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English edition
II. 2009
Editorial
Dear Readers, Given that Incontroluce is a six-monthly publication, we cannot provide newspaper coverage of all the latest world events. The global economic crisis, now a year old, has affected the entire world economy and impacted on architecture no less than other sectors, with many projects big and small being shelved or delayed. Nonetheless, the crisis has also induced a marked acceleration toward a sustainable economy, which means more and more attention is now being given to research and technological innovation. And this surely will be the way to overcome the present impasse and generate new opportunities -opportunities offered not least by new products, for which companies and designers need to pool their best efforts, deploying experience, creativity and the ability to envision new scenarios. The Lightinprogress show organised in April at the Milan Triennale, during the 2009 Furniture Show, provided an opportunity to present some examples of the firm commitment made by our company in this area, as we look to invest and take a leading role in this process of renewal by adopting an innovation-based strategy. With this type of strategy, the entire process of innovation is design-driven, involving different players and resources, and providing a source of energy that can help to bring about change with regard to the meaning, the language, the value and the identity of a product (and indeed of the company as a whole). It is the approach taken by the Italian companies that created “Italian design”, whose attributes are summed up perfectly by Ezio Manzini in one of his recent essays: “In the past, Italian design was able to pick up very early on certain aspects of the great transformation that was starting to take place. And to act accordingly. This ability to anticipate events, and to offer the right products and ideas for the occasion, did much to establish the international reputation widely enjoyed by Italian design today.” The world is now faced with a “new frontier” of sustainable development, and of an economy that must address the social dimension of the crisis an economy that puts people first - while also addressing the problems of climate change (as agreed at the G8 summit held in L’Aquila). In this scenario, design must articulate its capacity to interact with different disciplines (humanist, technical, economic and social) in defining new approaches, skill systems and methodologies, and always with the same ultimate aim in view, namely to generate innovation.
Adolfo Guzzini
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Summary
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Editorial
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The Marches Master in “Eco-design & Eco-innovation”
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Projects San Paolo Parish Complex A lighting scheme for the hundred towers of Ascoli Piceno
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New showroom for Schneider Electric
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California Academy of Sciences
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New Miss Blumarine and Blugirl boutiques in Milan
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The Linked Hybrid project
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New corporate identity for Honda
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Changzhou Olympic Sports Centre
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Lighting for Emilio Vedova’s moving canvases
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The Constitution Bridge
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Dynamic lighting in the new H&M store
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The Liangzhu Museum
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The Paks contemporary art gallery
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Tenerife Espacio de las Artes
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The iTrust offices
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The Mardan Palace Hotel
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The Park der Sinne (Park of the Senses)
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Corporate culture “The lost space of Stiller”
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New lighting for the Rondanini Pietà
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iGuzzini at the Shanghai 2010 expo
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Adolfo Guzzini appointed president of the Italian Design Council Lightinprogress: iGuzzini at the Fuori Salone 2009
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An award for iGuzzini communication iGuzzini wins DAFZA award International Design prize Baden-Württemberg 2009
II. 2009
The Marches
Master in “Eco-design & Eco-innovation”. Strategies, methods and tools for designing and developing eco-sustainable products written by Lucia Pietroni
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“Designers can contribute more to slowing down environmental decay than economists, politicians, businesses and even environmentalists (...).Once a certain, environmentally healthier, model of designing penetrates the market, its beneficial effects will multiply”. Alastair Fuad-Luke
The level 1 Masters degree in “Eco-design & Eco-innovation” was added to the courses offered by the Architecture Faculty at the University of Camerino, in Ascoli Piceno, during the 2007/2008 academic year. Organised as part of the DISIA (Industrial and Environmental Design) Degree Course in collaboration with numerous businesses in the Marches and other institutional partners, it is intended as a new training experience focusing on experimentation in the field of sustainability-oriented design and aimed at spreading a responsible and sustainable approach. The principal objective of the Masters is to “give enrolees a competitive and strategic technical and scientific grounding in the field of product eco-innovation, that will enable them to make their way as designers, consultants or freelance providers in a variety of corporate and professional fields, public and private. It will provide them with the tools needed to maximise the environmental performance of products, so that Ecodesign criteria can be integrated into the traditional design process, in line with the current Integrated Product Policy (IPP) adopted at European level”. Teaching activity includes theory lessons, practical sessions, visits to companies, seminars with experts, technicians, designers and representatives of the entrepreneurial sector, as well as participation in intensive design workshops conducted in direct collaboration with partner enterprises under the guidance of one or more designers. To finish, there will be a period of work experience with a company, during which the student will develop a final thesis project. Especially important in this new training course are the workshops and the work experience (350 hours minimum). For a young designer taking the Masters course, these offer innovative ways of acquiring knowledge and experimenting in the area of Eco-design, whilst for the companies, the designers involved in the training process, and the university, they provide effective media through which to exchange, transfer and share a variety of know-how. This is a training project that involves different groups (university, businesses, agencies, associations, etc.) from Day 1. It seeks to define a strategy whereby methods, tools, and knowledge
gained from research in the field of Eco-design can be absorbed more quickly into business and professional practice, and to create an engine that will help to activate a process of innovation and development shared by the university, businesses and designers. Among the most positive outcomes produced by the first year of this Masters course has been the obvious satisfaction of companies in collaborating actively on the 6 design workshops, which saw the development of some 80 designs for new eco-sustainable product concepts in various sectors: packaging, footwear, Led technologies, lighting appliances, furnishing, and eco-friendly commercial vehicles. By virtue of being developed in close collaboration with businesses, these designs drew much approval for their highly innovative content, but equally for the attention given to aspects of engineering and manufacturing feasibility, hence underscoring the significant role of design as a tool in the process and product innovation, and not only as a means of aesthetic and formal definition. Another gratifying upshot of the Masters was the positive response of the public to the exhibition “Eco-design & Eco-innovation. Projects and products for a sustainable future”, organised in February 2009 to mark the end of the first edition of the course, at the Palazzo dei Capitani in Ascoli Piceno, where the 80 designs produced by course students were among the items that attracted the greatest curiosity and interest of visitors. Lastly, but not least importantly, the fact that best demonstrates how the synergy between university and businesses can work in the context of a specialist training course, is that more than half of the enrolees to this first edition of the course went on to secure a collaboration agreement or a scholarship with the businesses involved as partners. Such results provide encouragement to keep moving in this direction, in the shared conviction that design and environmental sustainability are among the key factors influencing innovation and competitive growth, in the face of the current crisis.
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Photos: Raniero Carloni 1. Site of the Eco-design and Eco-innovation exhibition 2.3. Exhibit rooms
Lucia Pietroni Director of Masters Course in Eco-design & Eco-innovation and lecturer on the Degree Course in Industrial and Environment Design (DISIA) - Faculty of Architecture - University of Camerino
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Projects
San Paolo Parish Complex
Client Diocese of Foligno, Italian Episcopal Conference Architectural design Massimiliano and Doriana Fuksas
Foligno, Italy
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In 2001, this design was the winning entry in a national competition announced by the Italian Episcopal Conference for the building of a new church. Explaining its choice, the jury saw the design as: “a firm and innovate sign that responds to the most advanced international research, becoming a symbol of rebirth for the city following the earthquake�. The new San Paolo Parish Church Complex designed by Massimiliano and Doriana Fuksas is a monolith of pure geometry,
a box within a box. The structure comprises two main architectural elements, which are also identifiable with the functions of the religious centre. The first element - the Church - consists of two parallelepipeds, one placed inside the other. The second element, likewise parallelepiped in shape but elongated and low, houses the Sacristy, Pastoral Ministry facilities and Priest’s House. These two main structures are interconnected by a smaller third element.
