I. 200817 English versionIncontroluce XVII / The Marches: National Institute of Architecture - Marches section /Design: The power of light - part two / Projects: New lease of life for the Exhibition Palace /The Basilico perspective / Serra Piacentini / Decadence and renewed splendour of anhistoric hotel. Hotel Risorgimento / Hong Kong Science Park / A majestic light. Seu Vella / National Centre for the Performing Arts / An Eco HQ. The Nicolas Hulot Foundation / Thelight of culture. Champs Libres / A light line for the Aalborg University Park / A quality break / Thebest lighting conditions for research / A beacon for peace / Light for engineering. New head-quarters of Industrial Project Services-IPS / 12 storeys of light. New Eczacıbası Group head-quarters / Corporate culture: Ecodesign. Responsible product design, from conception todemolition / Adolfo Guzzini - Doctor Honoris Causa / Third edition of Pasajes-iGuzziniArchitecture Competition / At last, the Design Museum / PizzaKobra Tour / Lightlab

9.19

21.0

00.0

III

IncontroluceSix-monthly international magazine on the culture of light

year X, 17

EditingiGuzzini Study and Research CentreFr.ne Sambucheto, 44/a62019 Recanati MC+39.071.7588250 tel.+39.071.7588295 faxemail: rc@iguzzini.it

iGuzzini illuminazione spa62019 Recanati, Italyvia Mariano Guzzini, 37+39.071.75881 tel.+39.071.7588295 faxemail: iguzzini@iguzzini.itwww.iguzzini.comvideo: 071-7588453

Graphic DesignStudio Cerri & Associati

PublisheriGuzzini illuminazione spa

Contributors to this issueiGuzzini illuminazione Benelux Bvba/SprliGuzzini illuminazione DanmarkiGuzzini illuminazione España S.A.iGuzzini illuminazione France S.A.iGuzzini illuminazione Schweiz AGiGuzzini illuminazione ChinaiGuzzini illuminazione Norge A.S.GH Lighting LtdTepta Aydınlatma

Cover photoDidier Boy de la Tour

Printed: April 2008Tecnostampa, Recanati

I. 200817 Incontroluce

Errata Corrige Incontroluce 16

Nhow HotelLighting designPiero Castiglioni

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

II

Editorial

Dear Readers,

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

Adolfo Guzzini

II

2

4

10

14

18

20

22

24

26

30

32

36

38

40

42

44

46

48

52

54

58

59

17 Incontroluce

Summary

I. 2008

Editorial

The MarchesNational Institute of ArchitectureMarches section

DesignThe power of light - part two

ProjectsNew lease of life for the Exhibition Palace

The Basilico perspective

Serra Piacentini

Decadence and renewed splendour of an historic hotel. Hotel Risorgimento

Hong Kong Science Park

A majestic light. Seu Vella

National Centre for the Performing Arts

An Eco HQ. The Nicolas Hulot Foundation

The light of culture. Champs Libres

A light line for the Aalborg University Park

A quality break

The best lighting conditions for research

A beacon for peace

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

12 storeys of light.New Eczacıbası Group headquarters

Corporate cultureEcodesign. Responsible product design, from conception to demolition

Adolfo Guzzini - Doctor Honoris Causa

Third edition of the Pasajes-iGuzzini Architecture Competition

At last, the Design Museum

PizzaKobra TourLightlab

2

National Institute of ArchitectureMarches section

by Maria Luisa Polichetti Canti

The Marches

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

- to promote contemporary architecture andcontemporary architectural culture;

- to promote “quality” in works of every descriptionundertaken across the Marches: architecture,landscape, town planning and urbandevelopment, reutilization of existing assets;

- to bring about a more and more useful andproductive dialogue between designers and otherparties, public and private, involved in the activeand passive transformation of the territory.

The cultural context surrounding this activityderives from the urban system of the Marchesand the Adriatic, which plays a pivotal role both in the general development of the Adriatic regionand in the search for new architectural forms and models able to meet new urban challenges.The new section - Inarch Marche - can be a realworkshop generating proposals and ideas throughwhich to export this culture far and wide: “urban”is about more than large administrative centres;just as important are small communities with an already vibrant cultural and planning outlook.The programme is implemented through activitiesthat include exhibitions of work by architectsoperating in the Marches, so that projects ofsuperior quality can be given exposure andpromoted, also the organization and promotion of architecture exhibitions at national andinternational level, spreading the word on state-of-the-art architectural research and favouring the exchange and circulation of ideas betweenour region and abroad; trips and meetingsarranged at studios and major development sites, with prices discounted for young architects,which can provide an occasion not only forcultural enrichment but also for socialising andcementing relationships between associates;preparation and promotion of publications onarchitecture in the Marches, on research projectsof greatest interest in the region, and on thecontemporary city - News Inarch Marche forexample, and there is also a website - and finally,the promotion and organization of local, nationaland international architecture competitions.At an annual general meeting of Inarch Marchein September 2007, when my appointment asPresident was reconfirmed, certain proposals

1

3

incontroluce 17

Photos: Inarch archive

1. Building designed by Guido Canali for the Prada headquarters in Montegranaro, winner of the Inarch-Anceaward in 2006

2.3. Proceedings of the Inarch AGM held during September at the premises of iGuzzini

indeed the Institute must find ways to ensure its voice is heard, so that it can make an impact on decision-making. In order to set in motion the processes of physically transforming ourcities, attentive to the notion of pervasivearchitectural and building quality, focus must be placed on the fundamental role that can beplayed by designers and by the regional systemof building contractors, working in synergy.Regarding this last important aspect, townplanning - supramunicipal in particular - has not offered any guidance hitherto on improvingarchitectural and landscape quality, having beenlimited conventionally to matters of regulation on how land can or cannot be used, withoutaddressing the theme of “design centrality”. A renewal of interest in the theme of the city is a priority, as cities are the most importantphysical infrastructures the region possesses. The ANCE proposal regarding a “target law forcities” could undoubtedly provide a significantreference in this respect, as we seek to make up ground.

were put forward for the programme of activitiesthat would take us through the next term, ending in 2009. Among these was the promotion ofinitiatives at regional level similar to the oneimplemented jointly with the Municipality ofFabriano and sponsored by CARIFAC, ArdoElettrodomestici di Antonio Merloni SpA, andAssociazione Accendiamo Fabriano, designed toset up “ideas competitions” aimed at regeneratingimportant urban areas in the main towns andcities of the Marches, with the involvement of theAssociation of Architects right from the earlystages. The logic to be adopted must be that ofrenewing the incentives and aims of the initiative“Good architectural practice” - launched jointly by Inarch and ANCE Marche - which has metwith gratifying success. In this draft programme,the intention is also to provide worthwhile inputto the content of building regulations (RET -Regolamento Edilizio Tipo) currently beingprepared by the Marches Regional Authority. The document is edited by government offices,but Inarch cannot remain outside the loop;

2 3

4

The power of lightpart two

An opinion piece by Jonathan Speirs

Design

In the previous issue of incontroluce Jonathan Speirs gave an account of his passionfor light, and of an apprenticeship that included working with rock bands and ontheatrical productions. His “Made of Light” education project, developed together with Mark Major, is alsotouring the world as an exhibition. In the second and final part of his piece, Speirsreflects on a number of concepts surrounding the profession of lighting designer,which can pose problems, but can also provide stimulus for further progress.For the future of lighting design and our emerging profession we have great optimism, albeit tinged with a few concerns, and primarily...

