Incontroluce 26 EN - iGuzzini Magazine

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English edition

I. 2013

Dear readers, This edition of incontroluce covers a wide range of projects. It provides clear details about the methods used and results achieved. You can see precise design strategies in the development of the night-time image of areas with expert use of artificial light. All of these strategies share the knowledge that artificial light can enhance the architectural value of settings, creating new perceptions of such spaces at night or in the absence of natural light. Perceptions which sometimes arise from skilled balancing of structures and transparent zones, which thanks to artificial light is fully brought out as striving for lightness. Just a few splendid examples include the Italcementi building, the Thyssen Krupp building and Heron Tower in London. Perhaps the same aim is behind the great decorative apparatus covering the impressive structures of Florence’s Cathedral and Baptistery. Built to be viewed in the light of day, they can now be admired at night too. Light draws patterns on architecture through different ages: as in the Chaumont viaduct, on a landscape scale or the historic Paddington Station or the recent Technogym Village. The light passing through these patterns breathes life into them.

Adolfo Guzzini

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Incontroluce

Contents

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Leader

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Lighting design Interview with Satoshi Uchihara (Second part)

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Projects i.lab Italcementi Lighting historic stand-out features in Formia Abreu De Grancher Foundation Coloured lighting in the Chaumont landscape Labour and trade court A new town planning project for the South of Alicante Florence Hummerston Reserve Holmes Place Spa Centro Ovale Chiasso shopping centre Heron Tower Paddington Station Linton and Kay Galleries The YMCA sports complex in Montréal Blue rooms for Foreign Painters in the New Uffizi gallery Ravissant stores Cathedral Square comes alive at night ThyssenKrupp Headquarters A new BioCity theatre in Næstved New public lighting for Leicester Square Braine L’Alleud lights two real gems “Luca Signorelli.

De ingegno et spirto pelegrino” exhibition Technogym Village

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Company culture Light & Building 2012

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iGuzzini sponsor of “City of Light-Jyväskylä 2012

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ET Acetech 2012 A new space for the application of light in New Delhi Passeur de lumière

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Social strategy. iGuzzini officially opens its Facebook and Twitter accounts Neon - Who’s afraid of red, yellow and blue?

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London Velonotte

I. 2013

Lighting design

Interview with Satoshi Uchihara (Second part)

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In your opinion, what features are required for good lighting design?

I think that light is essential for stimulating people’s imagination. Consider, for example, a ray of light. As the light grows fainter, the area not recognised increases, but so does the area left free for the imagination. Compare a dinner in even light and a situation in which there is only a light on the table. The latter is more effective in stimulating conversation and makes the food delicious precisely thanks to the power of imagination.

Imagination isn’t always stimulated by the dark, but it’s an important boundary in design. The purpose of light isn’t just to show things. It’s also important to create an equilibrium in terms of energy consumption and the use of cutting edge technology.

As a designer, I find it very easy to keep designing with rapidly evolving technologies.

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Photographs: By kind permission of Satoshi Uchihara 1. Grand Central Tower, Tokyo 2. Nakano Central Park, Tokyo

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Do you think that the development of lighting design technology, and in particular of LED technology can create a new approach to the use of light in architecture?

If yes, how and to what extent?

Looking at the Japanese market, I’m very worried that LED lighting tends to be used in place of fluorescent light. LED lights have great potential for future lighting, but as replacements for fluorescent light it seems to me that people are just trying to put LED lights in the same ceiling as before and in the same proportions, without promoting the development of the relationship with people for a lengthy period. It’s like asking a successful actor to act in the same style as a colleague who preceded him.

I fear that LED lights are a great help to the lighting industry, but their use doesn’t bring innovative results.

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Lighting design

Interview with Satoshi Uchihara (Second part)

3. Grand Central Tower, Tokyo

Considering the significant lack of energy resources, what should we do in the architectural lighting sector to protect the environment?

