Incontroluce 18 - October 2008 - EN by iGuzzini illuminazione

English version

II. 2008

Editorial

Dear Readers, “Architecture is enjoying rude health” might be the comment that comes to mind while browsing this number of Incontroluce, packed with news of quality projects from around the world. A much broader and more authoritative reflection on the general state of architecture was provided by the International Union of Architects World Congress, held in Turin last July. Here, the topic was addressed not only from the standpoint of designers, but from that of all components making up the economic, political and social system that dictates how buildings are erected, and more generally, how landscapes are transformed. In effect, the quality of architecture derives from the synergy between a combination of factors and players, as expressed succinctly as long ago as 1962 by Giulio Carlo Argan, on the occasion of the first In/Arch awards offered in Italy by the National Institute of Architecture: “In addition to identifying those architects who have succeeded in synthesising and ultimately resolving all the energy components that contribute to a work of art, the in/arch awards are meant to reward political figures, officials of organisations, producers, art critics, institutes and enterprises, in other words the full sphere of activities and interests surrounding the artistic outcome. It is therefore very important that awards given to buildings should recognise not only the architect and creator, but also the client and the builder.” The same complex picture underpins the quality of lighting design. This is why in our advertising campaign “Partners for better light”, we present the installation, and all of the professionals who contribute to the creation of the lighting scheme: the architect, the client, the lighting designer, the installation contractor and obviously the iGuzzini company and its engineers. Happy reading!

Adolfo Guzzini

Incontroluce

Summary

Editorial

The Marches Contemporary architecture in the Marches

Design Energy in light. The Naistenlahti power plant Projects Light on the Herculaneum excavations

The Vulcano Buono Centre

Monza’s glittering treasure. The Gaiani Museum

The Venaria Reale

NEWurbanFACE

The Thompson Pump House

Code Computer Love headquarters

Stations on the LGV Est Européenne line

Bancaja Foundation

The Hyatt on the Bund hotel

Montesanto rail station

Spotlight on Italy: new floodlighting for the Italian Embassy

Bjørvika. A new space for the city

1500 new lighting fixtures for Bucherer

“Design Cities”

Harvey Nichols

Artempo “Where Time becomes Art”

A lighting scheme for the Cité de l’Architecture

Corporate culture Splashes of colour on the city

New iGuzzini illuminazione UK in Guildford

iGuzzini in St Petersburg

Designers Days ’08 Italian Design Gold

Design Cities iGuzzini Partner For Better Light Workshop - worldwide

iGuzzini reinforces environmental credentials. Certification to ISO 14001:2004

LumiVille PizzaKobra Tour hits Zurich Architectural Society of Shanghai China (ASSC) visits iGuzzini China

II. 2008

The Marches

Contemporary architecture in the Marches

General design by Cristiana Colli and Pippo Ciorra

Ancona, Mole Vanvitelliana, 12 July - 24 August 2008

The first exhibition of contemporary architecture to be held in the Marches is a composite event, split into four sections: a census documenting works of quality from 1945 to the present day; an exploration of more recent projects; a selection of works published over ten years of activity by “Progetti Ancona” magazine; and a search through the archives of architects from The Marches. This exhibition - the first overview of its kind presented in the region - originates from a survey conducted in recent years on Italy's post-war architecture by PARC, the office of the Ministry for Cultural Assets and Activities (MiBAC) concerned with Protection and Quality of the Landscape, Contemporary Architecture and Art. The survey is conducted region by region. There are several objectives. First and foremost, to promote contemporary Italian architecture; also, to identify a more select category of works perhaps worthy of protection in some form (intellectual property rights, etc.), and finally, more than twenty years since the most recent wide-ranging historical surveys, to generate interest in a first historiographical review. In 2005 the survey was extended to The Marches, and conducted there by a research team from the PROCAM (environmental design and construction) department of the Ascoli Piceno Faculty of Architecture. The findings of the faculty researchers, which take up two sections of the exhibition (PARC 1945-2000; PARC 20002008), offer an absorbing and in some ways surprising picture of the activity carried out by designers in a region considered to favour cautious resistance where innovation and contemporary creativity are concerned, at least in the field of architecture and town planning. With regards to the section dedicated to the selection of “Progetti Ancona” publications, this lends dependable and reassuring credence to the PARC surveys. In effect, ten years of reporting and features in the magazine reveal a wealth of top quality designers and projects, affording evidence

Contributors: Faculty of Architecture, Ascoli Piceno Polytechnic University of the Marches, Municipality of Ancona, Progetti Ancona magazine, Inarch Marche,

Marches Regional Archive Council, iGuzzini Illuminazione, Ermanno Casoli Foundation, Gagliardini Joint Committee of Marches Savings Banks Foundations.

Photos: By kind permission of the exhibition organisers 1. Urbino, Arts Faculty by Giancarlo De Carlo 2. Camerino, new Department of Molecular Biology premises by Pippo Ciorra and Massimo Periccioli 3. Sketch for Marches Regional Headquarters building by Gregotti Associati International

involved. Here too, the researchers uncovered interweave facts and events far more extensive and complex than imagined hitherto, characterised by people strongly associated with the economic and cultural history of the region but at the same time in regular contact and discourse with the leading figures and national centres of this particular culture. The design of the exhibition, set up in the splendid ground floor rooms of the Mole, tends toward a homogeneous composition of the four sections, offering a general overview of the contemporary architectural landscape of the region, highlighting its consistency, variety and richness.

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of the architectural innovation that has indeed penetrated the region, highlighting relations with the local industrial fabric, and giving exposure to the initiatives of local institutions and universities. The archive research, entrusted to the DARDUS (architecture and town planning) department of Ancona University - working in collaboration with the Regional Archive Council and offices of the Ministry for Cultural Assets and Activities - seeks to provide an extra knowledge resource deemed essential for anyone looking to explore the subject of contemporary architecture in the Marches and the vicissitudes of the more important figures

Design

Energy in light. The Naistenlahti power plant Tampere, Finland written by Roope Siiroinen

This huge building, occupying a lakeside location in a recreational area near the city of Tampere, offered the ideal opportunity for a dynamic lighting design that would completely transform the image of the industrial architecture through the medium of illumination, turning it into a significant modern element of the city and of its nocturnal lakeland landscape. The idea behind the lighting design is to enhance the graphic form of the building and accentuate its principal elements through the use of colour. The lighting, fully programmable and with multiple nuances of

colour, generates a sense of dynamic energy through the architecture of the building and the surrounding area. The main aim of the client was to transform the message sent out by the building through the medium of the lighting system, in such a way that after dark, an architectural entity having little in common with the surrounding environment would take on the appearance of a modern structure embedded harmoniously in a 21st century landscape. The building was a piece of industrial architecture, with simple lines and geometrical forms, devoid of decorative details.

Client Tampere Power Plant (Tampereen Sähkölaitos) Planning consultant Arch. Jalo Virkki, City of Tampere Architectural design for renovation of the façade Arkkitehdit Von Bagh – Tavilampi Oy

Lighting design: VALOA design Ltd Roope Siiroinen, MA, PLDA Arto Heiskanen, BA , PLDA Heini Ylijoki, BA, PLDA

Photos: Antti Hiltunen/VALOA design Oy By kind permission of Valoa Design 1. Façade of the building 2. The power plant and its urban setting

Electrical system design Pöyry Engineering Oy

The main challenge facing the designer was how to change the multi-dimensional and dynamic daytime image of the building into an attractive, smart and informal dusk-to-dawn image with the aid of a solid lighting design concept. Graphic lines and forms have been picked out and highlighted chromatically in the glow of colour notes propagated by triangular prisms. With this solution, the image that meets the eye is one of harmony, free of unsettling elements. The anonymous grey edifice provided an ideal scenario for our colour-based lighting project.

Colours, graphic elements and three-dimensional forms merge to give the building a special aura a soul, almost. This dynamic solution fits in perfectly with the surrounding environment, where all the buildings are well-integrated into the extensive recreational area they occupy. In reality, this novel design challenges the neighbouring buildings to go for a lighting concept with stronger elements of characterization. The Naistenlahti power plant offers a practical example of how the image of a building can be transfigured, given a unique and

exclusive look, through the medium of lighting. The design was among the winning entries in 2007 for the GE Edison Awards, a programme set up in 1983 by General Electrics. Launched to promote the use of GE light sources, the Edison Awards scheme has become an international competition that rewards particularly creative and expressive designs, employing both traditional and innovative technologies. The awards ceremony was held in Las Vegas on 27 th May 2008.

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Design

Energy in light. The Naistenlahti power plant

3. Use of colour on the façade 4. Map of Oslo. Project area shown in blue 5. GE Edison Award Ceremony

Biography Roope Siiroinen was born 22 December 1967 in Helsinki, Finland. Taking a degree course in Lighting and Sound Design at the Finnish Theatre Academy, he graduated in 1995 with a thesis on “The Aesthetics of Exterior Lighting”, of which the artistic and design part dealt with the lighting of an experimental residential area (Environmental Structure Award, 1996). As a post-graduate, he lectured in Lighting Design at the Tampere Polytechnic, and proceeded to set up his own practice: Valoa Architectural Lighting Design. Winner of the “Lighting Project 1999” award,

he was also short-listed for the European “Light Premiere 2002” award. In 2000 he began developing Valoa Ltd as a full time designer and company director. He has delivered over 150 major lighting projects for exteriors and interiors. Other awards have followed, including honourable mentions for “Lighting Project 2003” and the Nordic Luminaire Design Competition “Luminord 2003”. In 2004 he won the prestigious “Cultural Act of 2003” award offered by the Kalle Kaihari Foundation. Roope Siiroinen is a member of the European Lighting Designers’ Association (ELDA).