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Structures Gilberto Sarti
Building contractor Ediltecnica spa
Systems A.I. Engineering
Stone church furniture FUKSAS DESIGN Made by stonemason Maurizio Volpi
Art work Enzo Cucchi, Mimmo Paladino
Wood furniture FUKSAS DESIGN Made by Falegnameria Bertini Lighting appliances FUKSAS DESIGN iGuzzini illuminazione
Photos Moreno Maggi 1. Exteriors 2. View from the entrance
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The church building, composed of two parallelepipeds one inside another and reaching skywards, is elevated 1.5 metres above ground level to accentuate the vertical nature of the composition. It is characterised by an architectural element that consists of shafts of light penetrating and linking the two parallelepipeds together. Indeed the inner and outer skins are interconnected by passages that create a number of apertures allowing light into the enclosure.
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San Paolo Parish Complex
3.4. Interiors
The shafts of light penetrate and bind the parallelepipeds together, entering through a set of apertures placed strategically to illuminate the interior and pick out the main features, namely the Altar, the Pulpit and the Baptismal Font. In the words of architect Fuksas: “The suspension of one volume within another. Seeing through concrete to the heavens, from outside, to inside, to outside.” The interior space is laid out to guarantee the centrality of the Altar, whilst the Font and Pulpit are located in asymmetrical positions relative to the Altar. The effect created by the light that enters during the daytime, through the openings in the walls, is replicated at night using lamps suspended from the ceiling. Standing 13.5 metres tall outside the church, the monumental sculpture ‘Stele Croce’ by Enzo Cucchi, a composition of concrete and white Carrara marble, becomes an architectural element in its own right. The 14 Stations of the Cross are by Mimmo Paladino. The furniture, pews and lighting appliances are by Fuksas Design.
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A lighting scheme for the hundred towers of Ascoli Piceno
Designers Emidio Sofia and Rodolfo Terpolilli Municipality of Ascoli Piceno
Ascoli Piceno, Italy
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Some years ago, the Ascoli Piceno local authority set in motion a programme for renewal of the city’s historic centre, which has already seen the two most important squares regenerated: Piazza Arringo and Piazza del Popolo. Given the success of the initiative, it was decided to create a new and evocative nocturnal image of the city in its entirety, highlighting the 34 towers that are still a visible feature of today's urban fabric. Ascoli is in fact known as the “city of a hundred towers�,
and even today it can boast a good number of towers in the historic centre, still in a good state of repair, standing as testimony to the wealth and prestige of the city in mediaeval times when there were around two hundred. The project envisaged the illumination of 34 structures: 18 civic towers and 16 bell towers. To minimise the environmental impact of the lighting, the designers selected compact fixtures of grey colour, positioned mainly under the eaves.
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Systems installer ESSEGI di Schiavi Gianluigi e C. snc civic towers Elettroimpianti di Vittori e C. sas bell towers
Photos: Giuseppe Saluzzi 1. General view of the city. The coloured tower is that of the Palazzo dei Capitani, in the Piazza del Popolo. 2. View of Porta Tufilla. 3. The Porta SolestĂ bridge.
The problem of intrusive light was reduced by installing floods as near as possible to the towers, located high up on the roofs and balconies of selected buildings. Road glare is also much reduced by adopting this strategy. 34 distinct and separate mini electrical systems were created for the project, one for each tower. The systems are all different from one another, using various types of lighting appliances, accessories and special parts. Most of the illuminated towers are surrounded by or attached to other buildings; they are predominantly square in plan, measuring about 5 metres per side and rising above the adjoining buildings by some 20 metres on average. Single free-standing towers are between 25 and 30 metres high. To illuminate these particularly slender and tall surfaces effectively, the lighting designers selected Lingotto, MaxiWoody and Platea fixtures with spot and super spot optical assemblies, emitting narrow ellipsoidal beams, and with flood optical assemblies. The lamps are low power metal halide, 70 and 150W, colour temperature 3000 K. Thanks to the efficiency levels of the optical assemblies, it was possible to use a smaller number of fixtures, around 100, thereby saving on energy and running costs. A special effect was created for the best known tower - that of the Palazzo dei Capitani located in the city’s main square. This is illuminated using Platea fixtures with RGB Leds, piloted by a special control unit, which mix and direct varying combinations of coloured light onto the walls of the tower in a programmable timed sequence. The colour illumination can be limited to a few hours after dark, and to certain days in the week, whilst the basic lighting (same as used for the other towers) will operate continuously.
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New showroom for Schneider Electric
Client Schneider Electric Architectural design Philippe Proisy
Rueil Malmaison, France
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Schneider Electric, a multinational corporation specialising in the production and distribution of electrical energy, announced an interior architecture competition in 2008 for a new showroom at its Rueil Malmaison headquarters. Architect Philippe Proisy joined forces with the designer Christian Ghion to undertake this project, which introduces visitors to the world
of Schneider Electric by moving them around in a space designed to elicit sensations and perceptions. The showroom is described as the “International customer lounge�: an extraordinary international reception facility providing information on products, services and solutions offered by Schneider Electric. In organising the new showroom, the designers
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Designer Christian Ghion
Photos: Didier Boy de La Tour 1. Alley
Partners assistance iGuzzini illuminazione France
2. Zen garden
incorporated interactive technologies such as RFID (Radio Frequency Identification for automations) in a setting that engages all the senses. Ghion and Proisy focused attention on the management of spaces, materials, furniture and lighting in order to create an environment that visitors can explore with ease, looking, listening, understanding and learning as they go. The lighting uses low power energy sources, such as Led and fluorescent. The layout of the showroom is devised on the basis of certain key words: discover, exchange, sense, know, understand, anticipate, and there are six corresponding stages: the hall; the square; the living; the tube; the gallery; the vision. “The Hall” is the reception area. Here, Schneider Electric states its role in the world and its environmental approach. This hall leads to the “Alley” of the showroom: a long tunnel of back-lit Corian imprinted with images of trees. Passing through this tunnel, the visitor leaves the outside world and enters a dreamlike, contemporary universe.
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New showroom for Schneider Electric
The light is generated at floor level and directed upward from recessed fluorescent strips at the base of the Corian walls. “The Square” is the point where visitors are welcomed and given an RFID badge that they will keep for the duration of the tour. The fixtures used in this area are Linealuce, and in particular Lineup, crossed and recessed into the ceiling, piloted by the Scene Equalizer control system to produce alternating warm and cool colour temperatures. The “Living” is a wellness space relating to the home and the workplace. It features an area characterised by elliptical openings in the suspended ceiling, lit by DMX-controlled RGB strips. There is also a micro Zen garden in this third space, lit by Glim Cube and Ledplus fixtures, as well as Linealuce with Leds to illuminate the water running under the wall, and a bar area in the form of a futuristic kitchen, lit by Deep Minimal fixtures with Leds. “The tube” is the image gallery, a total immersion in the world of Schneider Electric. Sound and image penetrate the bodies. The entire commentary is available in 6 languages. In the “Vision” section, the visitor enters a discovery space enhanced by a projection introducing the eye to a futurist environment, with stainless steel eggs providing receptacles for technological research themes of tomorrow. This is Schneider Electric in 5 or 10 years time. The architects took their inspiration from the artist James Turell for this space. DMXcontrolled strips with T16 RGB lamps create light signs on the walls. “The Gallery” is the place where Schneider Electric products are displayed: the visitor can see, touch and learn about the functions, the characteristics and the capabilities of Schneider Electric appliances.