… visual valueIt is fascinating that, even as the professional ranks of lighting designers growsteadily in number, we still believe that a considerable number of owner/clients andtheir project managers do not appreciate the true visual value that creative lightingdesign can bring to a project. We estimate conservatively that there is a minimum of ten times more visual value in lighting, compared to any other physical expendituresuch as marble or stone or other materials, in terms of investment by an owner. This is of great interest to many of our clients who also believe in this value addedaspect of lighting design, but it is also an important and valuable message thatneeds to be passed on to more clients. It is up to the lighting design community to deliver this visual value for their clients, in order that the clients themselves cantruly appreciate the value they are getting from this key member of their Design Team.

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

Barajas Airport, Madrid, SpainArchitect: Richard Rogers Partnership / Studio Lamella

A significant project in which lighting andarchitecture are intrinsically integrated to createa harmonious environment. The aspiration wasto comfortably illuminate the passenger areas as well as expressing the dynamic architecturalform of the roof structure, all within a restrictedlighting budget. The lighting solution thatevolved was to use a system of mirrors designedto redirect uplight into the crowns of the roofand back onto the floor areas. The client fullysupported our idea of reducing light levels asthe distance to the glazed façade graduallydecreases, in order to help save energy andmake for a more pleasing space. Overall thereare very few lamp types, and this achieves aholistic simplicity, within the scheme, whichwas important in such a huge project.

5

incontroluce 17

Photos: Manuel Renau, Tim Soar, James Newton, Edward Sumner

1. Barajas Airport

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

1

6

The power of lightpart two

Design

St. Paul’s Cathedral, London, UK Architect: Martin Stancliffe

The relighting of the interior of St. Paul’sCathedral was carried out as part of a widerproject to clean and repair the overall fabric.The brief was to develop a flexible lightingsolution that would meet the day-to-dayoperational needs of the building, which includeworship, tourism, state occasions and events.Another requirement of the project was to updatesecurity, cleaning, maintenance and accessarrangements. The design was based onproviding several “layers” of light: general lightingis provided by a series of new and refurbishedchandeliers, converted gasoliers, stall lights andlanterns using dimmed incandescent sourcescombined with a series of specially designedspotlighting racks and bars that can be foldedaway to restore the look of the space.Architectural lighting is provided using concealedmetal halide, linear xenon, cold cathode andtungsten-halogen sources, and includes theuplighting of the main vaults, the dome, thetransept windows, the organ and other majorfeatures. The overall scheme has a low energydaytime setting as well as a series of eveningscenes. Liturgical lighting is provided by locallighting to the various altar positions.Supplementary theatrical lighting serves the mainaltar in the crossing. There were significantconstraints. These included securing permissionfrom various official bodies to carry out “thelargest single intervention in the history of St.Paul’s”, which meant extensive research intominimising damage to the fabric and the carefulcrafting of each detail, as well as many mock-upsand tests. Other issues included requirements fordisabled access, the illumination of preciousartworks, the limited availability of power and the need to develop a sustainable solution.

… sustainabilityGenuine concerns over carbon emissions around the world cannot go ignored, and the lighting design community must do its part in addressing the problem and educating building users as to what this means where illuminated buildings are concerned. It is also important to appreciate that architectural lighting is notgenerally the major culprit; there are many others, but one notable example iswasteful highway illumination. A look at any satellite image of the earth at nightclearly identifies the culprits. Whilst safety groups support the illumination of ourmotorways and highways, the energy expended is considerable. Would it not bemore sensible to impose slower speed limits and save all this energy?

Currently, we are working on a series of sustainable projects around the world andare beginning to see positive results, even in the energy-hungry Middle East.

We are developing proposals for a new HQ project in the UAE that will have a fullysustainable exterior lighting design, with a photovoltaic array providing all the powerfor this lighting. On a major 9 square kilometre project, also in the UAE, we haveobtained the agreement of the Municipality highways authority to let us useEuropean lighting standards rather than the existing local standards, which aremuch higher. This is progress!We have a concern that the lighting design community is not a party to the massivereductions in power consumption being mandated for buildings by the authorities,which in some cases is bound to mean that the lit environment will not be up to thestandards and quality that many people expect and deserve. We all know that thereare larger aspects of power consumption in buildings than lighting, which shouldalso be addressed. I suppose we are all still conditioned by the fact that it is veryeasy just to throw a switch and know that the lights will go off!We are obviously dependent upon the resourcefulness of the lamp manufacturers to develop better and more efficient lamp efficacies and colour rendering sources to assist in this effort, though this can have negative consequences, like the LEDdisease - the “solution to everything” (!) - which is a definite concern. In effect,disreputable manufacturers selling unreliable products could in the not too distantfuture create a situation where a lot of clients will have a negative reaction to theidea of LEDs being used on their projects. This will penalise the manufacturers whoare producing first class products and impact on projects in terms of the potentialend results obtainable.To finish this opinion piece, I would ask the reader to consider the incredible factthat all we see is reflected light! Without light there is no vision, no materiality, no form, no three-dimensionality -there is no life …

Light is indeed powerful.

7

incontroluce 17

2. St. Paul’s Cathedral

2

8

Sackler Crossing, Royal Botanic Gardens Kew,United Kingdom Architect: John Pawson

The Sackler Crossing is a walkway that spans alake in the Royal Botanic Gardens, Kew, to thewest of London. The architectural concept setsthe walkway at the minimum possible distancefrom the surface of the lake allowing thosecrossing to feel they are “walking on the water”.The lighting concept maintains the simplicity of this concept, reinforcing the play of solidityand transparency and providing a “lit context”through the illumination of the landscape on an adjacent island. Carefully recessed and integrated 1 watt highoutput white LED uplights gently wash up theinner faces of bronze balustrade members andreflect light onto the deck and people crossing the span. The composition reflects in the water of the lake, which in turn is reflected in thebronze uprights of the bridge. As a result, theappearance of the structure changes constantlyby day and after dark.

Design The power of lightpart two

3

4

9

incontroluce 17

Burj Al Arab, Dubai, UAEArchitect: Atkins

The iconic project that first launched Dubai on the worldwide tourist destination map has a very considered external lighting design. The design seeks carefully, and respectfully, to illuminate the structural form of the buildingby illuminating the inner faces of the exoskeletonstructure. This balances the illumination of the PTFE fabric façade, which has a series ofprogrammed lighting sequences that generatehypnotic or dynamic colour shifts on a major scale.The island is connected to the mainland by abridge that has no street lighting poles, to avoiddisturbing the view in the direction of the tower,and is itself lit by downlights reflected back fromwater and sand, softly illuminating the curvedunderside of the bridge structure.

Bridge of Aspiration, Royal Ballet School, London, UKArchitects: Wilkinson Eyre Architects

A competition prize-winning architectural andstructural solution to connect the Royal BalletSchool with the Royal Opera House in CoventGarden, London. The lighting design ethos was to capture and reinforce the dynamic formand innovative drama of the bridge: an externalpresence, but primarily an experience for itsintended users. The lighting design wasconceived initially at the Competition stage, and with no lighting budget: accordingly, thesolution had to be economical in terms of bothequipment and running costs. The concept,simple and graphically, was to “draw” thesetwists with light - a heliotropic response to thebridge design. On the inside, a succession of 57custom-designed L-shaped acrylic luminaries with LED sources were integrated into the cornersof the extruded aluminium frame members.

