Incontroluce 17 - iGuzzini magazine 04.2008 - English

8/9/2019 Incontroluce 17 - iGuzzini magazine 04.2008 - English

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I. 200817 English version


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Editorial

Dear Readers,

Issue number 17 of incontroluce is packed with news about projectsundertaken all round the world, reflecting the vocation of our companyas 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 whoare still my companions on this great journey.

Adolfo Guzzini


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Summary

I. 2008

Editorial

The Marches

National Institute of ArchitectureMarches section

Design

The power of light - part two

ProjectsNew lease of life for the Exhibition Palace

The Basilico perspective

Serra Piacentini

Decadence and renewed splendourof 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 AalborgUniversity Park

A quality break

The best lighting conditions for research

A beacon for peace

Light for engineering. New premises

of Industrial Project Services-IPS12 storeys of light.New Eczacbas Group headquar ters

Corporate culture

Ecodesign.Responsible product design,from conception to demolition

Adolfo Guzzini - Doctor Honoris Causa

Third edition of the Pasajes-iGuzziniArchitecture Competition

At last, the Design Museum

PizzaKobra Tour

Lightlab


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National Institute of ArchitectureMarches section

by Maria Luisa Polichetti Canti

The Marches

At a meeting of the General Assembly on 15

September 2004, the Marches section of the

National Institute of Architecture came into being,

and I was elected President of the section.

The Assembly also approved a three year

programme setting out the initial objectives,

which would reflect those of the National Institute

as a whole, tailored in this instance to the

particular context of the Marches.

These are the main aims pursued by the section:

- to promote contemporary architecture and

contemporary architectural culture;

- to promote quality in works of every description

undertaken across the Marches: architecture,

landscape, town planning and urban

development, reutilization of existing assets;

- to bring about a more and more useful and

productive dialogue between designers and other

parties, public and private, involved in the active

and passive transformation of the territory.

The cultural context surrounding this activity

derives from the urban system of the Marches

and the Adriatic, which plays a pivotal role both

in the general development of the Adriatic region

and in the search for new architectural forms

and models able to meet new urban challenges.

The new section - Inarch Marche - can be a real

workshop generating proposals and ideas through

which to export this culture far and wide: urban

is about more than large administrative centres;

just as important are small communities with

an already vibrant cultural and planning outlook.

The programme is implemented through activities

that include exhibitions of work by architects

operating in the Marches, so that projects of

superior quality can be given exposure andpromoted, also the organization and promotion

of architecture exhibitions at national and

international level, spreading the word on state-

of-the-art architectural research and favouring

the exchange and circulation of ideas between

our region and abroad; trips and meetings

arranged at studios and major development

sites, with prices discounted for young architects,

which can provide an occasion not only for

cultural enrichment but also for socialising and

cementing relationships between associates;

preparation and promotion of publications on

architecture in the Marches, on research projects

of greatest interest in the region, and on the

contemporary city - News Inarch Marche forexample, and there is also a website - and finally,

the promotion and organization of local, national

and international architecture competitions.

At an annual general meeting of Inarch Marche

in September 2007, when my appointment as

President was reconfirmed, certain proposals

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Photos: Inarch archive

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

2.3. Proceedings of the Inarch AGM held during Septemberat the premises of iGuzzini

indeed the Institute must find ways to ensure

its voice is heard, so that it can make an impacton decision-making. In order to set in motion

the processes of physically transforming our

cities, attentive to the notion of pervasive

architectural and building quality, focus must

be placed on the fundamental role that can be

played by designers and by the regional system

of building contractors, working in synergy.

Regarding this last important aspect, town

planning - supramunicipal in particular - has

not offered any guidance hitherto on improving

architectural and landscape quality, having been

limited conventionally to matters of regulation

on how land can or cannot be used, without

addressing the theme of design centrality.

A renewal of interest in the theme of the cityis a priority, as cities are the most important

physical infrastructures the region possesses.

The ANCE proposal regarding a target law for

cities could undoubtedly provide a significant

reference in this respect, as we seek to make

up ground.

were put forward for the programme of activities

that would take us through the next term, endingin 2009. Among these was the promotion of

initiatives at regional level similar to the one

implemented jointly with the Municipality of

Fabriano and sponsored by CARIFAC, Ardo

Elettrodomestici di Antonio Merloni SpA, and

Associazione Accendiamo Fabriano, designed to

set up ideas competitions aimed at regenerating

important urban areas in the main towns and

cities of the Marches, with the involvement of the

Association of Architects right from the early

stages. The logic to be adopted must be that of

renewing the incentives and aims of the initiative

Good architectural practice - launched jointly

by Inarch and ANCE Marche - which has met

with gratifying success. In this draft programme,the intention is also to provide worthwhile input

to the content of building regulations (RET -

Regolamento Edilizio Tipo) currently being

prepared by the Marches Regional Authority.