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3. Living spaces 4.5. Another “Living” area 6.7.8. Coloured effects for “The Vision”
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Projects
California Academy of Sciences
Client California Academy of Sciences Architectural design Renzo Piano Building Workshop, in collaboration with Stantec Architecture (San Francisco)
San Francisco, United States
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The California Academy of Sciences in San Francisco is one of the few natural science institutes combining public education directly with scientific research, conducted on site. The primary objective in deciding to remodel the new Academy was to expand its activities, and to enlarge the exhibition spaces and research centre, while also finding new and innovative ways to welcome and accommodate increasing numbers of visitors. The building houses a natural history museum, an aquarium and a planetarium, bringing together the themes of nature, science and civilization. The new Academy is fully integrated into its natural environment, the Golden Gate Park, and makes extensive use of energy saving techniques. The declared mission of the Academy is to “Explore, Explain and Protect the Natural World”, creating the ideal premiss for the development of sustainable design strategies. Choice of materials, recycling, exploitation of natural light and natural ventilation, the utilisation of water, including the recovery of rainwater, and energy
production were all design issues that would become an integral part of the overhaul, helping ultimately to secure Platinum certification for the museum under the LEED programme. Some of the old buildings were demolished, reduced to rubble and reused in the new structures. Wall insulation was made from scraps of denim cloth provided by Levi Strauss & Co. 95% of the steel utilised came from recycled material. Three of the existing buildings - the African Hall, North American (California) Hall and Steinhart Aquarium - were reclaimed and rebuilt in their original volume. The new building retains the position and orientation of the original Academy and all the attractions are organised around the central piazza. The dome of the Planetarium and the rainforest biosphere flank the piazza on either side. This is the point interlinking all sections of the museum together, and is covered by a glass roof with a lattice structure suggestive of a spider’s web. The centre of the structure is open to the sky.
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General contractor Webcor Builders Engineering and sustainability Ove Arup & Partners Civil Engineering Rutherford & Chekene
Aquarium management systems PBS&J Exhibits Thinc Design Cinnabar Visual-Acuity
Landscaping SWA Group
Photos: iGuzzini archive Drawing by kind permission of RPBW
Living roof Rana Creek
1. Section drawing 2. View of the Academy and the Golden Gate Park 3. Rainforest biosphere
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The features of the piazza also combine to provide an ideal venue for concerts and other events. The roof formally unifies the organism as a “living structure”, covered with a shallow layer of soil providing a bed for 1,700,000 small plants selected to survive in the microclimate of the Golden Gate Park without the need for fertilizers or artificial irrigation systems. Whilst the vegetation is decorative, it also serves a practical purpose: the moisture in the soil has the effect of lowering the temperature inside the museum by 5 or 6 °C, and this - uniquely in the US - means that there is no need for air conditioning in the public spaces on the ground floor, or in the research offices along the façade. 15% of the museum’s electrical power requirement is produced by 55,000 photo voltaic cells, sandwiched between two sheets of glass, which make up a transparent canopy around the perimeter of the living roof. The fixtures used by Renzo Piano for this project include Le Perroquet in a special outdoor version, used also at the High Museum of Art in Atlanta, coloured grey and red. 3
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Projects
New Miss Blumarine and Blugirl boutiques in Milan
Clients Blugirl boutique - Blufin Spa Miss Blumarine boutique Spazio Sei srl
Milan, Italy
During 2009, Blugirl and Miss Blumarine opened their first twin single-brand boutiques in Milan, on the Via della Spiga, one of the city's best known shopping thoroughfares. The Blugirl boutique is laid out on three levels with over 200 m² of floor space which, has a contemporary sophisticated loft type atmosphere. Purity of line and transparency of materials are the hallmarks of this new store, where the spaces are neatly connected with each other. Particular care has been taken over the lighting, which functions in total harmony with the formal concept of the interior design. The fixtures, which are all iGuzzini - Deep Surface, Tecnica and Minimal - were selected to give the surroundings a strong sense of theatre, highlighting forms and materials. The windows on the street and the glass fronted to the mezzanine floor overlooking the two-storey entrance hall have the effect of modulating the respective interiors, which are interconnected by stairs surfaced with white composition marble slabs, as are all the floors. The ground floor has two shop front windows, the first floor includes a VIP room, and the basement is given over to collections and accessories. The blue coloured walls combine with the white ceilings to generate a relaxing interior, lit by either recessed or exposed lamps which are according to the nature of the spaces, characterised by a soft atmosphere, and by target lighting produced with incandescent lamps designed to create an enveloping and uniformly balanced mood. The merchandise is displayed on rounded panels
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Architectural design Studio Indik Roma C. Cannavò M. Critelli Shay Peri C. Volken
Engineering calculations systems/building works Impresa La Ca’
Photos: Chiara Cadeddu By kind permission of Blumarine Press Office. 1. Blugirl boutique
Shopfitting Fazzuoli, Campi Bisenzio (Florence)
finished in metallic white with shiny tubular edge trims and stainless steel shelves, complemented by bright chrome plated tubular metal hanging rails on shiny steel bases. Tables of transparent plexiglas with tubular stainless steel frames incorporate white drawer pedestals. The Miss Blumarine boutique, occupying 180 m² on three levels, is characterised by pink walls, buttoned velvet upholstery, antique brass hanging rails and mother-of-pearl pink lacquered child sized furniture with bevelled corner edges. The ground floor is dedicated entirely to Miss Blumarine fashions for various age groups. The basement houses the Miss Blumarine Jeans collection, and a small sitting area, furnished with a chaise longue covered in pink buttoned velvet. Stairs with sand-coloured coir treads connect the ground floor to the first floor: a loft set aside as a children’s play area is furnished with large pouffes, table and chairs, and a small bookcase. Great care was taken over the lighting design to ensure the most comfortable and natural atmosphere possible, giving visitors a sense of ease and tranquillity. Similarly, particular attention was given to accent lighting. Apart from a small number of designer lamps, the entire lighting system for the store and shop windows is based on Guzzini fixtures: Deep Surface, Tecnica and Minimal. The internal showcase window, with its full width, full length pink velvet backdrop curtain, is enhanced by a cascade of crystal beads supplied by Swarovski.
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2.3. Internal views of Miss Blumarine boutique
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The designs for both boutiques are by Studio Indik, which has extensive international experience in the fashion sector and took special care over the needs of the very young, in the case of the Miss Blumarine boutique. Studio Indik has also designed the new concept for Blumarine flagship stores, its portfolio including the boutiques in Milan, Paris, Dubai, Tokyo, Hong Kong and Venice.
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Projects
The Linked Hybrid project
Client Modern Green Development Co., Ltd.
Beijing, China
Architectural design Steven Holl Architects Steven Holl, Li Hu Hideki Hirahara Yenling Chen Chris McVoy, Tim Bade
General contractor Beijing Construction Engineering Group
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The Linked Hybrid complex in Beijing covers an area of 220,000 m². This is a project in which commercial, residential, educational and leisure facilities combine to create a three-dimensional city within a city. The ground level offers a number of open passages for residents and visitors to walk through. These passages create small scale, microurbanisms, with shops activating the urban space surrounding the large reflecting pond. On the intermediate level of the lower buildings, public roof gardens offer tranquil green spaces, and at the top of the eight residential towers there are private roof gardens connected to the penthouses. All public functions on the ground level - including a restaurant, hotel, Montessori school, kindergarten and cinema - have connections with the green
spaces surrounding and penetrating the project. From the 12th to the 18th floor, a multi-functional series of skybridges with a swimming pool, a fitness room, a cafĂŠ, a gallery, auditorium and a mini salon connects the eight residential towers and the hotel tower, and offers spectacular views over the unfolding city. The intention of the architects was to ensure that the public sky-loop and the base-loop will constantly generate random relationships, functioning as social condensers generating in a special experience of city life for both residents and visitors. Geo-thermal wells (660, at a depth of 100 metres) provide the Linked Hybrid complex with cooling in summer and heating in winter, making it one of the largest green residential projects in the world.
