Kahle Acoustic (acoustics);
The elevators (and stairs) - also glass and steel - lead from the lobby area to the library proper, where the “modern” material gives way to traditional wood. Also on the ground floor is a small “cube” for displays in which the light is controlled (as throughout the museum-andlibrary) by a computer that analyzes exterior light data in real time. Still lower, 20 metres deep into the bedrock of Manhattan, vaults have been dug to contain books and
Harvey Marshall Associates (audiovisual systems consultants); IROS (elevator design); HM White (landscape architect); Stuart Lynn Company (cost consultants) Sistema Lux
Photos: Michel Denancé 1.2. Piazza: interior and exterior 3. Library
manuscripts of inestimable value. Renzo Piano has extended the Renaissance style building with its Palladian influences, erected by the banker Pierpont Morgan, by adding a series of modern, light-filled pavilions. As technical sponsor on the Morgan Library project, concerned with lighting installations, iGuzzini offered suitable fixtures, and the benefit of the company’s extensive experience in design.
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Projects
Light for the Morgan Library expansion
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The lighting design for the project was entrusted to RPBW and Arup, who focused particularly on the interplay between two types of lighting: natural and artificial. A regards the choice of luminaires for the various rooms of the complex, the designers settled fairly quickly on Le Perroquet spots, which are used generally for accent lighting.
Natural light is extremely important, and in the rooms able to receive it, the use of artificial lighting is minimal. In the reading room, for example, the only artificial light is provided by fluorescent tubes on the bookshelves, which serve to illuminate the spines of the books, and table lamps for users of the facility to read by.
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4. Auditorium 5. Piazza 6. Detail of the window frontage on the piazza
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The exhibition space afforded by the “cube� receives natural light from the ceiling cavities, whilst the Le Perroquet fixtures are used simply to provide accent lighting and supplement the natural source when demanded by the settings. In the underground vaults where the more fragile paper exhibits are displayed, conversely, only artificial lighting is used; here, the level of illumination is maintained at 30 lux, thanks to a calibrated study of the light sources adopted and of the number of fixtures, and to the use of special filters. Le Perroquet fixtures are also installed on tracks forming part of an indirect lighting system created especially for this project. In the auditorium, on the other hand, Le Perroquet units are deployed in conjunction with a new coupling system that allows them to be used in pairs.
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Gentile da Fabriano and the other Renaissance
Projects
Credits Under the high patronage of President of the Republic Carlo Azeglio Ciampi An exhibition promoted and staged by Francesco Merloni State Exhibition status
Fabriano, 21 April - 23 July 2006
The exhibition entitled “Gentile da Fabriano and the other Renaissance”, promoted and staged by engineer Francesco Merloni, was inaugurated 20 April 2006 in the presence of former President Carlo Azeglio Ciampi. The show represents a unique experience in terms of the high scientific value it embodies in today’s cultural panorama. For the first time, it reconstructs the corpus of work by Gentile da Fabriano, presenting a number of paintings sufficient to retrace the steps of his complex artistic journey. Also on show, certain of the more important polyptychs painted by the artist, fragmented over the centuries but reassembled here in their original form, thanks to a successful collaborative effort involving the promoter of the event and its scientific committee, and the various lenders to whom the exhibits now belong. The exhibition is set up in the buildings of the fifteenth century Ospedale del Buon Gesù, situated in one of the most important squares of Fabriano: the Piazza della Cattedrale. Reorganized especially for the occasion, the complex houses all public services on the ground floor so as to guarantee permanent freedom of access between the building and the town centre, even outside of the exhibition’s opening hours, whilst the exhibits are all on the first floor, distributed around the ambulatory of the beautiful late Gothic cloister. The design of the exhibition has transformed a historically defined location into an art venue, with the period surroundings now incorporating a new "internal" space circumscribed by a continuous wall symbolically recreating the narrative continuum that charts the evolution of Gentile da Fabriano's work through his widespread experience in Italy, and recombining the aspects of multiplicity and diversity on show, like the dimensional and material variety of the exhibits (frescoes, paintings, drawings, jewellery, illuminated manuscripts) and the variety of authors included.
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Layout design Studio Salmoni Architetti Associati Vittorio Salmoni, Carla Lucarelli, Giovambattista Padalino, Alessia Tanzie con Enrico Branchini, Roberto Evangelisti, Alfredo Filippetti, Mario Michetti, Giovanna Pizzella, Carlo Giantomassi, Giovanna Bonasegale, Donatella Zari, Francesco Stefanori
Layout implementation Guidobaldi allestimenti Systems design Giovanni Massa Carlo Nobili Bruno Roccheggiani Roberto Mancini Lorenzo Micozzi Termostudi Associati
Systems implementation Climate control RCGroup Tecnoimpianti
Photos: Sante Castignani 1. Cloister of the Complex 2. Detail of Room VI
Electrical and lighting systems Effetto Luce B.C.B. Electric
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Given the importance of preserving the single exhibits, moreover, special containers had to be designed, such as could be adapted in terms of size, lighting and climate parameters to meet the particular recommendations offered by restorers in this regard. A key element in the design of the exhibition is colour. Following a careful chromatic analysis of Gentile’s paintings, the designers were able to define a limited range of colours that would
characterize the overall layout of the exhibition while offsetting the gold of the paintings and the splendid frames, the items of jewellery, the powerful colouring of the illuminated manuscripts, and the delicate precision of the drawings. The walls and the floor, treated identically throughout to underscore the fluidity of the space, are modulated in varying shades of grey.
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Projects
Gentile da Fabriano and the other Renaissance
Automation and safety systems Siemens Building Gruppo Stella Costruzioni Generali Tenso One Design Mag92
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Exhibits are mounted or hung on panels of an opaque and absorbent azure blue selected to highlight the characteristic splendour of the late Gothic works on show, and to show off their rich colouring. The lighting system is based on a delicate counterpoint between background lighting, designed to enhance the exhibition space, and localized pools by which attention is focused on the single exhibits. Shuttle spots and floods were used, with different optical assemblies and power ratings, selected to complement the quality, colour characteristics and size of
the individual items, and their inherent receptiveness to light. The facility of dimming all the rooms was guaranteed by the continuous wall, which ensures both that natural light cannot penetrate and that the internal climate can be kept under constant control. With the erection of a large canopy in the cloister, and a specially designed tension membrane structure in the historic garden adjoining the Ospedale, the open spaces are also furnished, and the various sections of the architectural complex drawn into a single unit.