3. Sackler Crossing, Royal Botanic Gardens

4. Burj Al Arab

5. Bridge of Aspiration, Royal Ballet School

5

10

New lease of life for the Exhibition Palace

Rome, Italy

Projects

Erected between 1880 and 1883 to houseexhibitions, as its name implies, the Palazzo has been a singular building ever since onRome’s urban landscape, by virtue both of itsappearance and of its location in the heart of the city, behind the Campidoglio, on a busyshopping thoroughfare that was built at the endof the 19th century to connect the Rail Station to the Forum sites. Restoration work on thearchitecture, begun more than ten years ago,

provided the ideal opportunity for a strategic and functional rethink of the interiors used forcultural entertainment purposes. The imposingnature of the structure - its size, stylistic perso-nality and architectural decoration - tended tooverpower the works on display. The absolutesymmetry on all axes also had the effect ofdisorientating the visitor and regimenting the material on show, making any kind ofsupposedly logical tour difficult to understand.

ClientAzienda Speciale Palaexpo

Preliminary and definitive designArchitect Firouz Galdo - Azienda Speciale Palaexpo

1

11

incontroluce 17

Photos: Gabriele Basilico

1.2. Interior views

In the light of these difficulties, and with theaim being to convert the traditional gallerystructure into a place of entertainment, theground floor of the Exhibition Palace wasreorganised along the lines of a mall, withcoffee shop, book store and arcades: otherworks included refurbishment of the first floorconference hall and projection room, andrebuilding of the old Serra Piacentiniconservatory to include a high-end restaurant.Multiple entrances reflect the new philosophy of the Palace, which now seeks to be an openspace, ready to embrace a wide diversity ofprogrammes. The project takes in all the triedand tested building innovations now widelyadopted in this type of facility, especiallytechnological improvements in HVAC, safety,lighting and flexible exhibition systems. The biggest challenge was that of giving theexhibition spaces a suitable balance, and the kind of equipment that would reconcile the need for conservation of the Palace with maximumflexibility of use. The main entrance is locatedunder the Triumphal Arch: the symmetricalentrance hall leads from either side into two large and free open areas that can be used tounquestionable advantage for vertical displays.The ticket office is located in the niche on the right hand side of the entrance hall, a similarlyhigh interior decorated with pilastered walls and a coffered ceiling. To promote the exhibitions and describe thePalace, banners are placed above and in front of the ticket counter, and directory boards in the spaces between the columns. The panels and floor are downlit by four clusters ofdirectionally adjustable spotlights.

Art directionLighting, signage and furnishingsArchitect Michele De Lucchi with Enrico Quell

Final design of Palazzo and SerraArchitect Paolo Desideri - ABDR - SAC

Works contractorSAC and IGIT

Design of underpinning worksArchitect Paolo Rocchi

Design of Cinema and AuditoriumArchitect Maurizio Pascucci

2

12

The great central hall is effectively the heart ofthe building, and embodies all the exhibitionpotential of the Palace: it is two floors high, with a large central skylight that had been obscuredfor many years. The light enters directly fromoverhead, a true zenithal source: a superb light,but at the same noticeably rigid due to theparticular nature of the effect and the difficulty in modulating its brightness. The central hall also provides a route into and away from theexhibition rooms on both the first and thesecond floors, all accessible from the balcony that overlooks the large central void.The hall communicates laterally, left and right, with further rooms: three on each side, all long and narrow, very high, and with light entering from directly overhead along their full length. The transept and the room leading from the great central hall to the north hall is entirelysimilar to the side rooms, having the sameshape, the same openings and the sameproportions. This perhaps is the area mostdifficult to set up, and as such, the one offeringthe greatest scope for solutions with a strongvisual impact. The upper rooms all communicate with thebalcony encircling the central void, and present a more modern appearance, being morecomfortably proportioned in plan and elevation.

Projects New lease of life for the Exhibition Palace

3

13

incontroluce 17

3.4. Interior viewsDesign of Atelier and ForumArchitect Daniele Durantestudiobv36 and Architect Adele Savino

Contractor for Atelier and ForumBarth Innenausbau, Bressanone

Design of coffee shopArchitect Luca Braguglia

Design of book storeArchitect Firouz Galdo and Architect Gabriele Pierluisi

The rooms of the second floor afford access to theconservatory at the rear, which houses the largecoffee shop designed by architect Paolo Desideri.The lighting system is the element that chara-cterises the recent refurbishment more than anyother; it features a set of long, slimline suspendedceiling modules that house the lighting fixtures, as well as the technical equipment needed forexhibition rooms, such as smoke alarms, electricalcomponents and loudspeakers. More exactly, thesystem utilises suspended and motorised height-adjustable panels, each equipped with tracks andTecnica spots positioned along the sides, andrecessed downlights along the middle. Essentiallya movable false ceiling, this type of arrangementis guaranteed easy to operate and maintain - akey consideration for a contemporary exhibitionstructure that needs to rely on total, nonstopefficiency at low running costs. For connecting areas, on the other hand, thedesigners specified a cylindrical luminaireproviding both general and emergency lighting. By integrating these two functions, it becomespossible to eliminate UPS units and streamline the electrical system structurally. The fixtures were produced in close collaboration with the De Lucchi studio.

4

14

Projects The Basilico perspective

15

incontroluce 17

16

17

incontroluce 17

Photos: Gabriele Basilico

18

Serra Piacentini

Exhibition Palace, Rome, Italy

Projects ClientAzienda speciale PALA EXPO

Architectural designABDR Architetti Associati

Design teamABDR S.A.C. SpaIGIT

The design for rebuilding of the conservatory on the roof of the Exhibition Palace in Rome (the original structure, known as the “SerraPiacentini”, was demolished in the 1930s)stands out for the innovative choices made inthe areas of materials, functional characteristics,and overall efficiency of the building complex.From an architectural standpoint, the languagesadopted are geared to a simplification aimed atminimising all direct comparison with the historicforms and languages of the Palace, while alsoensuring that the technologies employed are not paraded gratuitously. The main objective of the project is to achieve a full inclusion of the conservatory structure inthe institutional programme of the Palace, and its definitive functional, technological and formalintegration into the architectural organismenvisaged by Pio Piacentini. The “Ex-Serra Piacentini” affords the mainopportunity for urban reconnection with ViaPiacenza, and an instrument with which toinitiate a process of recovery focusing on a partof the city too long thought of as “at the back” of the Palace. Contributing to the realization ofthese objectives are the organic essence of thearchitectural design, and the volumetric planningapproach with its characteristics of transparencyand of functional and technological propriety. Externally, the succession of materials from themasonry base, up through the intermediatetravertine-clad elements to the glass enclosureand the delicate roofing solution, creates an effectsuch as to suggest a measured and progressiveshedding of weight from the volume of the newconservatory. And to this - thanks to the complete volumetriclinearity and simplicity of the design solution, and the minimal bulk of the structural solutionsadopted for the suspended glazing - can beadded the remarkable effect of a light-mediatedand symbolic switch between daytime and night time use.