The document is edited by government offices,

but Inarch cannot remain outside the loop;

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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 greatoptimism, 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 minimumof 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 communityto 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 profession

We also believe that with an increasing interest from owner/clients in employingprofessional lighting designers, our profession is not ready to handle the quantityof major and challenging projects that are currently being offered. It is to be hopedthat 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 timeand 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, Spain

Architect: Richard RogersPartnership / Studio Lamella

A significant project in which lighting and

architecture are intrinsically integrated to create

a harmonious environment. The aspiration was

to comfortably illuminate the passenger areas

as well as expressing the dynamic architectural

form of the roof structure, all within a restricted

lighting budget. The lighting solution that

evolved was to use a system of mirrors designed

to redirect uplight into the crowns of the roof

and back onto the floor areas. The client fully

supported our idea of reducing light levels as

the distance to the glazed faade gradually

decreases, in order to help save energy and

make for a more pleasing space. Overall there

are very few lamp types, and this achieves a

holistic simplicity, within the scheme, which

was important in such a huge project.


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

1. Barajas Airport

Text and images providedby Speirs & Major Associates.Projects can be implementedwith products not made by iGuzzini

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The power of lightpart two

Design

St. Pauls Cathedral, London, UK

Architect: Martin Stancliffe

The relighting of the interior of St. PaulsCathedral 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 update

security, 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.Pauls, 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 andthe 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 problemand educating building users as to what this means where illuminated buildingsare 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 there

are 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 manufacturersto develop better and more efficient lamp efficacies and colour rendering sourcesto 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.


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2. St. Pauls Cathedral

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Sackler Crossing, Royal Botanic Gardens Kew,

United KingdomArchitect: John Pawson

The Sackler Crossing is a walkway that spans a

lake in the Royal Botanic Gardens, Kew, to the

west of London. The architectural concept sets

the walkway at the minimum possible distance

from the surface of the lake allowing those

crossing to feel they are walking on the water.

The lighting concept maintains the simplicity

of this concept, reinforcing the play of solidity

and transparency and providing a lit context

through the illumination of the landscape on

an adjacent island.

Carefully recessed and integrated 1 watt high

output white LED uplights gently wash up theinner faces of bronze balustrade members and

reflect light onto the deck and people crossing

the span. The composition reflects in the water

of the lake, which in turn is reflected in the

bronze uprights of the bridge. As a result, the

appearance of the structure changes constantly

by day and after dark.

Design The power of lightpart two

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Burj Al Arab, Dubai, UAE

Architect: Atkins

The iconic project that first launched Dubai

on the worldwide tourist destination map has

a very considered external lighting design.

The design seeks carefully, and respectfully,

to illuminate the structural form of the building

by illuminating the inner faces of the exoskeleton

structure. This balances the illumination of

the PTFE fabric faade, which has a series of

programmed lighting sequences that generate

hypnotic or dynamic colour shifts on a major scale.

The island is connected to the mainland by a

bridge that has no street lighting poles, to avoid

disturbing the view in the direction of the tower,

and is itself lit by downlights reflected back from

water and sand, softly illuminating the curved

underside of the bridge structure.

Bridge of Aspiration,

Royal Ballet School, London, UK

Architects: Wilkinson Eyre Architects

A competition prize-winning architectural andstructural solution to connect the Royal BalletSchool with the Royal Opera House in CoventGarden, London. The lighting design ethoswas 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

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Photos: Gabriele Basilico

1.2. Interior views

In the light of these difficulties, and with the

aim being to convert the traditional gallery

structure into a place of entertainment, the

ground floor of the Exhibition Palace was

reorganised along the lines of a mall, with

coffee shop, book store and arcades: other

works included refurbishment of the first floor

conference hall and projection room, and

rebuilding of the old Serra Piacentini

conservatory to include a high-end restaurant.

Multiple entrances reflect the new philosophy

of the Palace, which now seeks to be an open

space, ready to embrace a wide diversity of

programmes. The project takes in all the tried

and tested building innovations now widely

adopted in this type of facility, especially

technological improvements in HVAC, safety,

lighting and flexible exhibition systems.

The biggest challenge was that of giving the

exhibition spaces a suitable balance, and the

kind of equipment that would reconcile the need

for conservation of the Palace with maximum

flexibility of use. The main entrance is located

under the Triumphal Arch: the symmetrical

entrance hall leads from either side into two

large and free open areas that can be used tounquestionable advantage for vertical displays.