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Scientific curatorship of the exhibition Keith Christiansen Andrea De Marchi Laura Laureati Lorenza Mochi Onori General Organization CIVITA
Promoting Bodies Ministry for Cultural Heritage and Activities Office for Historical, Artistic and Ethnoanthropological Heritage in the Marches
The Marches Region Office for Cultural Heritage and Activities - Office for Tourism Province of Ancona Municipality of Fabriano Mountain Community of Esino-Frasassi
3. Room IV 4. Part of Room III
Studio Salmoni Architetti Associati The Salmoni firm of architects won a competition in July 2005 set up by Kind Art srl, calling for ideas on how to stage the Gentile da Fabriano exhibition. The studio has been operating since 1954 in the fields of strategic land planning, urban design, architecture, the restoration of historic architectural and monumental heritage sites, and the design of museum installations and temporary exhibitions. Recent restoration projects include the former convent of San Domenico, now the Civic Museum of Camerino; the Villa Salvati in Monteroberto (Ancona), and numerous churches in the Macerata area; the Villa Favorita in Ancona, now the offices of ISTAO (Adriano Olivetti Institute); also the old Jewish Cemetery in Ancona, and Ancona’s Theatre of the Muses, a project cited by the Architecture and Art Department of the Cultural Heritage Ministry (DARC) as being among the most important works of architecture erected since the Second War. The studio has designed many urban renewal and action plans, including the Recovery Plan for the Palombare quarter of Ancona. With Aldo Aymonino, Cino Zucchi, Alberto Ferlenga and Pippo Ciorra, Salmoni handled the completion o of the Q3 Montedago quarter of Ancona and the design for a residential building in the Viale dei Pini district of Senigallia, which was nominated for the Inarch 2005 award. The partnership recently curated preparations at the Diocesan Museum of Camerino, the Pinacoteca of Visso, and the Maria Sofia Giustiniani Bandini Museum at the Castello di Lanciano in Castelraimondo. Since 2001, Salmoni has been the promoter of initiatives concerned with City Lighting and collaborated with artists such as Mario Sasso, Carlo Bernardini, Raffaella Nappo, Denis Santachiara, Studio Azzurro and Jacopo Foggini, and with various designers.
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Projects
The Palace of Justice in Antwerp
Client: Regie Der Gebouwen Architectural design Richard Rogers & Partners
Antwerp, Belgium
Architectural Collaboration VK Studio
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Structural engineering Arup - VK Engineering
Main Contractor Interbuild - KBC - Artesia
Façade Lesos Engineering
Engineering consultants Arup - VK Engineering
Lighting consultants Arup
Acoustics consultant Arup Acoustics
Cost consultant VK Studio
Landscape architect Wirtz International BV
Photos: Giuseppe Saluzzi 1. Indirect roof lighting 2.3.4. Exterior of the building. Daytime and nocturnal view
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March 2006 saw the official inauguration of the new Palace of Justice, a secular cathedral of metal, glass and wood measuring 78,000 m2. It was created by architect Richard Rogers, winner of an international design competition launched in 1999. The design features six wings arranged around a public space at the hub - the concourse - and interleaved with fingers of landscaped garden. The façade, with large expanses of glass, admits plenty of natural light that floods all of the rooms, maximizing transparency both effectively and symbolically. Rogers has come up with a building that does not dominate the city skyline: in reality, the structure rises no higher than the surrounding buildings, and the inclined crests of the architect’s novel roof design are reminiscent of Flemish church bell towers, or the sails on the nearby Escaut river. Indeed it is the wave-like appearance of the roof that characterizes the Palace of Justice: a complex three-dimensional structure composed of triangular sections, resulting from a close collaboration between Richard Rogers & Partners, Ove Arup and VK. The distinctive superstructures are of hyperbolic paraboloid geometry, with each individual roof structure, in practice, comprising four interconnected quadrants. Each quadrant appears as a hyperbolic paraboloid on a square base. The linear elements that fill the quadrants are “woven” from wood, each consisting in an assembly of struts secured to a main rib. This method of construction allows the formation of a cladding with faultless curves. The wooden structure remains visible from inside the building, so that the visitor can appreciate the interaction of the different components. The lighting system for the new Palace of Justice includes Nuvola fixtures, made by iGuzzini, which blend perfectly into the architectural context of the building.
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Projects
Relocation of the Egyptian Collection in the Altes Museum
Client Bundesamt für Bauwesen und Raumordnung, Direction Brigitte Rüger
Berlin, Germany
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The Egyptian Collection in Berlin is one of the most renowned collections in the world. Its transfer to a new location in the summer of 2005 coincided with the 175th anniversary of the Preußischer Kulturbesitz. It was decided in January 1991, as part of a master plan for the Museumsinsel (Museum Island), that the Ägyptisches Museum (Egyptian museum) and Papyrussammlung (Papyrus collection) would return from Charlottenburg to their historic home in the Neues Museum (New museum), following renovation and refurbishment. The first step in this transfer was to equip the top floor of the Berlin Altes Museum (Old museum) temporarily, to receive the Egyptian Collection. The rooms radiate from the main staircase around an open space at the centre of the building. For the purposes of the new layout, the rooms having side windows and skylights were considered as lateral light sources. Daylight entering through each window is filtered through a white
diffuser screen. The exhibition layout utilizes around 179 display cabinets (2 m - 2.5 m tall), freely arranged. The lighting design is based on the use of directional spots that can be trained on the exhibits. Strong accent lighting shows up the fine relief structures and the quality of the materials. The artificial lights, installed only on the ceiling, also serve as general downlighters. Display lighting fixtures are recessed into the suspended ceiling structure. The ceiling area is divided into bands running at right angles to the façade, 1.90 m approx in width. This division of the ceiling is accentuated by the use of electrified tracks. The basic arrangement adopted is a three-phase track carrying Metro spots with dimmers, using low voltage halogen lamps (QR111/12V) available in various wattages. Around 40% of the spots are equipped with beam control accessories or fitted with diffuser lenses.