1

2

19

incontroluce 17

Photos: Courtesy of Studio ADBR

1.2.3. View of the conservatory

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

StructuresProf.Ing. Mario DesideriIng. Odine Manfroni

ConsultantsIng. Valerio Calderaro (bioclimatics)Arch. Stefano Tiburzi (fire prevention)

A large, solid-looking glasshouse by day, thediaphanous and luminescent prism becomes acaptivating “urban lantern” after dark, by whichthe exhibition functions and communicationpotentialities of the Palace are amplified andintegrated into the newly emerging urban frontage of Via Piacenza.This effect was made possible thanks to acollaborative effort between ABDR (Maria LauraArlotti, Michele Beccu, Paolo Desideri and Filippo Raimondo) and iGuzzini illuminazione, the company having developed a special product for the project, namely a suspended fixture with8 light points able to handle different wattages(Master Colour CDM-R111 halide sources from 35 to 70W). These suspended units providediffused light to illuminate the different levelsinternally of the Serra, which houses a coffee shop and the Open Colonna restaurant.

3

20

Decadence and renewed splendour of an historic hotel. Hotel Risorgimento

Lecce, Italy

Projects ClientVestas Hotels & Resorts

Architectural designLuca Scacchetti

In planning the refurbishment and extension of the Hotel Risorgimento in Lecce, architectLuca Scacchetti took his lead entirely fromimpressions and notions formed during initialsurveys of the site. For example, still hangingfrom two rusty joists - sole survivors followingthe collapse of the suspended ceiling - were two giant clear crystal chandeliers, ghost-likeunder a coat of dust and debris, which hinted at the spatiality of the new hall, suggestingrhythms and proportions. A work of imagination,recounting a place of decorations and clearlights, where Eastern promise rubs shoulderswith Renaissance certainty, 17th century flightsof fancy and the vagaries of time, eating awayat soft stone as keenly as a contemporary sculptor. The furniture, colours, fabrics, upholstery andlights all combine to conjure up the image of a quarry with stone faces indented, scored and shaped by a thousand cuts.

Brilliant daylight is reflected in the near-whitefloor, contrasting with the red of the entrancehall, which leads in cool shade to lounges onthe right and the restaurant on the left; here, the eye is met by a sculptural interplay betweenthe dark tones of wood and the light of whiteceilings, recalling the light and shade, theprojections and recesses, of Lecce’s baroquechurch façades. The designer’s vision of theproject looks to take in the contemporary and the traditional, together with memory andlocation… an inclusive approach, intended as asmall contribution to the search for different waysof redesigning the Italy of today and tomorrow.iGuzzini was involved in all aspects of the lightinginstallation, both for interiors and for externalareas of the hotel. A special version of the Y Lightwas produced for the guest rooms, as well asstandard and table lamps made to designs by the architect, Luca Scacchetti.

1 2

21

incontroluce 17

Photos: Marino Mannarini

1. Exterior of the building

2. Sun lounge

3.4. Rooms

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

3

4

22

Hong Kong Science Park

Hong Kong

Projects Architects/ConsultantsArchitectural Services Department(Hong Kong Government)

Lighting designSimon Kwan & Associates, Tino Kwan Lighting Consultant

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

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

1

23

incontroluce 17

Photos: Archivio iGuzzini

1. Exterior of the building

2. Detail of the roof

Partners AssistanceiGuzzini China

2

24

A majestic light. Seu Vella

Lleida, Spain

Projects ClientLa Paeria, Ajuntament de LleidaTomás Ferré, Ing.Carles Sáez, Arq.

ArchitectsMarta Trullàs i HuguetNoelia Albana

The old cathedral complex of Seu Vella is themost important symbol of Lleida, capital of theprovince having the same name, in the westernpart of Catalonia. Situated on a hilltop, dominatingboth the city and the broad plain of the Segreriver, its outline is the very emblem of the city. By virtue of its size and colour, it can be seen fromconsiderable distances. It was built between 1203and 1431. In 1707, the Seu Vella risked beingdestroyed, but instead was converted into abarracks and ceased to be used as a place ofworship in 1797. The cathedral is Romanesquebut with a Gothic roof, making it transitional instyle. The plan is based on a Latin cross, withthree naves, a large octagonal crossing sur-mounted by a lantern, and five apses. The belltower stands 60 metres high. The entire Seu Vella is carved and decorated, with all parts plainly in evidence during the day, but requiringillumination after dark. The first step was one ofconducting an analysis on the various parts of the Cathedral, to establish priorities and divide the project into stages.

The main façades and the bell tower requiredattention first. The tower is seen as an importantlandmark for the city of Lleida. With the need toidentify strategic areas where light points couldbe positioned, the octagonal shape of the towersuggested a geometrical approach. The designerspicked out four corner angles on the tower, fromwhich beams would be thrown onto the twoadjoining faces and the octagon thus enveloped in light. Bearing in mind the yellow ochre colour of the stone from which the tower is built, it was decided to install Maxi Woody units withsuperspot optical assemblies, using and 250 Wand 400 W sodium vapour lamps. The fixtureswere specified with Fresnel lenses anddirectional louvres in order to generate anelliptical beam that would illuminate the fullsurface of the tower and avoid casting lightwhere there is no need, in the interests ofminimising light pollution. The buttressedfaçade of the cloister is illuminated by floods with asymmetric optical assemblies, positioned in existing niches.

1

25

incontroluce 17

Photos: José Hevia

1. The cathedral complex viewed by night

2. Illumination of the buttresses

3. Detail

Partner AssistanceiGuzzini illuminazione España

The architectural forms and reliefs are highlightedwith accent lights using metal halide sources,designed to create pinpoint contrasts with theyellow sodium floodlighting. Accents were neededon the flanks of the buttresses, the bays, and thetop of the tower. The tower terminates uppermostin a Gothic cluster of spirelets, finials and cusps,picked out by bright light that grows dim graduallyas it spreads down toward the lower floors. The accent illumination adopted for the cloisterfaçade is designed to throw the buttresses intorelief, using recessed Light Up fixtures with metal halide lamps, installed at ground level. This blend of background and accent lightingsucceeds in creating an overall view of the SeuVella Cathedral that shows off its architecturesensitively, giving deference to the surroundingnatural and cultural environment.

2

3

26

National Centre for the Performing Arts

Beijing, China

Projects ClientThe National Grand TheatreCommittee - Wan Siquan

Architectural designPaul Andreu, Architect, in associationwith ADPi and BIAD D

The National Centre for the Performing Arts,(formerly the National Grand Theatre), located incentral Beijing, about 500 metres from Tian AnMen Square and the Forbidden City, is quite literallyan island of culture in the middle of a lake. Thehuge ellipsoidal dome of grey titanium varies from144 to 213 metres in width, standing 46 metreshigh, and incorporates a curvilinear glass insetcreating two broad roof segments. There are three

halls inside: one for staging operas, another forconcerts, and a theatre, as well as a number ofexhibition areas open to the public. The Opera isthe centrepiece, both physically, and in terms ofprestige attached to the project. The concert halland the theatre are located on either side of theOpera. The building is connected to shore by atransparent subway, so the public can be admittedwithout any break being created in the outer skin

of the dome, which as a result appearsmysteriously as if devoid of any opening orentrance. The indoor areas open to the public give the impression of being “in town”: roads,squares, shops, restaurants, spaces to sit and rest, and waiting rooms. Plenty of space has been allocated to these public access areas, in order to reinforce the sensation of being in a place open to all: the performing arts centre

1

27

incontroluce 17

Photos: Gabriele Basilico

1. National Centre for the Performing Arts, exterior

Lighting designLighting Planners Associates Inc.Kaoru Mende - Yosuke Hiraiwa

Project ManagementFelipe Starling

Principal ArchitectFrançois Tamisier

AcousticsCSTB - M. Vian

Partners AssistanceiGuzzini China

is not intended for elitist shows and events. The halls and public areas are built on a platformable to accommodate all operational and supportstructures, in a single complex designed formaximum efficiency and economy of organization,exactly as would be the case for any modernmanufacturing facility. And all accomplishedwithout ever disrupting the harmony of the publicspaces or the pleasure of visitors and theatre-goers.