The ticket office is located in the niche on the

right hand side of the entrance hall, a similarly

high interior decorated with pilastered walls

and a coffered ceiling.

To promote the exhibitions and describe the

Palace, banners are placed above and in front

of the ticket counter, and directory boards in

the spaces between the columns. The panels

and floor are downlit by four clusters of

directionally adjustable spotlights.

Art directionLighting, signage and furnishingsArchitect Michele De Lucchiwith 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

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The great central hall is effectively the heart of

the building, and embodies all the exhibition

potential of the Palace: it is two floors high, with

a large central skylight that had been obscured

for many years. The light enters directly from

overhead, a true zenithal source: a superb light,

but at the same noticeably rigid due to the

particular nature of the effect and the difficulty

in modulating its brightness. The central hall

also provides a route into and away from the

exhibition rooms on both the first and the

second floors, all accessible from the balcony

that overlooks the large central void.

The hall communicates laterally, left and right,

with further rooms: three on each side, all long

and narrow, very high, and with light entering

from directly overhead along their full length.

The transept and the room leading from the

great central hall to the north hall is entirely

similar to the side rooms, having the same

shape, the same openings and the same

proportions. This perhaps is the area most

difficult to set up, and as such, the one offering

the greatest scope for solutions with a strong

visual impact.

The upper rooms all communicate with thebalcony encircling the central void, and present

a more modern appearance, being more

comfortably proportioned in plan and elevation.

Projects New lease of lifefor the Exhibition Palace

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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 Galdoand Architect Gabriele Pierluisi

The rooms of the second floor afford access to the

conservatory at the rear, which houses the large

coffee shop designed by architect Paolo Desideri.

The lighting system is the element that chara-

cterises the recent refurbishment more than any

other; it features a set of long, slimline suspended

ceiling modules that house the lighting fixtures,

as well as the technical equipment needed for

exhibition rooms, such as smoke alarms, electrical

components and loudspeakers. More exactly, the

system utilises suspended and motorised height-

adjustable panels, each equipped with tracks and

Tecnica spots positioned along the sides, and

recessed downlights along the middle. Essentially

a movable false ceiling, this type of arrangement

is guaranteed easy to operate and maintain - a

key consideration for a contemporary exhibition

structure that needs to rely on total, nonstop

efficiency at low running costs.

For connecting areas, on the other hand, the

designers specified a cylindrical luminaire

providing both general and emergency lighting.

By integrating these two functions, it becomes

possible to eliminate UPS units and streamline

the electrical system structurally. The fixtures

were produced in close collaboration with theDe Lucchi studio.

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Projects The Basilico perspective


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Serra Piacentini

Exhibition Palace, Rome, Italy

Projects ClientAzienda speciale PALA EXPO

Architectural designABDR Architetti Associati

Design teamABDRS.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 Serra

Piacentini, was demolished in the 1930s)

stands out for the innovative choices made in

the areas of materials, functional characteristics,

and overall efficiency of the building complex.

From an architectural standpoint, the languages

adopted are geared to a simplification aimed at

minimising all direct comparison with the historic

forms and languages of the Palace, while also

ensuring that the technologies employed are

not paraded gratuitously.

The main objective of the project is to achieve

a full inclusion of the conservatory structure in

the institutional programme of the Palace, and

its definitive functional, technological and formal

integration into the architectural organism

envisaged by Pio Piacentini.

The Ex-Serra Piacentini affords the main

opportunity for urban reconnection with Via

Piacenza, and an instrument with which to

initiate a process of recovery focusing on a part

of the city too long thought of as at the back

of the Palace. Contributing to the realization of

these objectives are the organic essence of thearchitectural design, and the volumetric planning

approach with its characteristics of transparency

and of functional and technological propriety.

Externally, the succession of materials from the

masonry base, up through the intermediate

travertine-clad elements to the glass enclosure

and the delicate roofing solution, creates an effect

such as to suggest a measured and progressive

shedding of weight from the volume of the new

conservatory.

And to this - thanks to the complete volumetric

linearity and simplicity of the design solution,

and the minimal bulk of the structural solutions

adopted for the suspended glazing - can be

added the remarkable effect of a light-mediatedand symbolic switch between daytime and

night time use.

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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 urbanfrontage of Via Piacenza.This effect was made possible thanks to acollaborative effort between ABDR (Maria LauraArlotti, Michele Beccu, Paolo Desideri andFilippo Raimondo) and iGuzzini illuminazione,

the company having developed a special productfor the project, namely a suspended fixture with8 light points able to handle different wattages(Master Colour CDM-R111 halide sources from35 to 70W). These suspended units providediffused light to illuminate the different levelsinternally of the Serra, which houses a coffeeshop and the Open Colonna restaurant.