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Beneficiary: Staatliche Museen Berlin, Ägyptische Sammlung - Dietrich Wildung
Architectural design - execution GMH- Architekten Galen Meyer Hintze - Franz Galen
Architectural design Hilmer & Sattler und Albrecht, Gesellschaft von Architekten mbH, Direction Frigga Uhlisch
Layout Scala - Günter Krüger
Photos: Juergen Lippe 1. Room in the Altes Museum dedicated to Egyptian art 2. Bust of Queen Nefertiti
Lighting design LichtVision GmbH - Carla Wilkins
The choice of fixture was determined by the decision to use narrow bands of light and by the facility of rotation through 365°. The light from the spots is also adjustable by means of a rotary potentiometer type control. Colour rendering in the display areas is Ra>90. Heat was also a factor in the design of the lighting system, given that when defining the climate conditions for the different rooms, a maximum 2 or 3 spots were allocated to each cabinet or exhibit. Emergency lighting would be provided by separate lamps (QR38/12V 20W 32°) recessed into the gap of the suspended ceiling structure. Besides the many fine masterpieces on show, the temporary enlargement of the Altes Museum on the Museumsinsel has created space for the famous bust of Queen Nefertiti, of which the paint has survived, unrestored, from the Amarna period (around 1340 B.C.) to the present day. Having completed the tour, the visitor can take a last look at Nefertiti across the large rotunda and enjoy the view of the Lustgarten, over which the Queen looks out every day. The final transfer of the Collection to its definitive home on the Museumsinsel - the renovated and refurbished Neues Museum - is planned for 2009.
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Projects
Reorganization of the Picasso Museum
Client Christine e Bernard Ruiz Picasso
Malaga, Spain
The Picasso Museum in Malaga is the outcome of a wish on the part of the artist’s heirs, Christine and Bernard Ruiz Picasso, to set up a permanent exhibition in the place of his birth. The idea was made possible thanks to the support of public bodies, principally the Autonomous Government of Andalusia. The museographic project is structured around a total of 155 works by Picasso, released or donated to the museum by the two family members. The building selected to house the collection is the Palacio di Buenavista, for which
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the location and the typically Andalusian style were key factors in making the choice. Given the scale of the project, it was deemed appropriate to purchase adjacent properties, enabling the creation of a cultural complex integrated into the urban fabric of the historic city centre. The task of planning and designing the complex, and adapting it to the purpose in hand, was entrusted to Richard Gluckman, of Gluckman Mayner Architects, and to Isabel Cámara and Rafael Martín Delgado of Camara/Martín Delgado Arquitectos, with the assistance of the engineering concern ARUP. The Palacio di Buenavista is the main building of the museum, and the home of the permanent collection; accordingly, a significant amount of work was needed to incorporate all the services and systems that must form part of a modern museographic environment, lighting included. After numerous trials and studies, the choice fell on the Parallel fixture, fitted with low voltage 12V halogen lamps, type QT12 (50/75/90/100 W). In addition to the usual directional flexibility, the Parallel can also be used in conjunction with both spot and flood optical assemblies, with cylindrical shields, so that the light output can be adapted to the effective requirements. The fixtures used for the permanent exhibition area have a black finish, integrated completely into the restored panels of the building, with the control gear positioned remotely from the source; this meant designing a special mechanical fixing assembly and an electrical connection. The positioning of the single fixtures was conceived and defined on the basis of the “quasi permanent” placement of the exhibits. In the temporary exhibition rooms, on the other hand, the installation was decidedly more flexible and dynamic, allowing adaptability to the various layouts. In this instance the fixtures have a white finish and are mounted to multiphase electrified tracks; each is equipped individually with its own light intensity control and electromechanical adapter.
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Planning, design and adaptation of building complex Gluckman Mayner Architects Richard Gluckman, Isabel Cámara e Rafael Martín Delgado di Camara/Martín Delgado Arquitectos, with the collaboration of ARUP
Lighting design Roberto Bergamo and Paul M. Schwartzbaum
Photos: A. Rubio & Asociatos 1.2. Picasso Museum, interiors
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Projects
New headquarters of the Calem Wineries
Architectural design Jose Luis Pereiro Alonso Sim贸n Pereiro L贸pez-Quecuty
Oporto, Portugal
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With a tradition stretching back some 150 years, the House of Calem is among the most famous names in Port Wine history. Founded in 1859 by Antonio Alves Calem, the firm has collected a great number of awards and acknowledgements. In the late 1990s, the Caixanova Bank bought into the Calem company, acquiring a 20% share of the capital that would increase subsequently to 99%. High on the list of priorities for Caixanova was to renew the image of the brand and initiate an ambitious plan that involved renovating and refurbishing the historic buildings where the casks are housed. The winery premises offer modern services to cater for the many tourists who visit Calem - typically more than 100,000 every year. The process of renovating the buildings was concluded in 2004, and there is now a
section specially equipped to host cultural, social and business events. The three main public areas are the museum, where visitors can learn all about the Douro region, the making of Port Wines, and the history of the House of Calem; the cellars, where the wines are aged in special conditions, protected from light and heat; and the tasting and sales salon. In this context, the approach adopted for the lighting design was one of maximum respect for the architecture of the buildings, and for the particular needs presented by each set of surroundings. The Kriss appliques, with 100 W high pressure sodium vapour lamps (HST - white), offer a low, warm emission that enhances the features of the walls and provides a common point of reference throughout the premises.
