Incontroluce 17 - April 2008 - EN by iGuzzini illuminazione

9.1921.000.0

Incontroluce XVII / The Marches: National Institute of Architecture - Marches section / Design: The power of light - part two / Projects: New lease of life for the Exhibition Palace / The Basilico perspective / Serra Piacentini / Decadence and renewed splendour of an historic hotel. Hotel Risorgimento / Hong Kong Science Park / A majestic light. Seu Vella / National Centre for the Performing Arts / An Eco HQ. The Nicolas Hulot Foundation / The light of culture. Champs Libres / A light line for the Aalborg University Park / A quality break / The best lighting conditions for research / A beacon for peace / Light for engineering. New headquarters of Industrial Project Services-IPS / 12 storeys of light. New Eczac覺bas 繡覺 Group headquarters / Corporate culture: Ecodesign. Responsible product design, from conception to demolition / Adolfo Guzzini - Doctor Honoris Causa / Third edition of Pasajes-iGuzzini Architecture Competition / At last, the Design Museum / PizzaKobra Tour / Lightlab

English version

I. 2008

Editorial

Incontroluce

I. 2008

Incontroluce Six-monthly international magazine on the culture of light

Dear Readers, Issue number 17 of incontroluce is packed with news about projects undertaken all round the world, reflecting the vocation of our company as a pocket multinational. Internationalization has been the watchword for the growth of our company since the earliest days, and is the reason why the University of Macerata has seen fit to confer on me an honorary degree in International Business and Economy. This editorial provides me with the perfect opportunity to thank the university once again, and to reiterate that the company could never have achieved what has been achieved had I not been surrounded by colleagues and co-workers willing to contribute to the common purpose. So, many thanks once again to all the men and women who have accompanied me, and who are still my companions on this great journey.

year X, 17 Editing iGuzzini Study and Research Centre 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

Adolfo Guzzini

Publisher iGuzzini illuminazione spa Contributors to this issue iGuzzini illuminazione Benelux Bvba/Sprl iGuzzini illuminazione Danmark iGuzzini illuminazione Espa簽a S.A. iGuzzini illuminazione France S.A. iGuzzini illuminazione Schweiz AG iGuzzini illuminazione China iGuzzini illuminazione Norge A.S. GH Lighting Ltd Tepta Ayd覺nlatma Cover photo Didier Boy de la Tour Printed: April 2008 Tecnostampa, Recanati

Errata Corrige Incontroluce 16 Nhow Hotel Lighting design Piero Castiglioni

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

Incontroluce

Summary

Editorial

The Marches National Institute of Architecture Marches section

Design The power of light - part two

Projects New lease of life for the Exhibition Palace

The Basilico perspective

Serra Piacentini

Decadence and renewed splendour of an historic hotel. Hotel Risorgimento

Hong Kong Science Park

A majestic light. Seu Vella

National Centre for the Performing Arts

An Eco HQ. The Nicolas Hulot Foundation

The light of culture. Champs Libres

A light line for the Aalborg University Park

A quality break

The best lighting conditions for research

A beacon for peace

Light for engineering. New premises of Industrial Project Services-IPS

12 storeys of light. New Eczac覺ba繡s覺 Group headquarters

Corporate culture Ecodesign. Responsible product design, from conception to demolition

Adolfo Guzzini - Doctor Honoris Causa

Third edition of the Pasajes-iGuzzini Architecture Competition

At last, the Design Museum

PizzaKobra Tour Lightlab

I. 2008

The Marches

National Institute of Architecture Marches section by Maria Luisa Polichetti Canti

At a meeting of the General Assembly on 15 September 2004, the Marches section of the National Institute of Architecture came into being, and I was elected President of the section. The Assembly also approved a three year programme setting out the initial objectives, which would reflect those of the National Institute as a whole, tailored in this instance to the particular context of the Marches. These are the main aims pursued by the section:

- to promote contemporary architecture and contemporary architectural culture; - to promote “quality” in works of every description undertaken across the Marches: architecture, landscape, town planning and urban development, reutilization of existing assets; - to bring about a more and more useful and productive dialogue between designers and other parties, public and private, involved in the active and passive transformation of the territory. The cultural context surrounding this activity derives from the urban system of the Marches and the Adriatic, which plays a pivotal role both in the general development of the Adriatic region and in the search for new architectural forms and models able to meet new urban challenges. The new section - Inarch Marche - can be a real workshop generating proposals and ideas through which to export this culture far and wide: “urban” is about more than large administrative centres; just as important are small communities with an already vibrant cultural and planning outlook. The programme is implemented through activities that include exhibitions of work by architects operating in the Marches, so that projects of superior quality can be given exposure and promoted, also the organization and promotion of architecture exhibitions at national and international level, spreading the word on stateof-the-art architectural research and favouring the exchange and circulation of ideas between our region and abroad; trips and meetings arranged at studios and major development sites, with prices discounted for young architects, which can provide an occasion not only for cultural enrichment but also for socialising and cementing relationships between associates; preparation and promotion of publications on architecture in the Marches, on research projects of greatest interest in the region, and on the contemporary city - News Inarch Marche for example, and there is also a website - and finally, the promotion and organization of local, national and international architecture competitions. At an annual general meeting of Inarch Marche in September 2007, when my appointment as President was reconfirmed, certain proposals

Photos: Inarch archive 1. Building designed by Guido Canali for the Prada headquarters in Montegranaro, winner of the Inarch-Ance award in 2006 2.3. Proceedings of the Inarch AGM held during September at the premises of iGuzzini

were put forward for the programme of activities that would take us through the next term, ending in 2009. Among these was the promotion of initiatives at regional level similar to the one implemented jointly with the Municipality of Fabriano and sponsored by CARIFAC, Ardo Elettrodomestici di Antonio Merloni SpA, and Associazione Accendiamo Fabriano, designed to set up “ideas competitions” aimed at regenerating important urban areas in the main towns and cities of the Marches, with the involvement of the Association of Architects right from the early stages. The logic to be adopted must be that of renewing the incentives and aims of the initiative “Good architectural practice” - launched jointly by Inarch and ANCE Marche - which has met with gratifying success. In this draft programme, the intention is also to provide worthwhile input to the content of building regulations (RET Regolamento Edilizio Tipo) currently being prepared by the Marches Regional Authority. The document is edited by government offices, but Inarch cannot remain outside the loop;

indeed the Institute must find ways to ensure its voice is heard, so that it can make an impact on decision-making. In order to set in motion the processes of physically transforming our cities, attentive to the notion of pervasive architectural and building quality, focus must be placed on the fundamental role that can be played by designers and by the regional system of building contractors, working in synergy. Regarding this last important aspect, town planning - supramunicipal in particular - has not offered any guidance hitherto on improving architectural and landscape quality, having been limited conventionally to matters of regulation on how land can or cannot be used, without addressing the theme of “design centrality”. A renewal of interest in the theme of the city is a priority, as cities are the most important physical infrastructures the region possesses. The ANCE proposal regarding a “target law for cities” could undoubtedly provide a significant reference in this respect, as we seek to make up ground.

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Design

The power of light part two An opinion piece by Jonathan Speirs

In the previous issue of incontroluce Jonathan Speirs gave an account of his passion for light, and of an apprenticeship that included working with rock bands and on theatrical productions. His “Made of Light” education project, developed together with Mark Major, is also touring the world as an exhibition. In the second and final part of his piece, Speirs reflects on a number of concepts surrounding the profession of lighting designer, which can pose problems, but can also provide stimulus for further progress. For the future of lighting design and our emerging profession we have great optimism, albeit tinged with a few concerns, and primarily... … visual value It is fascinating that, even as the professional ranks of lighting designers grow steadily in number, we still believe that a considerable number of owner/clients and their project managers do not appreciate the true visual value that creative lighting design can bring to a project. We estimate conservatively that there is a minimum of ten times more visual value in lighting, compared to any other physical expenditure such as marble or stone or other materials, in terms of investment by an owner. This is of great interest to many of our clients who also believe in this value added aspect of lighting design, but it is also an important and valuable message that needs to be passed on to more clients. It is up to the lighting design community to deliver this visual value for their clients, in order that the clients themselves can truly appreciate the value they are getting from this key member of their Design Team.