No one has studied the importance of appropriate lighting to people in architecture.

Lighting design equipment is always in the ceiling and the amount of light to be set is always at the maximum required, the luminaire having long been considered just an object that supplies light. As a result, we long ago defined the specifications of light and the relationship with people, never reviewing them and so our idea of ideal light has just got bogged down. We now intend to make a drastic change.

First, considering energy consumption, what we used as a measure of happiness is big and expensive. Again in pursuit of happiness, we create tonnes of luminaires and emit enormous amounts of light in space.

Now the Earth has reached its limit. We have to apologise and invert the trend. Light should be used more to motivate human creativity and understanding. Consider the sun.

The physical position of the sun brings changes in colour temperature and rays of light.

Consequently, we are filled with energy by the dawn, aware of the increase in colour temperature. When the sun moves towards its peak, our energy increases. At sunset, we look back over our day and rest while awaiting the next day. In the past, people lived in conditions without constant light emissions. In spite of that, we created a light that was too bright, with constant emissions, and we mistakenly interpreted this sensation as a feeling of happiness. Thanks to the earth’s rotation the sun provides light for all.

That means that we all have times when we are energised by it and other times when we are not. We should learn from this natural event and try to balance the use of our energy. Considering such a solution, luminaires must be brought closer to people.

Fitting lights in ceilings calls for a lot of energy. If the light is brought towards people, we can further reduce the energy and that means that the luminaire is moved away from the architecture. At the moment most people don’t mind having ceiling lights, but if the distance were reduced it would be an advantage. I think that a luminaire should now have an interface and that it should allow people to control its operation. People could happily choose the light level, based on individual circumstances and that would allow energy savings. Moreover, a luminaire should be improved in terms of quality and heat emissions as it is brought closer to people. To get this type of data about lighting the exchange of information will be needed. In this way, people would get to know many ideas about lighting and its quality. I think that could produce a high quality lighting market in terms of both software and hardware. In my view, we have a huge opportunity to positively improve the value of light.

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i.lab Italcementi

Projects

Client Italcementi Group Architectural design Richard Meier & Partners Architects LLP

Stezzano, Bergamo, Italy

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Lighting design Piero Castiglioni Guido Bianchi

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i.Lab, the new Italcementi Research and Innovation Centre, is located at the eastern end of Bergamo’s Kilometro Rosso Science and Technology Park and is the ideal structure following on from the red “wall” which stretches out alongside the Milan - Venice motorway. i.Lab meets the strictest requirements in terms of energy saving and innovative design and is LEED (Leadership in Energy and Environmental Design) “Platinum” certified, the highest energy and environmental certification standard in the world for buildings. The main entrance area, at the North-Eastern corner, is emphasised by a cantilever roof - projecting around 20 metres and a concrete-lined space, which also helps to mark out the horizontal extension of the entire building.

This cantilever roof also creates a large, twostorey high covered outdoor square, blending naturally into the glazed entrance hall which, in turn, joins the building’s two wings.

The hall and communal areas have fluorescent and metal halide Lightshed luminaires, with iGuzzini luminaires providing general lighting.

Meier created a structure split into two storeys above ground level, for laboratories and offices, plus another two storeys below ground, covering a total of 11,000 square metres, of which 7,500 are exclusively for research laboratories.

The laboratory area is lit with special (iN70) luminaires, whose light washes over the ceiling and which have a dark light optic for controlled luminance.

The lighting in this area was set up by working closely with the makers of the partition walls.

The need for enough lighting for work tables had to be reconciled with the need to leave the ceiling free to house the extractors essential in this environment where many chemical are handled.

The laboratories are in the first wing, parallel with the motorway, together with the offices and a large library of more than 10,000 books which is a reference point for the designers and technicians dealing with cement- and concrete-related matters. The outside of this wing is lit by fluorescent Linealuce recessed luminaires for grazing light, combined with Platea floodlights.