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Associate architects Beijing Capital Engineering Architecture Design Co. LTD Structural engineers Guy Nordenson and Associates China Academy of Building Research
Lighting consultant L’Observatoire International Curtain wall consultants Front Inc. Xi’an Aircraft Industry Company LTD Yuanda Curtain-wall Jianghe
Landscape architects Steven Holl Architects EDAW Beijing TSLD
Photos: Hengzhong Lv 1.2. The central plaza
Partners Assistance iGuzzini illuminazione China
Mechanical engineers Transsolar Beijing Capital Engineering Architecture Design Co. LTD Cosentini Associates
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3.4.5. Partial views of the complex
The Linked Hybrid urban complex
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All the water is recycled. Greywater is piped into tanks with ultraviolet filters, and then put back into the large reflecting pond and used to water the landscaped areas. The earth excavated for the new construction was used to create five landscaped mounds on the north side, providing recreational functions. The colours of the complex are inspired by the polychromy of ancient Chinese architecture. Coloured membranes on the undersides and cantilevered parts of the bridges are designed to glow in nightlight, and window jambs are painted using the colours found in ancient temples. The polychrome effect is maintained through the night hours by artificial lighting. 150W MaxiWoody fixtures with metal halide lamps and a variety of optical assemblies - Super Spot, Spot and Flood are used in the different areas of the complex to highlight the colours.
In specifying just one product and one type of lamp, the intention was to facilitate maintenance operations as far as possible. Metal halide was selected as the type of lamp that would give the best colour rendering. The Linked Hybrid complex was adjudged by the Council on Tall Buildings and Urban Habitat (CTBUH) to be the “Best Tall Building” in Asia and Australasia. This is an award given by CTBUH every year to buildings in four regions: the Americas, Europe, Africa and the Middle East, Asia and Australasia. The selected buildings are those that successfully integrate architectural form, structure and construction systems, while also possessing clear merits of sustainable design that help to guarantee quality of urban life. The award ceremony for the “Best Tall Building Overall” will be held on 23 October 2009 during the CTBUH Conference in Chicago.
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New corporate identity for Honda Romford, United Kingdom
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Client Honda Architectural design Morton Wykes Partners Assistance iGuzzini illuminazione UK
Following a long and successful collaboration with Honda UK, iGuzzini was approached by Honda Europe to advise on the development of a lighting solution appropriate for the organization’s new Corporate Identity in Europe. In keeping with the Honda philosophy, the lighting design had to feature the most innovative technology in terms of fixtures and reflectors. The light sources selected were those considered most efficient in terms of their capacity to use less energy yet guarantee excellent colour rendering and ensure a true reproduction of the finishes on vehicles. The project as a whole needed to be inexpensive, offering ease of installation, reliability, efficiency and low maintenance costs, as well as bearing in mind the ultimate disposal of the products utilised. iGuzzini was named sole supplier for all sectors of the dealership structure - showrooms, offices, workshops, sales counters - and all outdoor areas, including forecourts and used car lots. Indoors, particular care was taken over the showroom lighting. The ceiling is coffered, with fluorescent lamps installed in the square recesses.
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Photos: Martine Hamilton Knight 1.2. View by day and by night 3. Workshop 4. Showroom
Tracks installed on the sections between the recesses carry 150W Tecnica spots with metal halide lamps; these provide accent lighting under which vehicles are shown off to maximum advantage. Considerable thought was given to the lighting for the workshop, which is conceived as a theatre where customers can look on as spectators while their cars are being repaired. The fixtures used in this area needed to ensure levels of luminance as required by safety standards for the workplace, both at floor level and on the ramps, besides being visually attractive. Central 41 pendants were selected for this task. Offices and areas open to the public are equipped with Frame, Action and Sistema Easy fixtures. Offices not open to the public are provided with recessed Sistema 43 downlights and Light Air pendant fixtures. This is a solution that both saves energy and creates an Up/down lighting effect tending to emphasise the height of the building. Indirect outdoor lighting, using Nuvola fixtures, provides visual comfort and ensures that the forecourt and car park are invitingly and uniformly illuminated.
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Projects
Changzhou Olympic Sports Centre
Client Changzhou City Government Architectural design Jiangsu Century Architecture Design Co., Ltd
Changzhou, China
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The Changzhou Olympics Centre and international Exhibition Centre (COCIEC), completed in September 2008 after more than two years of construction work, is the cultural and sports centre of Changzhou, and one of the city's most important projects. The design of the new facility, which includes an open air stadium, an indoor stadium, a swimming pool and an exhibition centre, embodies the concept of “a region of water and magnolia flowers, south of the Yangtze river�.
The magnolia, appropriately, is the emblem of the city of Changzhou. Accordingly, everything from the basic architecture to the stadium skylights had to resemble this symbolic flower. The client and the architects also wanted the lighting concept to fall in with this requirement. Working with the architects, the iGuzzini team put together a complete proposal for the project. After a number of discussions, the idea of using variable, coloured light for the stadium was
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General Contractor Changzhou Tianyu
Photos: Hengzhong Lv 1. General view. In the middle, the Olympics Centre
Partners Assistance iGuzzini illuminazione China
2. The central piazza. On the left, the International Exhibition Centre
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accepted. The 18 entrances to the stadium and the pool are equipped with transparent panels that reflect sunlight during the daytime, whereas at night a change of colour occurs, piloted by the control system. The faรงade is lit by Platea floods. The lighting for the exhibition centre and the relative faรงade is provided by Gem pendant fixtures.
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Changzhou Olympic Sports Centre
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3.4.5.6. Different coloured light effects 7. Coloured light effect seen from inside
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Projects
Design and architecture Renzo Piano - RPBW with Alessandro Traldi - Atelier Traldi
Lighting for Emilio Vedova’s moving canvases Emilio & Annabianca Vedova Foundation, Venice
General coordination and engineering Favero & Milan Ingegneria Maurizio Milan
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The first “dynamic museum” designed by Renzo Piano, dedicated to Emilio Vedova, is located in one of the nine 16th century Salt Warehouses on the Zattere island, where the great Venetian painter had his home and studio. The relationship between the Genoese architect and the Venetian painter was forged back in 1984 when the two worked together on the Luigi Nono opera “Il Prometeo” (libretto Massimo Cacciari), conducted by Claudio Abbado. They had discussed the idea of mobility at the time, and earmarked the old warehouse
as a future home for the painter's works. The Vedova foundation is the first art museum with no pictures actually hung on the walls: here, the visitor finds only bare walls of old brick. The paintings, which vary in size - 18 measuring 280x280 cm, 9 measuring 180x280 cm are set in motion by a mechanical arm and are manoeuvrable along the entire length of the warehouse. The pictures stop at various points and then disappear, circulating in sequence. This revolutionary approach to exhibiting works of art, and the considerable size of the
warehouse, imposed certain conditions on the layout of the lighting scheme. The pictures are lit by Le Perroquet spots, positioned in groups of three on the rafters, at a height of about 15 metres. These spotlights use the DALI protocol and are piloted by the Master Pro control system in such a way that the smaller canvases will be lit only by the middle fixtures of the groups, which are equipped with 75W halogen lamps and 24° optical assembly. For larger pictures, the light from the middle fixture is augmented by that
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Artistic consultant Germano Celant
Installation contractor Iccem
Design and technological realization Metalsistem - Fabio Roncati
Technical sponsor iGuzzini illuminazione
The selection and installation of works by Emilio Vedova in the Magazzini del Sale exhibition hall was undertaken by Germano Celant and Fabrizio Gazzarri.