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Projects

Light on the Herculaneum excavations

Client Pompei Archaeological Authority Administrative Board Lighting design Alessandro Grassia

Herculaneum, Naples, Italy written by Alessandro Grassia

It was in May 2003 that the Administrative Board of the Pompei Archaeological Authority gave the go-ahead to proceed with the design of a new lighting system for the archaeological park of Herculaneum. Installation works began in September 2006 and were completed in September 2007. The intention was to provide lighting for an area of the archaeological site where organised parties of visitors accompanied by specialist tour guides can view the excavations after dark. The tour of the floodlit area takes around one hour. Parties can be made up of between 20-25 persons, with a maximum of three parties visiting the site at any one time. The new installation employs a flexible switching system by which utilisation of the artificial light can be modulated according to different needs. Some 420 luminaires were installed, fitted with different types of optical assemblies and lamps, but all rigorously compact and of low wattage, in accordance with the wishes of the Authority, whose main concern was to limit the dimensions of the fixtures as far as possible within the architectural and structural profiles of the exhibits. The products selected were Platea and Woody spots; recessed Linealuce, Light Up-Walk and Light Up-Balisage, plus iRolls for certain parts of the interiors. The fixtures are wired into 62 switching circuits that can be used to make up different light settings; these can be created both from a central location (control panel and programming station) and locally (inside the various architectural discoveries). The power and control cables are all routed appropriately along paths established with the approval of the engineering and archaeological

Photos: Giuseppe Saluzzi 1. House of the Wooden partition, frescoed walls of the courtyard with impluvium 2. Light cast through the windows and doorways of rooms onto the street (cardo)

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Projects

Light on the Herculaneum excavations

3. The Sannitic House, with false loggia and courtyard roof 4. House of Neptune and Amphitrite, mosaic viewed from the courtyard 5. House of the Stags

The second stage in lighting up the various architectural, archaeological and artistic discoveries is controlled by the tour guides as they lead the groups of visitors from one site to the next. Looking down on the excavations at Herculaneum from the ridge above the site, the town plan can be picked out clearly from the permanent lighting along the east-west (cardi) and north-south (decumani) streets; with lights being switched on and off by the tour guides as they move around the various locations, the impression is one of a city still alive today.

managers in charge of the excavatio Under normal operating conditions, as envisaged for guided tours, the lights are switched on in two stages. The first stage brings on the street lighting, which remains alight for the entire duration of the night tours. The street lighting covers: the Cardi; the Decumani; the Gate of the Major Decuman; the Palaestra; and all the â&#x20AC;&#x153;basicâ&#x20AC;? floodlit areas inside the discoveries, allowing visitors to enter and exit in safety. The permanent lighting also takes account of the need for safety and identification of the guided tour routes.

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Projects

The Vulcano Buono Centre

Client Interporto Campano La Rinascente, Vulcano spa (Cis Shopping, Auchan e Simon Property)

Nola, Italy

December 2007 saw the opening of the Vulcano Buono Centre at Nola, near Naples, a project by Renzo Piano who drew inspiration for the design from that most iconic Neapolitan icon of them all: Mount Vesuvius. An artificial mound standing 40 metres high and measuring 170 metres in diameter is the site of a development offering not only the usual retail stores, but also shopping galleries and hotels, restaurants with a view, conference halls, multiplex cinemas, exhibition rooms, as well as interport business offices and, most importantly, a huge open space at the heart of the complex. This project by Renzo Piano, in effect, is not intended simply as somewhere to shop - the kind of “non-place” envisaged by Marc Augé - but as the designer himself says, “an interpretation of cooperation in the modern sense. We are not looking to build another

dreary shopping centre, but rather, an open space where space itself is the element that brings people together”. The design of the Vulcano Buono is also strongly eco-oriented: the ‘crater’ will be surrounded by a large expanse of green, with more than 2000 trees. Given the complexity of the environment, the lighting - designed by the architect - is similarly complex and elaborate, utilising various types of product. Outdoor areas (car parks, forecourts and the big central piazza) are lit by polemounted fixtures, in this instance Platea with street lighting optical assemblies and 150 W metal halide light sources, colour temperature 4200 K, and Platea with fluorescent light sources (2x26W TC-T), colour temperature 4000K, also Light Up Walk Professional units with wall washer optical assembly and metal halide light source rated 150 W, colour

Architectural design RPBW Renzo Piano Building Workshop Team members Giorgio Grandi, Domenico Magnano, Michael Palmore

Systems design Fiat Engineering

Photos: Copyright ÂŠ Studio Maggi/Moreno Maggi 1. The Vulcano Buono and the Nola landscape

Structural design Favero & Milan Ingegneria

2. The main piazza

Building contractor VESUVIO S.c.a.r.l.

temperature 4200 K, and a special version of Le Perroquet with 150 W lamp, which has already been used by Renzo Piano at the High Museum of Art in Atlanta. Interior lighting features recessed fixtures including The Reflex, with metal halide lamps rated 70 W and 150 W, colour temperature 3000 K, and Sistema Easy, in this case with compact fluorescent lamps rated 18W, colour temperature 4000 K. Other fixtures are used to integrate and complement the downlighting provided by recessed units. These include Berlino pendants with 250 W lamp, colour temperature 6000 K, Lingotto spots with 150 W lamp, colour temperature 3000 K, Woody discharge 70W HIT Spot, 3000 K and Full overhead fixtures with fluorescent light sources, colour temperature 4000 K.

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Projects

Monza’s glittering treasure. The Gaiani Museum

Clients Titti and Franco Gaiani Architectural design Cini Boeri Visual Design Pierluigi Cerri

Monza, Italy

Since November 2007, the Museum and Treasury of Monza Cathedral has had a new premises and a new and evocative underground layout at the back of the cathedral, an imposing Gothic structure evolving from the basilica erected originally at the wish of the Lombard Queen Theodolinda in the 6 th century. The museum, a 10-year project supported vigorously by local benefactors Titti and Franco Gaiani, presents visitors for the first time with an organically conceived exhibition not only of the famous Treasury, but of all the cathedral’s masterpieces collected over fifteen hundred years. It is a flexible and multipurpose structure that will also be able to host temporary exhibitions, musical events, conferences and meetings. The museum is accessible without passing through the cathedral. It is laid out on two levels and has no less than 1200 m² of floor space. The most famous item in the Cathedrals collection is without doubt the legendary Iron Crown, a religious and political symbol of Western culture that featured in the coronations of emperors including Charlemagne, Frederick I Barbarossa and Napoleon Bonaparte. The crown kept in the museum is a copy. The history of the Monza Cathedral Treasury has always been associated with legend. The magnificent gold and silver objects donated by Queen Theodolinda to mark the foundation of the Lombard church were kept and protected from theft by the cathedral. Thereafter, the collection grew ever richer down the years, thanks to donations from nobility and from ecclesiastics, and were shown as museum pieces for the first time in 1963. The initial core collection has now become the first section of a broader and more spectacular tour, in which the items are displayed as two historical core elements divided notionally into pre- and post-1300, the year when the Visconti family decided to rebuild the church first erected by Theodolinda. The first part of the tour shows works originating from the first basilica, whereas the second part traces the history of the Cathedral and the Treasury from the 14 th century to the present day, in four main sections. To underscore the connection with the present, plenty of space has been given both to contemporary art and to recent donations. Among works by contemporary artists are a Crucifixion by Lucio Fontana, a Christ Resurrected by Luciano Minguzzi and cartoons by

Lighting design Consuline - Francesco Iannone and Serena Tellini

Light sources Osram

Photos: Piero Pozzi by kind permission of the Monza Cathedral Museum and Treasury 1.2.3. Interior views

Lighting fixtures Altis RC Lighting

Sandro Chia for stained glass windows in honour of St Ambrose and St Charles Borromeo, to be installed in the Cathedral in the near future. The lighting design by Consuline is based on the concept of the museum as a place where that which can be learned is much more than that which effectively meets the eye: looking at a work of art, the viewer can see into an epoque. According to Francesco Iannone and Serena Tellini, the technical side of lighting is only a small tool in the Lighting Design process - a means to an end, certainly not an end in itself.

Here, the design process involved a search for the very latest lighting technologies, offered by iGuzzini and by other manufacturers. From the iGuzzini catalogue, the designers selected Tecnica spots in small and medium sizes. The entire artificial lighting scheme for the museum was based on principles of perception through emotions. Accordingly, halogen light sources are equipped with semi transparent and transparent colour filters, and led sources are dimmable, hence they are able to operate at colour temperatures different to traditional sources.

Certain motorised fixtures can be programmed to highlight details in a 1-2-3 sequence, such as parts of paintings, small areas and facets of the goldsmith’s art. In practice, there is no “conventional white light” in the entire museum. All of the solutions adopted are designed to function on the perceptive level. There is a significant emphasis on comparative vision. The Museum is also an experimental laboratory exploring the very latest applied technologies: in effect, work is in progress on movable and temporary structures for the “surgical” lighting of exhibits.

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Projects

The Venaria Reale

Coordinator of the Venaria Reale Project and Flexible Structure, Piedmont Region Alberto Vanelli Patrimonio e Tecnico (heritage department), Piedmont Region Maria Grazia Ferreri

Turin, Italy

The renovation programme under way currently at Venaria Reale is extensive and complex, as work is not limited to a single monument, however important, but to an entire area, which is both wide and diversified. In practice, this includes the old village of Venaria, the Reggia, the historic gardens and the Mandria park: 80 hectares of gardens, 150,000 square metres of buildings, an inestimable wealth of wonderful landscapes, architecture, plasterwork, frescoes, works of art and archaeological finds. The history of Venaria Reale and its Reggia is briefly this: in 1660 the Duke of Savoy, Carlo Emanuele II, instructed his court architect Amedeo di Castellamonte to erect a lodge in this idyllic area, abounding in woods and water courses; it would be a retreat where he could both relax, and indulge his passion for stag hunting. During the years that followed, the building was enlarged and made grander. The Dukedom of Savoy, in the meantime, had become a Kingdom. It was a period when architects working on the Venaria complex drew inspiration from the palaces of Northern Europe, and of France in particular.

The architect Michelangelo Garove built the two east and west towers and a large connecting wing, so as to create the three-sided layout typical of great European houses, while also enhancing the Reggia with the addition of a spacious inner courtyard. The extension works were resumed in 1716 under Filippo Juvarra (who completed the Great Gallery - referred to incorrectly in recent times as the â&#x20AC;&#x153;Gallery of Dianaâ&#x20AC;? - and the Chapel of St Hubert, the patron saint of hunters, also the Orangery and the Great Stables) and carried forward by other architects through to the second half of the 18th century. When the French occupied Piedmont in 1798, the entire Venaria estate was forced into a slow and unstoppable decline. After many years of neglect and decay, the limbo into which the Reggia of Venaria had drifted was finally ended in the late 1990s. The project driving the entire renovation programme, which is still the biggest of its kind currently in Europe, revolves around two key objectives: the first is to carry through a restoration plan whereby historic and artistic assets are properly and meticulously protected.