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Furnishing Sofía Pernas Micaela Neira
Museography Pablo Bustillo Rufo Fernandez
Photos: Manuel Vicente 1. Tasting salon 2. Detail of casks 3. Cellar
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The lighting for the museum is suitably museographic, using Le Perroquet fixtures mounted on tracks. In the tasting and sales area, the light emission of the Le Perroquet units is widened to provide direct lighting on the horizontal surface of the tables. The offices are equipped with suspended Berlino luminaries and HIT150W metal halide lamps, which provide direct-indirect lighting. The auditorium, which forms part of the cellars, can seat 120 people. The grazing light projected onto the walls by the Kriss fixtures comes in this instance from
halogen lamps, and is complemented by direct light from Le Perroquet fixtures with halogen lamps and flood optical assemblies. Dining rooms with seating capacities from 14 up 150, exhibition rooms, private meeting rooms, the culture of the House of Calem and of its wines... all combine to offer a high quality facility for cultural and social events. The architectural renovation project at the Calem winery received the “Best of Wine Tourism Award” for 2006.
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Projects
Thales Research and Development Centre
Client Group Thales Architectural design Studio Serau Frédéric Tomat and Alain Dupont
Palaiseau, Francia
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The multinational Thales Group is a global electronics concern serving the aerospace, defence and information technology sectors. It became known by its present name in 2000, following an acquisition. The company is currently state owned in part, and operates in 30 countries. The Group recently built a Research and Development Centre at Palaiseau, of which the design was entrusted to Frédéric Tomat and Alain Dupont, two young members of the SERAU studio of associated architects and engineers.
Their design was based on an attentive analysis looking both at the functional expectations of those who would be users of the projected building and, more especially, at the personality of the client. The Centre would have an overall surface area of 32,000 m2 and include a building to house offices and optical laboratories, also a "reception” block with conference facilities, a building with laboratories, research centres, white rooms and equipment rooms, and a technical platform.
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Photos: Didier Boy De La Tour 1. Exterior of the building 2. Main hall
The concrete and glass structure contains a conference room and features a imposing monolithic staircase, suspended in space and affording a window on the world outside. The inner garden is laid out with set pathways and provides a further meeting place. In addition to these areas, onto which all routes through the building converge, there are also “vertical coresâ€? conducive to conviviality, with their glass frontage, open staircase and balcony overlooking the landscape, and areas for relaxation on each landing. As to other components of the design, these serve to fulfil mainly functional requirements. The prefabricated structure consists in a system of prestressed uprights and cross members, with standard infill panels, for comprehensive flexibility of application. The façades in particular are worthy of note: the shimmering surfaces of the parapets, screenpinted glass and blinds reflect the lights of the optical research building, its southernmost wing faced along the two upper floors (the lower level presents a plinth of smooth concrete), with a timber cladding that provides an effective barrier against the sun and is punctuated at intervals by square see-through voids.
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Certain occupants of the centre would spend most of their time in laboratories (some necessarily without windows), effectively in isolation, and to facilitate personal contact between these people, the designers decided to create two open-view areas. The reception hall is a glass cube placed at the crossing of two large wings (the office and optical lab block, and the laboratory and white rooms building) and becomes a general meeting place. A recreation room. Somewhere to exchange ideas.
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Projects
“Words” A work by Alfredo Pirri Une historie privée: a private history - contemporary Italian photography in the Anna Rosa and Giovanni Cotroneo collection Paris, 21 June -15 October
The Maison Européenne de la Photographie (MEP) offers a selection of photographic works from the collection of two Italians, Anna Rosa and Giovanni Cotroneo, who have been art lovers for over 30 years. The starting point of their photograph collection is a view of Naples, by Mimmo Jodice. The selection presented by MEP director Jean-Luc Monterosso includes a “classic” section (with pictures by Vincenzo Castella, Antonio Biasiucci, Franco Fontana, Mimmo Jodice, Francesco Jodice, Luigi Ghirri, Donatello Spaziani and Raffaella Mariniello, Claudio Abate, Elisabetta Catalano, Ferdinando Scianna, Mario Giacomelli, Silvio Wolf and Gabriele Basilico), and a further section dedicated to young photographers. In addition to the photographs, there is an installation entitled “Parole”
(Words) by Alfredo Pirri, dedicated to photography and light and realized in collaboration with Adnkronos, for which iGuzzini provided lighting consultancy and equipment. Pirri’s creation is not a work of photography, but a homage to photography, which etymologically means “writing of light”. As news from the Adnkronos press agency is networked, the light of the installation changes. Brighter when the news is good, dimmer when bad. The technique adopted for the floor level installation, measuring 4 x 8 metres, is typical of the artist’s work: slabs of white Carrara marble and shards of red glass make up a landscape that could be considered as a metaphor for the world we live in. The element that animates the piece is light, although to speak of "lighting effects" would be
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Photos: Didier Boy De La Tour 1.2.3.4. Variations in light, linked to the news stories arriving at Adnkronos.
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wrong, and indeed Alfredo Pirri is first to say so, explaining: “The composition is backlit by large lamps positioned facing the observer, like a big window. The projected light changes irregularly, influenced by two sets of values: the power of the light, and its colour temperature - in other words warm light and cold light. The changes are generated by the normal activity of Adnkronos, responding to a stream of around 2000 news items per day registering on a terminal not seen by the visitor. The stream of news is filtered through a grid of 100 words: 50 for power and 50 for quality. A small monitor screen is positioned alongside the installation, on which visitors can read only the titles of the agency news reports and the two associated key words”. If Adnkronos circulates a news item, for example, with the words “people” and “peace” - belonging respectively to the lists governing quantity of light and colour temperature - the installation will be illuminated with light of a stronger, sunnier nature. Conversely, when news reports contain words such as “blood” and “defeat”, the landscape will appear in a feebler and cooler light. The system uses Sivra technology, developed by iGuzzini, which the technical department of Adnkronos,
run by engineer Giovanni Parise, has coupled to its news streams by way of an algorithm that will extract a pair of values from each news item in real time. These values are then used to pilot the variable output of the lamp. In practice, a processed signal is relayed to a personal computer at the MEP - connected via the internet to the Adnkronos central information systems at Piazza Mastai in Rome - and applied to the lamp illuminating the exhibit, producing an instantaneous response.