Photos: Michele Crosera 1.2. Pictures in motion 3. Picture storage system
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of the lateral fixtures, equipped likewise with 75W lamps, but using 8째 optical assemblies. This has the effect of creating two greatly elongated cones of light, broadening the cone formed by the middle fixture. As for the surrounding walls, these are also lit using 75W Le Perroquet spots, but in this instance with a much wider angle (45째) and fresnel lenses, and directional louvres serving to shape and expand the light cone still further. To give a softer and more diffused light, shadows are attenuated using Le Perroquet fixtures with 75W lamp, 24째 optical assembly and wall washer screen.
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Projects
The Constitution Bridge
Client Municipality of Venice Architectural design Santiago Calatrava
Venice, Italy
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The fourth bridge over the Grand Canal, designed by the architect Santiago Calatrava, connects the Piazzale Roma with the railway station. Besides being an architect, Santiago Calatrava is also an engineer and sculptor, and has other famous bridges to his name: the Puente de la Mujer in Buenos Aires, the Puente del Alamillo on the River Guadalquivir, and the Oberbaumbr端cke in Berlin. His design for the new bridge in Venice features a single selfsupporting arch composed of three tubular sections. It is a blend of the contemporary,
in its forms and construction techniques, and of the traditional, in its use of materials: steps of Istrian marble, the stone found most commonly in Venice, glass parapet panels, and bronze handrails. The bridge and the landing areas on each side are illuminated by MaxiWoody fixtures mounted on poles and on the surrounding buildings, equipped with HIT 70, 150 and 400W lamps and accessorised with diffusing, antiglare and refracting filters. This ensures optimum levels of vertical illumination, and of luminance on the bridge deck.
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Direction of works Roberto Scibilia - Municipality of Venice
Photos: Paolo Carlini 1.2. The single self-supporting arch of the new bridge
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Projects
Dynamic lighting in the new H&M store Barcelona, Spain
Client H&M, Hennes & Mauritz Architectural design Estudio Mariscal Building contractor Dula Bau
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H&M has a new store on the Portal del Ángel, Barcelona’s most famous shopping street, in a late 19th century building by Doménec Estapé. Reconciling the “old” and the “new” was the challenge facing the Studio Mariscal, and the outcome is a retail space in which the “remordimiento” style, typically bourgeois and baroque, interacts with pop, modern and contemporary. The conception of the interior design is suggestive of transitoriness, consisting of easily replaceable elements. A second skin
was applied to the original architecture, creating a new look, but without concealing what lies underneath. This second skin incorporates the lighting design, which creates a display environment using T16 fluorescent tubes of various wattages (depending on length). The light emitted through the horizontal louvres of the selected fixtures is diffused and fragmented, providing a level of background illumination that allows the eye to take in the entire interior. The merchandise is lit by spots installed in the
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Shop fitting and furniture Dula Ibérica Technical architecture and systems MC Arquitectura e Ingeniería
LEDS BARCO (supply) SONO (installation and assembly)
Partners Assistance iGuzzini illuminazione España
Photos: Rafael Vargas 1.2. Some of the interiors
Refurbishing Artecc
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suspended ceiling. Like a cluster of clouds, the plates are equipped with three-phase electrified tracks carrying Tecnica units with two types of light source (35W and 70W HIT metal halide, and QT12 100W/12V halogen), some used as spots (~10º), some as floods (~30º). The entrance is an explosion of light, colour and movement created with Led displays, designed to attract the attention of the crowds passing through the pedestrian precinct. Two other especially important features of the new
interior are the staircase and the dome. Emphasis is given to the void created by the stairwell, which conveys light from the dome at the top of the building. In effect, the central atrium interconnects the three floors and allows natural light to all parts of the interior. Special solutions are adopted for the central staircase and dome, the sale nobili and the access stairs, so as to place the focus on the amalgamation of the existing architecture with the newly introduced contemporary elements,
underscoring the integration of the two by means of accent lighting created using spots with a variety of beam geometries. All fixtures are operated using DALI protocol and piloted by the Scene Equalizer, which allows adjustment of the fluorescent strips and on/off control of the various spots and floods in preset groups. As a result, the different parts of the interior can be configured dynamically according to the time of day and the level of custom, and in response to events.
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Projects
The Liangzhu Museum
Client Zhejiang Vanke Narada Real Estate Group Co., Ltd.
Liangzhu, China
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The museum houses a collection of archaeological finds from the Liangzhu civilization, also known as the Jade culture (circa 3000 BC). Located at the northern extremity of the ‘Liangzhu Cultural Village’, in the neighbourhood of Hangzhou, is a new park and buildings complex. The building is situated on the edge of the lake and connected to the park via bridges. The architecture of the building becomes apparent to visitors by degrees, as they approach the museum via the park. The museum building consists of four units clad in Persian travertine, all 18 metres wide, but of different heights. Each unit has an internal courtyard interconnecting
the rooms of the museum; a space that invites the visitor to pause a while and relax. Whilst the exhibit rooms are linear in character, they nonetheless afford a number of individual routes through the museum. To the south of the building is an island with an exhibition area, connected to the main body of the museum by a bridge. The materials used in all public areas of the museum - Ipe wood and travertine stone - are both tough and resistant to aging. The entrance hall is accessible from a courtyard of which the centrepiece is the reception counter, made of Ipe wood and lit from above. Consultancy on the lighting for the museum was provided by
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Architectural design David Chipperfield Architects - Libin Chen, David Chipperfield, Annette Flohrsch端tz, Marcus Mathias, Mark Randel, Christof Piaskowski, Arndt Weiss, Liping Xu
Local architects ZTUDI The Architectural Design and Research Institute Zhejiang University of Technology Landscape design Levin Monsigny Landschaftsarchitekten
Installation Guangdong Jimei Design and Engineering Co.
Photos: Hengzhong Lv 1. Exteriors 2. Hall of the columns
Partners Assistance iGuzzini illuminazione China
3. Exhibit reproducing primitive life during the Liangzhu period
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iGuzzini China. The Liangzhu Museum has 3 public exhibition areas, decorated with backdrops, showcases and special settings. In the second room, where the backdrop describes the primitive way of life during the Liangzhu period, with blue and green as the main colours, i24 wall washers are used, with lamps of colour temperature 6500 K. In the third room, where the backdrop shows a sunset, the fixtures used are Parallel spots with wall washer screen and light sources of colour temperature 2800 K. Recessed Deep Frame fixtures and Lux spots are used to provide accent lighting for the showcases. Recessed Light Up Garden units are installed in the grounds outside.
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Projects
The Paks contemporary art gallery
Client Paks City Government Architectural design Iren Jaromi Ybl - Gyula Kiss DLA Ybl
Paks, Hungary
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From the time of its installation in 1991, until recently, the gallery of contemporary art in the city of Paks had occupied a temporary home; in point of fact, the collection was housed in one of the town's old hotels, subsequently sold by the local authority in 2005. At the same time, the authority had purchased a disused cannery at public auction. Today, the Paks Contemporary Art Gallery is a modern museum with a national and international collection of exhibits; consequently, its cultural mission is not limited simply to serving the local community. The artistic directors of the gallery asked for a space sufficient to accommodate not only the existing collection, but future acquisitions as well. From an architectural standpoint, the project presented certain key challenges, such as
the design of a single glass wall without trusses beneath the arches, developed and patented in Hungary, that would give emphasis to the feeling of suspension. The space taken up by service rooms is minimised in order to maximise exhibition space. The first floor, which used to be the packing department of the old cannery, houses a multimedia library with modern automatic archives and open shelves for art albums, and the administrative offices of the gallery, which now open directly onto the exhibition space. The laboratory and the art shop are located on the ground floor, occupying one of the long flanks of the old rectangular building. A loft has been added to this part of the gallery, with wood floor and diffused lighting.