Head of Architectural Heritage and Landscape Department, Piedmont Francesco Pernice

Director of Venaria Gardens restoration works Mirella Macera

Head of Artistic and Demoanthropological Assets Department, Piedmont Carla Enrica Spantigati

Coordinator of Back Office operations and head of design for the Reggia and gardens restoration programme Carlo Fucini

Photos: iGuzzini archive 1. Faรงade 2.3.4. Interior views

The second is to create not merely a museum, but a dynamic space in which to accommodate permanent activities linked to the world of architecture, arts and crafts, as in the case of the Restoration School, and recurrent activities focusing on culture and on quality entertainment such as exhibitions, concerts, conferences and shows. By way of example, one of the most interesting and innovative sections of the current museum tour, centred on the history of the Savoy dynasty, is a series of film pieces put together by movie director Peter Greenaway, which accompany visitors on their way through the rooms of the palace. As in the decisionmaking on restoration criteria and on the functional reinstatement of spaces, there was naturally a good deal of thought given to the question of lighting, not only for the Reggia but for the Gardens too. The main problems to be addressed were those connected with the need to ensure compliance with regulations in public access areas. An absolutely key element in the revival of interiors and works of art, light must shine everywhere, but always sympathetically to the architecture and the restorations in progress. The solution proposed by architect Gae Aulenti was to use luminaires that would remain totally detached from the structures of the palace and therefore serve more than one function, while also keeping the walls of the building free from cumbersome and awkward fixtures. The fixture selected to fulfil this role was the Cestello, mounted on twin column stands rising to four metres high and anchored by way of strategically located floor boxes. The stands are also equippable with a number of technological devices including, for example, CCTV surveillance cameras, public address speakers, humidity sensors, safety signage, luminous pictograms and fire extinguisher brackets.

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Projects

In many instances, the base of the stand incorporates power sockets and data connection ports, providing additional flexibility when changes are made to exhibition layouts. The stands themselves are finished in a special gold colour complementing the friezes in the cornice bas-relief decoration that features in many rooms of the palace. In the less stately rooms of the Reggia, typically reception areas including ticket offices, cloakroom, info point, cafeteria, bookshop and merchandising spaces, a decision was taken by international designers

The Venaria Reale

Massimo and Lella Vignelli - along with architects Carlo and Aurora Fucini who created the layout and interiors for these areas - to diversify the lighting system, using a specially produced nonstandard version of the Downtown wall-mounted fixture: more precisly, the lamp is coated with a satin ivory finish faithfully replicating the colour of the lime plaster so that the light blends more harmoniously with the interior. June 2008 saw a substantial proportion of the gardens opened to the public: 25 hectares of the total eighty. The gardens also afforded scope for

experimenting with the use of light. The need was to draw a contrast between the magnificence of the green spaces either restored or reconstructed to the original design, and the rest and refreshment areas set aside for visitors. Here, as in the Reggia, new spaces and their essential structures have been created with functional needs and current preferences in mind, with a measured use of contemporary design. The Garden House: a white timber entrance pavilion nestling among the yew trees, with an open air courtyard, for which a lighting design

5.6. Garden House

was developed adopting a wide range of fixtures: Woody and Miniwoody spots and floods in the courtyard, ultrawhite Downtown fixtures along the internal walls, with clusters of Le Perroquet pendants over the bar and the ticket desk; fluorescent Linealuce recessed into the iroko floor and uplighting the evergreens planted around the building. The Music Theatre: a small theatre, housed in a white timber shell of lightweight construction with a translucent PVC dome, illuminate like a magic lantern in the middle of the garden by

twelve powerful Light Up Walk fixtures recessed into the floor. Pergolas in the entertainment area: the area given over to summer shows is surrounded by some 300 metres of chestnut pergola finished in grey-blue. The walkway is illuminated by Woody floods concealed between the timber members, and given added visual impact by a string of coloured Ledplus RGB marker lights at ground level. Light-emitting diodes continue to be a prime area of interest in the search for new ways of exploiting the latest technologies.

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Projects

NEWurbanFACE

Promoted by Department for Tourism, Fashion and General Affairs, Milan Province In collaboration with Milano Metropoli Development Agency â&#x20AC;&#x201C; Antonio Oliverio

Milan, Italy

The Tourist Information and Reception Office (IAT Informazione e Accoglienza Turistica) in Milanâ&#x20AC;&#x2122;s Piazza del Duomo is located in the former Albergo Diurno, an underground facility designed and built in 1924 by Cleopatro Cobianchi, an engineer from Bologna, between the main square and the Galleria Vittorio Emanuele. It is an area of 1,500 square metres, where evocative Roman remains from the Imperial age are also preserved. The office underwent its first renovation in 2003, when part of the original Liberty and Art Deco architecture was preserved. This is a place visited by hundreds of locals and tourists every day, looking for information of all kinds regarding the city of Milan and its hinterland. The renovation project directed by Simone Micheli has given another dimension to Cobianchiâ&#x20AC;&#x2122;s creation: part of the old Diurno retains its period character and continues to serve as the public information desk. The modern part, on the other hand, is a new place

Architectural design Simone Micheli

likely to become symbolic of 21st century Milan: a place able to improve reception and promote tourist activity, through the media of dedicated spaces, private views and conferences, and exploiting multiple information channels from traditional print-on-paper to audiovisual presentations on 12 monitors, audio guides downloadable direct to a mobile phone via Blue Tooth, and virtual tour guides. It is also a place that will allow tour operators in Italy (Regional, Provincial and Municipal authorities, etc.) to parade their excellence at organising events, exhibitions, presentations and meetings. The Cobianchi development, designed by architect Simone Micheli and presented to the public during April this year at the 2008 Salone del Mobile, has had the backing of top Italian companies both as a concept and as a commercial venture. In effect, the aim of the project was to make a permanent mark, rather than show one of

Photos: Jürgen Eheim 1.The fluid columns 2. Reception 3.4. Colour effects

those eye-catching but soon-forgotten installations on which many top companies expend resources and energy during the Milan furniture week. The creator seeks to draw the lines of a unique and extraordinary spatial environment in which to tell a story linked to the future and present an interplay of architecture, fashion, design, culture and human relations. As with all projects that have Micheli as their architect, the revamp has been brought about by generating a communicative dissonance with what went before. The space highly functional, flexible, and exciting - is an “opus” through which visitors are able to perceive another possible tomorrow; a multiple-use facility where they can find information, make discoveries, and communicate. The features defining the space are few in number, and of big visual impact: the silver-hued floor, the clean curvilinear lines of the dividing walls, the white fluid columns, the giant yellow surround that serves as catering and reception counter, the large and improbable expanses of wall clad in screenprinted mirror housing macro videos, the glass and steel floor through which the Roman remains can be seen… the stone-like yellow seats combining with other movable furnishing items of simple geometry, and with endless circular mirrors scattered around the meeting rooms, to make up the interior design of the place. The big fabric chandeliers with colourchanging Led light sources were made specially by iGuzzini, one of the companies sponsoring the project. In addition to these fixtures, a number of Frame recessed units were used.

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Projects

The Thompson Pump House

Architectural design Robinson Mcllwaine Architects Engineering design Delap and Waller Consulting Engineers

Belfast, Northern Ireland

Partners Assistance Chroma Lighting iGuzzini illuminazione UK

In times past, Belfast was world-famous as a ship-building city: the Titanic was just one of many famous vessels launched into the waters of Belfast Lough. Prospering alongside the enormous shipyards were several ancillary activities, such as rope-making and sail-making, all of which combined to make Belfast a rich city. As air transport began to boom mid-way through the 20 th century, the fortunes of the shipyards and allied trades declined. Then came The Troubles, a thirty year period of sectarian violence that worsened the plight of the city still further. But now, with the Peace Process of 2007 advancing, Belfast is enjoying something of a renaissance driven by hi-tech sectors like Aerospace and Information Technology. Much of the new development taking place in Belfast revolves around the â&#x20AC;&#x153;Titanic Quarterâ&#x20AC;?,

an upmarket waterfront complex being built on reclaimed land with the old Alexandra and Thompson Graving Docks at its centre. The sales and works management offices for the site are located in the former Harland and Wolff engineering department, where the Titanic was designed. The redevelopment design for this part of the site was entrusted to Robinson Mcllwaine Architects and to Delap and Waller Consulting Engineers, who selected Cestello fixtures to create a lighting scheme that would blend successfully with the architecture of the offices. Given that the building has large windows, every effort has been made to maximise energy-saving by integrating artificial and natural lighting and managing the entire installation by means of suitable control systems. In addition to this project, the Carbon Trust,

which has its offices in the Innovation Centre next door, invited Guzzini (through local partner Chroma Lighting Ltd) to submit lighting design proposals for the Thompson Dock and the adjacent Pump House. The Thompson Dock, completed in 1911, was at that time the biggest dry dock in the world, and the first two ships to use it were the RMS Olympic and the Titanic. The Pump House was a triumph of engineering, with its capacity to empty more than 500 thousand litres of water per minute from the basin. Now the building will become a tour attraction, with museum and restaurant. In collaboration with the Society of Light and Lighting (SLL), Chroma Lighting (an active member of SLL) and iGuzzini a temporary lighting system was designed to provide a backdrop for a seminar on lighting held by Stephen Judge

Photos: Chroma Lighting 1. The docks area 2.3. Coloured light on exteriors and interiors

of iGuzzini UK. The Pump House was lit inside and out by a combination of flood and spot fixtures including Maxiwoody, Radius and Platea. Miniwoodys were used to create a special effect down inside the pump well, a large tiled pit below ground level in which the pumping machinery is installed. At the same time, iGuzzini and Chroma provided illumination for the cruiser HMS Caroline, the Royal Navyâ&#x20AC;&#x2122;s second oldest ship, using a combination of floods mounted on the vessel itself and along the wharf. As in the Pump House, various colour filters were used to enhance the effect of the lighting. The HMS Caroline is moored in the adjacent Alexandra Dock.

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Projects

The Code Computer Love headquarters

Client Code Computer Love Architectural design Andrew Wallace Architects Tecnici M&E Beverley Clifton Morris

Manchester, United Kingdom

Code Computer Love is a company with a high profile in the field of digital communication and marketing. Following work on the new company headquarters in Manchester, a semi-basement premises in a quite plain and nondescript residential area has been transformed into an environment that reflects the concepts and organisational structures adopted by the company in servicing its clients. Code Computer Love eschews a traditional top-down hierarchy, preferring equality, transparency, informality,

communicativeness and enjoyment in its approach to corporate structure and work ethos. The architects have translated the organisational setup of the company into a spatial figure that fits comfortably into the empty space of the single floors, entrances, horizontal flow and exit routes. According to Andrew Wallace Architects: "The fit out of the basement shell originates from Code's organisational concepts and structures. The manifestation expressed itself physically as an interior landscape that rejects the typical grid

uniform pattern of the more traditional office environment in favour of extended linear group gradient fields." The curvaceous interior and fluidity allow for a spatial flow that enhances cooperation, communication, creativity and visual stimulus within the company and its different departments. The gradient fields create work stations that begin by evolving into a dynamic and enveloping architectural form, contrasting with static elements on the inside that serve to fill up the space.