A lounge on the top floor, directly beneath the roof,affords both patrons and casual visitors a splendidview of the city, which can be appreciated from anew perspective. The decision to build the NationalCentre on a site of such great historical andsymbolic importance reflects a determination toensure that culture is given its proper value, inthe light of history and in the context of thecontemporary world.

28

29

incontroluce 17

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

2. Area around the Opera, open to the public

3. Front view of the Opera

3

30

An Eco HQ.The Nicolas Hulot Foundation

Boulogne-Billancourt, France

Projects ClientNicolas Hulot Foundationfor Nature and Humanity

Architectural designNicolas Favet Architectes

Plant wallPatrick Blanc

and erected in collaboration with botanist PatrickBlanc. This area receives plenty of natural light.The design of the artificial lighting focuses onenergy saving - in keeping, not least, with themission of the organization - hence the selectionof Light Air fixtures with fluorescent and metalhalide sources. These suspended luminaires areable to direct light upwards, creating a diffusedoutput such as will guarantee visual comfort forthe 25 workstations used by staff and co-workersat the Foundation, which occupy a floor area of around 450 m2. Some of the Light Air fixtures also have greenuplight filters. Green conjures up the idea ofnature and the nature-oriented vocation of thebuilding, which is reflected in the plant wall and in the use of certain types of materials.

The Nicolas Hulot Foundation for Nature andHumanity was set up in 1990 and recognised as an agency for the public good in 1996. It is a non-governmental, non-political and non-confessional organization, whose mission is to promote environmental education andawareness and which is committed to scientificand cultural education in the name of humanity’snatural heritage.Recently, the headquarters of the Foundation wasmoved and underwent a renovation aimed atdelivering improvements in terms of its functionalefficiency, identity and environmental quality, all on a limited budget.The offices are organised in an open-space setting around a central block housing the servicefunctions, surrounded by a plant wall designed

The materials selected are natural or raw, andpreferred for reasons of performance: floors arenatural linoleum, all furniture is made from firplywood, used generally for assembling mouldsand for shuttering in which concrete is cast, the walls of the coffee shop are clad with panelsobtained from recycled milk containers, and theceilings are a wood fibre and cement compositiongiving optimum acoustic performance.

1 2

31

incontroluce 17

Photos: Didier Boy de la Tour

1. Façade

2. One of the rooms

3. Rest area

Partners AssistanceiGuzzini illuminazione France SA

3

32

The light of culture. Champs Libres

Rennes, France

Projects ClientRennes Métropole

Maître d’oeuvre Christian de Portzamparc

MuseographyElisabeth de Portzamparc

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

The design was based on a concept of space as anelement favouring circulation between and aroundlarge volumes. On the ground floor, the routes havethe flavour of a downtown quarter. The use oftransparent media gives clear visibility to the threedifferent sections, which are connected by overheadwalkways. Also important was that the threefacilities should be identifiable from outside thebuilding. The Musée de Bretagne has 5,663 m2

of floor space and is laid out on a single storey,resembling a girdle that extends fully around theother two structures: the “Espace des sciences”,

1

33

incontroluce 17

Photos: Didier Boy de la Tour

1. Library entrance

2. View of exterior

Lighting designSpectaculaire

Partners AssistanceiGuzzini illuminazione France SA

2

34

Projects The light of culture. Champs Libres

3

35

incontroluce 17

a giant zinc cone, its largest room on the groundfloor, which terminates uppermost in a sphericalplanetarium with a seating capacity of 99; and the Library, a six-storey building conceived as anupturned pyramid and affording 7,942 m2 of floorspace, which includes a reading room of 3,850 m2.The lighting for the different areas is provided byiGuzzini fixtures able to meet the various needs of a multipurpose venue such as this. RecessedOptica and Pixel Plus are installed in the library, to give both background and accent lighting.

3. Espace des Sciences entrance

4. Library

5. Museé de Bretagne

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

4 5

36

A light line for the AalborgUniversity Park

Aalborg, Denmark

Projects ClientMunicipality of Aalborg

Architectural designKHR Architects, Møller and Grønborg Architects

Engineering calculationsRambøll Aalborg

The “university park” is one of many projectscurrently under way in the Danish city of Aalborg.There is a plan to develop the area between theuniversity and the city of Gug, building 1500new homes and a 170,000 m2 shopping centre.The architects’ guidelines required that the streetlighting should match the characteristics of theresidential development, in terms of the visualimpact created by the appliances not only indaylight, but equally, during the hours from duskto dawn. The quality of the illumination in theuniversity park should emulate the naturaldaylight, so that the floodlit environment willafford a pleasurable experience for localresidents. The main access route to the area is from “Einsteins boulevard”.

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

1

37

incontroluce 17

Photos: Ole Ziegler

1. Twilight view of the “string of pearls”

2. Plan and views

Installer AKE Entreprise A/S

Partners AssistanceiGuzzini illuminazione DK

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

2

View 1 View 2 View 3

View 4 View 5 View 6

View 7 View 8 View 9

View 10 View 11 View 12 Overview

38

A quality break

Shattdorf, Switzerland

Projects Architectural designGermann & Achermann AG

SystemsAltdorf power company

Partners AssistanceiGuzzini illuminazione Schweiz

The Schattdorf diner, located on the north-southstretch of the St Gotthard motorway, has beenredeveloped to a new design by the Altdorf firmof architects, Germann & Achermann AG. Particular care was taken over the lighting for the new interior, especially in the dining areas. With intensity and colour temperature varying at different times of the day, the light needed to be attuned to the metabolism of the patrons.The imaginative architecture of the main buildingis eye-catching, especially to motorists emergingfrom the St Gotthard tunnel. On the inside, warm tones predominate. Largeexpanses of glazing afford a spectacular view ofthe Uri mountains peaks.The lighting concept for the interior - a roomalmost 72 metres long, between 10 and 12.5metres wide and rising to 12.5 metres high - was developed by the architects and the Altdorfpower company in collaboration with iGuzzini.

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

The lighting scheme interconnects the singleareas within the building optically. To ensure the lighting would create a sensation of wellness, iGuzzini used Pixel Plus and Lineupfixtures in conjunction with the Sivra biodynamiclight system, which can be programmed toreproduce the variations in intensity and colourtemperature characteristic of natural light.Accordingly, time spent in any part of the buildingwill promote well-being and assist the capacityof motorway users to drive safely. With the lamps downlighting the floor, intensityand colour temperature are controlled at mid roomheight, though not in response to the light outside.