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Design company Kiss-Jaromi Architect-Office Ltd.
LED technology Ledium Ltd.
Photos: by kind permission of Iren Jaromi YBl-Gyula Kiss DLA Ybl
Curator Zoltan Prosek, art historian
Partner Assistance K-light Lighting technologies Ltd. cooperative partner: Nora Timar
1. Exterior of the building 2.3. Contemporary works of art on display
Contractor Dunacenter-Therm Ltd.
This allows the museum to put on displays of photographs, graphics and small sculptures, for which limited headroom is not a problem. The decision was taken to retain the bare '60s style concrete of the original fabric for the exhibition spaces. The exposed surfaces were polished and waterproofed. The exterior of the building is clad with Corten steel panels. The space afforded by the old factory is ideal for exhibiting contemporary paintings and sculptures of monumental proportions, but with the selected lighting system and the special pedestals adopted, much smaller paintings, sculptures and models can also be shown to equal advantage. The gallery is also perfect for entertainment shows and multimedia installations. Self-evidently, an extremely flexible lighting system was required. The designers sought a deliberate contrast between the iGuzzini luminaires and the original lamps of the factory; these however were updated by fitting Led sources. The interior lighting is provided by Le Perroquet fixtures, some positioned to give indirect lighting, others trackmounted and ceiling-mounted. Elsewhere, i24 fixtures provide indirect light for the loft and offices, and recessed Linealuce wall-washers are installed along the public access corridor. The exterior of the building is also attractively lit, utilising mainly Light Up Walk professional units at ground level, which are also fitted with coloured filters to show up the trees, whilst the statues in the grounds are illuminated by 5 narrow beam Flash fixtures.
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Projects
Tenerife Espacio de las Artes
Client Cabildo Insular de Tenerife Santa Cruz de Tenerife Construction OHL S.A., Santa Cruz de Tenerife
Tenerife, Spain
In October 2008, the Tenerife Espacio de las Artes (TEA) di Santa Cruz was inaugurated on the island of Tenerife. With its 20,000 m² of floor space, the TEA is primarily a cultural infrastructure with a clear contemporary vocation of bringing together different types of art in one place; but it is also, and no less, a fragment of urban fabric connecting the old world and the new in the city centre. Architects Herzog & De Meuron had the idea of combining a series of diagonal elements and sloping floors with a ramp of steps, by way of
which the public can gain access to the building. The geometric architectural elements favour exposure to the world outside, bringing dynamism and brightness, even after dark, when artificial light passes through the irregular openings in the wall and out toward the city. The structure houses art collections, temporary exhibition galleries, an auditorium, the Tenerife Photography Centre, the Óscar Domínguez Institute, and a Library (part of the island’s library network), as well as a cafeteria, restaurant and shop.
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Architectural design Jacques Herzog, Pierre de Meuron, David Koch
Architectural planning Herzog & De Meuron Virgilio Gutiérrez Herreros
Associate Architect Virgilio Gutiérrez Herreros
Systems engineering TECHNE Ingeniería y Arquitectura
Lighting engineering Ove Arup Partners Assistance iGuzzini illuminazione España
Photos: José Oller, Iwan Baan 1.2. The building in its urban context View by day and by night.
The main feature of this building is the profusion of small glazed openings spread across the entire shell. More exactly, there are 1200 of these windows, in 720 different shapes and sizes. The idea was inspired by the pixellation of a digital image picturing reflections of sunlight on the ocean waters of the Canary Islands. The preparation of the concrete frontages, punctuated with pixel-like perforations that provide the building with a truly singular type of lighting, serves both to enable a unique
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Projects
Tenerife Espacio de las Artes
3.4. Interiors of the TEA
minimal visual impact, ensuring a suffused and uniform glow; recessed Light Up Walk fixtures installed at floor level guarantee maximum visual comfort; MaxiWoody and Light Up Walk Professional spots are positioned at the end of the ramp, tracing atmospheric trails of light. Inside the library, fluorescent Lineup fixtures create the ideal indirect lighting for reading and browsing, whereas the exhibition halls
are equipped with special products (fluorescent strips). The permanent exhibition room is lit by a mixture of Tecnica spots and floods and Le Perroquet pendants which, thanks to their ease of directional adjustment, can be used both to pick out individual features and, when fitted with a diffuser, to provide uniform lighting for vertical surfaces, functioning effectively as wall washers.
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distribution of natural light admitted during the daytime, and produce a magical radiation of artificial light from interior to exterior at nighttime. iGuzzini was involved in the design of the lighting system, providing expert advice and supplying products to meet the many different requirements presented by the different areas( The exterior is illuminated by recessed Linealuce fixtures, which adapt to the architecture with
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Projects
The iTrust offices
Client iTrust Architectural design Beat Schöpfer, [punkt-s] gmbh
Cham, Switzerland
iTrust, a systems integrator incorporated in 2003 and based in Cham, in the Zugo Canton, decided recently on a heavy investment to renovate its headquarters. The aim was to create an environment reflecting the philosophy and culture of the company, based on values of transparency and accountability. The supervision and implementation of the project was entrusted to interior architect Beat Schöpfer, who called in iGuzzini as lighting design consultant. The lighting serves to emphasise the atmosphere of the single rooms. The designers decided on mainly indirect luminaires to create suffused background lighting, with spots and other fixtures to provide accent light. The middle of the office premises consists of an organically structured entrance. In keeping with the iTrust philosophy, the rooms adjoining the entrance are not completely isolated: staff must not be excluded
from what is happening around them. The floor space is divided substantially into open workstations, a meeting room, a Director’s office and three themed rooms - Trusts, so-called - created for specific work processes and planned as single enclosures, separated from the remainder. In reality, iTrust has no fixed workstations. When staff are not with the clients, they simply sit with their notebook PCs in whichever place is most suitable for the project they happen to be working on. If extra concentration is required, or there is a long phone call to be made, they will move into one of these three isolated spaces. The Trusts are separated from the central area by curved partition walls approximately two metres high. The first, the “Creation Trust”, is for the initial conception of ideas. Aubergine carpeting, lilac
wallpaper and three Gem pendant fixtures create a lively atmosphere in which to seek inspiration and not only for the staff of iTrust: this is also the room preferred by clients to discuss their projects. The second room, the “Innovation Trust”, is where ideas are implemented. The room is reduced to the bare essentials, with soft and discrete lighting supplied by iSign fixtures, which blend effortlessly with the dark colour scheme and futuristic lines. The implementation step is followed by a pause for relaxation: the atmosphere in the “Relaxation Trust” is typical of an oasis. Light is provided by some 15 Ledplus type units recessed into the floor, which project the shadows of numerous plants onto the ceiling. This is a place where staff can ‘chill out’, especially at the end of the working day. The workstations are separated one from
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Direction of works Beat Schöpfer, [punkt-s] gmbh, Zürich
Photos: Günther Laznia 1. Entrance
Partners Assistance iGuzzini illuminazione Schweitz
2. Relaxation area
another by sound absorbent panels that also function as notice boards and are fixed to wires so that they can be raised, as required, in the event that teams wish to work together around a single large table. In this instance the lighting needs to be suitable for working in front of a computer screen. Accordingly, a combination of direct light and indirect was adopted, using Mini Light Air pendant fixtures, which also incorporate DALI protocol and consequently are dimmable. The fixture used in the meeting room and Director's office is a recessed Wide Plus rated 55W, which creates a soft and diffuse light. The lights are also operated from a central control unit with remote handset and touch panel, which allow users to retrieve and select different preprogrammed settings. The walls of the meeting room and Director’s office, and the front walls of the offices in the main entrance area, are lit by 100W Pixel Plus units equipped with Wall Washer screens so that the entire wall can be lit uniformly from the ceiling.