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Decadence and renewedsplendour of an historic hotel.Hotel Risorgimento

Lecce, Italy

Projects ClientVestas Hotels & Resorts

Architectural designLuca Scacchetti

In planning the refurbishment and extensionof the Hotel Risorgimento in Lecce, architect

Luca Scacchetti took his lead entirely from

impressions and notions formed during initial

surveys of the site. For example, still hanging

from two rusty joists - sole survivors following

the collapse of the suspended ceiling - were

two giant clear crystal chandeliers, ghost-like

under a coat of dust and debris, which hinted

at the spatiality of the new hall, suggesting

rhythms and proportions. A work of imagination,

recounting a place of decorations and clear

lights, where Eastern promise rubs shoulders

with Renaissance certainty, 17th century flights

of fancy and the vagaries of time, eating away

at soft stone as keenly as a contemporary sculptor.The furniture, colours, fabrics, upholstery and

lights all combine to conjure up the image of

a quarry with stone faces indented, scored

and shaped by a thousand cuts.

Brilliant daylight is reflected in the near-whitefloor, contrasting with the red of the entrance

hall, which leads in cool shade to lounges on

the right and the restaurant on the left; here,

the eye is met by a sculptural interplay between

the dark tones of wood and the light of white

ceilings, recalling the light and shade, the

projections and recesses, of Lecces baroque

church faades. The designers vision of the

project looks to take in the contemporary and

the traditional, together with memory and

location an inclusive approach, intended as a

small contribution to the search for different ways

of redesigning the Italy of today and tomorrow.

iGuzzini was involved in all aspects of the lighting

installation, both for interiors and for externalareas of the hotel. A special version of the Y Light

was produced for the guest rooms, as well as

standard and table lamps made to designs by

the architect, Luca Scacchetti.

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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 unitsare concealed in the wood cladding. Anothernew feature: the entire ground floor lighting,including hall, sun lounge and conference room,is managed using the Scene Equalizer system.The sun lounge is also lit biodynamically, using

Sivra Compact sources, whilst for the skylight,ColourWoody fixtures are used to producecoloured light. The restaurant and wine barare fitted with recessed floor units: Light UpWalk Professional and Linealuce. The faadeis 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.

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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 new

centre 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, with

completion in 2009. There are 70 Chinese and

foreign companies currently resident, working

in electronics, biotechnology, engineering,

Information Tecnology and telecommunications.

The Science Park offers companies support

services across the board, through technicaland assistance structures and infrastructures.

Lighting systems for the first stage of the

development were installed using iGuzzini

products: these included Nuvola, Le Perroquet,

Platea, Linealuce, Reflex and Greenwich fixtures.

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Photos: Archivio iGuzzini

1. Exterior of the building

2. Detail of the roof

Partners AssistanceiGuzzini China

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A majestic light.Seu Vella

Lleida, Spain

Projects ClientLa Paeria, Ajuntament de LleidaToms Ferr, Ing.Carles Sez, Arq.

ArchitectsMarta Trulls i HuguetNoelia Albana

The old cathedral complex of Seu Vella is the

most important symbol of Lleida, capital of the

province having the same name, in the western

part of Catalonia. Situated on a hilltop, dominating

both the city and the broad plain of the Segre

river, its outline is the very emblem of the city.

By virtue of its size and colour, it can be seen from

considerable distances. It was built between 1203

and 1431. In 1707, the Seu Vella risked being

destroyed, but instead was converted into a

barracks and ceased to be used as a place of

worship in 1797. The cathedral is Romanesque

but with a Gothic roof, making it transitional in

style. The plan is based on a Latin cross, with

three naves, a large octagonal crossing sur-

mounted by a lantern, and five apses. The bell

tower stands 60 metres high. The entire Seu Vella

is carved and decorated, with all parts plainly

in evidence during the day, but requiring

illumination after dark. The first step was one of

conducting an analysis on the various parts of

the Cathedral, to establish priorities and divide

the project into stages.

The main faades and the bell tower required

attention first. The tower is seen as an important

landmark for the city of Lleida. With the need to

identify strategic areas where light points could

be positioned, the octagonal shape of the tower

suggested a geometrical approach. The designers

picked out four corner angles on the tower, from

which beams would be thrown onto the two

adjoining faces and the octagon thus enveloped

in light. Bearing in mind the yellow ochre colour

of the stone from which the tower is built, it

was decided to install Maxi Woody units with

superspot optical assemblies, using and 250 W

and 400 W sodium vapour lamps. The fixtures

were specified with Fresnel lenses and

directional louvres in order to generate an

elliptical beam that would illuminate the full

surface of the tower and avoid casting light

where there is no need, in the interests of

minimising light pollution. The buttressed

faade of the cloister is illuminated by floods

with asymmetric optical assemblies, positioned

in existing niches.