Quantity Surveyors IQS - Independent Quantity Surveyors

Photos: Shaw+Shaw 1.2. Organization of space

Contractor TTS Interiors Partners Assistance iGuzzini illuminazione UK Ltd.

These elements, which rise to the ceiling level, provide the conduit that carries power and data services to each of the work stations and at the same time creates a visual tension directed toward the glass faĂ§ade, where it forms a sign bearing the company logo, investing an otherwise characterless frontage with intensity and energy. The faĂ§ade is given added vibrancy by large expanses of window glass that establish a visual link between the external and internal environments. The curvilinear forms of the

meeting room constitute the focal point of the office, where ideas and information are exchanged and discussed. The transparent room extends from the floor up to the ceiling, adding increased visual tension and at the same time permanently reflecting the company's transparent approach to professional ethics. Red is the main colour used in the design. The architects considered it a bold colour with seductive connotations, in keeping with the name of the company - Code Computer Loveâ&#x20AC;&#x2122;.

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Projects

Stations on the LGV Est Européenne line

Strasbourg Station Multimodal Hub Client Communauté urbaine de Strasbourg, SNCF, RFF, Compagnie des Tramways Strasbourgeois

France

The 300 kilometres of high speed rail line known as the LGV (Grand Vitesse) Est Européenne, connecting Vaires-sur-Marne and Baudrecourt, was 3 years in preparation and took 5 years to build. It is one of the biggest single French rail projects to be completed in current times. According to projections, 11 million people will travel annually on the new line. Along with the installation of the new high speed track, the project included the modernization of 17 existing stations along the route, and the construction of three new interchanges (Champagne-Ardenne TGV, Meuse TGV and Lorraine TGV). The line will cut journey times considerably and provide high-speed rail links between Paris and the main cities of eastern France, as well as direct links between Germany, Luxembourg, Switzerland and France and direct high-speed rail links between the North, West and SouthWest of France and the Champagne-Ardenne, Lorraine and Alsace regions (via the new stations and Strasbourg). The LGV line will also bring economic benefits to the cities of the departments through which it passes, not least by improving communications between European countries, given that this is a line extending some 1,500 km, that will connect Paris and Budapest. The involvement of iGuzzini in this project relates to the lighting for a number of stations on the line, and for Strasbourg station in particular. The recurrent feature of the lighting schemes for all these stations was the iRav luminaire, a fixture created especially for these projects designer Jean-Marie Duthilleul, which is installed in the stations of Reims, Bezannes “ChampagneArdenne TGV”, Nancy, Meuse and Strasbourg along the LGV Est line.

Direction of works

Garden at Strasbourg station

Architectural design SNCF (Agence des gares) and AREP

Client Communauté Urbaine de Strasbourg

Engineering RFR, COTEBA, OTE, AREP

Direction of works SNCF (Agence des gares) and AREP

Landscape designers Michel Desvigne et Ingénieurs et Paysages

Photos: Didier Boy de La Tour

Engineering SERUE Pierre Muller and Henri Gonnot

2. The iRav pendant fixtures

1.3. The glass roof of Strasbourg station Viewed by day and by night 4. The steel ribs of the station roof

Strasbourg Station Strasbourg rail station has been redeveloped and enlarged recently to accommodate an expected increase in passenger traffic from 35,000 up to 60,000 per day. The historic façade of the building, erected in 1881, is now enclosed together with the forecourt in a transparent dome overlooking the four-hectare square, which in its turn has been garden-landscaped with avenues lined by more than 300 trees. The material used for the outer structure produces changing light effects, according to the time of day and the season. Floodlighting at night - focused mainly on the pink sandstone façade of the station - is provided by Lingotto fixtures and a number of Light Up Walk professional units. The glass dome houses the various transport links, organised on different levels (rail platforms, tram terminus, taxis and car parks), so as to optimise traffic flows and safety. The general lighting system inside the station building utilises a specially-designed iRav pendant fixture, with Le Perroquet spots providing accents for selected architectural features.

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Projects

Stations on the LGV Est Européenne line

Gare Champagne Ardenne TGV Reims Bezannes Client SNCF (Direction des gares et de l’escale), RFF Direction of works SNCF (Agence des gares) and AREP

Gare Champagne Ardenne TGV Reims Bezannes Located 5 km from Reims, at Bezannes, this is one of the three new stations built especially for the LGV Est line. The passenger concourse consists of a rectangular volume 50 m long and 14 m wide, with a masonry wall to the north and a glass façade facing south. SNCF business activities and services are located along the North wall. In the middle, an atrium divides the SNCF sales area from shops and an internal arcade that also takes in the waiting rooms and restaurant areas. On the ground floor, the building is surrounded by a balcony and walkway. General lighting inside the station building is provided by iRav pendant fixtures. The outer porch provides an access way extending the full length of the south front, parallel to the northern platform. A galvanised steel structure supported by columns matched to the general style of the building, the porch provides shelter for passengers proceeding to or from the northbound platform and throws a shadow onto the glass frontage, giving protection from the sun.

Engineering AREP, COREDIA, INGEROP Assistance on direction of works Méthodes & Pilotage

Gare de Meuse TGV Client SNCF (Direction des gares et de l’escale), Conseil Général de la Meuse

Engineering OTH Est, TEC BOIS, AREP

5. Nancy rail station

Partners Assistance iGuzzini illuminazione France SA

7. Meuse rail station. Detail of tower

6. Bezanne TGV station 8. Exterior of Meuse rail station

Direction of works SNCF (Agence des gares), AREP

Meuse TGV rail station This new station, which has a floor area of 320 m², comprises a main block for Parisbound departures, two platform shelters and a subway passing beneath the tracks, with vertical ventilation systems, lifts and fixed staircases. The building is timber-clad (larch) and surmounted by a 16-metre tower built of oak, which channels natural light into the entrance hall during the daytime.

At night, artificial lighting is provided by Le Perroquet fixtures, some of which are installed in the tower. The iRav pendant fixtures are also used in the redeveloped stations of Reims and Nancy; indeed these luminaires are a common feature of many stations along the LGV Est line.

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Projects

Bancaja Foundation

Client Fundación Bancaja Patxi Guerrero Carot Architectural design Pablo Martínez Montesa José Ricardo Martínez Montesa Jose Alberto Jordá Albiñana

Valencia, Spain

The Bancaja Cultural Centre in Valencia is situated in an area lying between the two oldest parts of the city, one mapped by Antonio Mancelli (1608), and the other by Tomas Vicente Tosca (1704); in short, a large expanse of land that has been part of the city since the Middle Ages. The Cultural Centre occupies two buildings that were completely renovated and refurbished during the course of 2007; one of these, designed by Lucas García Cardena, dates from the late 19th century, and the other, by Antonio Gómez Davo,

from the 1930s. Together they represent a significant reference point for the architecture of Valencia. The result of the redevelopment, commissioned from architects Pablo Martínez Montesa, José Ricardo Martínez Montesa and Jose Alberto Jordá Albiñana, has been to create a single unit while endeavouring to ensure that the visitor is not aware of the different storey levels. On the outside, the two façades have been preserved, undergoing purely restoration work to repair the marks left on the fabric by time and the elements.

Lighting consultants Tecniluz - Jose Luis Colomer

Photos: Zig-Zag 1.2. Bancaja Cultural Centre - the terrace

Partners Assistance iGuzzini illuminazione Espa帽a SA

The lighting scheme for this monumental complex was designed with great care. Predominantly linear architectural elements are lit by recessed Linealuce fixtures with T16 fluorescent lamps, whereas those of a larger volume and having a more spectacular impact are highlighted using Platea spots with metal halide lamps. Redevelopment of the interiors has included the upper floor rooms and offices where administrative and cultural activities of the Bancaja Foundation are carried out. The various departments occupy a substantial part of the four-storey G贸mez Davo building. The open and dynamic nature of the work done by the Foundation is given impetus by a lighting system that combines soft and indirect light, affording an overall and uniform vision of the interior, with a controlled and comfortable direct output. This is provided by pendant Y Light luminaires equipped with TC-L 55W fluorescent lamps. A sense of transparency is created throughout the administrative office space by assemblies presenting slightly curved surfaces, 62 mm thick, with a microprismatic shield of thermoplastic material and lightweight pendant drops, whereas service and transit areas are lit by recessed downlighters with compact fluorescent lamps. Areas furnished for meetings and reception purposes are given a special treatment by using a combination of pendant luminaires with low-lux optical assemblies, and recessed units with either compact fluorescent or halogen bulbs, according to the task requirement.

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Projects

Bancaja Foundation

The terrace has been designed as a place where people can meet and pass the time, enjoying a unique panoramic view of the city that can also provide a superb backdrop after dark, for presentations, opening ceremonies and other such events. With this in mind, the designers adopted a lighting system that could be adapted to a variety of needs and uses. The general lighting system, designed for use with large public attendances, makes use of iRoad fixtures located in the niches and around the parapet of the atrium, creating an island of street-lighting, with oblique-beam Comfort fixtures installed around the perimeter. The exhibition rooms are a prominent feature of the Cultural Centre. Designed to host art exhibitions of every kind - sculpture, painting, ancient and contemporary art - they must be able to meet the needs typical of such events, as well as satisfying the criteria imposed by curators and organisers on a case by case basis. With exhibition spaces partitionable and each room adaptable to suit a particular displays requirements, and a need for light output to be controlled according to the nature of single works, the designers decided on tracks as being the solution to cover all eventualities.

3. Offices 4. Meeting room 5. Exhibition space 6. Some of the works by Sorolla on display for the opening

For the opening of the Foundation, the Centre staged an exhibition entitled â&#x20AC;&#x153;Sorolla - Vision of Spainâ&#x20AC;?, which also served as a trial run to test the possibilities of the venue. In this instance, the exhibits included fourteen large panels commissioned from Sorolla by the Hispanic scholar and collector Milton Huntington to decorate the main hall of the Hispanic Society in New York. Given the dimensions of the works in relation to those of the room, their grandiose nature, colours and proportions, the decision was taken to use Parallel spots with linear halogen lamps and wall washer optical assembly, complemented by Le Perroquet spots with QT12 halogen lamps as accent lights to show up the vivacity of the colours, which can now be appreciated in their full splendour following extensive restoration work ordered and funded jointly by Bancaja and the Hispanic Society. The same criteria has been applied for the lighting in the main entrance hall, which provides exhibition space for items of the art collection owned by the Foundation. 5

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Projects

The Hyatt on the Bund hotel

Client Shimao Group Architectural design Andrew Yip Partner Assistance iGuzzini illuminazione China Ltd.