1

39

incontroluce 17

Photos: Günter Laznia

1. Exterior

2.3. Different intensities and colour temperatures in the diner

a clear distinction between merchandise andsurroundings. On the outside, iGuzzini fixtures highlight thearchitecture of the diner: approaching from the south, travellers see a conspicuously largeglass front in the projecting part of the building. The illuminated windows are set in relief by the weak lighting of the façade, which on theside nearest the road is shown up less strongly as the external floods cast only a small amountof light on the building. In this instance, thefixtures employed are Light Up Walkprofessional and MaxiWoody.

2 3

40

The best lighting conditions for research

Villigen, Switzerland

Projects Architectural designLiechti, Graf and Zumsteg

Electrical system designGähler und Partner

Partners AssistanceiGuzzini illuminazione Schweiz

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

1

41

incontroluce 17

Photos: Günter Laznia

1. Part of the control room

2.3. Different intensities and colour temperatures in the room

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

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

2 3

42

A beacon for peace

Videy Island, Iceland

Projects Architectural designPK Architects

FixturesSpace Cannon VH S.p.A.

Construction and systemsVST, Jón Otti Sigur∂sson

Since 9 October 2007, a column of light hasshone on the Icelandic island of Videy, visiblefrom the capital Reykjavik, to remind everyone of world peace and its importance. The initiatorof this work of conceptual art was Yoko Ono, sheand John Lennon having originally had the ideaas long ago as the 1960s. Now, the work hasfinally been realised. It was Yoko Ono herself who wanted the Imagine Peace Tower to be atReykjavik, because Iceland has never had anarmy, and is also an example to the world inmatters of environmental awareness. After anextensive testing process, during which SpaceCannon was indicated by iGuzzini as the companybest equipped to address the numerous technicaldifficulties involved in the realization of this novel

beacon, the designers settled on the fixtures bestsuited to the purpose. iGuzzini Light Up Walkprofessional fixtures were selected to illuminatethe structure of the tower. The beacon itself isgenerated by nine Space Cannon Leukos 7000WXenon lamps. In addition to the beacon lamps, six Leikosfixtures with 2000W lamps were positioned in the light tunnels around the tower. As a practical extension of the Imagine PeaceTower project, every two years in Reykjavik - and always on 9 October - Yoko Ono will presentthe LennonOno Grant for Peace, set up in 2002 to promote peace, truth and humanity in theworld and to help people who promote thesevalues in carrying on their work.

1

43

incontroluce 17

Photos: Hakon Halldorsson

1. Videy Island, view of the bay

2. Final stages of installation

3. Yoko Ono during the inauguration ceremony

4. Ringo Starr during the inauguration

Partners Assistance iGuzzini NorgeGH Lighting Ltd

2 3

4

44

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

Nivelles, Belgium

Projects ClientIPS

Architectural designIPS - Giuliana Matucci

Partners AssistanceiGuzzini Benelux

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

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

1

45

incontroluce 17

Photos: Paul Van Den Brande

1. IPS family day

2. Foyer

3. One of the work rooms, equipped and furnished

overlooked by a conference room, as well as beinga relaxation area. Stairs on either side of the foyerlead up to doorways in windowless flank walls,beyond which there are offices, meeting rooms,design workshops and multimedia laboratories.The foyer provides the only route up to the firstfloor, and as such, it is seen as the true concourseand discussion forum for the company. The keywords suggested for this area were: lightness,space, transparency, mobility, effervescence. The diffused light and transparency of the Gemfixture, suspended at different heights, appeared to meet these requirements perfectly. In the case ofthe conference room - nicknamed the “aquarium”,given its visibility from the foyer - the simple decorand minimalist furnishings are lit fluorescently by a Cestello fixture, suspended centrally and inparallel alignment with the table.The space set aside for relaxation and refreshmenthas modern furniture, consisting of round tablesand high upholstered chairs. Here, it was felt thatthe lighting should have elegance and sparkle:qualities offered by the Microcestello fixture. The design and multimedia labs and the meetingrooms all have fluorescent lighting, provided bysuspended Cestello fixtures assembled in square or letter-U configurations. These luminaires createthe kind of uniform lighting desirable for workareas where thought and concentration are all-important.

3

2

46

12 storeys of light. New Eczacıbası Group headquarters

Istanbul, Turkey

Projects Architectural designTabanlıoglu Architecture

Partners AssistanceTepta Aydınlatma

Certain companies of the Eczacıbası group, a major player in the Turkish economy, havemoved to a new building at the Kanyon businesscentre located in Instanbul’s Levent district.The layout is the same on all levels of the 12-storey block, which affords 13,420 m2

floor space overall.The lighting scheme for the offices, featuring a modern design by Tabanlıoglu, needed to be elegant, but also simple and functional.

The Hub system was identified as the mostsuitable, designed as it is to incorporate opticalassemblies, fire sprinklers, smoke alarms andloudspeakers in a single fixture. The individualoffices are lit by a special version of the modularHub system, using 3-metre units fitted with two54W fluorescent tubes. Hub modules used in thecorridors leading to the lifts are 2.4 m in length,installed parallel one with another and with thetimber cladding panels.

1

47

incontroluce 17

Photos: Engin Gerçek

1. Reception and offices

2. Relaxation area

3. Executive office

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

2

3

48

Ecodesign. Responsible product design, from conception to demolition

Corporate culture

Products that operate by consuming energy havean impact on the environment that can takevarious forms: at worst, the practice of burningfuels and the consequent effect on climate change,also the depletion of natural resources caused byextracting the materials they contain; at best, therecovery of waste from manufacturing processes,and the recycling of used materials wholly or in part. Ecodesign - where environmental considerationsare built into the design process - is presumablythe best way to mitigate the impact that productshave on the environment. And with the introduction of ecodesign measures,stating requirements intended to make productsmore efficient, an important and lasting contributioncan be made in the struggle to combat climatechange. European Council Directive 2005/32/CEEuP (Energy-using Products) seeks to establish aframework for the incorporation of environmentalfactors into the design of appliances and equipmentthat use energy, particularly electrical power and fossil fuels. The VHK research institute wasappointed by the EU Commission on Implemen-tation Measures to develop a methodology studyfor the purpose of assessing which groups ofproducts could be covered by the new measures. In December 2005, following the completion ofthe VHK study, the Commission appointed anumber of outside consultants to carry outpreliminary studies on certain groups of products,with the involvement of Businesses and ofNational and European Associations.

development, and the expansion of electricalpower grids into rural areas. It is no surprise thatthe envisaged growth rate should be higher in the developing countries of Asia and the Pacific,Eastern Europe, Africa, the Middle East and LatinAmerica. It is expected that the demand for lightingappliances will increase in western Europeancountries by 4.0% per year, well above the growthrate of 2.9% recorded during the period from1998 to 2003.Overall annual expenditure on lighting in the 25countries of the European Union (EU25) areaamounts to 4.3 billion euros, of which 2.3 billion(or 55%) is spent on electricity, 1.5 billion onproducts, 0.2 billion on labour and relampingservices, and 0.125 billion on new lamps.The sectors identified by implementation studygroups as being priority areas for setting specificlimits and general performance standards are street lighting and office lighting. As regards the use of artificial light, an analysiswas conducted to establish which sectors ofapplication consume the higher percentages ofelectrical energy for lighting, in relation to totalenergy consumption.