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Projects
The Mardan Palace Hotel
Client Telman Ismailov AST 1989 Group Project coordination Hüseyin Davuto˘ glu.
Antalya, Turkey
The Mardan Palace Hotel, owned by Azerbaijani multimillionaire Telman Ismailov, is one of the most luxurious hotels in the Mediterranean, located in the popular Turkish holiday resort of Antalya. The opening ceremony was attended in May 2009 by such high profile A-listers as Richard Gere, Mariah Carey, Tom Jones, Sharon Stone, Seal and Monica Bellucci. The Mardan Palace in Antalya is a hotel inspired by the architecture of the ancient Ottoman palaces, a Tale of the Orient in its own right. The hotel is built on the splendid Mediterranean coast of Southern Turkey, occupying a total area of 180,000 m². It is divided into wings: the Anatolian Wing, with 225 rooms - the most remarkable feature here provided by decorations in the traditional Ottoman style, with combinations of dark coloured woods and gilt embellishment; the European Wing, featuring a post-modern design proclaiming simplicity, in all of the 203 rooms; and the Dolmabahce Wing, a block of 88 rooms furnished with the most luxurious pieces imaginable. The wings stand along three sides of a pool recalling the Bosphorus, straddled by a bridge based on 16th century drawings by Leonardo da Vinci for the Galata bridge, which was never built. Guests can take a gondola ride across the pool, whilst one of the restaurants is a replica of the Maiden Tower in Istanbul. The lighting was designed and implemented in direct collaboration with the proprietor.
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Partners Assistance Tepta Aydinlatma
Photos: By kind permission of AST 1989 Group - Halkla ili¸skiler 1.2.3. Views of the complex
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The outer façades of the three wings are illuminated using cold cathode lighting: elsewhere, all of the lighting installation is specified with iGuzzini fixtures. Uplighting on the columns is provided by Kriss and Yota fixtures and by recessed Light Up units; the towers are lit by MaxiWoody floods; the bridge walkway is illuminated using Led sources, whilst Radius and Platea were selected for
the Dolmabahçe door and the boat moorings. 64 Euclide fixtures are installed around the pool. The decorative pool on the entrance side is illuminated by Led Glim Cube units; the steps leading up to the entrance are lit by recessed Led sources, and the statues around the pool by Woody fixtures. Delphi lighting systems are used for the car park.
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Projects
Clients Hanover Region City of Laatzen
The Park der Sinne
Landscape design Hans-Joachim Adam
Hanover-Laatzen, Germany
The Park der Sinne - Park of the Senses represents the kernel of the Kronsberg Landscape Plan, and is one of the finest parts of the legacy left to Germany following Expo 2000. The organisations responsible for the project were the Hanover Regional Authority and the City of Laatzen. The park, designed by garden and landscape architect Hans-Joachim Adam, is intended to develop the awareness of our five senses: sight, hearing, touch, smell and taste. The lighting scheme for the park was entrusted to students of the HAWK Higher Institute of Art and Applied Sciences, Hildesheim, working under the guidance of lighting designer Norbert Wasserfurth. The innovative landscape architecture is combined with technological
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modernity and with a sustainable use of energy. One of the aspects of the lighting design concerned the development of an outdoor lighting device capable of producing a variable output. The Lighting Design course student Johanna Hermann developed the preliminary designs and planning, as well as the design of special fixtures, as part of her degree thesis. In the pilot project at Laatzen, the lighting effects are not only designed to create an emotional experience; they also serve scientific purposes, such as the study of light perception. It is a feature of the lighting design that visitors should be able to find their way around the park simply by reference to the illumination of the elements included in the landscape.
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Lighting design Studio DL - Norbert Wasserfurth in collaboration with the HAWK university, Hildesheim
Photos: Daniel Junker 1. Lighting effect 2. Plan of the park 3.4.5. Project
Partner Assistance iGuzzini illuminazione Deutschland GmbH
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The discreet relationship with nature, in this instance, is as important as the idea that visitors should be allowed to test their capacities of perception and nocturnal orientation. Three basic dynamic processes are behind the lighting design: dynamic adaptation of the light conditions to the movement of people through the park, the areas where visitors can pause and experience the light, and the directional positioning of fixtures according to the season.
These ambitious objectives are achieved with the solution implemented by the HAWK university of Hildesheim, in collaboration with iGuzzini: a lamp of variable light output equipped with three 1W Leds of different colour and optical specification. Each Led is powered independently, and therefore adjustable individually, so that the lighting effect can be adapted to different objects. The colour temperature can be varied from cool white
to warm white, and the beam from narrow to wide. The extreme flexibility of the appliance, and the sensors detecting movement in the park, produce a wide variety of lighting effects. The entire installation is wired up to a central control system not iGuzzini. For reasons of environmental protection, no lights are switched on in the park unless visitors are physically present. The system is also powered by solar energy.
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Corporate culture
“The lost space of Stiller” Eidgenössische Technische Hochschule, Zurich 19 February - 13 March 2009
In the Spring of 2009, the Swiss Federal Institute of Technology in Zurich (ETH - Eidgenössische Technische Hochschule), hosted an exhibition dedicated to the work of one of its most famous students: the architect and writer Max Frisch. Inspired by his novel “Stiller”, the exhibition entitled “The lost space of Stiller” was promoted by architect Markus Seiferman of PATALAB, London, in collaboration with the Max Frisch Archive in Zurich. Seiferman, who also directed the installation, had the idea of recreating the space, and spaces, inhabited by the central character of the novel, Anatol Stiller. Three wooden crates or boxes, representing Stiller’s studio, dining room and bathroom, were arranged on an open platform, around a tableau of a living room. The resulting collage was installed in the main hall of the ETH.
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Light was used by Seiferman to create the atmosphere for these spaces. It was not his intention to re-create actual locations mentioned in the book Stiller, but rather to reveal the spaces existing between the main characters of the novel. To achieve this objective, Seiferman enlisted the help of both iGuzzini UK, and iGuzzini Switzerland. Inside the hall, general lighting for the exhibit was provided by 18 Cestello stands placed on two levels. The dining room box was equipped with 8 Led Express spots piloted by the Master One DALI system. In the bathroom box, a fluorescent source rated 6500 K created a cold and sterile atmosphere. The exterior of the building was illuminated for the duration of the exhibition, using 4 MaxiWoody floods for the façade, and an array of 26 Linealuce and 13 Woody fixtures fitted with discharge and fluorescent lamps accentuating the windows of the dome alternately with hot and cold light. iGuzzini Switzerland invited a number of guests to view the exhibition, which provided an opportunity to demonstrate the importance of a well-designed lighting scheme.
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Photos: G端nther Laznia 1. Positioning of the Cestello stands 2. Exterior illumination 3. General view of the installation
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Corporate culture
New lighting for the Rondanini Pietà Castello Sforzesco, Milan
The Rondanini Pietà, Michelangelo’s last work, is an unfinished sculpture purchased in 1744 by the Marchesi Rondanini, hence the name. The Pietà was acquired by the Municipality of Milan in 1952, and has undergone cleaning and restoration work in the years since, most recently in 2004. During 2009, a number of maintenance operations were also carried out on the installation designed originally for the Rondanini Pietà back in 1956 by the prestigious firm of architects BBPR (Banfi, Belgiojoso, Peressutti and Rogers). For the first time, attention has been given specifically to the pietra serena and olive wood niches by which the sculpture is protected. These structures are examples of Italian design, and as such, attributed the same status as that of a museum piece. In its capacity as sponsor during this phase of the renewal, iGuzzini supplied fixtures and technical consultancy on the adoption of a new lighting system, utilising Le Perroquet and Le Perroquet Professional spotlights.