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Photos: Jos Hevia

1. The cathedral complex viewed by night

2. Illumination of the buttresses

3. Detail

Partner AssistanceiGuzzini illuminazione Espaa

The architectural forms and reliefs are highlighted

with 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 cloisterfaade is designed to throw the buttresses intorelief, using recessed Light Up fixtures withmetal 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 architecture

sensitively, giving deference to the surroundingnatural and cultural environment.

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National Centrefor 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 in

central Beijing, about 500 metres from Tian An

Men Square and the Forbidden City, is quite literally

an island of culture in the middle of a lake. The

huge ellipsoidal dome of grey titanium varies from

144 to 213 metres in width, standing 46 metres

high, and incorporates a curvilinear glass inset

creating two broad roof segments. There are three

halls inside: one for staging operas, another forconcerts, and a theatre, as well as a number of

exhibition areas open to the public. The Opera is

the centrepiece, both physically, and in terms of

prestige attached to the project. The concert hall

and the theatre are located on either side of the

Opera. The building is connected to shore by a

transparent subway, so the public can be admitted

without any break being created in the outer skin

of the dome, which as a result appearsmysteriously as if devoid of any opening or

entrance. 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

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1. National Centre for the Performing Arts, exterior

Lighting designLighting Planners Associates Inc.Kaoru Mende - Yosuke Hiraiwa

Project ManagementFelipe Starling

Principal ArchitectFranois Tamisier

AcousticsCSTB - M. Vian

Partners AssistanceiGuzzini China

is not intended for elitist shows and events.The halls and public areas are built on a platform

able to accommodate all operational and support

structures, in a single complex designed for

maximum efficiency and economy of organization,

exactly as would be the case for any modern

manufacturing facility. And all accomplished

without ever disrupting the harmony of the public

spaces or the pleasure of visitors and theatre-goers.

A lounge on the top floor, directly beneath the roof,affords both patrons and casual visitors a splendid

view of the city, which can be appreciated from a

new perspective. The decision to build the National

Centre on a site of such great historical and

symbolic importance reflects a determination to

ensure that culture is given its proper value, in

the light of history and in the context of the

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iGuzzini illuminazione worked with Paul Andreuand lighting designer Kaoru Mende on theartificial lighting for the areas open to thepublic, and the foyer. The relationship betweenthe 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 changeof mood, whereas at night, artificial lightradiates outward from the transparent centralpart of the dome, proclaiming the presence of

the 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 alongthe 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 backof 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 ofart installed along the corridors.

2. Area around the Opera, open to the public

3. Front view of the Opera

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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 Patrick

Blanc. This area receives plenty of natural light.

The design of the artificial lighting focuses on

energy saving - in keeping, not least, with themission of the organization - hence the selection

of Light Air fixtures with fluorescent and metal

halide sources. These suspended luminaires are

able to direct light upwards, creating a diffused

output such as will guarantee visual comfort for

the 25 workstations used by staff and co-workers

at the Foundation, which occupy a floor area

of around 450 m2.

Some of the Light Air fixtures also have green

uplight filters. Green conjures up the idea of

nature and the nature-oriented vocation of the

building, which is reflected in the plant wall

and in the use of certain types of materials.

The Nicolas Hulot Foundation for Nature and

Humanity was set up in 1990 and recognised

as an agency for the public good in 1996.

It is a non-governmental, non-political andnon-confessional organization, whose mission

is to promote environmental education and

awareness and which is committed to scientific

and cultural education in the name of humanitys

natural heritage.

Recently, the headquarters of the Foundation was

moved and underwent a renovation aimed at

delivering improvements in terms of its functional

efficiency, identity and environmental quality,

all on a limited budget.

The offices are organised in an open-space

setting around a central block housing the service

functions, surrounded by a plant wall designed

The materials selected are natural or raw, and

preferred for reasons of performance: floors are

natural linoleum, all furniture is made from fir

plywood, used generally for assembling mouldsand for shuttering in which concrete is cast,

the walls of the coffee shop are clad with panels

obtained from recycled milk containers, and the

ceilings are a wood fibre and cement composition

giving optimum acoustic per formance.