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Projects
New illumination for the Mitchell Library
Client Glasgow City Council Architectural design Glasgow City Council Building Services
Glasgow, Scotland
Situated on North Street in the central Charing Cross district of Glasgow, the Mitchell Library was built between 1906 and 1911. This imposing Edwardian baroque building has a fine marble and stone staircase and spacious reading rooms, with elaborate joinery and plasterwork. 2006 saw the implementation of a full renovation and refurbishment project that included the renewal of the illumination to the North Street frontage. In line with a recent commitment of the Glasgow City Council to see that the town’s more important buildings are fittingly illuminated, the North Street frontage of the Mitchell Library has been newly lit up with iGuzzini fixtures. As part of an overall sponsorship, in collaboration with the Glasgow City Council’s Heritage and Design Department, its Building Services, and lighting designers Light Folio, iGuzzini provided a lighting solution capable of meeting the expectations and wishes of the design team. The proposal submitted to the client was different to the kind of illumination adopted in 1990, which utilized suspended fixtures. The new system gives the building added depth, revealing its architectural features
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to maximum effect and, not least, showcasing a finial statue by Thomas Clapperton on the dome; the figure represents Literature, personified also as Minerva, the Roman goddess of wisdom and learning.
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Lighting design Light Folio
Photos: Paul Zanre Photography 1.3. Faรงade
Technical sponsor iGuzzini illuminazione
2. Detail of the dome
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Great care was taken over the illumination of the statue, which is picked out distinctly by a Maxiwoody with superspot optical assembly. Another imposing statue, also representing Wisdom, overlooks the North Street entrance: here too, iGuzzini found a way of highlighting the feature, using a concealed Mini Woody spot. The entire system of faรงade fixtures was designed in such a way as to provide a source of illumination that would be invisible by day and highly effective at night. All products used for the installation were selected specifically with
performance and durability in mind. The iGuzzini fixtures utilized include: Radius, Linealuce, Woody, Light Up Professional and Platea. The former St. Andrews entrance on Granville Street was destroyed by fire in 1962. In 1980, an extension was added to the Mitchell Library, behind the original faรงade, and this building also incorporated the Mitchell Theatre. Thanks to the successful collaboration on the Mitchell Library illumination, iGuzzini was also selected as supplier of lighting fixtures for subsequent phases of the refurbishment.
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Projects
A new building for the Welsh National Assembly
Client National Assembly for Wales Project director TPS Architectural design Richard Rogers Partnership
Cardiff, Wales
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In March 2006 (St. David’s day, 1st of March), Her Majesty the Queen opened the Senedd building for the National Assembly for Wales (NAfW). The project, originally conceived and won in competition in 1998 with Architects Richard Rogers Partnership (RRP), BDSP Partnership and ARUP to provide a new home for the Assembly, was re-tendered in 2001 under a ‘design and build’ procurement route with the same design team lead by the Main Contractor Taylor Woodrow Construction. The Clients Brief required that the new Assembly Building meet the Assembly's constitutional responsibilities for sustainable development and achieve "Excellent" rating under the Building Research Establishment
Environmental Assessment Method (BREEAM). In response, the environmental design strategy for the building as a whole was one first and foremost of reducing energy demand, followed by the application of renewable energy sources and only then covering any residual demand by using highly energy efficient technologies. This philosophy is also reflected in the lighting design and could broadly be described using the following three step approach: 1. Maximise and control natural daylight penetration; 2. Use of energy efficient light sources; 3. Link controls to deliver the best cross-over between natural and artificial.
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Quantity supervisor Northcroft
Civil and Structural engineers ARUP
Set Advisor Department Purple
Transmission Consultant Roger Farmer Associates
Environmental and construction service engineers BDSP Partnership Ltd.
M&E Contractor MJN Colston Ltd.
Photos: Redshift Photography - Dave Thrower 1. Exterior
Main Contractor Taylor Woodrow Construction
2. Assembly chamber
Lighting consultants BDSP Partnership Ltd. DPA Lighting Consultants
A predominant feature is the Debating Chamber, located in the heart of the building. This space, where proceedings will be broadcast live, is unmistakably meant to be read and perceived as a daylit space by both Assembly Members and the watching public. The vision of the design team was to allow internal conditions of the Chamber to vary naturally with the passage of time, thus providing a vital psychological connection with the outside. The space is enclosed and daylight can only enter via a glazed lantern that is seated on the domed roof beneath a rotating wind cowl and a horizontal glazed ring around the base of the funnel in the main hall events area. The most prominent daylight aperture is the glazed lantern. Daylight is reflected into the heart of the Chamber below via a combination of light shelves around the base of the lantern, a suspended conical mirror and a series of concentric aluminium rings which make up the chamber funnel.
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Projects
A new building for the Welsh National Assembly
3.4. Assembly chamber
This meant prototyping a new fixture, on which photometric and thermal tests were conducted in Italy at the IGuzzini laboratory. The result is a Chamber lit by a single ring of 80 fixtures with 70W CDM-T metal halide lamps, recessed into the base of the funnel and set at oblique angles, with the aluminium rings starting immediately above. A further eight floodlights are installed higher up between the tubes to illuminate the surface of the funnel. In addition, at the perimeter of the chamber, circular T5 fluorescent lamps
are recessed into the acoustic panels. As the metal halide lamps cannot be dimmed, the floodlights were arranged in four banks (i.e. 25%) to achieve daylight compensation. In this manner they could be switched according to the daylight levels. In conclusion, the artificial lighting design coupled with daylight successfully complements the overall low energy concept for the whole project, enabling the Senedd to set new standards in environmental performance.
The artificial lighting design for the debating chamber required that the artificial lighting achieve a horizontal illuminance of 500lux with a colour temperature of 5000K and colour rendering of 1A/1B, suitable for colour balancing by the host broadcaster, televising the proceedings during daylight hours. As with the daylighting studies, numerous computer modelling simulations assessing various artificial lighting strategies and luminaire configurations were undertaken by BDSP Partnership to achieve both a technically compliant and an architecturally simple yet elegant solution. Following some early investigations on CTB filters, the installed design is based on the use of 70W 4200K ceramic discharge metal halide CDM-T lamps. The fixture - Pixel Plus was modified to accept the 70W CDM-T lamp.