Shanghai, China

The Hyatt on the Bund hotel is located strategically on the banks of China’s Huang Pu river, at the northern end of the Shanghai Bund. Situated in downtown Shanghai, this hotel offers magnificent views both over the Bund, a riverfront area typified by European colonial buildings, and across the new districts of the city (Pudong); it lies within easy reach of the main Shanghai airports and the city centre. The hotel was built by Shimao and is run by Hyatt. To do justice to the unique characteristics of this waterfront hotel, the team of architects led by Andrew Yip, inspired by famous words written way back in 1044, created special lighting applications for the building. The words in question mention the reflections of moonlight on the water, describing them as a dance. “The light dances on the tranquil waters of the lake, sparkling with gold” - this was the guiding concept for the illumination of the hotel exterior. The main difficulty confronting the designers derived from a difference of opinion between Shimao and Hyatt: Shimao wanted light to be used as a means of emphasising the grandeur and individuality of the building - which would mean strong illumination. Hyatt, conversely, wanted its guests to experience a sense of peace and comfort, created not least by a soft style of illumination. To avoid an accumulation of light on the external surfaces of the façade, while at the same time showing off the particular features of the Hyatt on the Bund, iGuzzini was asked to design and develop a special product and an illumination system comprising three main elements: the first is a fixture, the iGuzzini Glim Cube, which creates light “links” and uses four 1 Watt Leds.

Photos: iGuzzini archive 1. 2. Different stages of illumination 3. Detail of the lighting effect

A special illumination version of this fixture was created, incorporating a smooth transparent glass panel at the front. The lighting designer is Piero Castiglioni. The second element is a control system, also created by iGuzzini especially for this project. Supplied as a turnkey package, it is a control system designed in response to the needs of this particular client. More exactly, the system is designed to switch the Glim Cube fixtures on and off and control

their output individually, in such a way that dynamic illumination effects can be generated on the exterior of the building. The third element is a tube. Installed in front of each Glim Cube unit is a tube of polycarbonate having a satin finish, which serves to capture the light from each Led and gather it into a beam. Four tubes set at right angles directly in front of the Glim Cube fixtures inject a breath of life into the luminous crosses on the exterior of the building.

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Projects

Montesanto rail station

Naples, Italy by Silvio d’Ascia

Client Extraordinary Government Commission, pursuant to article 11, Law 887/1984 President of the Campania Regional Council, Hon. Bassolino; Regional Transport Councillor, Prof. Ing. E. Cascetta; S.E.P.S.A., President Avv. Bianco; Director Ing. Allagrande Architecture Arch. Silvio d’ASCIA

The remodernization and completion of the Montesanto rail station, an important item on the Regional Transport Plan and hub of the future Regional Metro system, has been undertaken with an ambitious dual objective in view. On the one hand, to transform and render the historic station functional as a modern intermodal transport hub serving regional and metro systems, in keeping with the general European revolution taking place currently in transportation, with the old-style “non-place” rail station being reinvented as a modern interchange on urban, regional and territorial scale. On the other, to initiate a wider urban redevelopment process that will take in the surrounding area of the historic town centre, turning the old station building into a modern “beacon" for the quarter, and the bridgehead to a potential upland chain of cultural assets featuring rare architectural and environmental quality (Trinità delle Monache, Certosa di San Martino and Castel Sant’Elmo). In pursuit of this dual aim - aside from the ensuring the obligatory functional compliance with new operating and safety regulations the project involved a number of major works. First of all, numerous additions and extensions built onto various parts of the station during the 20th century had to be demolished, so as to

reinstate and restore the old core of the building to its original appearance as erected in 1882: the central portico surmounted by the loggia, and two side towers. The two existing stations, Sepsa and Funicolare ANM, have been integrated both physically and functionally into a single spatial and volumetric entity, with the old fabric enhanced further by the creation of a new outer shell for the funicular railway on the north front, fashioned from steel and self-cleaning glass louvres. The two lateral wings of the entrance portico, predating the main façade, have been opened up as originally intended, so as to achieve maximum functional and visual amenity between the station building and the reordered Montesanto piazza, now partly a pedestrian precinct; passenger traffic into and out of the station has been separated and rationalised. There is now a spacious glass-walled hall on the platform level, a single waiting area created by erecting a steel and glass structure to form three longitudinal bays, each replicating the newly restored Liberty-style loggia, which provides a public balcony overlooking the piazza. To give the location a still firmer identity as an interchange in the cultural sense, a glass roof of some 1000 m² has been erected over the platform area;

Engineering TECNOSISTEM Spa (Ing. Rionero) Design team G.Paone, M.Damonte ed E.Franco Contractor A.T.I. Contractor – “Ferrosud 2 Scarl” temporary association of companies: COSTRUIRE SpA (Team leader Ing. Fiore), IGC Costruzioni SpA

Direction of works Ing. Campobasso for S.E.P.S.A. Team members M.Boenders, R.Camarda, A.Cossin, D.Dorell, A.Rocca (images), T.Raynaud (video), A. Cornuau, F.Levêque, M.Roggwiller, E.Macor Rosa, J.Edwards-Ibarra, V.Benini, A.Dubouz, E.Seif, C. de Sainte Marie

Consultants F.Cavuoto with Falconio (special structural steel consultant) Nuzzolo - Transport and flow modelling studies

Photos: Barbara Jodice 1.2. View by day and by night 3. Steel and glass roof structures

the walls of this sheltered space are decorated with splendid photographs by Mimmo Jodice, depicting the various archaeological and landscape sites lying along the route of the Cumana railway. These spaces have also been given a commercial boost, with the introduction of services on the different levels of the building for the benefit of travellers and residents: bar, tobacconist, newsagent, info-point and bookstore on the ground level; multipurpose area, internet point, bar and viewing terrace on the upper level. Circulation has been revolutionised by the installation of mechanised systems connecting the Piazzetta Montesanto with the Largo del Paradiso, guaranteeing a direct link to the convent of the Santissima Trinità delle Monache,

formerly a Military Hospital, and the provision of an additional subway serving as a safety exit. This project is testament to the feasibility of integrating the old and the new in the heart of Naples, restoring the station to full functional efficiency while also transforming the building into a modern urban facility, benefiting the local community, and providing the historic city centre with a new tourist shop window for the Phlegraean Fields. The lighting is designed to pick out and accent the columns in the structure, using Woody discharge fixtures with 70 W lamps positioned alternately up and down on the columns. The fixtures trained upwards are spots, and those directed downwards are floods.

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Projects

Spotlight on Italy: new illumination for the Italian embassy Berlin, Germany

Client Ministry for Foreign Affairs Architectural design for renovation, and lighting design Maurizio Nieri Technical sponsor iGuzzini illuminazione Deutschland

The Italian Embassy in Berlin is a building that has a special place in the architectural history of a city so pulsating with life as the reunified German capital, and indeed a building that even Italians consider to be the only true “Palazzo” beyond their national frontiers. This is a fourstorey building with two wings, occupying some 10,000 square metres. Notwithstanding its imposing proportions, the Embassy is a quintessential example of the beauty and elegance of architecture inspired by the Italian Renaissance. The history and the design of the Palazzo date back to 1938 and are related directly to a new town planning scheme adopted

for Berlin at the time, intended in particular to raise the prestige of the diplomatic quarter along the Tiergartenstraße. For Italy, as part of these plans, a monumental building was erected under the direction of architect Friedrich Hetzelt, adopting the style of the Italian Rinascimento and clad in Roman travertine marble, of which the façade presents a central breakfront with six columns and a portico with four sets of paired columns, now illuminated by Woody discharge floods with 70 W lamps. The building unites the majestic proportions of triumphal Roman architecture with the elegance and beauty of the Renaissance: a bright yet solemn façade embellished with marble

and columns, halls and state rooms decorated with marble, silk and fine Italian oak panels, plus works of art from Italy, Greece and all around the Mediterranean, also from France and Flanders in the ownership of Roman museums. The spacious corridors and landings of the palazzo are lit with recessed Pixel Plus downlighters, a solution designed not only to provide background lighting but also - thanks to the considerable flexibility of light management afforded by the system - to show off the numerous paintings, tapestries and other works of art adorning the entire Embassy building. The Sandia lamp throws light onto the walls indirectly.

Photos: Max Schulz 1.2. Exterior illumination 3. Detail of interior

In contrast to the accent lighting used in the corridors, the designers also continue to use a discreet, diffused light produced by the Halo lamp. For the inner courtyard of the Embassy, Kriss fixtures are used to create atmospheric lighting effects on the faรงade.

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Projects

Bjørvika. A new space for the city Oslo, Norway

Client Municipality of Oslo Architectural design SLA A/S and Gehl Architects Lighting design SLA A/S and Gehl Architects in collaboration with ÅF-Hansen & Henneberg.

At a time marked by huge changes, Oslo is currently undertaking the most ambitious dockside renewal project in its history, since a site of considerable proportions in the heart of the city became available following the transfer of the old commercial port and the removal of some inordinately extensive road systems. The aim is to reconnect the city with the sea, and this vast and complex renewal and reconstruction project will free up an area of approximately 900,000 m² on which to develop seven new urban centres. One of the spaces in question, Bjørvika, lies between the magnificent scenery of the Oslo fjord and the active city centre and is the focus for one of the main parts of what has been dubbed “The Fjord City Plan”. The area is notable for several imposing historical buildings, including the Oslo stock exchange (Børsen), the central rail station (Østbanehallen), customs (Tollboden), and a huge converted warehouse, now modern offices (Havnelageret). Bjørvika also has remains from every period of Oslo’s history, including one of the most important collections of artefacts from mediaeval times in Norway, housed today in a public park. The main attraction of Bjørvika is the New National Opera House, opened 12 April 2008. The building was designed by Snøhetta and has a spectacular sloping roof that seems to rise directly

Photos: iGuzzini archive

Partners Assistance iGuzzini illuminazione Norway

1. 2. Front of the Pricewaterhouse Coopers building. View by night and by day 3. Street lighting in the area around the Opera House

from the waters of the Oslofjord. The main concept of the new street lighting for Bjørvika was specified in a call for tenders, won ultimately by SLA A/S and Gehl Architects in 2004. The lighting scheme was developed for Bjørvika Infrastruktur by SLA A/S and Gehl Architects in collaboration with lighting designer ÅF-Hansen & Henneberg. The specifications in question were somewhat stringent, given the complex nature of the traffic scenario, which includes trams, buses, trains, cars, pedestrians and even watercraft. In addition, the developer had stated the importance of creating harmony between the street lighting and the general lighting, avoiding light pollution and indicating a preference for energy-economic, low maintenance systems. The first space to be lit by iGuzzini in this project was the Operagaten, a road

running alongside the rear of the Opera House. The solution adopted here was one using Lavinia fixtures in a dual purpose configuration, with one arm throwing light on the pavement and the other on the carriageway. From the earliest stages of working with the developer, it was suggested that a collection of specially designed systems should be created in order to offer the visitor a unique lighting experience. With this aim in mind, the area along the frontage of the Pricewaterhouse Coopers building was lit with six positionable orange poles, designed especially for the site, carrying different combinations of MaxiWoody fixtures. iGuzzini is contracted to supply outdoor fixtures for Bjørvika through to the end of 2011.