Barajas Airport, Madrid, Spain Architect: Richard Rogers Partnership / Studio Lamella A significant project in which lighting and architecture are intrinsically integrated to create a harmonious environment. The aspiration was to comfortably illuminate the passenger areas as well as expressing the dynamic architectural form of the roof structure, all within a restricted lighting budget. The lighting solution that evolved was to use a system of mirrors designed to redirect uplight into the crowns of the roof and back onto the floor areas. The client fully supported our idea of reducing light levels as the distance to the glazed façade gradually decreases, in order to help save energy and make for a more pleasing space. Overall there are very few lamp types, and this achieves a holistic simplicity, within the scheme, which was important in such a huge project.

… developing the profession We also believe that with an increasing interest from owner/clients in employing professional lighting designers, our profession is not ready to handle the quantity of major and challenging projects that are currently being offered. It is to be hoped that the increasing number of design schools offering lighting design under-graduate courses will begin to provide trainee designers for lighting design practices. This is only the beginning of their training in the world of lighting design: it takes time and experience - you need to learn to walk before you can run, as the saying goes. Our concern is that, as larger and more complicated projects call for the design input of a lighting designer, there will not be enough experienced and qualified designers able to do a wonderful project.

Text and images provided by Speirs & Major Associates. Projects can be implemented with products not made by iGuzzini

Photos: Manuel Renau, Tim Soar, James Newton, Edward Sumner 1. Barajas Airport

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Design

The power of light part two

… sustainability Genuine concerns over carbon emissions around the world cannot go ignored, and the lighting design community must do its part in addressing the problem and educating building users as to what this means where illuminated buildings are concerned. It is also important to appreciate that architectural lighting is not generally the major culprit; there are many others, but one notable example is wasteful highway illumination. A look at any satellite image of the earth at night clearly identifies the culprits. Whilst safety groups support the illumination of our motorways and highways, the energy expended is considerable. Would it not be more sensible to impose slower speed limits and save all this energy? Currently, we are working on a series of sustainable projects around the world and are beginning to see positive results, even in the energy-hungry Middle East. We are developing proposals for a new HQ project in the UAE that will have a fully sustainable exterior lighting design, with a photovoltaic array providing all the power for this lighting. On a major 9 square kilometre project, also in the UAE, we have obtained the agreement of the Municipality highways authority to let us use European lighting standards rather than the existing local standards, which are much higher. This is progress! We have a concern that the lighting design community is not a party to the massive reductions in power consumption being mandated for buildings by the authorities, which in some cases is bound to mean that the lit environment will not be up to the standards and quality that many people expect and deserve. We all know that there are larger aspects of power consumption in buildings than lighting, which should also be addressed. I suppose we are all still conditioned by the fact that it is very easy just to throw a switch and know that the lights will go off! We are obviously dependent upon the resourcefulness of the lamp manufacturers to develop better and more efficient lamp efficacies and colour rendering sources to assist in this effort, though this can have negative consequences, like the LED disease - the “solution to everything” (!) - which is a definite concern. In effect, disreputable manufacturers selling unreliable products could in the not too distant future create a situation where a lot of clients will have a negative reaction to the idea of LEDs being used on their projects. This will penalise the manufacturers who are producing first class products and impact on projects in terms of the potential end results obtainable. To finish this opinion piece, I would ask the reader to consider the incredible fact that all we see is reflected light! Without light there is no vision, no materiality, no form, no three-dimensionality there is no life …

St. Paul’s Cathedral, London, UK Architect: Martin Stancliffe The relighting of the interior of St. Paul’s Cathedral was carried out as part of a wider project to clean and repair the overall fabric. The brief was to develop a flexible lighting solution that would meet the day-to-day operational needs of the building, which include worship, tourism, state occasions and events. Another requirement of the project was to update security, cleaning, maintenance and access arrangements. The design was based on providing several “layers” of light: general lighting is provided by a series of new and refurbished chandeliers, converted gasoliers, stall lights and lanterns using dimmed incandescent sources combined with a series of specially designed spotlighting racks and bars that can be folded away to restore the look of the space. Architectural lighting is provided using concealed metal halide, linear xenon, cold cathode and tungsten-halogen sources, and includes the uplighting of the main vaults, the dome, the transept windows, the organ and other major features. The overall scheme has a low energy daytime setting as well as a series of evening scenes. Liturgical lighting is provided by local lighting to the various altar positions. Supplementary theatrical lighting serves the main altar in the crossing. There were significant constraints. These included securing permission from various official bodies to carry out “the largest single intervention in the history of St. Paul’s”, which meant extensive research into minimising damage to the fabric and the careful crafting of each detail, as well as many mock-ups and tests. Other issues included requirements for disabled access, the illumination of precious artworks, the limited availability of power and the need to develop a sustainable solution.

Light is indeed powerful.

2. St. Paulâ&#x20AC;&#x2122;s Cathedral

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Design

The power of light part two

Sackler Crossing, Royal Botanic Gardens Kew, United Kingdom Architect: John Pawson The Sackler Crossing is a walkway that spans a lake in the Royal Botanic Gardens, Kew, to the west of London. The architectural concept sets the walkway at the minimum possible distance from the surface of the lake allowing those crossing to feel they are “walking on the water”. The lighting concept maintains the simplicity of this concept, reinforcing the play of solidity and transparency and providing a “lit context” through the illumination of the landscape on an adjacent island. Carefully recessed and integrated 1 watt high output white LED uplights gently wash up the inner faces of bronze balustrade members and reflect light onto the deck and people crossing the span. The composition reflects in the water of the lake, which in turn is reflected in the bronze uprights of the bridge. As a result, the appearance of the structure changes constantly by day and after dark.

3. Sackler Crossing, Royal Botanic Gardens 4. Burj Al Arab 5. Bridge of Aspiration, Royal Ballet School

Burj Al Arab, Dubai, UAE Architect: Atkins The iconic project that first launched Dubai on the worldwide tourist destination map has a very considered external lighting design. The design seeks carefully, and respectfully, to illuminate the structural form of the building by illuminating the inner faces of the exoskeleton structure. This balances the illumination of the PTFE fabric façade, which has a series of programmed lighting sequences that generate hypnotic or dynamic colour shifts on a major scale. The island is connected to the mainland by a bridge that has no street lighting poles, to avoid disturbing the view in the direction of the tower, and is itself lit by downlights reflected back from water and sand, softly illuminating the curved underside of the bridge structure.

Bridge of Aspiration, Royal Ballet School, London, UK Architects: Wilkinson Eyre Architects A competition prize-winning architectural and structural solution to connect the Royal Ballet School with the Royal Opera House in Covent Garden, London. The lighting design ethos was to capture and reinforce the dynamic form and innovative drama of the bridge: an external presence, but primarily an experience for its intended users. The lighting design was conceived initially at the Competition stage, and with no lighting budget: accordingly, the solution had to be economical in terms of both equipment and running costs. The concept, simple and graphically, was to “draw” these twists with light - a heliotropic response to the bridge design. On the inside, a succession of 57 custom-designed L-shaped acrylic luminaries with LED sources were integrated into the corners of the extruded aluminium frame members.

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Projects

New lease of life for the Exhibition Palace

Client Azienda Speciale Palaexpo Preliminary and definitive design Architect Firouz Galdo Azienda Speciale Palaexpo

Rome, Italy

Erected between 1880 and 1883 to house exhibitions, as its name implies, the Palazzo has been a singular building ever since on Romeâ&#x20AC;&#x2122;s urban landscape, by virtue both of its appearance and of its location in the heart of the city, behind the Campidoglio, on a busy shopping thoroughfare that was built at the end of the 19th century to connect the Rail Station to the Forum sites. Restoration work on the architecture, begun more than ten years ago,

provided the ideal opportunity for a strategic and functional rethink of the interiors used for cultural entertainment purposes. The imposing nature of the structure - its size, stylistic personality and architectural decoration - tended to overpower the works on display. The absolute symmetry on all axes also had the effect of disorientating the visitor and regimenting the material on show, making any kind of supposedly logical tour difficult to understand.