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The lighting designer’s toolbar 2005 (part 2)
Design
by Julle Oksanen
In issue 13 of Incontroluce, Julle Oksanen dealt with the first four tools that need to be used, and which serve as guides to lighting design: Concept; Master plan, the Lighting Design process, and Computers. Having already looked at these, he now discusses further tools, with the aid of photographs from his own portfolio.
Tool 5: Calculations “Lightprisms in Helsinki - Vantaa airport. Permanent lighting for the European flights terminal. 22 x 2200 kg glass prisms, each equipped with adjustable aluminium wings, and 6 luminaires providing the electric light. 200 lx Ehor- was the level selected for general lighting purposes. During the daytime, natural comes into the terminal through the aluminium wings and glass side walls. Daylight creates so-called “Accidental lighting architecture”. The computer was used to calculate the lumen package in light directed from luminaires through the glass panels to the wings and then down to floor level within the terminal. The computer did not resolve everything, but helped a lot. Our own calculation formula was used. Architect Pekka Salminen, lighting designer Julle Oksanen.
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Tool 6: Recommendations Thousands of pages have been written with of all kinds of recommendations on lighting. Some are fine, others make me smile. For 10 years or so I was very excited about creating them with different teams, like with the CIE and other voluntary associations. After 10 years of superactive personal involvement I started to lose my 100% trust in recommendations and standards. But I would like to introduce a very good practical example to everyone: Grand Central Station in New York City..
Grand Central Station in New York City has beautiful lighting inside the building. It is the work of lighting designer Charles Stone. This is the best part: according to the recommendations there ought to be Ehor = 200 lux at floor level. Grand Central Station has only Ehor = 15 lx and it is beautiful. Less than 8% of the recommended value, and yet people come from all over the world to see it and enjoy the atmosphere.
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Photos provided by Julle Oksanen 1.2.3. Light prisms. Lighting for the European flights terminal at Vantaa airport, Helsinki 4. Grand Central Station, New York 5.6. Before and after. Stockmann Shopping Mall
Final example of application using all the tools: Stockmann shopping mall project
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The building is in the process of being renovated. The Lighting Design Master Plan has been completed and the Pilot area is ready. During the one year process of preparing a new lighting design, these tools were used: – – – – – – – – – – –
Concept Master plan 1:1 scale model Calculations New technology Teamwork Computers Lighting design process Recommendations Luminaire design Client
Briefly: The lighting is divided into 3 elements, all with their own purpose and significance. The lighting design philosophy also included partly architectural design elements, as do all engineered systems (air conditioning, water pipes, sprinkler system, wiring, etc.), which were concealed behind the unobtrusive suspended ceiling structure. Besides indirect recessed lights and strip lighting, spots with a sharp 25° beam were used as accent lights to pick out individual products. Spotlights today do not necessarily need to be track-mounted any more. The grid of luminaires was checked by computer in order to ensure coverage of the whole sales area. iGuzzini Frame luminaires with electronic ballasts were used. Our evaluation of the Frame as a luminaire was as follows: visually attractive black box, stylish
contours, right size and proportion for our suspend ceiling elements, high quality materials, good aiming angles, zero glare even if aimed incorrectly by the client, technically high quality, electronic ballasts = long lamp life with 35W metal halide, easy to install, reasonably priced. There are many designers and clients who either fail to understand or at least underestimate the importance of the manufacturer in a smooth and flexible design process. As regards my own lighting projects - be they educational, research or design - the role of manufacturers and their staff is especially valuable and important. On this project, for example, the manufacturers have created something special in terms of the adopted luminaires, and been super fast with their services.
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“Conoscere la forma” project
Corporate culture
Milan, Italy
Ideation Centro Studi e Ricerca iGuzzini Istituto Centrale per il Restauro Thanks to Trapani Heritage Authorities, for their kind permission to use the copy of the Dancing Satyr
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On 23rd May at the premises of iGuzzini Partner Assistance in Milan, the press and public were introduced to a new project, “Conoscere la Forma” (Appreciating Form), originating from a collaboration between the iGuzzini Study and Research Centre and the Istituto Centrale per il Restauro (Central Restoration Institute). The project comes about as the result of a conviction central to every aspect of corporate strategy: light is an element fundamental in acquiring knowledge of the world around us. When used to illuminate works of art, in particular, lighting must be properly studied, designed and implemented, given that it has a crucial influence on the preservation, perception, analysis and understanding of the work. “Appreciating form” is a project developed along two lines:
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Photos: Paolo Carlini, Carlo Anastasio, Archivio iGuzzini 4. The Dancing Satyr, as seen by archaeologist Paolo Moreno
1. Setting up the different lighting schemes 2. Left to right, Adolfo Guzzini and Caterina Bon Valsassina, director of the Istituto Centrale per il Restauro
5. The Dancing Satyr as perceived by the blind and partially sighted, by Angelo Mombelli
3. The Satyr, installed at iGuzzini Partner Assistance
6. The Dancing Satyr, as seen by Gillo Dorfles
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“Viewable forms” In this part of the project, a model of a work of sculpture is considered by three professionals in specific and different areas of expertise, for example: a restorer; an art historian, and a photographer Underlying this project is a research programme aimed at identifying one or more methods of analysis, and of lighting design application, that will provide curators of museums and shows with a greater awareness of how three-dimensional exhibits can be illuminated to best advantage. Using computer management, designers can create a variety of settings, static and dynamic alike, besides programming a range of different lighting parameters such as intensity, cone width and colour
“Touchable forms” The same model of a work of sculpture, consistent with the original, made of material and on a scale suitable for the purpose, is presented for tactile exploration by the blind and partially sighted. To enable appreciation of the piece by the blind and partially sighted, researchers have identified ways of preparing the surface of copies specifically with tactile response in mind, related for example to the thermal properties of materials, by utilizing different materials for certain details, and by selective treatment of the surface. This part of the project was developed in close collaboration with the physics laboratory of the Central Restoration Institute, and foundermoulder Alessandro Fagioli.