The product groups are:- Electric motors, water pumps, ventilation fans;- Personal computers and monitors; - Imaging equipment: copiers, faxes, printers,

scanners, multifunctional devices;- Consumer electronics, typically televisions;- Battery chargers;- Lighting appliances;- Air-conditioning equipment; - Refrigerators and freezers (including domestic),

display cabinets and vending machinesConsultants are tasked to identify specific andmandatory limits for single products, in respect ofcertain significant environmental parameters suchas, for example, energy efficiency, waterconsumption, etc. General standards will also bedefined for the overall environmental performanceof the product, in this instance without setting any limit values.The IEA study entitled “Lights Labours Lost” (IEA,2006) forecasts increasing growth in the globalmarket for lighting installations and appliances,driven by higher levels of production and increasedbuilding activity, these factors in turn reflectinggrowth in the world economy, continuing urban

1

49

incontroluce 17

Photos: Archivio iGuzzini

1. Example of residential lighting

2.3. Examples of lighting in public places

Street lighting.The estimate of energy consumption made during2005, assessed in the current study, is 35 TWhfor the EU25 area, and represents around 1.3% of ultimate electricity consumption. In one recentstudy, electrical power consumption accounted forby street lighting is related to a given number ofinhabitants, and a ratio of 0.11 fixtures per head is identified; this gives a projection suggesting thatin Europe (which has 820 million inhabitants),there is a total of 91 million light points installed.Considering that lighting appliances have an estimated service life of 30 years, manyinstallations currently in use will be based on technology that is already obsolete, and ineffective in terms of energy saving. Indeed in the last ten years alone, considerable

technological progress has been made in the areaof street lighting, and the process of innovationcontinues. Accordingly, there is a sizeable marketfor the replacement or renewal of theseinstallations. Nonetheless, new energy-savingtechnologies do not always provide a known andproven reason behind any increase in the rate at which systems are renewed. What is more,analysts expect that there will be more and moreinstallation projects connected with the growingurbanization of rural and suburban areas, likewisewith the trend toward improving the appearance of cities and developing urban outskirts. These are the main reasons that have led consultants to indicate street lighting as a priority area foraction under the EuP directive.

2 3

50

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

Office lightingThe lighting fixtures that have long been installedin the offices of industrial and service sectorpremises are undoubtedly products that consume a great deal of energy. It is common practice to install specific appliancesfor given tasks, dictated by precise technicalrequirements for the workplace in service andindustrial sector buildings, as indicated instandards or guidelines - for example EN 12464-1(2002). More exactly, the lighting requirementsfor tasks performed in these office environmentsare specified in EN 12464-1(2002), entitled“Lighting of work places - Part 1: Indoor workplaces”, and the luminance typically required in these areas is 500 lux.The standard in question also specifies othercomfort requirements in respect of glare andcolour rendering. Fixtures installed in conformitywith these requirements over the last ten years are based almost without exception onfluorescent lamp technology, and it can beexpected that this technology will continueto dominate for the next ten years. Significantprogress has been made over the last twentyyears in the technologies applied to fluorescentlamps and their power supply components. There is a wide range of products alreadyavailable on the market, offering high levels of performance, though not enough are beinginstalled as yet.

5

4

51

incontroluce 17

4. Example of lighting for office premises

5. Example of lighting for industrial premises

Sector

Agriculture

Total energy consumed in ItalyTWh/year

Lighting-related energy consumed in ItalyTWh/year

%

Industry

Service sector

Street lighting

Residential

Total

5,4

6,1

77,7

66,9

153,7 13,4

21,9

6,1

9,4

50,8

8,7%

28,2%

100,0%

14,1%

16,4%309,8

negligible -

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

Halogen lamps used mainly in homes and inthe business sector consume 11% of total energy;Fluorescent lamps (TL) used mainly in officeand industrial premises consume 41%;Compact fluorescent lamps (CFL-NL CFL-I) used mainly in office and industrial premisesconsume 5%;Metal halide lamps (HD) used mainly foroutdoor floodlighting and in shop premisesaccount for 23%;Incandescent lamps (GLS) used mainly in thehome and in the Horeca sector account for 20%.Lighting-related energy consumption in westernEurope is quantifiable at 426 TWh, of which80% derives from lighting connected withmanufacturing and business activities, and 20% from lighting in homes.

GLS 20%Mainly Homes and HORECA

HD 23%

Mainly O

utdoor an

d Shops

TL 41%Mainly Office and Industry

Halogen 11%

Mainly H

omes and Shops

CFL-I 2%

CFL-nl 3%

Sector

Industry

Average annual increase (BAU)

Lighting-related energy consumption in 2015 (GWh)

Service sector

Street lighting

Residential

Total

2,80%

3,40%

1,90%

3,40%

17.628

30.715

11.312

8.527

68.1823,07%

52

Adolfo Guzzini - Doctor Honoris Causa

Macerata, 24 October 2007

Corporate culture

On 24 October 2007 the University of Maceratapresented Adolfo Guzzini with an HonoraryDegree in International Business and Economy. The lectio doctoralis, on the theme of theinternationalization of medium size businesses,was delivered in the Aula Magna of the Universityof Macerata, and in addition to his HonorisCausa, Adolfo Guzzini also received the medal of the University. The conferment ceremony in the San PaoloAuditorium, where more than 600 people weregathered, including family, friends, colleaguesand members of the business community, beganwith a welcome given by the Rector of the

University, Professor Roberto Sani.He described Adolfo Guzzini as “an undisputedprotagonist in the economic life of the Marches,and of the nation. In his long experience as anentrepreneur, gained in a family of entrepreneurs,he has succeeded over a period of some thirtyyears in turning a small business into a full scale industrial concern - a pocket multinational, as iGuzzini illuminazione likes to call itself. A European business of true excellence in its way of interpreting innovation, managing the market,enhancing the role both of management and of personnel”. The Laudatio was given by professor Mauro

1 2

53

incontroluce 17

Photos: Esa Studio

1.2. Conferment of the honorary degree by Rector Roberto Sani

3. Adolfo Guzzini congratulated by managers and representatives of iGuzzini branches

4. The packed hall

Marconi, President of the Economics Faculty, who spoke of iGuzzini’s fifty year history andunderscored the part played by Adolfo Guzzini inthe internationalization of iGuzzini illuminazione.Internationalization of the medium size businesswas indeed the theme of the Lectio delivered by Adolfo Guzzini, who began with an attentiveanalysis of the scenario, then went on to describe - with the benefit of his own experience - howthe will to push beyond national frontiers andseek new markets had contributed to thecompany's growth and translated over time into a position of leadership.Alongside these considerations of a purelybusiness nature, and central to the theme of the Lectio Doctoralis, Adolfo also touched on the human aspect of the undertaking: the innatefamily feeling for entrepreneurism and a keenappreciation of design, as well as the fundamentalcontribution made by the management and allemployees and co-workers, who were described as “splendid fellow travellers”.

3

4

54

Third edition of the Pasajes-iGuzzini Architecture Competition

Corporate culture Jury membersPiergiovanni Ceregioli - architect,director of the iGuzzini Study andResearch Centre Beatriz Sendín - architect, winner ofthe second edition of the competitionMartín Lejarraga - architect, director of the Martín Lejarraga practice.