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Photographs: Paolo Carlini 1.2.3. The cantilever roof during the day and at night

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Projects

i.lab Italcementi

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The second wing, perpendicular to the first, has a ground floor cafeteria and a large conference room, whilst there are reception/sales offices on the upper storey. The conference room can seat up to 240, is double-height, with windows giving onto the inner courtyard and has access to the upper storey. The volume is intersected by a second, smaller room, at the upper storey, intended for meetings and work gatherings.

This second meeting room is lit by Light Air luminaires, whilst the main conference room is lit with Hub lights, arranged in ceiling grooves and alternating with LED recessed luminaires.

For the foyer we used Deep Fame LED luminaires.

The offices are lit with Light Shed luminaires, cast into the reinforced concrete and with special “cantilever� iRoll luminaires, mounted on an arm.

All of the luminaires used are compatible with the

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4. The great hall 5. The conference room and the cube with meeting room 6. Research laboratories

DALI protocol and are managed by a control system not supplied by iGuzzini. The basic requirement of the lighting design, by Piero Castiglioni and Guido Bianchi, was for complete camouflaging of the luminaires in the setting.

All of the luminaires had to be absorbed by the architectural structure. There were to be no “obvious� lights: what had to be highlighted was the structure and the material used.

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Projects

Lighting historic stand-out features in Formia

Client Formia Municipal Authority Project drawn up in cooperation with the Lazio Archaeological Authority - Nicoletta Cassieri Lighting design Maurizio Ciavolella

by Maurizio Ciavolella

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In 2010 architect Maurizio Ciavolella of Studio NIT, working with Studio Cardillo, won a contract for the improvement and design of lighting for four Italian cultural heritage sites, all located in the area of the ancient city of Formia.

The contract was for new lighting for the following archaeological sites: the “Tomb of Cicero”, the old Roman Fountain on the Appian Way, the medieval tower in Castellone and the splendid Roman Cistern which is also in the Castellone district.

Tomb of Cicero This architectural complex, an Augustan mausoleum, referred to as the “Tomb of Cicero”, is located along the Appian Way and is traditionally linked to the death of the orator Marcus Tullius Cicero, murdered in 43 BC. The area features three characteristic elements: the sepulchral structure, the boundary wall in reticulated work and the splendid park with many cypress trees. The tomb is formed by a square base with 18 metre sides, made of large limestone blocks. Rising above the base is a structure in the shape of a truncated cone, 15 metres high and topped with a cylindrical tower which probably once had a cover terminating in a point: the total height of the tomb is close to 24 metres. The idea behind the design had to take into account the architectural element as part of a large funerary precinct.

The tomb is a structure which theoretically links heaven and earth and the lighting in this project followed that idea. The steps, base and tower are blanketed with lighting in 3 different colour 3 temperatures: from amber conjuring up the earth to a 4200 K white which represents heaven, with an intermediate temperature of 3000 K and the light strikes the upper section of the cone on four sides, so that the Mausoleum is visible from any viewing point around the funerary precinct. The coldness of the lighting achieved makes the upper section of the cone rise above the cypress trees which are in turn bathed in light from the surrounding reflections.

These effects are obtained using the 70 W iPro floodlight thanks to its wide range of accessories.

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Project coordination Antonio Cardillo Alessandro Testa

Photographs: By kind permission of Maurizio Ciavolella 1.2. Tomb of Cicero 3.4. Roman cistern

Safety manager Antonio Cardillo Electric system Alfredo Saponara

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Roman cistern Wandering through the lanes of the old centre of Castellone, you arrive at St. Anne’s Square.

Under the square is one of the most extraordinary sites in the Italian national monuments programme: the Roman Cistern. Dating back to the second century BC, it used to supply water to most of the western urban zone, with a surface area of 1200 square metres and a volume of more than 7000 cubic metres. During the Bourbon period the water main was also used to supply water to the cistern beneath St. Theresa’s Square, used by the population and by the cavalry stationed there. Over the centuries, the site was used to dump sewage and rubbish and after the WWII bombardments, rubble gradually piled up.