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Photos: Didier Boy de la Tour

1. Faade

2. One of the rooms

3. Rest area

Partners AssistanceiGuzzini illuminazione France SA

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The light of culture.Champs Libres

Rennes, France

Projects ClientRennes Mtropole

Matre doeuvreChristian de Portzamparc

MuseographyElisabeth de Portzamparc

Occupying a surface of 35,280 m2 overall, theChamps Libres is the new cultural centre of RennesMtropole, created with essentially a single broadaim in view: to make culture accessible to all.The idea was that three cultural facilities in thecity of Rennes, all occupying premises they hadlong outgrown, should be brought under one roof:the Public Library, the Muse de Bretagne andthe 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 Muse 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,

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Photos: Didier Boy de la Tour

1. Library entrance

2. View of exterior

Lighting designSpectaculaire

Partners AssistanceiGuzzini illuminazione France SA

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Projects The light of culture.Champs Libres

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a giant zinc cone, its largest room on the groundfloor, which terminates uppermost in a sphericalplanetarium with a seating capacity of 99; andthe 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 needsof a multipurpose venue such as this. Recessed

Optica and Pixel Plus are installed in the library,to give both background and accent lighting.

3. Espace des Sciences entrance

4. Library

5. Muse de Bretagne

The museum is equipped predominantly withLe 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 domeof the planetarium are Lingotto spots. Transitand entrance areas are lit by a combinationof Linealuce wall fixtures, recessed Optica(asymmetric) and Pixel Plus downlights and

Le Perroquet Professional.

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A light line for the AalborgUniversity Park

Aalborg, Denmark

Projects ClientMunicipality of Aalborg

Architectural designKHR Architects, Mller andGrnborg Architects

Engineering calculationsRambll 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 thearea is from Einsteins boulevard.

The architects specified that the light providedby lamp-post fixtures should be indirect, andthat these same appliances should create astring of pearls effect at night. The effectwas 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, spaced30 metres apart and equipped with 250 Wmetal 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 lightis refracted in the middle of the road.

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Photos: Ole Ziegler

1. Twilight view of the string of pearls

2. Plan and views

InstallerAKE Entreprise A/S

Partners AssistanceiGuzzini illuminazione DK

The prism works both with daylight, and withartificial light, in this instance provided byrecessed Walky fixtures.A fundamental requirement for the qualityof the underpass and its everyday use, is thatthe quality of the lighting along the passageshould be no less than that of the adjoiningroads and walkways.

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View 10 View 11 View 12 Overview


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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 forthe new interior, especially in the dining areas.With intensity and colour temperature varyingat different times of the day, the light neededto 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 connected

by effects that remain the same throughoutthe interior.The lighting of the Free Flow layout on thelower level is designed to guide customers intothe self-service diner using the brightness andintensity of the illumination. Products on saleare 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 sensationof wellness, iGuzzini used Pixel Plus and Lineupfixtures in conjunction with the Sivra biodynamiclight system, which can be programmed to

reproduce 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.

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Photos: Gnter 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 fromthe south, travellers see a conspicuously largeglass front in the projecting part of the building.

The illuminated windows are set in relief bythe weak lighting of the faade, which on theside nearest the road is shown up less stronglyas the external floods cast only a small amountof light on the building. In this instance, thefixtures employed are Light Up Walkprofessional and MaxiWoody.

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The best lighting conditionsfor research

Villigen, Switzerland

Projects Architectural designLiechti, Graf and Zumsteg

Electrical system designGhler und Partner

Partners AssistanceiGuzzini illuminazione Schweiz

In July 2007 Switzerlands 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 Ghler und Partner of Ennetbaden,designers of the electrical system. As envisaged inthe successful bid, the building appears as a ringof 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 providedby suspended Light Air fixtures.

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Photos: Gnter 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. Approaching10 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 ofluminous density and dispersion angle.The single lighting modules can be combinedone with another in different ways, allowingtheir adaptation to environments of differentgeometries and proportions.

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A beacon for peace

Videy Island, Iceland

Projects Architectural designPK Architects

FixturesSpace Cannon VH S.p.A.

Construction and systemsVST, Jn Otti Sigursson

Since 9 October 2007, a column of light hasshone on the Icelandic island of Videy, visiblefrom the capital Reykjavik, to remind everyoneof 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 herselfwho 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 positionedin 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 2002to promote peace, truth and humanity in theworld and to help people who promote thesevalues in carrying on their work.

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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 AssistanceiGuzzini NorgeGH Lighting Ltd

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Light for engineering.New premises of IndustrialProject 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 openedin 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 selectedon 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

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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, appearedto 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 bya 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 by

suspended Cestello fixtures assembled in squareor letter-U configurations. These luminaires createthe kind of uniform lighting desirable for workareas where thought and concentration areall-important.