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Corporate culture
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“Conoscere la forma” project
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The Dancing Satyr of Mazara del Vallo The bronze statue of the “Dancing Satyr” was discovered on the bed of the Sicilian Channel in two stages: first the left leg, in the Spring of 1997, and almost a year later, the armless body, without the right leg. It represents a figure of mythology, part man part goat, one of the orgiastic followers of Dionysius, god of wine. The work is dated to around the end of the 4th or the 3rd century BC. Its beauty and perfection suggest Praxiteles as the author.
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7.9.11. Three images of the installation by Vincenzo Cerami
12. A moment during the press conference. From left: Giorgio Accardo, Gillo Dorfles, Paolo Moreno, Angelo Mombelli, Vincenzo Cerami, Adolfo Guzzini
8. Digital 3D model 10. The original of the Dancing Satyr
13.14. Other moments during the presentation of the project 15. “Touchable forms� Tactile exploration by the blind and partially sighted
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The process of producing the model is characterized by two steps, known in industry as reverse engineering and rapid prototyping: in the first, the geometry of the sculpture is mapped threedimensionally (in 3D), using a laser scanner. After various data post-processing and solid modelling operations, the laboratory engineers arrive at a Digital 3D Model, consistent with the form of the original sculpture. Whilst this "virtual" model is needed in order to preserve the historical memory of the form, for study purposes and for solving problems of restoration and conservation, it can also be used as the template for a physical/ material model consistent with the original, or a model of which the scale and construction material can be selected to meet specific needs.
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In the second step, the model is generated by automatic machining processes using numerical control, with the physical model of the sculpture acquired directly from the digital model. The scale and material are selected as appropriate. Interpreting a copy of the Dancing Satyr of Mazara del Vallo in Milan through the medium of their envisaged lighting schemes were Vincenzo Cerami, novelist and screenwriter, Gillo Dorfles, critic and historian of art and design, Angelo Mombelli, expert in perception difficulties affecting the blind and partially sighted, and archaeologist Paolo Moreno, who has been studying the sculpture of the satyr since its discovery.
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Corporate culture
iGuzzini and the America’s Cup Valencia, May-June 2007
The Barrajas airport project
The Estudio Lamela, a leading name in modern Spanish architecture, is well-known as designer of the Terminal 4 at Barrajas airport, and of the Bernabeu Stadium, home to Real Madrid. Lamela is the only Spanish practice present at the “Architectural Design and Urban Planning” show in Shanghai, this year notching up its sixth edition. iGuzzini illuminazione collaborated with Estudio Lamela on the lighting for Barrajas Terminal 4.
Contemporary art along the motorway The Highway 4 Monument
Nordic Light Award for the Blue Lagoon Medical Centre
Mäntsälä, Finland
Reykjavik, Iceland
The Highway 4 Monument, by Antero Toikka, was built along the motorway between Helsinki e Lahti in December 2005. The full inauguration took place early in 2006. The sculpture, installed at Ohkola on a low hill, was erected to provide a noise barrier between the motorway and the railway. During the winter months, it is illuminated by Light Up Walk Professional fixtures with refractors and antiglare lenses, using metal halide lamps.
In June 2006, a medical centre for the treatment of psoriasis and eczema, inaugurated May 2005 and operating in the Blue Lagoon area, was given the Nordic Lighting Award for the quality of its lighting design. The lighting installation, which utilizes iGuzzini products, “is perfectly in harmony with the building” and at the same time able to create a welcoming and pleasant atmosphere (from reasons given by the jury).
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Corporate culture
Since Valencia was named as host city for the 32nd America’s Cup, the commercial port area of the city has been extensively renewed. iGuzzini illuminazione contributed - as technical sponsor - to the lighting systems for the two team bases of Mascalzone Latino and Luna Rossa. The Mascalzone Latino team base, designed by the architectural partnership Cestaro & Ciribì, is intended first and foremost as a workplace where many different activities can be carried on at any one time, but also offers areas open to the public, and where guests can be entertained. Le Perroquet, Light Up Walk and Sistema Easy are the fixtures installed. For Luna Rossa, on the other hand, the Renzo Piano Building Workshop came up with the simplest of structures: a parallelepiped, with old sails, kevlar and carbon fibres among the materials used in construction. The façade is illuminated with Lingotto fixtures.
Visionitaliane. Architecture and design for a sustainable environment Beijing, National Museum, 3-28 July 2006
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iGuzzini continues to develop and strengthen its presence in China. In addition to the lighting for Mario Cucinella’s “Sino-Italian Ecological and Energy Efficient Building” (see page 10), the company’s name is associated with the lighting for two exhibitions dedicated to Italian architecture, also involving two major Italian publications: Domus and Interni. Domus provided material from its historical archive for “Visionitaliane. Architecture and design for a sustainable environment”, an exhibition on Italian landscape, architecture and artefacts staged in Beijing, at the National Museum in Tienanmen Square. The exhibition is curated by Italian architect Mario Occhiuto and organized by Italy’s Ministry for the Environment and Land protection, in cooperation with the Ministry for Cultural Heritage and Activities, the ICE, China State Environmental Protection Administration and the China Academy of Social Sciences. It offers a window on landscapes, architectures and artefacts of the 20th Century in Italy, and a look at the cultural roots of Italian cooperation in China. Also on show are Italian examples of architecture linked with environmental sustainability.
Corporate culture
ATP Guzzini Challenger final
“50+2Y Italian Design” exhibition
Recanati, 30 July 2006
Beijing, National Art Museum of China NAMOC), 10 September - 10 October 2006 As part of the “Italy in China” year, Interni magazine was approached by the Italian Embassy to organize a design exhibition at NAMOC. The exhibition is dedicated to the history of Italian design over the last 50 years (1956 - 2006). The selected exhibits would feature products considered to be symbolic of Made-in-Italy during the period covered. These include landmark iGuzzini fixtures: AM-AS table lamp, Central 41, Lingotto applique (indoor version), Le Perroquet (suspended version with plate), and iWay.