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Photos: Paolo Carlini 1. The installation designed by BBPR 2.3. The sculpture
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Corporate culture
iGuzzini at the Shanghai 2010 Expo
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The theme selected for Universal Expo 2010, “Better City, Better Life”, expresses the interest of the international community in strategies for sustainable urbanisation and development. iGuzzini is involved as lighting partner on a number of high profile projects. One such project will be the lighting for the Italian Pavilion, designed by architect Giampaolo Imbrighi. The Pavilion, which has a square ground plan of 3,600 m² and stands 18 metres high, is divided internally into volumes of different sizes and irregular shapes, linked by steel bridge-structures. The Pavilion will be filled with light, thanks not least to the use of transparent concrete, a recently developed polyhedral material. It is also conceived as a special kind of “bioclimatic machine”, designed to achieve significant energy savings. Photovoltaic elements integrated into the outer windows will guarantee protection from solar radiation, whilst the lighting design adopted for the building not only aims at emphasising the spaces, but also at favouring low energy consumption.
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Photos: By kind permission of the architects 1. View of the area where building B3-2 will be erected 2. Plan with detail of the area 3.4. Rendering of the Italian Pavilion
Another of the projects involving iGuzzini concerns the environmental and operational restoration of former industrial buildings in the Urban Best Practices Area (UBPA) of Expo 2010; this project was won by mOa- Mario Occhiuto Architecture in an international ideas competition. The lighting design was entrusted to Francesca Storaro, with iGuzzini providing consultancy and products. The entry submitted for the competition by Mario Occhiuto, who has been working on architectural sustainability for many years and already has major projects to his name in China, focuses firmly on technology and eco-compatibility, helping to export Italian know-how to a country that hitherto has been little concerned with recovery and restoration. Alongside the buildings to be recovered is one of new design (C1 Building) that will provide reception services for the entire Urban Best Practices Area. There is also another new pavilion, named B3-2, of which the design has been entrusted to ArcheA. The idea centres on energy saving and uses high efficiency Led lighting technologies.
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Corporate culture
Adolfo Guzzini appointed president of the Italian Design Council
Lightinprogress: iGuzzini at the Fuori Salone 2009 Milan, La Triennale, 22-27 April 2009
2 July 2009 saw the establishment of the Italian Design Council, instituted by a decree of the Ministry for Cultural Heritage and Activities, dated 12 March 2009. Minister Sandro Bondi stressed that “this is the first time that three strategic ministries for the Made in Italy brand - the Ministry for Production Activities, the Ministry for Foreign Affairs and the Ministry for Cultural Heritage and Activities - are cooperating to promote culture, business, home markets and export markets, all under the banner of thinking, designing and producing Italian”. The Italian Design Council is chaired by Adolfo Guzzini and made up of 24 members representing the world of enterprise, design, publishing and training. The members: Pietro Di Pierri, Silvana Annicchiarico, Giovanni Francesco Accolla, Massimo Arlechino, Andrea Branzi, Luisa Bocchietto, Medardo Chiapponi, Giuseppe Chia, Aldo Colonnetti, Pierluigi Cerri, Riccardo Diotallevi, Giorgio Di Tullio, Arturo Dell’Acqua Bellavitis, Renza Fornaroli, Frida Giannini, Stefano Giovannoni, Carlo Martino, Claudio Messale, Raffaella Panizzi, Antonio Paris, Antonio Romano, Nadia Salvatori, Andrea Vallicelli. The off-site ‘Fuori Salone’ fringe of the Milan Salone del Mobile 2009 provided iGuzzini with the opportunity to present its “lightinprogress” initiative, advertising the commitment made by the company in offering viable solutions to provide better street lighting, save energy, spend less money and care for the planet we inhabit. The “lightinprogress” project was designed by the iGuzzini Study and Research Centre, with installation by Pierluigi Cerri and visual communication by STZ, and consisted of an exhibition staged at the Triennale, with a presentation of new products for 2009 at the iGuzzini Partner Assistance premises in Via San Damiano.
On show at the Triennale were the results of three important collaborations: Archilede, the Led street-lighting system developed and produced for Enel Sole; the lighting solution designed by Piero Castiglioni for urban renewal of the old Osservanza asylum complex in Imola; the wind powered urban lighting system designed by Stefano Boeri for the island of La Maddalena. In addition to these exhibits, the actions taken by the company to promote the culture of light were documented in 7 video chapters shown on monitors along the route around the exhibition and summarised in slogans.
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Corporate culture
An award for iGuzzini communication
iGuzzini wins DAFZA award
International Design prize Baden-Württemberg 2009
TP 2009, San Patrignano 26-28 June 2009
Dubai, 29 June 2009
Ludwigsburg, 16 October 2009
iGuzzini illuminazione Middle East, based in Dubai, was awarded the Eco-sustainable Office Award offered by DAFZA (Dubai Airport Free Zone Authority), the body that manages the ‘Free’ area of Dubai Airport i.e. a location where businesses can be set up without local sponsorship. In the other award category - safety at work - the winner was Airbus Middle East. The adjudication committee first selected candidates for the award, and then visited each of the short-listed companies at their premises. The awards presentation ceremony, held on 29 June, was attended by Nasser Madami, assistant to the CEO of DAFZA, and by Ahmed Al Hashimi, Executive Director of Corporate Services.
The Stuttgart Design Center announced its International Design Prize for 2009 as “Focus Open”. For 9 years running, previously, this important national award of the BadenWürttemberg region had a single theme. For the tenth anniversary, by contrast, the competition was opened up to all product categories. For this international competition, accordingly, the jury looked solely at the quality of the design: manufacturers and designers were invited to submit products that had been on the market no more than two years. The jury members met in mid-May, and selected the winning products from 438 entries. The Lux fixture, designed by Gerhard Reichert, was the winner of the “Focus in silver” award. The presentation ceremony will be held in October 2009.
The iGuzzini “Better Light for a Better Life” advertising campaign won first prize at TP 2009 “Communicating sustainability”, with the citation “Best advertising campaign, characterised by strong creativity expressed through traditional media”. The award, promoted by the “Italian Association of Professional Advertisers” in collaboration with the Piedmont Regional Authority and its “Uniamo le Energie” (Unit our energies) campaign, called for a message able to transmit values associated with eco-sustainability, such as would encourage the public to consider environmental issues and promote responsible behaviour in this area. The award ceremony was held at San Patrignano during the TP convention, which ran from 26 to 28 June.
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Incontroluce
II. 2009
Incontroluce Six-monthly international magazine on the culture of light year XI, 20 Redazione 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 China Ltd. iGuzzini illuminazione Deutschland GmbH iGuzzini illuminazione Espa単a S.A. iGuzzini illuminazione France S.A. iGuzzini illuminazione Schweiz AG iGuzzini illuminazione UK K-light Lighting technologies Ltd. Tepta Aydinlatma, Turkey Cover photo Hengzhong Lv Printed: October 2009 Tecnostampa, Recanati
Errata corrige Incontroluce 19 On page 46, the name of the architecture firm Lewis & Hickey was indicated wrongly as Lewis & Hockey The Editors are not responsible for inaccuracies and omissions in the list of credits relating to projects and supplied by contributors. Any additions or amendments will be included in the next issue.
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Massimiliano Fuksas / Philippe Proisy / Renzo Piano Building Workshop / Studio Indik / Steven Holl Architects / Morton Wykes / Jiangsu Century Architecture Design Co. / Santiago Calatrava / Estudio Mariscal / David Chipperfield Architects / Iren Jaromi Ybl - Gyula Kiss DLA Ybl / Herzog & De Meuron / Beat Schรถpfer / Hans Joachim Adam