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12 storeys of light.New Eczacbas Group headquarters

Istanbul, Turkey

Projects Architectural designTabanloglu Architecture

Partners AssistanceTepta Aydnlatma

Certain companies of the Eczacbas group,a major player in the Turkish economy, havemoved to a new building at the Kanyon business

centre located in Instanbuls Levent district.The layout is the same on all levels of the12-storey block, which affords 13,420 m2

floor space overall.The lighting scheme for the offices, featuringa modern design by Tabanloglu, needed tobe 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 and

loudspeakers 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.

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Photos: Engin Gerek

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 eventof power failure.Recessed Ledplus fixtures were installedopposite 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 systemwith polycarbonate filters.

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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 powerand fossil fuels. The VHK research institute wasappointed by the EU Commission on Implemen-tation Measures to develop a methodology study

for 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 electrical

power grids into rural areas. It is no surprise thatthe envisaged growth rate should be higher inthe 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 arestreet 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 be

defined for the overall environmental performanceof the product, in this instance without settingany 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

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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 headis 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 havean estimated service life of 30 years, manyinstallations currently in use will be basedon technology that is already obsolete, andineffective 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 rateat 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 appearanceof cities and developing urban outskirts. Theseare the main reasons that have led consultantsto indicate street lighting as a priority area for

action under the EuP directive.

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

Office lighting

The lighting fixtures that have long been installedin the offices of industrial and service sectorpremises are undoubtedly products that consumea 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), entitledLighting of work places - Part 1: Indoor workplaces, and the luminance typically requiredin 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 yearsare 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 twenty

years in the technologies applied to fluorescentlamps and their power supply components.There is a wide range of products alreadyavailable on the market, offering high levelsof performance, though not enough are beinginstalled as yet.

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4. Example of lighting for office premises

5. Example of lighting for industrial premises

Sector

Agriculture

Total energyconsumedin ItalyTWh/year

Lighting-relatedenergy consumedin ItalyTWh/year

%

Industry

Service sector

Streetlighting

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 fuelsto 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, and20% from lighting in homes.

GLS20%MainlyHomesandHORECA

HD23%

Mainly

Outdo

orand

Shops

TL41%MainlyOfficeandIndustry

Halog

en11%

MainlyHomesa

ndShop

s

CFL-I2%

CFL-nl3%

Sector

Industry

Average annualincrease(BAU)

Lighting-relatedenergy consumptionin 2015 (GWh)

Service sector

Streetlighting

Residential

Total

2,80%

3,40%

1,90%

3,40%

17.628

30.715

11.312

8.527

68.1823,07%


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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 medalof the University.The conferment ceremony in the San PaoloAuditorium, where more than 600 people weregathered, including family, friends, colleaguesand members of the business community, began

with 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 fullscale industrial concern - a pocket multinational,as iGuzzini illuminazione likes to call itself.A European business of true excellence in its wayof interpreting innovation, managing the market,enhancing the role both of management andof personnel.

The Laudatio was given by professor Mauro

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Photos: Esa Studio

1.2. Conferment of the honorary degreeby Rector Roberto Sani

3. Adolfo Guzzini congratulated by managersand representatives of iGuzzini branches

4. The packed hall

Marconi, President of the Economics Faculty,who spoke of iGuzzinis 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 deliveredby 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 timeinto a position of leadership.Alongside these considerations of a purelybusiness nature, and central to the theme ofthe Lectio Doctoralis, Adolfo also touched onthe 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 describedas splendid fellow travellers.

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Third editionof the Pasajes-iGuzziniArchitecture Competition

Corporate culture Jury membersPiergiovanni Ceregioli - architect,director of the iGuzzini Study andResearch CentreBeatriz Sendn - architect, winner ofthe second edition of the competitionMartn Lejarraga - architect, directorof the Martn Lejarraga practice.

Selected projects

Ramiro Losada AmorAlvaro Ivn GorLus SemperePablo Twose VallsJavier JimnezMarcelo Ruiz ArtamisIgnacio PeydroBrezo AlcocebaCarlos Jimnez

Cndida DomingoMara CarmonaJavier TraverSimn FrancsAna Ortiz CarrascoSofa SnchezMercedes SimnManuel Chirivella

Mara Mallo ZurdoManuel lvarezMarina CibnerobOphelie HerranzGuadalupe HernndezCarlos RuizJose Antonio AragezYoama CebrecosRal RecuerdoJorge Muozngela RuizAlberto lvarezAna Pealbalvaro CarmenaFernando PrezAlicia BedmarFco. Antonio Garca