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“Concurso” for young architects
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July 2006. The Guzzini Challenger tennis tournament was won this year for the second time by Davide Sanguinetti, who took the title when his opponent in the final, Simone Bolelli, retired hurt in the second set. Events on the Challenger circuit are administered by the ATP (Association of Tennis Professionals), which also runs the prestige tournaments on the main Tour, notably the four Grand Slams (Australian Open, Roland Garros, Wimbledon and the US Open). The ATP Guzzini Challenger tournament was sponsored once again this year by Fratelli Guzzini, iGuzzini illuminazione and Teuco, three companies of the Fimag-Guzzini Group.
In collaboration with Pasajes magazine, iGuzzini España has launched the third edition of its architecture competition, intended exclusively for architecture students. The closing date for entries is 30 July 2007. The winner will receive a first prize of € 18,000, a diploma and a trip to iGuzzini headquarters in Italy. The second placed candidate receives a prize of € 6,000 plus a diploma, and the third placed, a prize of € 3,000.
1. Giannunzio Guzzini presents winner Davide Sanguinetti with the trophy 2. The two finalists: Simone Bolelli and Davide Sanguinetti.
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Corporate culture
Venice Architecture Biennial for Croatia
“Tracks. Founding an Industrial Heritage Museum” Recanati, June - November 2006
Lumenart, the iGuzzini distributor for Croatia, is building a new headquarters. The design by the famous Croatian architect Andrija Rusan - has been selected to represent contemporary Croatian architecture at the Venice Biennale.
iGuzzini illuminates the G8 venue for 2006 St Petersburg, Russia, July 2006
On 1 June 2006, a new exhibition was opened at the Villa Colloredo Mels, entitled “Tracks. Founding an Industrial Heritage Museum” and promoted by the cultural association “Il Paesaggio dell’Eccellenza” (Landscape of Excellence). The exhibition is a first step toward setting up the future museum of industrial heritage representing the area between the valleys of the Musone and Potenza rivers, and reflecting local culture and values. Punctuating the tour of the exhibits are certain selected “items of excellence” representative of local industrial output and of the corporate values of the 25 contributors involved with the association. There are six broad themes - Art, Design, Communication, Local/Global, Innovation and Social Responsibility - through which the organizers have sought to illustrate an extraordinary and heterogeneous industrial scenario. And alongside the exhibition, likewise in the Villa Colloredo, there is the “Guzzini Gallery”, providing an overview of the various companies of this important Recanati group, and an introduction to the Eko Guitar Museum.
St Petersburg provided the venue for the G8 summit in 2006, the main meetings being held at the Mariinskij Palace. To mark the occasion, the building was provided with new illumination, commissioned from iGuzzini illuminazione. This project figures alongside those already completed for the Church of the Resurrection, the Nevsky Prospect and the Hermitage.
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Opinion
I have always been keen on sport, and I believe sport plays a huge role in education generally. This was always what prompted me to set up the Guzzini Tennis Club, which is open to everyone in Recanati - especially youngsters - and not only to company employees. The club has grown over the years: in 2004 it was awarded the bronze star for merit by CONI (the Italian Olympic Committee), and our tournament is now on the ATP Challenger circuit. iGuzzini has always supported the activity of the Tennis Club and of other sporting organizations in the region, such as the youth football scheme of the Unione Sportiva Recanatese. With support from local business, these two organizations help to coach a great number of youngsters: every year, 300 boys and girls of between 6 and 14 attend the tennis and football schools created by the two Recanati clubs. Their commitment is that much more admirable at this particular time, when sport seems more and more frequently to be tainted by corruption, and scandal generally. Helping to get youth sports off to a healthy start is one of the most important values underpinning social and cultural development in society, complementing and completing a parallel commitment to maximize the value of our cultural heritage in the Marches through intelligent and imaginative technical sponsorship.
Giannunzio Guzzini
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Incontroluce Six-monthly international magazine on the culture of light Editing Centro Studi e Ricerca iGuzzini Fr.ne Sambucheto, 44/a 62019 Recanati MC +39.071.7588250 tel. +39.071.7588295 fax email: rc@iguzzini.it iGuzzini illuminazione spa 62019 Recanati, Italy via Mariano Guzzini, 37 +39.071.75881 tel. +39.071.7588295 fax email: iguzzini@iguzzini.it www.iguzzini.com video: 071-7588453 Graphic Design Studio Cerri & Associati Publisher iGuzzini illuminazione spa Contributors to this issue iGuzzini illuminazione Benelux Bvba/sprl iGuzzini illuminazione Deutschland GmbH iGuzzini illuminazione Espa単a S.A. iGuzzini illuminazione France S.A. iGuzzini illuminazione Norge A.S. iGuzzini illuminazione UK Lumenart, Croazia Peyan Oy, Finlandia Cover photo Carlo Anastasio Printed by Tecnostampa, Recanati October 2006
The Editorial staff is not responsible for inaccuracies and omissions in the list of credits relating to projects and provided by colleagues. Completions or corrections will be included in the next issue.
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Incontroluce XIV / The Marches: The universities and the territory / Projects: SIEEB SinoItalian Ecological and Energy Efficient Building / Light for the Morgan Library expansion / Gentile da Fabriano and the other Renaissance / The Palace of Justice in Antwerp / Relocation of the Egyptian Collection in the Altes Museum / Reorganization of the Picasso Museum / New headquarters of the Calem Wineries / Thales Research and Development Centre / “Words”, a work by Alfredo Pirri / New illumination for the Mitchell Library / A new building for the Welsh National Assembly / Design: The lighting designer’s toolbar 2005 (part 2) / Corporate culture: “Conoscere la forma” project / iGuzzini and the America’s Cup / The Barrajas airport project / Contemporary art along the motorway / The Highway 4 Monument / Nordic Light Award for the Blue Lagoon Medical Centre / Visionitaliane. Architecture and design for a sustainable environment / ATP Guzzini Challenger final / “50+2Y Italian Design” exhibition / Concurso iGuzzini España / Venice Architecture Biennial for Croatia / iGuzzini illuminates the G8 venue for 2006 / “Tracks. Founding an Industrial Heritage Museum”