Art direction Lighting, signage and furnishings Architect Michele De Lucchi with Enrico Quell Final design of Palazzo and Serra Architect Paolo Desideri - ABDR - SAC

Works contractor SAC and IGIT

Photos: Gabriele Basilico 1.2. Interior views

Design of underpinning works Architect Paolo Rocchi Design of Cinema and Auditorium Architect Maurizio Pascucci

In the light of these difficulties, and with the aim being to convert the traditional gallery structure into a place of entertainment, the ground floor of the Exhibition Palace was reorganised along the lines of a mall, with coffee shop, book store and arcades: other works included refurbishment of the first floor conference hall and projection room, and rebuilding of the old Serra Piacentini conservatory to include a high-end restaurant. Multiple entrances reflect the new philosophy of the Palace, which now seeks to be an open space, ready to embrace a wide diversity of programmes. The project takes in all the tried and tested building innovations now widely adopted in this type of facility, especially technological improvements in HVAC, safety, lighting and flexible exhibition systems. The biggest challenge was that of giving the exhibition spaces a suitable balance, and the kind of equipment that would reconcile the need for conservation of the Palace with maximum flexibility of use. The main entrance is located under the Triumphal Arch: the symmetrical entrance hall leads from either side into two large and free open areas that can be used to unquestionable advantage for vertical displays. The ticket office is located in the niche on the right hand side of the entrance hall, a similarly high interior decorated with pilastered walls and a coffered ceiling. To promote the exhibitions and describe the Palace, banners are placed above and in front of the ticket counter, and directory boards in the spaces between the columns. The panels and floor are downlit by four clusters of directionally adjustable spotlights.

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Projects

New lease of life for the Exhibition Palace

The great central hall is effectively the heart of the building, and embodies all the exhibition potential of the Palace: it is two floors high, with a large central skylight that had been obscured for many years. The light enters directly from overhead, a true zenithal source: a superb light, but at the same noticeably rigid due to the particular nature of the effect and the difficulty in modulating its brightness. The central hall also provides a route into and away from the exhibition rooms on both the first and the second floors, all accessible from the balcony that overlooks the large central void. The hall communicates laterally, left and right, with further rooms: three on each side, all long and narrow, very high, and with light entering from directly overhead along their full length. The transept and the room leading from the great central hall to the north hall is entirely similar to the side rooms, having the same shape, the same openings and the same proportions. This perhaps is the area most difficult to set up, and as such, the one offering the greatest scope for solutions with a strong visual impact. The upper rooms all communicate with the balcony encircling the central void, and present a more modern appearance, being more comfortably proportioned in plan and elevation.

Design of Atelier and Forum Architect Daniele Durante studiobv36 and Architect Adele Savino Contractor for Atelier and Forum Barth Innenausbau, Bressanone

Design of coffee shop Architect Luca Braguglia

3.4. Interior views

Design of book store Architect Firouz Galdo and Architect Gabriele Pierluisi

The rooms of the second floor afford access to the conservatory at the rear, which houses the large coffee shop designed by architect Paolo Desideri. The lighting system is the element that characterises the recent refurbishment more than any other; it features a set of long, slimline suspended ceiling modules that house the lighting fixtures, as well as the technical equipment needed for exhibition rooms, such as smoke alarms, electrical components and loudspeakers. More exactly, the system utilises suspended and motorised heightadjustable panels, each equipped with tracks and Tecnica spots positioned along the sides, and recessed downlights along the middle. Essentially a movable false ceiling, this type of arrangement is guaranteed easy to operate and maintain - a key consideration for a contemporary exhibition structure that needs to rely on total, nonstop efficiency at low running costs. For connecting areas, on the other hand, the designers specified a cylindrical luminaire providing both general and emergency lighting. By integrating these two functions, it becomes possible to eliminate UPS units and streamline the electrical system structurally. The fixtures were produced in close collaboration with the De Lucchi studio.

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Projects

The Basilico perspective

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Photos: Gabriele Basilico

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Serra Piacentini

Projects

Client Azienda speciale PALA EXPO Architectural design ABDR Architetti Associati

Exhibition Palace, Rome, Italy

The design for rebuilding of the conservatory on the roof of the Exhibition Palace in Rome (the original structure, known as the “Serra Piacentini”, was demolished in the 1930s) stands out for the innovative choices made in the areas of materials, functional characteristics, and overall efficiency of the building complex. From an architectural standpoint, the languages adopted are geared to a simplification aimed at minimising all direct comparison with the historic forms and languages of the Palace, while also ensuring that the technologies employed are not paraded gratuitously. The main objective of the project is to achieve a full inclusion of the conservatory structure in the institutional programme of the Palace, and its definitive functional, technological and formal integration into the architectural organism envisaged by Pio Piacentini. The “Ex-Serra Piacentini” affords the main opportunity for urban reconnection with Via Piacenza, and an instrument with which to initiate a process of recovery focusing on a part of the city too long thought of as “at the back” of the Palace. Contributing to the realization of these objectives are the organic essence of the architectural design, and the volumetric planning approach with its characteristics of transparency and of functional and technological propriety. Externally, the succession of materials from the masonry base, up through the intermediate travertine-clad elements to the glass enclosure and the delicate roofing solution, creates an effect such as to suggest a measured and progressive shedding of weight from the volume of the new conservatory. And to this - thanks to the complete volumetric linearity and simplicity of the design solution, and the minimal bulk of the structural solutions adopted for the suspended glazing - can be added the remarkable effect of a light-mediated and symbolic switch between daytime and night time use.

Design team ABDR S.A.C. Spa IGIT

Team members Arch. Angela Arnone and Arch. Maria Persichella (general technical coordination), Arch. Steffen Ahl, Arch. Alessandra Gobbo, Arch. Marta Petacco, Arch. Alessio Scarale, Arch. Giancarlo Vaccher

Consultants Ing. Valerio Calderaro (bioclimatics) Arch. Stefano Tiburzi (fire prevention)

Photos: Courtesy of Studio ADBR 1.2.3. View of the conservatory

Structures Prof.Ing. Mario Desideri Ing. Odine Manfroni

A large, solid-looking glasshouse by day, the diaphanous and luminescent prism becomes a captivating â&#x20AC;&#x153;urban lanternâ&#x20AC;? after dark, by which the exhibition functions and communication potentialities of the Palace are amplified and integrated into the newly emerging urban frontage of Via Piacenza. This effect was made possible thanks to a collaborative effort between ABDR (Maria Laura Arlotti, Michele Beccu, Paolo Desideri and Filippo Raimondo) and iGuzzini illuminazione, the company having developed a special product for the project, namely a suspended fixture with 8 light points able to handle different wattages (Master Colour CDM-R111 halide sources from 35 to 70W). These suspended units provide diffused light to illuminate the different levels internally of the Serra, which houses a coffee shop and the Open Colonna restaurant.

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Decadence and renewed splendour of an historic hotel. Hotel Risorgimento

Projects

Client Vestas Hotels & Resorts Architectural design Luca Scacchetti

Lecce, Italy

In planning the refurbishment and extension of the Hotel Risorgimento in Lecce, architect Luca Scacchetti took his lead entirely from impressions and notions formed during initial surveys of the site. For example, still hanging from two rusty joists - sole survivors following the collapse of the suspended ceiling - were two giant clear crystal chandeliers, ghost-like under a coat of dust and debris, which hinted at the spatiality of the new hall, suggesting rhythms and proportions. A work of imagination, recounting a place of decorations and clear lights, where Eastern promise rubs shoulders with Renaissance certainty, 17th century flights of fancy and the vagaries of time, eating away at soft stone as keenly as a contemporary sculptor. The furniture, colours, fabrics, upholstery and lights all combine to conjure up the image of a quarry with stone faces indented, scored and shaped by a thousand cuts.