Selected projects

Ramiro Losada Amor Alvaro Iván GorLus SemperePablo Twose VallsJavier JiménezMarcelo Ruiz ArtamisIgnacio Peydro Brezo AlcocebaCarlos JiménezCándida DomingoMaría CarmonaJavier TraverSimón FrancésAna Ortiz CarrascoSofía SánchezMercedes SimónManuel Chirivella

María Mallo Zurdo Manuel ÁlvarezMarina Cibnerob Ophelie HerranzGuadalupe HernándezCarlos RuizJose Antonio Aragüez Yoama CebrecosRaúl Recuerdo Jorge MuñozÁngela RuizAlberto ÁlvarezAna Peñalba Álvaro CarmenaFernando PérezAlicia BedmarFco. Antonio García

Prize-winners

1st PrizeJavier Jiménez Noah’s Ark (a centre of 18 architectures)

2nd PrizeMaría Carmona Motel di passerella

1st CommendationIgnacio Peydro I.E.I.A. - European Institute of artistic investigations

2nd CommendationFco. Antonio García Interchange + Park

1

55

incontroluce 17

Photos: Archivio iGuzzini

1. Drawings from the project awarded First Prize

2. The prize winners

3. Drawings from the project awarded Second Prize

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

Representatives of Pasajes and iGuzzini:José BallesterosJosep Masbernat

Secretary to the juryGala Martínez

1st Mention María Mallo Zurdo Naturist hotel on Gran Canaria island

2nd Mention Simón Francés Homes on the Ebro Delta

3rd Mention Álvaro Carmena M30 Purification landscape

4th Mention Fernando Pérez Multi-use cultural agronomic station at Atocha

5th Mention Ana Peñalba Metaproject: Strategy for recovery of the Plaza Castilla water tower

2

3

56

Corporate culture Third edition of the Pasajes-iGuzzini Architecture Competition

The jury for the third edition of the Pasajes -iGuzzini Architecture Competition met at Rubí on 26 September 2007. The assessment procedure was conducted as a series of eliminatory stages. Jury memberslooked at the projects independently, aiming to identify those that merited most interest on the basis of agreed criteria: architecturalquality, innovation an d research. At the end of the first assessment, 73 of the entries wereeliminated. A second selection reduced thenumber of entries to 34. These contended thecompetition proper, and will all be represented in exhibitions to be staged during the course of2008. From the pool of 34, each jury memberselected 5 projects. After lengthy discussion, a short list of the 9 finalists emerged. The first prize was awarded to the project inwhich the jury recognised an experimentalpurpose, and a vision expressed both broadlyand in suitable detail. The cultural basis, the reflection on differentworlds, the way accumulated experiences show through, merged with rigorous technicalconcepts, properly designed and measurable, all added up to a deliverable end-product. Also important was the communicativeeffectiveness of the documentation submitted,which allowed the adjudicators to appreciate,discuss and evaluate the proposal in detail.This is a project that has an engaging, end-of-term feel about it, where humour and rigour are combined with ease, and where theconcept of the architectural theme park takeson confrontational nuances, suggestingalternative and speculative ideas. The secondprize was awarded on the merit of delicacy.With its references to the fluctuating world ofEdo, supported by a highly refined developmentof the suggested architecture and an elegantspatial organization, this project was seen bythe jury as “quiet architecture”.

4

57

incontroluce 17

4. Drawings from the project awarded First Commendation

5. Drawings from the project awarded Second Commendation

Above all, the adjudicators were struck by thecreation of a shifting sensory environment, andthe technical aspects of the project, clearlyillustrated by the design choices made, as well as the inventive capacity showing the detaileddefinition of internal spaces. Projects were selected for commendation, inaccordance with the rules of the competition,from those entries which in the eyes of the jury had made use of light as a design tool, an addeddimension of architecture exploitable through n its natural-artificial combination, and through its interaction with the very newest materials, as a means of generating spaces with anambience to elicit targeted sensations in users.In the case of the first commended project, thepositioning of light sources in an envelopingtransparent atmosphere was much admired by the jury. In the second commendation, the juryadmired the poetry with which the naturalenvironment is evoked in an area used as atransport network interchange, through thedeployment of signposting systems, vegetationand artificial lighting fixtures identifiable with the natural environment. The prize-giving ceremony and inauguration of the exhibition took place on 5 November 2007 at the Foundation of the Association of Architects of Madrid.

5

58

Corporate culture

At last, the Design MuseumMilan Triennial, 6 December 2007

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

59

incontroluce 17

Corporate culture

PizzaKobra Tour

Having visited the Guzzini showroom in Parisduring June 2007 for the Designer’s Daysevent, the PizzaKobra Tour continues its tour of other iGuzzini branches in Europe.In September 2007, the lamp designed by Ron Arad was presented to Italian journalists in Milan, and in October it was the turn ofSpain. The infinitely reshapeable table lampwas shown to everyone with an interest in the world of light and lighting, at the FAD inBarcelona, and at the IED (European DesignInstitute) in Madrid.

Top:installation at IED

Bottom:installation at FAD

LightlabBrussels, 20-21 October 2007

The Lightlab trade show is an event wheremanufacturers of lighting systems, architects,decorators, installers and clients can worktogether on projects of common interest.The second edition of Lightlab, Tour & Taxi was held in Brussels during the weekend of20-21 October 2007. The idea was to bringtogether manufacturers of lighting fixtures, and designers. On this occasion, iGuzziniilluminazione Benelux teamed up withLamborghini.

III

IncontroluceSix-monthly international magazine on the culture of light

year X, 17

EditingiGuzzini Study and Research CentreFr.ne Sambucheto, 44/a62019 Recanati MC+39.071.7588250 tel.+39.071.7588295 faxemail: rc@iguzzini.it

iGuzzini illuminazione spa62019 Recanati, Italyvia Mariano Guzzini, 37+39.071.75881 tel.+39.071.7588295 faxemail: iguzzini@iguzzini.itwww.iguzzini.comvideo: 071-7588453

Graphic DesignStudio Cerri & Associati

PublisheriGuzzini illuminazione spa

Contributors to this issueiGuzzini illuminazione Benelux Bvba/SprliGuzzini illuminazione DanmarkiGuzzini illuminazione España S.A.iGuzzini illuminazione France S.A.iGuzzini illuminazione Schweiz AGiGuzzini illuminazione ChinaiGuzzini illuminazione Norge A.S.GH Lighting LtdTepta Aydınlatma

Cover photoDidier Boy de la Tour

Printed: April 2008Tecnostampa, Recanati

I. 200817 Incontroluce

Errata Corrige Incontroluce 16

Nhow HotelLighting designPiero Castiglioni

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

II

Editorial

Dear Readers,

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

Adolfo Guzzini

I. 200817 English versionIncontroluce XVII / The Marches: National Institute of Architecture - Marches section /Design: The power of light - part two / Projects: New lease of life for the Exhibition Palace /The Basilico perspective / Serra Piacentini / Decadence and renewed splendour of anhistoric hotel. Hotel Risorgimento / Hong Kong Science Park / A majestic light. Seu Vella / National Centre for the Performing Arts / An Eco HQ. The Nicolas Hulot Foundation / Thelight of culture. Champs Libres / A light line for the Aalborg University Park / A quality break / Thebest lighting conditions for research / A beacon for peace / Light for engineering. New head-quarters of Industrial Project Services-IPS / 12 storeys of light. New Eczacıbası Group head-quarters / Corporate culture: Ecodesign. Responsible product design, from conception todemolition / Adolfo Guzzini - Doctor Honoris Causa / Third edition of Pasajes-iGuzziniArchitecture Competition / At last, the Design Museum / PizzaKobra Tour / Lightlab

9.19

21.0

00.0