Prize-winners

1st PrizeJavier JimnezNoahs Ark (a centre of 18 architectures)

2nd PrizeMara CarmonaMotel di passerella

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

2nd CommendationFco. Antonio GarcaInterchange + Park

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1. Drawings from the project awarded First Prize

2. The prize winners

3. Drawings from the project awarded Second Prize

Andrs Jaque - architect, directorof Andrs Jaque Arquitectos and ofthe Policy Innovation Office, MadridPippo Ciorra - architect, professorat the Ascoli Piceno School ofArchitecture, committee member,Casa dellArchitettura in Rome

Representatives of Pasajes and iGuzzini:Jos BallesterosJosep Masbernat

Secretary to the juryGala Martnez

1st MentionMara Mallo ZurdoNaturist hotel on Gran Canaria island

2nd MentionSimn FrancsHomes on the Ebro Delta

3rd Mentionlvaro CarmenaM30 Purification landscape

4th Mention

Fernando PrezMulti-use cultural agronomicstation at Atocha

5th MentionAna PealbaMetaproject: Strategy for recoveryof the Plaza Castilla water tower

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Corporate culture Third editionof the Pasajes-iGuzziniArchitecture Competition

The jury for the third edition of the Pasajes -iGuzzini Architecture Competition met at Rubon 26 September 2007.The assessment procedure was conducted asa series of eliminatory stages. Jury memberslooked at the projects independently, aimingto identify those that merited most intereston the basis of agreed criteria: architecturalquality, innovation an d research. At the endof 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 representedin 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 experiencesshow 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 rigourare 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 elegant

spatial organization, this project was seen bythe jury as quiet architecture.

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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 wellas 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 juryhad made use of light as a design tool, an addeddimension of architecture exploitable throughn its natural-artificial combination, and throughits 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 bythe 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 withthe natural environment.

The prize-giving ceremony and inaugurationof the exhibition took place on 5 November2007 at the Foundation of the Associationof Architects of Madrid.

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Corporate culture

At last, the Design Museum

Milan Triennial, 6 December 2007

The Design Museum was finally inauguratedon 6 December 2007, at the Milan TriennialFor many years, the city - and indeed the designworld at large - had been questioning why therewas no permanent exhibition space dedicatedto 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 theareas 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 ofthe innovative entrance way featuring a bridgethat renders the Museum an integral partof the Triennial, and at the same time, anindependent and readily identifiable venue.The Triennial Design Museum is not only thereal centre, but also the virtual centre for awhole network of design resources possessedin great abundance by Italy, and by Lombardyin particular. iGuzzini was involved in therealization of the project as lighting design

sponsor: the main hall of the new museumis lit by Le Perroquet fixtures.


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Corporate culture

PizzaKobra Tour

Having visited the Guzzini showroom in Parisduring June 2007 for the Designers Daysevent, the PizzaKobra Tour continues its tourof other iGuzzini branches in Europe.In September 2007, the lamp designed byRon Arad was presented to Italian journalistsin Milan, and in October it was the turn ofSpain. The infinitely reshapeable table lamp

was shown to everyone with an interest inthe 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 & Taxiwas 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.


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IncontroluceSix-monthly international magazineon 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: [email protected]

iGuzzini illuminazione spa62019 Recanati, Italyvia Mariano Guzzini, 37+39.071.75881 tel.+39.071.7588295 faxemail: [email protected]: 071-7588453

Graphic DesignStudio Cerri & Associati

PublisheriGuzzini illuminazione spa

Contributors to this issueiGuzzini illuminazione Benelux Bvba/Sprl

iGuzzini illuminazione DanmarkiGuzzini illuminazione Espaa S.A.iGuzzini illuminazione France S.A.iGuzzini illuminazione Schweiz AGiGuzzini illuminazione ChinaiGuzzini illuminazione Norge A.S.GH Lighting LtdTepta Aydnlatma

Cover photoDidier Boy de la Tour

Printed: April 2008Tecnostampa, Recanati

I. 200817 Incontroluce

Errata CorrigeIncontroluce 16

Nhow HotelLighting designPiero Castiglioni

The Editors are not responsible for inaccuraciesand omissions in the list of credits relating toprojects and supplied by contributors.Any additions or amendments will be includedin the next issue.


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Incontroluce XVII / The Marches: National Institute of Architecture - Marches section /Design: The power of light - part two /Projects: New lease of life for the Exhibition Palace /The Basilico perspective / Serra Piacentini / Decadence and renewed splendour of 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 Eczacbas 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

Documents

Incontroluce 17 - iGuzzini magazine 04.2008 - English