Brilliant daylight is reflected in the near-white floor, contrasting with the red of the entrance hall, which leads in cool shade to lounges on the right and the restaurant on the left; here, the eye is met by a sculptural interplay between the dark tones of wood and the light of white ceilings, recalling the light and shade, the projections and recesses, of Lecce’s baroque church façades. The designer’s vision of the project looks to take in the contemporary and the traditional, together with memory and location… an inclusive approach, intended as a small contribution to the search for different ways of redesigning the Italy of today and tomorrow. iGuzzini was involved in all aspects of the lighting installation, both for interiors and for external areas of the hotel. A special version of the Y Light was produced for the guest rooms, as well as standard and table lamps made to designs by the architect, Luca Scacchetti.

Photos: Marino Mannarini 1. Exterior of the building 2. Sun lounge 3.4. Rooms

Recessed LED fixtures were also created for the bedside tables of the guest rooms. With a view to minimising the visual impact of lighting fixtures, recessed Light Shed-units were also installed in the bathrooms. In the entrance hall, recessed Pixel Plus units are concealed in the wood cladding. Another new feature: the entire ground floor lighting, including hall, sun lounge and conference room, is managed using the “Scene Equalizer” system. The sun lounge is also lit biodynamically, using Sivra Compact sources, whilst for the skylight, ColourWoody fixtures are used to produce coloured light. The restaurant and wine bar are fitted with recessed floor units: Light Up Walk Professional and Linealuce. The façade is illuminated using Linealuce with Led sources, having a warm colour temperature. All elements combine to create bright sunlight and dark shadows, together with the ethereal morning glow typical of the Salento region.

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Projects

Hong Kong Science Park

Architects/Consultants Architectural Services Department (Hong Kong Government) Lighting design Simon Kwan & Associates, Tino Kwan Lighting Consultant

Hong Kong

The Hong Kong Science Park is a large new centre of technology set up in Hong Kong. It occupies an area of 22 hectares and includes buildings with 330,000 m2 floor space. The facility is being developed in 3 stages, with completion in 2009. There are 70 Chinese and foreign companies currently resident, working in electronics, biotechnology, engineering,

Information Tecnology and telecommunications. The Science Park offers companies support services across the board, through technical and assistance structures and infrastructures. Lighting systems for the first stage of the development were installed using iGuzzini products: these included Nuvola, Le Perroquet, Platea, Linealuce, Reflex and Greenwich fixtures.

Partners Assistance iGuzzini China

Photos: Archivio iGuzzini 1. Exterior of the building 2. Detail of the roof

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Projects

A majestic light. Seu Vella

Client La Paeria, Ajuntament de Lleida Tomás Ferré, Ing. Carles Sáez, Arq. Architects Marta Trullàs i Huguet Noelia Albana

Lleida, Spain

The old cathedral complex of Seu Vella is the most important symbol of Lleida, capital of the province having the same name, in the western part of Catalonia. Situated on a hilltop, dominating both the city and the broad plain of the Segre river, its outline is the very emblem of the city. By virtue of its size and colour, it can be seen from considerable distances. It was built between 1203 and 1431. In 1707, the Seu Vella risked being destroyed, but instead was converted into a barracks and ceased to be used as a place of worship in 1797. The cathedral is Romanesque but with a Gothic roof, making it transitional in style. The plan is based on a Latin cross, with three naves, a large octagonal crossing surmounted by a lantern, and five apses. The bell tower stands 60 metres high. The entire Seu Vella is carved and decorated, with all parts plainly in evidence during the day, but requiring illumination after dark. The first step was one of conducting an analysis on the various parts of the Cathedral, to establish priorities and divide the project into stages.

The main façades and the bell tower required attention first. The tower is seen as an important landmark for the city of Lleida. With the need to identify strategic areas where light points could be positioned, the octagonal shape of the tower suggested a geometrical approach. The designers picked out four corner angles on the tower, from which beams would be thrown onto the two adjoining faces and the octagon thus enveloped in light. Bearing in mind the yellow ochre colour of the stone from which the tower is built, it was decided to install Maxi Woody units with superspot optical assemblies, using and 250 W and 400 W sodium vapour lamps. The fixtures were specified with Fresnel lenses and directional louvres in order to generate an elliptical beam that would illuminate the full surface of the tower and avoid casting light where there is no need, in the interests of minimising light pollution. The buttressed façade of the cloister is illuminated by floods with asymmetric optical assemblies, positioned in existing niches.

Partner Assistance iGuzzini illuminazione España

Photos: José Hevia 1. The cathedral complex viewed by night 2. Illumination of the buttresses 3. Detail

The architectural forms and reliefs are highlighted with accent lights using metal halide sources, designed to create pinpoint contrasts with the yellow sodium floodlighting. Accents were needed on the flanks of the buttresses, the bays, and the top of the tower. The tower terminates uppermost in a Gothic cluster of spirelets, finials and cusps, picked out by bright light that grows dim gradually as it spreads down toward the lower floors. The accent illumination adopted for the cloister façade is designed to throw the buttresses into relief, using recessed Light Up fixtures with metal halide lamps, installed at ground level. This blend of background and accent lighting succeeds in creating an overall view of the Seu Vella Cathedral that shows off its architecture sensitively, giving deference to the surrounding natural and cultural environment.

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Projects

National Centre for the Performing Arts

Client The National Grand Theatre Committee - Wan Siquan Architectural design Paul Andreu, Architect, in association with ADPi and BIAD D

Beijing, China

The National Centre for the Performing Arts, (formerly the National Grand Theatre), located in central Beijing, about 500 metres from Tian An Men Square and the Forbidden City, is quite literally an island of culture in the middle of a lake. The huge ellipsoidal dome of grey titanium varies from 144 to 213 metres in width, standing 46 metres high, and incorporates a curvilinear glass inset creating two broad roof segments. There are three

halls inside: one for staging operas, another for concerts, and a theatre, as well as a number of exhibition areas open to the public. The Opera is the centrepiece, both physically, and in terms of prestige attached to the project. The concert hall and the theatre are located on either side of the Opera. The building is connected to shore by a transparent subway, so the public can be admitted without any break being created in the outer skin

of the dome, which as a result appears mysteriously as if devoid of any opening or entrance. The indoor areas open to the public give the impression of being â&#x20AC;&#x153;in townâ&#x20AC;?: roads, squares, shops, restaurants, spaces to sit and rest, and waiting rooms. Plenty of space has been allocated to these public access areas, in order to reinforce the sensation of being in a place open to all: the performing arts centre

Lighting design Lighting Planners Associates Inc. Kaoru Mende - Yosuke Hiraiwa Project Management Felipe Starling

Acoustics CSTB - M. Vian

Photos: Gabriele Basilico 1. National Centre for the Performing Arts, exterior

Partners Assistance iGuzzini China

Principal Architect Franรงois Tamisier

is not intended for elitist shows and events. The halls and public areas are built on a platform able to accommodate all operational and support structures, in a single complex designed for maximum efficiency and economy of organization, exactly as would be the case for any modern manufacturing facility. And all accomplished without ever disrupting the harmony of the public spaces or the pleasure of visitors and theatre-goers.

A lounge on the top floor, directly beneath the roof, affords both patrons and casual visitors a splendid view of the city, which can be appreciated from a new perspective. The decision to build the National Centre on a site of such great historical and symbolic importance reflects a determination to ensure that culture is given its proper value, in the light of history and in the context of the contemporary world.

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2. Area around the Opera, open to the public 3. Front view of the Opera

iGuzzini illuminazione worked with Paul Andreu and lighting designer Kaoru Mende on the artificial lighting for the areas open to the public, and the foyer. The relationship between the building and the daytime and night-time landscape was a key factor in the design. During the day, natural light fills the building, making it alive and dictating its every change of mood, whereas at night, artificial light radiates outward from the transparent central part of the dome, proclaiming the presence of the National Centre on the urban landscape. Basically two types of luminaire were used to light the indoor areas mentioned: Le Perroquet and Light Up. The Le Perroquet fixtures are positioned along the top outer edges of the internal buildings housing the Opera, Theatre and Concert halls, and fitted with HQI lamps rated 150 W, whereas the Light Up fixtures are deployed at the back of the Theatre and Concert halls, to highlight the colour and warmth of the wood cladding selected for the walls. The equipment also includes a number of Zoom spots, illuminating works of art installed along the corridors.