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Projects

1500 new lighting fixtures for Bucherer Lucerne, Switzerland

At the end of November 2007, the exclusive watch and jewellery retailer Bucherer fully reopened its doors in the Schwanenplatz, Lucerne, after a renovation lasting around 12 months. The Bucherer store is a four-storey building with 1280 square metres of retail space in a prime location, where patrons can find the finest pieces made by premier jewellers and watchmakers. Bucherer employs some 1200 people and runs a network of branches, with 14 points of sale in Switzerland and 6 in Germany. Other companies belonging to the Bucherer Group are the famous specialist watchmaker Andreas Huber of Monaco, and the jeweller Haban of Vienna. The Bucherer store in Lucerne has always attracted tourists, in particular, who come not only for the famous watches and jewellery, but also for souvenirs such as pocket knives. There is parking space in front of the store for four touring coaches, which means there is no lack of visitorsâ&#x20AC;Ś as many as 4000 or 5000 per day in the high season. With a staff of around 180 drawn from 15 countries, customers can be served in 26 different languages. Because the parent company wanted to create a unique flagship store, the design and decor are not replicated in other branches of the organisation. The architecture of the Lucerne store is modelled on the grandeur displayed by hotels typical of the late 19th early 20th century, and the interiors follow this pattern. A competition announced by Bucherer for the architectural design was won by Patrick Schaffer and Kosta Stathakis of Creative Circle. This is one of the first permanent installations by Creative Circle, better known as a designer of exhibition stands and settings for special occasions, but also with specific experience in the clocks and watches sector. The two architects were supported by Denis Obrist Associates, with Hans Walker responsible for the executive design, and by electronics engineers of the Herzog Kull Group Aarau. A team of some 150 building experts undertook

Client Bucherer AG Architectural design Creative Circle GmbH Patrick Schaffer and Kosta Stathakis Direction of works Denis Obrist Associates, director Hans Walker

the renovation work in four stages. Retail business was carried on throughout the renovation, which meant, for example, that all four escalators had to be replaced in a single weekend. A spacious ground floor sales area ensures that customers find a relaxed atmosphere. Superior materials immediately catch the eye: the solid walnut of the counters, complemented by champagne coloured chrome on steel, brown natural Labrador stone and elegant embroidered silk. Collections of watches and jewels are displayed in twenty showcases and numerous cabinets. iGuzzini became involved with the work already well advanced, during the renovation of the first floor, to assist with the lighting of the rooms, showcases and cabinets. In effect, the general lighting concept was found to be in need of certain corrective adjustments. In addition to a revision of the lighting for the first and third floors, iGuzzini installed the lights on the ground floor. The basic lighting scheme for the retail areas is based on a system with fixtures installed in the ceiling coves. The light from these sources creates a soft glow around the perimeter of the ceiling, in clear contrast to the transit areas and the merchandise, which are lit directly. The light directed onto merchandise is produced at an intensity of around 4000 Lux and using numerous single accents, resulting in appreciable brightness. Transit ways are lit at a lower intensity, for example between 200 and 400 Lux. With the exception of the first floor, natural lighting is not used in the sales areas. The windows are obscured on the inside, with just a sliver of daylight penetrating through a gap along the bottom edge. More than 1500 new fixtures are used to create effects of light and shade, and to provide targeted accents. Using a combination of halogen and metal halide lamps, electrical power consumption stays relatively low and minimal heat is generated; nonetheless, all of the showcases and cabinets needed cooling to ensure there would be no damage to the

Electrical system design Herzog Kull Group, Aarau

Photos: G端nther Laznia 1. Exterior

Partners Assistance iGuzzini illuminazione Schweiz

2. Showroom

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Projects

1500 new lighting fixtures for Bucherer

merchandise on display. Recessed Pixel Plus fixtures were used in the showcases, whereas in the sales counter areas, a special version of The Reflex with cut-off optical assembly was adopted to guarantee high visual comfort. Colour temperature is 3000 K, and the fixtures also have other optical assemblies: wall-washers to lighten up vertical surfaces, downlighters to illuminate work areas, and a mixture of floods and spots trained on the display cabinets. In practice, visitors do not notice the high intensity of light directed onto single display

items, or the marginally lighter edges. In addition to the watches, jewellery and souvenirs, the Bucherer store now offers another singular attraction: the biggest â&#x20AC;&#x153;rolling ball clockâ&#x20AC;? on Earth, already an entry in the Guinness Book of Records. The idea came from architect Patrick Schaffer, who was invited by Bucherer to create an attraction that would catch the attention of tourists at first glance. The installation was created by famous kinetic artists Hanns-Martin Wagner (Swiss) and Mark Bischof (German). The spectacular kinetic sculpture, dubbed Aion -

3. Retail area 4. Detail of the rolling ball clock

the Greek term for Age, or Epoque - is almost 12 metres high, occupying all four levels of the store. At the heart of the ball run sits a huge clock, around which glass marbles roll constantly to indicate the seconds, minutes, quarter-hours and hours. The marbles travel at high speed along the roller-coaster to reach the four-metre minute ring. A single marble joins the ring every minute, until sixty make up the hour. A polar opposite to this perpetual motion is a giant crystal ball on the ground floor, swinging back and forth once every fifteen minutes.

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Projects

“Design Cities”

Permanent Collections Sponsor Türk Telekom Curators David Elliott

Museum of Contemporary Art, Istanbul 23 April 2008 - 10 August 2008

The exhibition space offered by the Istanbul Modern is divided into two main areas. In the top floor galleries, visitors can admire the permanent collection kept by the museum. The spacious gallery on the lower floor hosts three or four temporary exhibitions every year, including a retrospective, a review of Turkish modern art, and an exhibition of global contemporary art. The museum also puts on cultural programmes accompanying both the permanent and temporary exhibitions. As each new exhibition is staged, not only these activities change, but also the associated cinema, coffee shop, museum shop and mobile museum facilities. The Istanbul Modern offers these varied programmes in order to ensure that, besides seeing the favourite works they already know, people coming back to the museum will also discover other new and interesting works of art. Since April 2003 the museum has been showing the “Design Cities” exhibition, organised by the

“Design Cities” exhibition Sponsor VitrA and Intercity Curators Deyan Sudjic - Design Museum Director

Layout Ben Kelly Design

Photos: Gabriele Basilico

Partners Assistance and technical sponsor Tepta Aydinlatma

2.3. “Design Cities” exhibition layout

London Design Museum and curated by the Design Museum’s director, Deyan Sudjic. This exhibition brings together works by some of the world's leading designers, which reflect the history of design from the mid-19th century to the present day. The exhibition presents a whole series of exhibits, from fashion fabrics to industrial items and furniture, as well as prints and drawings, all illustrating the key elements of design-driven custom or mass production, also covering high technology and innovative materials. The exhibits include 109 works by 64 designers and 12 products representing 7 brands. There are six "Design Cities”: Vienna, shortly before the Great War, when the language of modernism began to take shape, then Dessau, the small German town that spawned the Bauhaus, the world’s most famous design school. In the 1930s it was Paris that became the capital of visual culture, with Picasso and Le Corbusier among its most celebrated residents.

1. Exterior of the museum

After the Second World War the mantle passed to Los Angeles, where Charles Eames set up his ultra elegant studio and home. The city became the symbol of the American Age. In the 1960s, Milan was the centre of contemporary design. Then in the 1980s came something of a shift, as Tokyo emerged to make its presence felt, destabilising the moral certainty of European industrial design with a more lighthearted approach. Today, London is once again the main design centre of the world, with Ron Arad and Ross Lovegrove, Jasper Morrison and many other important contemporary designers among its denizens. iGuzzini products are used in the lighting for the exhibition, with Metro spots highlighting the items on display and creating a scheme that exploits strong contrasts. In addition, the PizzaKobra - the most recent lamp designed by Ron Arad for iGuzzini - is also among the exhibits on display.

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Projects

Harvey Nichols

Client Unitim Interior Design Four IV Design Consultants iGuzzini Partner Assistance Tepta Aydinlatma

Istanbul, Turkey

The luxury store Harvey Nichols is one of the biggest retail premises in the Kanyon shopping centre. The sheer size of the store - occupying 8500 m² distributed over 3 floors - means that it accounts for around 1/3 of the Kanyon development. The interior of the store was designed by the British company Four IV Design Consultants under the direction of designer Chris Dewar Dixon. The work done on this prestigious store won Four IV Desıgn the ‘Best international retail interior’ award for 2007.

The general lighting for the store uses iGuzzini luminaires that generate minimal visual impact. Only where decorative elements were required did the designers utilise cold cathode, optical fibre and fluorescent backlighting products made by other manufacturers. General lighting on the three floors is provided by HUB modules, with Pixel Plus fixtures using both halogen and metal halide lamps, and recessed Pixel Plus units. HUB modules with Pixel Plus units are used along the four sides of the outside windows, with Reflex halogen

Photos: Engin Gerรงek 1. Perfumery and cosmetics 2. Gilt Restaurant

spots trained on ceilings of the window enclosures. The interior showcases of the store are lit by track-mounted Shuttle spots. Positionable recessed downlighters are also used in many areas of totally different character, showing just how versatile this type of product can be. Deep Frame (single and double) fixtures are used to light the food hall and Gilt restaurant, and Microframe spots light the boxes of the cosmetics department, whilst the Polo Ralph Lauren section is fitted out with Minimal downlighters.