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An Eco HQ. The Nicolas Hulot Foundation

Projects

Client Nicolas Hulot Foundation for Nature and Humanity Architectural design Nicolas Favet Architectes Plant wall Patrick Blanc

Boulogne-Billancourt, France

The Nicolas Hulot Foundation for Nature and Humanity was set up in 1990 and recognised as an agency for the public good in 1996. It is a non-governmental, non-political and non-confessional organization, whose mission is to promote environmental education and awareness and which is committed to scientific and cultural education in the name of humanityâ&#x20AC;&#x2122;s natural heritage. Recently, the headquarters of the Foundation was moved and underwent a renovation aimed at delivering improvements in terms of its functional efficiency, identity and environmental quality, all on a limited budget. The offices are organised in an open-space setting around a central block housing the service functions, surrounded by a plant wall designed

and erected in collaboration with botanist Patrick Blanc. This area receives plenty of natural light. The design of the artificial lighting focuses on energy saving - in keeping, not least, with the mission of the organization - hence the selection of Light Air fixtures with fluorescent and metal halide sources. These suspended luminaires are able to direct light upwards, creating a diffused output such as will guarantee visual comfort for the 25 workstations used by staff and co-workers at the Foundation, which occupy a floor area of around 450 m2. Some of the Light Air fixtures also have green uplight filters. Green conjures up the idea of nature and the nature-oriented vocation of the building, which is reflected in the plant wall and in the use of certain types of materials.

The materials selected are natural or raw, and preferred for reasons of performance: floors are natural linoleum, all furniture is made from fir plywood, used generally for assembling moulds and for shuttering in which concrete is cast, the walls of the coffee shop are clad with panels obtained from recycled milk containers, and the ceilings are a wood fibre and cement composition giving optimum acoustic performance.

Partners Assistance iGuzzini illuminazione France SA

Photos: Didier Boy de la Tour 1. Faรงade 2. One of the rooms 3. Rest area

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The light of culture. Champs Libres

Projects

Client Rennes Métropole Maître d’oeuvre Christian de Portzamparc Museography Elisabeth de Portzamparc

Rennes, France

Occupying a surface of 35,280 m2 overall, the Champs Libres is the new cultural centre of Rennes Métropole, created with essentially a single broad aim in view: to make culture accessible to all. The idea was that three cultural facilities in the city of Rennes, all occupying premises they had long outgrown, should be brought under one roof: the Public Library, the Musée de Bretagne and the Espace des Sciences (a centre of scientific, engineering and industrial learning). A competition was launched for the design of the new building, and won by architect Christian de Portzamparc.

The design was based on a concept of space as an element favouring circulation between and around large volumes. On the ground floor, the routes have the flavour of a downtown quarter. The use of transparent media gives clear visibility to the three different sections, which are connected by overhead walkways. Also important was that the three facilities should be identifiable from outside the building. The Musée de Bretagne has 5,663 m2 of floor space and is laid out on a single storey, resembling a girdle that extends fully around the other two structures: the “Espace des sciences”,

Lighting design Spectaculaire Partners Assistance iGuzzini illuminazione France SA

Photos: Didier Boy de la Tour 1. Library entrance 2. View of exterior

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Projects

The light of culture. Champs Libres

3. Espace des Sciences entrance 4. Library 5. MuseĂŠ de Bretagne

a giant zinc cone, its largest room on the ground floor, which terminates uppermost in a spherical planetarium with a seating capacity of 99; and the Library, a six-storey building conceived as an upturned pyramid and affording 7,942 m2 of floor space, which includes a reading room of 3,850 m2. The lighting for the different areas is provided by iGuzzini fixtures able to meet the various needs of a multipurpose venue such as this. Recessed Optica and Pixel Plus are installed in the library, to give both background and accent lighting.

The museum is equipped predominantly with Le Perroquet and Le Perroquet professional units, to ensure maximum flexibility of use. The lighting in the conference hall uses recessed Reflex units, whereas the fixtures in the dome of the planetarium are Lingotto spots. Transit and entrance areas are lit by a combination of Linealuce wall fixtures, recessed Optica (asymmetric) and Pixel Plus downlights and Le Perroquet Professional.

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Projects

A light line for the Aalborg University Park

Client Municipality of Aalborg Architectural design KHR Architects, Møller and Grønborg Architects Engineering calculations Rambøll Aalborg

Aalborg, Denmark

The “university park” is one of many projects currently under way in the Danish city of Aalborg. There is a plan to develop the area between the university and the city of Gug, building 1500 new homes and a 170,000 m2 shopping centre. The architects’ guidelines required that the street lighting should match the characteristics of the residential development, in terms of the visual impact created by the appliances not only in daylight, but equally, during the hours from dusk to dawn. The quality of the illumination in the university park should emulate the natural daylight, so that the floodlit environment will afford a pleasurable experience for local residents. The main access route to the area is from “Einsteins boulevard”.

The architects specified that the light provided by lamp-post fixtures should be indirect, and that these same appliances should create a “string of pearls” effect at night. The effect was achieved with row of 22 Nuvola units. These establish the site as a landmark, while contrasting with the widely spaced planting scheme at the entrance area. The fixtures are installed at a height of 10 metres, spaced 30 metres apart and equipped with 250 W metal halide lamps. The lighting for the underpass to the “Einsteins boulevard” was designed with meticulous attention to detail. The underpass is built using prefabricated sections with a prism by which the light is refracted in the middle of the road.

Installer AKE Entreprise A/S

Photos: Ole Ziegler 1. Twilight view of the â&#x20AC;&#x153;string of pearlsâ&#x20AC;?

Partners Assistance iGuzzini illuminazione DK

2. Plan and views

Overview

The prism works both with daylight, and with artificial light, in this instance provided by recessed Walky fixtures. A fundamental requirement for the quality of the underpass and its everyday use, is that the quality of the lighting along the passage should be no less than that of the adjoining roads and walkways.

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Projects

A quality break

Architectural design Germann & Achermann AG Systems Altdorf power company Partners Assistance iGuzzini illuminazione Schweiz

Shattdorf, Switzerland

The Schattdorf diner, located on the north-south stretch of the St Gotthard motorway, has been redeveloped to a new design by the Altdorf firm of architects, Germann & Achermann AG. Particular care was taken over the lighting for the new interior, especially in the dining areas. With intensity and colour temperature varying at different times of the day, the light needed to be attuned to the metabolism of the patrons. The imaginative architecture of the main building is eye-catching, especially to motorists emerging from the St Gotthard tunnel. On the inside, warm tones predominate. Large expanses of glazing afford a spectacular view of the Uri mountains peaks. The lighting concept for the interior - a room almost 72 metres long, between 10 and 12.5 metres wide and rising to 12.5 metres high was developed by the architects and the Altdorf power company in collaboration with iGuzzini.

The lighting scheme interconnects the single areas within the building optically. To ensure the lighting would create a sensation of wellness, iGuzzini used Pixel Plus and Lineup fixtures in conjunction with the Sivra biodynamic light system, which can be programmed to reproduce the variations in intensity and colour temperature characteristic of natural light. Accordingly, time spent in any part of the building will promote well-being and assist the capacity of motorway users to drive safely. With the lamps downlighting the floor, intensity and colour temperature are controlled at mid room height, though not in response to the light outside.

Rather, according to the time of day. To exploit the height of the interior optically, iGuzzini utilised a continuous modular fluorescent fitting of relatively low wattage to uplight the ceiling. The different areas - entrance, shop and diner are not demarcated by the light, but connected by effects that remain the same throughout the interior. The lighting of the Free Flow layout on the lower level is designed to guide customers into the self-service diner using the brightness and intensity of the illumination. Products on sale are lit selectively by high performance spots, using a warm toned light, so as to create

Photos: GĂźnter Laznia 1. Exterior 2.3. Different intensities and colour temperatures in the diner

a clear distinction between merchandise and surroundings. On the outside, iGuzzini fixtures highlight the architecture of the diner: approaching from the south, travellers see a conspicuously large glass front in the projecting part of the building. The illuminated windows are set in relief by the weak lighting of the faĂ§ade, which on the side nearest the road is shown up less strongly as the external floods cast only a small amount of light on the building. In this instance, the fixtures employed are Light Up Walk professional and MaxiWoody.

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Projects

The best lighting conditions for research

Architectural design Liechti, Graf and Zumsteg Electrical system design Gähler und Partner Partners Assistance iGuzzini illuminazione Schweiz

Villigen, Switzerland

In July 2007 Switzerland’s biggest research centre, the Paul Scherrer Institute in Villigen, inaugurated new headquarters designed by architects Liechti, Graf and Zumsteg of Brugg. When tenders were invited for the project in 2005, the Brugg practice submitted a winning bid drawn up jointly with Gähler und Partner of Ennetbaden, designers of the electrical system. As envisaged in the successful bid, the building appears as a ring of offices enclosing a coffee shop on two floors and a control room, from where the main research installations of the centre are monitored round the clock: the synchrotron light source (SynchrotronLichtquelle Schweiz SLS), the spallation neutron source (Spallations-Neutronenquelle SINQ) and proton accelerator, and the Proscan radiotherapy equipment. As the control room is a 24/7 work environment, iGuzzini specified biodynamic lighting provided by suspended Light Air fixtures.

Photos: G端nter Laznia 1. Part of the control room 2.3. Different intensities and colour temperatures in the room

This special type of lighting benefits staff working the three shifts, given that artificial light not only serves to ensure optimum vision, but also - like natural ligh - has an important impact on the physical and psychological stability of individuals. Natural light regulates our biological clock and influences important physiological functions, like the production of hormones, cognitive powers, and mood. For the purposes of setting the different light intensities, shifts 1 and 2, from 06.00 to 22.00 hours, were treated as a 16-hour day. This means that at the start of the 6 a.m. shift, the Light Air fixtures emit minimal warm light,

then half-way through the shift, the intensity increases and the light is colder. Approaching 10 p.m., the light becomes softer and warmer. During the third shift, the light output is managed in such a way as to simulate an 8-hour day. The lighting system is designed to ensure compliance with requirements for rooms where video terminals are in use, in respect of luminous density and dispersion angle. The single lighting modules can be combined one with another in different ways, allowing their adaptation to environments of different geometries and proportions.

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Projects

A beacon for peace

Architectural design PK Architects Fixtures Space Cannon VH S.p.A. Construction and systems VST, Jón Otti Sigur∂sson ´

Videy Island, Iceland

Since 9 October 2007, a column of light has shone on the Icelandic island of Videy, visible from the capital Reykjavik, to remind everyone of world peace and its importance. The initiator of this work of conceptual art was Yoko Ono, she and John Lennon having originally had the idea as long ago as the 1960s. Now, the work has finally been realised. It was Yoko Ono herself who wanted the Imagine Peace Tower to be at Reykjavik, because Iceland has never had an army, and is also an example to the world in matters of environmental awareness. After an extensive testing process, during which Space Cannon was indicated by iGuzzini as the company best equipped to address the numerous technical difficulties involved in the realization of this novel

beacon, the designers settled on the fixtures best suited to the purpose. iGuzzini Light Up Walk professional fixtures were selected to illuminate the structure of the tower. The beacon itself is generated by nine Space Cannon Leukos 7000W Xenon lamps. In addition to the beacon lamps, six Leikos fixtures with 2000W lamps were positioned in the light tunnels around the tower. As a practical extension of the Imagine Peace Tower project, every two years in Reykjavik and always on 9 October - Yoko Ono will present the LennonOno Grant for Peace, set up in 2002 to promote peace, truth and humanity in the world and to help people who promote these values in carrying on their work.

Partners Assistance iGuzzini Norge GH Lighting Ltd

Photos: Hakon Halldorsson 1. Videy Island, view of the bay 2. Final stages of installation 3. Yoko Ono during the inauguration ceremony 4. Ringo Starr during the inauguration

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Projects

Light for engineering. New premises of Industrial Project Services - IPS

Client IPS Architectural design IPS - Giuliana Matucci Partners Assistance iGuzzini Benelux

Nivelles, Belgium

Industrial Project Services (IPS) is a multidisciplinary engineering company, that is to say, an organization that handles every aspect of an industrial project, from cost management to engineering calculations. Incorporated in 1992, IPS recently created a Competence Centre at Nivelles, which opened in 2006. This is an international training facility set up to pursue synergy development between sectors of the company engaged in different areas.

The centre also aims to connect IPS with the territory in which it operates. iGuzzini provided consultancy and supplied equipment for the lighting in the new premises. The fixtures for the installation were selected on the basis of certain key words suggested by Giuliana Matucci, Junior Project Engineer at IPS. The foyer, arranged on two levels with glass walls to the front and rear, is a multifunctional space

Photos: Paul Van Den Brande 1. IPS family day 2. Foyer 3. One of the work rooms, equipped and furnished

overlooked by a conference room, as well as being a relaxation area. Stairs on either side of the foyer lead up to doorways in windowless flank walls, beyond which there are offices, meeting rooms, design workshops and multimedia laboratories. The foyer provides the only route up to the first floor, and as such, it is seen as the true concourse and discussion forum for the company. The key words suggested for this area were: lightness, space, transparency, mobility, effervescence. The diffused light and transparency of the Gem fixture, suspended at different heights, appeared to meet these requirements perfectly. In the case of the conference room - nicknamed the â&#x20AC;&#x153;aquariumâ&#x20AC;?, given its visibility from the foyer - the simple decor and minimalist furnishings are lit fluorescently by a Cestello fixture, suspended centrally and in parallel alignment with the table. The space set aside for relaxation and refreshment has modern furniture, consisting of round tables and high upholstered chairs. Here, it was felt that the lighting should have elegance and sparkle: qualities offered by the Microcestello fixture. The design and multimedia labs and the meeting rooms all have fluorescent lighting, provided by suspended Cestello fixtures assembled in square or letter-U configurations. These luminaires create the kind of uniform lighting desirable for work areas where thought and concentration are all-important.

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Projects

12 storeys of light. New Eczacıba¸sı Group headquarters

Architectural design Tabanlıo˘glu Architecture Partners Assistance Tepta Aydınlatma

Istanbul, Turkey

Certain companies of the Eczacıba¸sı group, a major player in the Turkish economy, have moved to a new building at the Kanyon business centre located in Instanbul’s Levent district. The layout is the same on all levels of the 12-storey block, which affords 13,420 m2 floor space overall. The lighting scheme for the offices, featuring a modern design by Tabanlıo˘glu, needed to be elegant, but also simple and functional.

The Hub system was identified as the most suitable, designed as it is to incorporate optical assemblies, fire sprinklers, smoke alarms and loudspeakers in a single fixture. The individual offices are lit by a special version of the modular Hub system, using 3-metre units fitted with two 54W fluorescent tubes. Hub modules used in the corridors leading to the lifts are 2.4 m in length, installed parallel one with another and with the timber cladding panels.

Photos: Engin Gerรงek 1. Reception and offices 2. Relaxation area 3. Executive office

Each Hub module houses all of the additional components mentioned, together with two 24W fluorescent tubes. Certain devices include emergency lighting, activated in the event of power failure. Recessed Ledplus fixtures were installed opposite the lifts to indicate the location. The downlights recessed into the timber-clad ceilings of the office corridors are square Laser fixtures lamped with 12V 50W dichroic sources, some of which provide emergency lighting. Waiting areas are lit by a special Hub system with polycarbonate filters.