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Projects

Artempo “Where Time becomes Art”

Client Axel Vervoordt Installation Daniela Ferretti, Nico Goethals with Francesca Boni

Palazzo Fortuny, Venice 9 June - 5 November 2007

The art and antiquities collector Axel Vervoordt of Antwerp celebrated his sixtieth birthday in unparalleled style, by staging the Artempo exhibition in Venice. The Artempo project came about through an initiative launched jointly in 2007 by Axel Vervoordt and Musei Civici Veneziani (the Venice Museums Authority) at the famous Palazzo Fortuny, a gem of late Venetian Gothic architecture. In its halcyon days, this palazzo was the atelier of the celebrated stylist Mariano Fortuny, whose creations included gowns, costumes and textile designs. The walls of the palazzo are still hang full height with his

luxurious and original fabrics. The Artempo exhibition consists essentially of the private collection owned by Axel Vervoordt, augmented by other works from various museums and private collections. Axel Vervoordt first became interested in antiquities afterwards in contemporary art. He always refused to see the two worlds as distinct and in contrast; rather, he has sought to establish a dialogue and find harmonies between these very different art forms. The approach of Axel Vervoordt is to “take things as they are". This explains his preference for unrestored furniture, serendipitously found

Lighting design Robert Carsen, with Roy Sax (Kurve Lichttechniek) and Peter Van Praet

Photos: Jean Pierre Gabriel 1.2. Views of the exhibition

Partners assistance iGuzzini illuminazione Benelux

objects and even crumbling walls. The choice of a Venetian palazzo was almost obligatory for the Flemish collector, his intention being to stage the Artempo exhibition within the envelope of a contemporary art event, in this instance the prestigious Biennale di Venezia. The lighting design was entrusted to Kurve Lichttechniek (Roy Sax), the supplier used on all exhibition lighting projects by Axel Vervoordt since 1985. In searching for the solution best suited to this exhibition, the imperative requirement was that each of the 100 W fixtures should be individually dimmable. The Tecnica spot was the fixture selected. These spots are still installed at the Palazzo Fortuny, on permanent loan from the Vervoordt organisation.

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Projects

A lighting scheme for the Cité de l’Architecture

Client Ministry of culture and communication, architecture and heritage department Project mandate ÉMOC, Etablissement public de maîtrise d’ouvrage des travaux culturels

Paris, France

The Cité de l’Architecture et du Patrimoine (City of Architecture and Heritage) in Paris, opened in September 2007, occupies the East wing of the Palais de Chaillot and takes in part of the Palais du Trocadéro. Total floor space is approximately 21,000 m². The Cité de l’Architecture et du Patrimoine is a decidedly original institution: it incorporates an important museum (of French monuments), a professional school dedicated to art heritage (l’Ecole de Chaillot), and a centre specialising in the promotion of contemporary architecture (Institut Français d’Architecture). With this new building, the Cité is looking to attract the wider public and cultivate interest in contemporary architecture. The renewal project was entrusted to architect Jean-François Bodin, who has restored the French monuments museum to its full period splendour, faithfully preserving the original architecture of Gabriel Davioud and Jacques Carlu. Changes that have been made, like the new staircase by Bodin, succeed in maintaining and enhancing the galleries, which follow the curved contours of the building. The 19 th century iron and glass roof of the main gallery has been restored. A new vertical route has also been created through the museum, a sort of internal highway looking out over Paris, using the central axis of the edifice and leading to the galleries used for temporary exhibitions. The new monuments museum (MMF - Musée de Monuments Français) houses architectural treasures spanning eight centuries, from the 12 th to the 21 st, occupying 8,000 m² of floor space spread across three galleries: moulages (mouldings and models), peintures (murals and stained glass), modern and contemporary architecture. Ordered chronologically and

thematically, the route through each gallery is specifically signposted and accompanied by informative material. The Galerie des moulages occupies around 4,000 m² and is situated on the ground floor; it is the most spectacular setting of the museum. The collection, which includes around 350 full-scale plaster mouldings and 60 models of architectural and structural interest, from early Mediaeval Romanesque to the 18 th century, is divided between the Davioud and Carlu galleries. The Davioud gallery has a glass roof admitting natural light to the interior. The necessary artificial lighting in this section is provided by Le Perroquet fixtures, attached to the decorative iron roof trusses. The Carlu gallery, next in sequence, has high windows also letting

Architectural design Jean-François Bodin Design team Direction of works Hamid Boughab, architect Engineering GEC Ingénierie

Designer of the Modern and Contemporary gallery Jean-François Bodin in collaboration with GAO IDEES I PROJECTES SL AUXITEC Bâtiments: B.E.T fluide

Designer of façades and roof systems: closed and covered Jean-François Lagneau historical monuments architect.

Photos: Didier Boy De La Tour

Partners Assistance and technical sponsor iGuzzini illuminazione France SA

3. Reproduction of chapel with Romanesque murals

1. Davioud Gallery 2. Exhibition of plans

Costing ACE Consultants Economiste

in natural light and affording a view of the Eiffel tower. Artificial lighting is provided by recessed Pixel Plus fixtures. In the Galerie des peintures, the display solution adopted for the murals, designed by Jean-François Bodin, seeks to create an adventure trail through a veritable labyrinth of surprises, provided by life size copies of frescoes painted on canvas and straddling two levels. These copies trace the evolution of mural painting from the 12 th to the 16 th century. On the second floor, 30 chapels have been reconstructed with a number of particularly representative French Romanesque paintings. Lighting in the various rooms is provided by positionable recessed Le Perroquet, Linealuce, Glim Cube and Pixel Plus fixtures. The modern and contemporary architecture gallery is located on the second

floor of the Palais de Chaillot. Exhibits occupying an area of 1,200 m² provide an architectural timeline from 1850 to 2001 that takes the visitor from the city of the 19 th century to the city of today, illustrating the aspects of fragmentation and continuity. At the end of the gallery bordering the Seine, a space is set aside for temporary shows. Every year, a different architect is invited to stage an exhibition. The lighting in this area does not involve iGuzzini. The primary focus of the IFA - French Institute of Architecture - is to promote debate and research in the field of contemporary architecture, while also encouraging the spread of architectural knowledge generally. The message is conveyed through monographic, thematic and retrospective exhibitions on major

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Projects

A lighting scheme for the Cité de l’Architecture

4. Carlu Gallery 5. Signing of collaboration agreement. Left, François de Mazières, right, Adolfo Guzzini 6. Temporary exhibition dedicated to contemporary architecture

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figures in the world of architecture, as well as conferences, debates and publications. The lighting for temporary exhibitions is provided by Le Perroquet spots, whereas the offices and hall of the IFA are equipped with Optica downlights. The Ecole de Chaillot, founded in 1887, is the training establishment of the Cité. It was set up in response to one of the chief missions espoused by the Cité, namely to pass on knowledge acquired through professional experience and research. The Ecole de Chaillot continues to pursue and develop its original mission, which is to spread knowledge and awareness of France's architectural heritage. There are also spaces shared by the three departments of the Cité: hospitality areas, temporary exhibition galleries (extending under the spectacular stone arches of the old Trocadéro palace), news and current affairs gallery, auditorium and teaching workshops. The Cité also plays host to other temporary exhibitions in its galleries. It is perhaps inevitable that iGuzzini should have been involved with an institution such as the Cité de l’Architecture et du Patrimoine, an organisation that exists to promote awareness of architectural quality and safeguard environmental quality. And it was natural for us to contribute to the design and installation of the lighting system. Accordingly, on 15 May 2008 at the offices of the Cité d’Architecture et du Patrimoine, a collaboration agreement between iGuzzini and the Cité was signed by Adolfo Guzzini and by François de Mazières, president of the Cité.

Corporate culture

Splashes of colour on the city

Luminale 2008, Frankfurt

During the 2008 edition of Light & Building, the German branch of iGuzzini illuminated parts of the city of Frankfurt using coloured light to produce spectacular effects on buildings dating from different periods, and with differing architectural features and functions. The Welle (â&#x20AC;&#x153;waveâ&#x20AC;? in German) is a group of six buildings that includes a curvilinear office block and a historic building. For the duration of

Light & Building, the complex was transformed by spectacular lighting effects, the work of lighting designers Andrea Nusser and Johannes Henn, that combined the use of coloured light with reflections in water. The lighting design created by Christian Uitz for the church of the Three Kings highlighted the late Gothic architecture, accentuating structural elements by way of strong colour contrasts. The Bayer Haus,

Photos: iGuzzini archive 1. The Welle complex 2. Church of the Three Kings 3. The line of coloured light along the cablecar route

built in 1952, has a distinctive elevated roof with a “floating” quality that was picked out and given emphasis with amber coloured Led lighting. On the outskirts of Frankfurt, the Rüdesheim was illuminated. Andrea Nusser and Torsten Braun took the line of the illumination from Brömserburg Castle along the cablecar route and across the valley.

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Corporate culture

New iGuzzini illuminazione UK headquarters in Guildford

At the time of this publication going to press, work was being concluded on the construction of the companyâ&#x20AC;&#x2122;s new UK branch premises in Guildford. The design by Pierluigi Copat, who was also responsible for the iGuzzini building in Paris, features a number of functional and technical energy-saving solutions, as a result of which the new offices achieve an optimum 71% on the BREEAM scale, the Building Research Establishment Environmental Assessment Method applicable to both new and existing buildings. The showroom will remain at the Business Design Centre in London.

iGuzzini illuminazione UK Ltd Astolat Business Park Astolat Way Off Old Portsmouth Road Guildford Surrey GU3 1NE info@iguzzini.co.uk

Corporate culture

iGuzzini in St Petersburg

In May 2008, the new iGuzzini Partners Assistance became active in St Petersburg. iGuzzini maintains a presence in Russia that brought the company a commission to illuminate the Cathedral of the Resurrection (St Saviour on Spilled Blood), with Piero Castiglioni as lighting designer, also the Nevsky Prospect and the Admiralty building, as well as a number of individual projects within the world-famous Hermitage museum. Like every other iGuzzini branch around the world, this new office in St Petersburg seeks to become a meeting place where the solutions our company is able to offer can be matched to the needs and requests of architects and designers. The aim is that the showroom, besides providing a shop-window for iGuzzini products created by leading designers and architects - Renzo Piano, Norman Foster, Ron Aradâ&#x20AC;Ś - should also be a place of discussion, planning and training. Our engineers offer consultancy on lighting to architects and designers when the lighting scheme is being developed, as well as assistance during and after installation.