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Ecodesign. Responsible product design, from conception to demolition

Corporate culture

Products that operate by consuming energy have an impact on the environment that can take various forms: at worst, the practice of burning fuels and the consequent effect on climate change, also the depletion of natural resources caused by extracting the materials they contain; at best, the recovery of waste from manufacturing processes, and the recycling of used materials wholly or in part. Ecodesign - where environmental considerations are built into the design process - is presumably the best way to mitigate the impact that products have on the environment. And with the introduction of ecodesign measures, stating requirements intended to make products more efficient, an important and lasting contribution can be made in the struggle to combat climate change. European Council Directive 2005/32/CE EuP (Energy-using Products) seeks to establish a framework for the incorporation of environmental factors into the design of appliances and equipment that use energy, particularly electrical power and fossil fuels. The VHK research institute was appointed by the EU Commission on Implementation Measures to develop a methodology study for the purpose of assessing which groups of products could be covered by the new measures. In December 2005, following the completion of the VHK study, the Commission appointed a number of outside consultants to carry out preliminary studies on certain groups of products, with the involvement of Businesses and of National and European Associations.

The product groups are: - Electric motors, water pumps, ventilation fans; - Personal computers and monitors; - Imaging equipment: copiers, faxes, printers, scanners, multifunctional devices; - Consumer electronics, typically televisions; - Battery chargers; - Lighting appliances; - Air-conditioning equipment; - Refrigerators and freezers (including domestic), display cabinets and vending machines Consultants are tasked to identify specific and mandatory limits for single products, in respect of certain significant environmental parameters such as, for example, energy efficiency, water consumption, etc. General standards will also be defined for the overall environmental performance of the product, in this instance without setting any limit values. The IEA study entitled â&#x20AC;&#x153;Lights Labours Lostâ&#x20AC;? (IEA, 2006) forecasts increasing growth in the global market for lighting installations and appliances, driven by higher levels of production and increased building activity, these factors in turn reflecting growth in the world economy, continuing urban

development, and the expansion of electrical power grids into rural areas. It is no surprise that the envisaged growth rate should be higher in the developing countries of Asia and the Pacific, Eastern Europe, Africa, the Middle East and Latin America. It is expected that the demand for lighting appliances will increase in western European countries by 4.0% per year, well above the growth rate of 2.9% recorded during the period from 1998 to 2003. Overall annual expenditure on lighting in the 25 countries of the European Union (EU25) area amounts to 4.3 billion euros, of which 2.3 billion (or 55%) is spent on electricity, 1.5 billion on products, 0.2 billion on labour and relamping services, and 0.125 billion on new lamps. The sectors identified by implementation study groups as being priority areas for setting specific limits and general performance standards are street lighting and office lighting. As regards the use of artificial light, an analysis was conducted to establish which sectors of application consume the higher percentages of electrical energy for lighting, in relation to total energy consumption.

Photos: Archivio iGuzzini 1. Example of residential lighting 2.3. Examples of lighting in public places

Street lighting. The estimate of energy consumption made during 2005, assessed in the current study, is 35 TWh for the EU25 area, and represents around 1.3% of ultimate electricity consumption. In one recent study, electrical power consumption accounted for by street lighting is related to a given number of inhabitants, and a ratio of 0.11 fixtures per head is identified; this gives a projection suggesting that in Europe (which has 820 million inhabitants), there is a total of 91 million light points installed. Considering that lighting appliances have an estimated service life of 30 years, many installations currently in use will be based on technology that is already obsolete, and ineffective in terms of energy saving. Indeed in the last ten years alone, considerable

technological progress has been made in the area of street lighting, and the process of innovation continues. Accordingly, there is a sizeable market for the replacement or renewal of these installations. Nonetheless, new energy-saving technologies do not always provide a known and proven reason behind any increase in the rate at which systems are renewed. What is more, analysts expect that there will be more and more installation projects connected with the growing urbanization of rural and suburban areas, likewise with the trend toward improving the appearance of cities and developing urban outskirts. These are the main reasons that have led consultants to indicate street lighting as a priority area for action under the EuP directive.

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Ecodesign. Responsible product design, from conception to demolition

Corporate culture

Office lighting The lighting fixtures that have long been installed in the offices of industrial and service sector premises are undoubtedly products that consume a great deal of energy. It is common practice to install specific appliances for given tasks, dictated by precise technical requirements for the workplace in service and industrial sector buildings, as indicated in standards or guidelines - for example EN 124641(2002). More exactly, the lighting requirements for tasks performed in these office environments are specified in EN 12464-1(2002), entitled â&#x20AC;&#x153;Lighting of work places - Part 1: Indoor work placesâ&#x20AC;?, and the luminance typically required in these areas is 500 lux. The standard in question also specifies other comfort requirements in respect of glare and colour rendering. Fixtures installed in conformity with these requirements over the last ten years are based almost without exception on fluorescent lamp technology, and it can be expected that this technology will continue to dominate for the next ten years. Significant progress has been made over the last twenty years in the technologies applied to fluorescent lamps and their power supply components. There is a wide range of products already available on the market, offering high levels of performance, though not enough are being installed as yet.

4. Example of lighting for office premises 5. Example of lighting for industrial premises

gen

s ome ly H Main

Halo

Contribution of lighting: CO2 emissions produced by burning fossil fuels to generate electrical energy for lighting purposes.

ps Sho and

11%

GL S

20 Ma % inl yH om es

Halogen lamps used mainly in homes and in the business sector consume 11% of total energy; Fluorescent lamps (TL) used mainly in office and industrial premises consume 41%; Compact fluorescent lamps (CFL-NL CFL-I) used mainly in office and industrial premises consume 5%; Metal halide lamps (HD) used mainly for outdoor floodlighting and in shop premises account for 23%; Incandescent lamps (GLS) used mainly in the home and in the Horeca sector account for 20%. Lighting-related energy consumption in western Europe is quantifiable at 426 TWh, of which 80% derives from lighting connected with manufacturing and business activities, and 20% from lighting in homes.

an dH OR EC A

TL 4 1%

Main

ly Off

% 23 ly

tdo

nd In

dustr

CF Lnl

L-I

in Ma

n ra

ice a

Sector

Agriculture Industry Service sector Street lighting Residential Total

Total energy consumed in Italy TWh/year 5,4

Lighting-related % energy consumed in Italy TWh/year negligible

153,7

13,4

8,7%

77,7

21,9

28,2%

6,1

100,0%

66,9

9,4

14,1%

309,8

50,8

16,4%

Sector

Average annual increase (BAU)

Lighting-related energy consumption in 2015 (GWh)

Industry

2,80%

17.628

Service sector

3,40%

30.715

Street lighting

3,40%

8.527

Residential

1,90%

11.312

Total

3,07%

68.182

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Adolfo Guzzini - Doctor Honoris Causa

Corporate culture

Macerata, 24 October 2007

On 24 October 2007 the University of Macerata presented Adolfo Guzzini with an Honorary Degree in International Business and Economy. The lectio doctoralis, on the theme of the internationalization of medium size businesses, was delivered in the Aula Magna of the University of Macerata, and in addition to his Honoris Causa, Adolfo Guzzini also received the medal of the University. The conferment ceremony in the San Paolo Auditorium, where more than 600 people were gathered, including family, friends, colleagues and members of the business community, began with a welcome given by the Rector of the

University, Professor Roberto Sani. He described Adolfo Guzzini as â&#x20AC;&#x153;an undisputed protagonist in the economic life of the Marches, and of the nation. In his long experience as an entrepreneur, gained in a family of entrepreneurs, he has succeeded over a period of some thirty years in turning a small business into a full scale industrial concern - a pocket multinational, as iGuzzini illuminazione likes to call itself. A European business of true excellence in its way of interpreting innovation, managing the market, enhancing the role both of management and of personnelâ&#x20AC;?. The Laudatio was given by professor Mauro

Photos: Esa Studio 1.2. Conferment of the honorary degree by Rector Roberto Sani 3. Adolfo Guzzini congratulated by managers and representatives of iGuzzini branches 4. The packed hall

Marconi, President of the Economics Faculty, who spoke of iGuzziniâ&#x20AC;&#x2122;s fifty year history and underscored the part played by Adolfo Guzzini in the internationalization of iGuzzini illuminazione. Internationalization of the medium size business was indeed the theme of the Lectio delivered by Adolfo Guzzini, who began with an attentive analysis of the scenario, then went on to describe - with the benefit of his own experience - how the will to push beyond national frontiers and seek new markets had contributed to the company's growth and translated over time into a position of leadership. Alongside these considerations of a purely business nature, and central to the theme of the Lectio Doctoralis, Adolfo also touched on the human aspect of the undertaking: the innate family feeling for entrepreneurism and a keen appreciation of design, as well as the fundamental contribution made by the management and all employees and co-workers, who were described as â&#x20AC;&#x153;splendid fellow travellersâ&#x20AC;?.