RO - iGuzzini illuminazione St. Petersburg Italianskaya ul. 12 Office 3 191023 St. Petersburg info@iguzzini.ru

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Corporate culture

Designers Days ’08

Italian Design Gold

Apparence Trompeuse, iGuzzini Partners Assistance, Paris, 12 - 16 th June 2008

The Great Stables, Reggia of Venaria, Turin 23 April - 31 August 2008

The 2008 edition of Designer’s Days was dedicated entirely to the theme of illusion. The “Apparence trompeuse” installation reflects the interpretation given to the theme by textile designer Luc Druez and set designer Michèle Chauvel, with the help of our branch. Hanging fabrics are illuminate by invisible lighting appliances, hidden behind other black fabrics. Variations of colour temperature or coloured light appear to alter the consistency of the materials, rendering knowledge illusory and momentary. “Apparence trompeuse” was lit using Tecnica and Le Perroquet spots, recessed Lineup units (RGB version) and Led Linealuce fixtures. Set designs are managed using the Scene Equalizer control system.

For the first time in its history, the Compasso d’Oro has left Milan for Turin, World Design Capital for 2008. The exhibition entitled L’Oro del Design Italiano, staged in the Reggia of Venaria Reale, is in effect a combination of two exhibitions: the one, a historical look at the Compasso d’Oro Award, with a collection of items reflecting Italian design from 1954 to 2004; the other designed to mark the 21st edition of the award, showing 150 new objects of the present that anticipate and influence the future. The winner of the Compasso d’Oro Award was named at a ceremony held on 26 June. iGuzzini was lighting partner to the ADI Foundation, and supplied Cestello fixtures mounted on floor stands.

Corporate culture

Design Cities Museum of Contemporary Art, Istanbul 23 April 2008 - 10 August 2008

Tepta Aydinlatma, our distributor in Turkey, sponsored the exhibition curated by Dejan Sudjic that relates the story of contemporary design through seven main cities, illustrating the key role played by each one in the process through which design has developed: focusing on the way that particular moments in the history of these cities have affected the way design evolves, the exhibition shows how design has shaped contemporary culture. The PizzaKobra, the lamp designed most recently by Ron Arad for iGuzzini, is included in the exhibition as an example of London design.

iGuzzini Partner For Better Light Workshop - worldwide

Training plays a fundamental role in the strategies for growth pursued by iGuzzini illuminazione. From as early as the mid-1970s, when the focus of iGuzziniâ&#x20AC;&#x2122;s manufacturing activity shifted from lamps for the furnishing sector to technical lighting, the company has taken upon itself the task of schooling its employees, its trading partners and its customers in the culture of lighting engineering. iGuzzini has been a promoter of cultural events since 1977, organising meetings and conventions on the culture of light with leading European experts in the field of lighting engineering: Luigi Manzoni, Van Malotki, Louis Clair. There were no courses at that time designed specifically to teach Lighting Design as a profession, and things are still much the same today. Teaching relies heavily on practical experience accumulated in the field by a few lighting engineers, whereas there are no university courses or specialist training courses for aspiring professional Lighting Designers, either in Italy or in any other country.

Recognising the need to create specific training opportunities for the sector, accordingly, iGuzzini organises workshops and seminars held by lighting engineering experts like Piero Castiglioni and Tino Kwan, with architects and designers. There is a specific structure within the company dedicated to Lighting Training. Now, the experience gained over many years will be made available to Chinese designers and architects through courses to be held in Shanghai at our Partners Assistance venue, starting from July 2008. In April 2008, our representative in Argentina received a request from the Architecture Faculty of TucumĂĄn University to give a lecture on lighting technologies.

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Corporate culture

iGuzzini reinforces its environmental credentials with certification to ISO 14001:2004 With effect from February 2008 iGuzzini became a company certified by CISQ (Italian Quality Systems Certification) as being committed to pollution prevention and environmental protection through the implementation of a structured approach that takes account of all applicable organisational, technical, economic and legal implications. The corporate policy of iGuzzini in these matters is stated in the following document, which can also be found on the company's website www.iguzzini.com

General Policies and Objectives regarding the Environment The prevention of pollution and protection of the environment are addressed by the company through a structured approach that takes account of all applicable organisational, technical, economic and legal implications. The Company is conscious of a responsibility to care for the environment. In addressing this responsibility, efforts are made continually to improve environmental protection. By building and maintaining an environment-oriented organisational structure, and deploying the necessary technical expertise, the company looks continually to optimise existing systems and technologies in such a way as will save natural resources while reducing energy consumption and environmental impact, always compatibly with an economically sustainable application of the best available methods and procedures. When deciding on new technologies and processes, care is taken to ensure that the aspect of environmental protection has been given full consideration. Protection of the environment as a corporate objective is possible only if all co-workers on every level are aware of the commitment. Which is why the company seeks to promote environmental awareness among its staff, through a process of information and instruction. All company activities impacting on the environment are constantly documented and monitored. The consequences of possible environmental accidents represent an important concern for the company. Accordingly, a risk management system is adopted in order to reduce the likelihood of such events occurring, as far as possible. Clients, vendors, responsible businesses and indeed any interested parties are informed regularly by the company of all environmental protection measures adopted and implemented. The company pursues the dialogue opened with neighbours and seeks, where possible, to entertain and satisfy their desires and requests in plans for the future. iGuzziniâ&#x20AC;&#x2122;s purchasing policy is aimed at conserving resources, limiting the number and quantity of hazardous substances procured, and reducing the amount of packaging utilised, with preference given to recyclable materials. Legal liability represents a serious constraint both for the company and for parties identifiable under the law or in the light of directives as being responsible for any infringement of environmental regulations and for such damage as may be caused. The company does not restrict itself to mere compliance with rules and regulations however, but seeks a continual improvement of its organisational and engineering capabilities in order to reduce risk and actively safeguard the environment, with increasing effectiveness and efficiency. The goals targeted in this respect are identified periodically by top management in annual Quality and Environment plans. In short, the company seeks - within reasonable cost constraints - to comply with the growing ethical, social and legislative responsibilities imposed by environmental awareness, anticipating developments where possible, by appropriate planning of activities and initiatives in this field. Prevention of environmental risks and protection of the environment require the involvement and participation of everyone. To enable involvement and participation, there must be knowledge of the problems affecting the environment and of the technical and organisational disciplines needed to address them. This in turn requires constant raising of awareness and information. Finally, it is the responsibility of top management to review the effectiveness of environmental policy at least once a year. The company also undertakes to ensure that employees, vendors and other stakeholders are kept regularly informed of its Environmental Policy.

Corporate culture

LumiVille

PizzaKobra Tour hits Zurich

France Eurexpo, Parc des Expositions de Lyon, Lyon, 27 - 29 May 2008

iiGuzzini Partners Assistance Schweiz Zurich, 30 May 2008,

LumiVille is an exhibition dedicated entirely to street and outdoor lighting, staged concomitantly with “InLight Expo”, the international show that focuses on interior lighting. During the course of this event, two meetings were organised at the iGuzzini stand with two lighting designers, namely Piero Castiglioni, and Emmanuel Clair of Light Cibles, a practice run by Clair with his father, Luis Clair.

The PizzaKobra Tour visits yet another iGuzzini outpost in Europe. In May 2008, Ron Arad presented his “lamp of many faces” to everyone and anyone in Switzerland with an interest in the world of light and lighting.

The Architectural Society of Shanghai China (ASSC) visits iGuzzini China

A seminar on outdoor lighting held 22 July 2008, at our branch in Shanghai, was attended by thirty members of the Architectural Society of Shanghai China (ASSC), a group including architects, lighting designers and engineers, and many town planning managers. During the course of the visit, Professor Wu Zhiguang, president of the Society, presented Massimiliano Guzzini with a certificate of honorary ASSC membership.

Photo, top The ASSC group at iGuzzini China Photo, bottom left to right: Wu Zhiguang, president of the ASSC, Xiang Zuquan, consultant to the society, Massimiliano Guzzini, General Manager of iGuzzini China

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Incontroluce

II. 2008

Incontroluce Six-monthly international magazine on the culture of light year X, 18 Editing iGuzzini Study and Research Centre Fr.ne Sambucheto, 44/a 62019 Recanati MC +39.071.7588250 tel. +39.071.7588295 fax rc@iguzzini.it iGuzzini illuminazione spa 62019 Recanati, Italy Via Mariano Guzzini, 37 +39.071.75881 tel. +39.071.7588295 fax iguzzini@iguzzini.it www.iguzzini.com 071-7588453 video Graphic Design Studio Cerri & Associati Publisher iGuzzini illuminazione spa Contributors to this issue iGuzzini illuminazione Benelux Bvba/sprl iGuzzini illuminazione China Ltd. iGuzzini illuminazione Deutschland GmbH iGuzzini illuminazione Espa簽a S.A. iGuzzini illuminazione France S.A. iGuzzini illuminazione Schweiz AG iGuzzini illuminazione Norge A.S. iGuzzini illuminazione UK Tepta Ayd覺nlatma, Turkey Cover photo iGuzzini archive

Printed: October 2008 Tecnostampa, Recanati

Errata Corrige Incontroluce 16 Augustinus Muziekcentrum Lighting Design BOTEC nv

The Editorial staff is not responsible for inaccuracies and omissions in the list of credits relating to projects and provided by colleagues. Any additions or amendments will be included in the next issue

9.1926.000.0

Incontroluce XVIII / The Marches: Contemporary architecture in the Marches / Design: Energy in light. The Naistenlahti power station / Projects: Light on the Herculaneum excavations / The Vulcano Buono Centre / Monza’s glittering treasure. The Gaiani Museum / The Venaria Reale / NEWurbanFACE / The Thompson Pump House / Code Computer Love headquarters / Stations on the LGV Est Européenne line / Bancaja Foundation / The Hyatt on the Bund hotel / Montesanto rail station / Spotlight on Italy: new illumination for the Italian embassy / Bjørvika. A new space for the city / 1500 new lighting fixtures for Bucherer / “Design Cities” / Harvey Nichols / Artempo “Where Time becomes Art” / A lighting scheme for the Cité de l’Architecture / Corporate culture: Splashes of colour on the city / New iGuzzini illuminazione UK headquarters at Guilford / iGuzzini in St Petersburg/ Designers Days ’08/ Italian Design Gold / Design Cities / iGuzzini Partner For Better Light / Workshop - worldwide / iGuzzini reinforces environmental credentials. Certification to ISO 14001:2004 / LumiVille / PizzaKobra Tour hits Zurich / The Architectural Society of Shanghai China (ASSC) visits iGuzzini China