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Corporate culture

Selected projects Ramiro Losada Amor Alvaro Iván Gor Lus Sempere Pablo Twose Valls Javier Jiménez Marcelo Ruiz Artamis Ignacio Peydro Brezo Alcoceba Carlos Jiménez Cándida Domingo María Carmona Javier Traver Simón Francés Ana Ortiz Carrasco Sofía Sánchez Mercedes Simón Manuel Chirivella

Third edition of the Pasajes-iGuzzini Architecture Competition

María Mallo Zurdo Manuel Álvarez Marina Cibnerob Ophelie Herranz Guadalupe Hernández Carlos Ruiz Jose Antonio Aragüez Yoama Cebrecos Raúl Recuerdo Jorge Muñoz Ángela Ruiz Alberto Álvarez Ana Peñalba Álvaro Carmena Fernando Pérez Alicia Bedmar Fco. Antonio García

Jury members Piergiovanni Ceregioli - architect, director of the iGuzzini Study and Research Centre Beatriz Sendín - architect, winner of the second edition of the competition Martín Lejarraga - architect, director of the Martín Lejarraga practice.

Prize-winners 1st Prize Javier Jiménez Noah’s Ark (a centre of 18 architectures) 2nd Prize María Carmona Motel di passerella 1st Commendation Ignacio Peydro I.E.I.A. - European Institute of artistic investigations 2nd Commendation Fco. Antonio García Interchange + Park

Andrés Jaque - architect, director of Andrés Jaque Arquitectos and of the Policy Innovation Office, Madrid Pippo Ciorra - architect, professor at the Ascoli Piceno School of Architecture, committee member, Casa dell’Architettura in Rome

Representatives of Pasajes and iGuzzini: José Ballesteros Josep Masbernat

Photos: Archivio iGuzzini

Secretary to the jury Gala Martínez

2. The prize winners

1. Drawings from the project awarded First Prize 3. Drawings from the project awarded Second Prize

1st Mention María Mallo Zurdo Naturist hotel on Gran Canaria island 2nd Mention Simón Francés Homes on the Ebro Delta 3rd Mention Álvaro Carmena M30 Purification landscape 4th Mention Fernando Pérez Multi-use cultural agronomic station at Atocha 5th Mention Ana Peñalba Metaproject: Strategy for recovery of the Plaza Castilla water tower

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Third edition of the Pasajes-iGuzzini Architecture Competition

Corporate culture

The jury for the third edition of the Pasajes iGuzzini Architecture Competition met at RubĂ on 26 September 2007. The assessment procedure was conducted as a series of eliminatory stages. Jury members looked at the projects independently, aiming to identify those that merited most interest on the basis of agreed criteria: architectural quality, innovation an d research. At the end of the first assessment, 73 of the entries were eliminated. A second selection reduced the number of entries to 34. These contended the competition proper, and will all be represented in exhibitions to be staged during the course of 2008. From the pool of 34, each jury member selected 5 projects. After lengthy discussion, a short list of the 9 finalists emerged. The first prize was awarded to the project in which the jury recognised an experimental purpose, and a vision expressed both broadly and in suitable detail. The cultural basis, the reflection on different worlds, the way accumulated experiences show through, merged with rigorous technical concepts, properly designed and measurable, all added up to a deliverable end-product. Also important was the communicative effectiveness of the documentation submitted, which allowed the adjudicators to appreciate, discuss and evaluate the proposal in detail. This is a project that has an engaging, end-ofterm feel about it, where humour and rigour are combined with ease, and where the concept of the architectural theme park takes on confrontational nuances, suggesting alternative and speculative ideas. The second prize was awarded on the merit of delicacy. With its references to the fluctuating world of Edo, supported by a highly refined development of the suggested architecture and an elegant spatial organization, this project was seen by the jury as â&#x20AC;&#x153;quiet architectureâ&#x20AC;?.

4. Drawings from the project awarded First Commendation 5. Drawings from the project awarded Second Commendation

Above all, the adjudicators were struck by the creation of a shifting sensory environment, and the technical aspects of the project, clearly illustrated by the design choices made, as well as the inventive capacity showing the detailed definition of internal spaces. Projects were selected for commendation, in accordance with the rules of the competition, from those entries which in the eyes of the jury had made use of light as a design tool, an added dimension of architecture exploitable through n its natural-artificial combination, and through its interaction with the very newest materials, as a means of generating spaces with an ambience to elicit targeted sensations in users. In the case of the first commended project, the positioning of light sources in an enveloping transparent atmosphere was much admired by the jury. In the second commendation, the jury admired the poetry with which the natural environment is evoked in an area used as a transport network interchange, through the deployment of signposting systems, vegetation and artificial lighting fixtures identifiable with the natural environment. The prize-giving ceremony and inauguration of the exhibition took place on 5 November 2007 at the Foundation of the Association of Architects of Madrid.

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Corporate culture

At last, the Design Museum Milan Triennial, 6 December 2007 The Design Museum was finally inaugurated on 6 December 2007, at the Milan Triennial For many years, the city - and indeed the design world at large - had been questioning why there was no permanent exhibition space dedicated to industrial design. It was in 2004 that the Triennial began to organise exhibition spaces, first setting up the Design Library, Historical Archive and Documentation Centre, then renovating the areas earmarked for the Museum proper, which were opened to the public in December 2007. The architectural design for renovation of the building and organization and updating of the Museum is by Michele De Lucchi, creator of the innovative entrance way featuring a bridge that renders the Museum an integral part of the Triennial, and at the same time, an independent and readily identifiable venue. The Triennial Design Museum is not only the real centre, but also the virtual centre for a whole network of design resources possessed in great abundance by Italy, and by Lombardy in particular. iGuzzini was involved in the realization of the project as lighting design sponsor: the main hall of the new museum is lit by Le Perroquet fixtures.

Corporate culture

PizzaKobra Tour

Lightlab Brussels, 20-21 October 2007

Having visited the Guzzini showroom in Paris during June 2007 for the Designerâ&#x20AC;&#x2122;s Days event, the PizzaKobra Tour continues its tour of other iGuzzini branches in Europe. In September 2007, the lamp designed by Ron Arad was presented to Italian journalists in Milan, and in October it was the turn of Spain. The infinitely reshapeable table lamp was shown to everyone with an interest in the world of light and lighting, at the FAD in Barcelona, and at the IED (European Design Institute) in Madrid.

The Lightlab trade show is an event where manufacturers of lighting systems, architects, decorators, installers and clients can work together on projects of common interest. The second edition of Lightlab, Tour & Taxi was held in Brussels during the weekend of 20-21 October 2007. The idea was to bring together manufacturers of lighting fixtures, and designers. On this occasion, iGuzzini illuminazione Benelux teamed up with Lamborghini.

Top: installation at IED Bottom: installation at FAD

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Editorial

Incontroluce

I. 2008

Incontroluce Six-monthly international magazine on the culture of light

Adolfo Guzzini

Errata Corrige Incontroluce 16 Nhow Hotel Lighting design Piero Castiglioni

III

9.1921.000.0

English version

I. 2008