Restoration work was carried out during the 1990s. The cistern is not currently operational.

Water has been put in it to remind people of its purpose, and a floating walkway set up for easier visitor access to the area. The lighting design was inspired by analysis of the current situation and focuses on a particular property of water, “mirror-like reflection”.

The entire project is based on the installation of 58 Miniwoody 3W LED floodlights with IP67 rating (special version) for a total absorbed power of 174W, plus path marker floodlights.

The shade of the light selected ranges between 1700 K, almost amber, and 2700 K diffused in the environment, with the use of dedicated colour filters.

This warm tone was chosen to recreate the effect of old lighting systems. Miniwoody floodlights positioned at the base of the columns light their entire length, even splashing light on

the vault <above>, which was lit for the first time. Other floodlights are positioned at the shoulders of the lateral columns, to completely hide them from view and to light up the splendid texture of the surrounding walls. Not being directly touched by light, the water present acts as a perfect mirror, tripling the structure’s dimensions.

We wanted to give the impression that the walkway was floating in the void and make the depth of the water seem “abyss-like”.

Where the water is never still enough to allow for a mirror-like reflection, its movement is projected, again by Miniwoody floodlights, with a grazing light, on the lateral walls, amplifying the reverberations and the proportions of the place.

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Projects

Lighting historic stand-out features in Formia

Medieval tower The city of Formia is made up of two historic centres, Mola and Castellone, which are linked by several urbanisation projects. Both centres have old defence towers, one located high up and the other by the sea. The â&#x20AC;&#x153;Tower of Castelloneâ&#x20AC;? standing 24 metres high and 12.30 metres long, rises from a Roman era base and culminates with a merlon crown.

The lighting design for the Tower uses two different types of lighting: one to highlight the material used to make the lower part of the tower, and the other to emphasize the geometric and size features of the towerâ&#x20AC;&#x2122;s elevation.

The solidness of the base is underlined with graze lighting from two recessed Light Up wall washer luminaires combined with another Light Up with a spot optic, set a few centimetres further back than the others.

Eight bands of grazing light with super spot optics, placed at the base of the tower corners, show off the geometric design and texture of the corner. The technique used enhances the height and the views for the observer facing the tower from the base.

In contrast, the eight sides are lit more subtly.

The battlements are emphasised by Miniwoody 3W LED floodlights with colour temperature identical to that of the lights below and top off the path of light which starts from the bottom of the tower.

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5.6. Illuminated Medieval Tower and 3D view marking out the colours 7.8. Illuminated Roman Fountain and 3D view marking out the colours

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Roman Fountain Along the Appian Way coming from Rome, in the San Remigio locality, where milestone LXXXVIII was located, there are the remains of an ancient fountain dating back to the 1st century AD. It was a public fountain and a monumental watering place. The overall structure consists of a limestone back wall, around 20 metres long and 3 metres tall, finished along the top and bottom with two elegant ledges. The trough consists of 5 large stone slabs resting on a base which also acts as a step and is closed at the sides by block walls held together with metal brackets. The water poured out of two bronze pipes at the centre of two bas-reliefs located at the sides of the trough.

The one on the left, which has almost disappeared, is difficult to make out, whilst

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the other, having human attributes, includes large, long eyes and a mouth with part of the bronze water pipe poking out of it. The new lighting design is based on two Woody discharge floodlights with warm colour temperatures, which from the ground give a dramatic air to the piece and cast a film of light over the back wall.

With this lighting, the water trough reacquires a certain dignity, shown by two 9W LED iPro floodlights with elliptical optic and a â&#x20AC;&#x153;coolerâ&#x20AC;? colour temperature to make the most of the material of the stone used.

As a reminder of the fountainâ&#x20AC;&#x2122;s historical function, a Linealuce recessed luminaire hidden at the centre of the trough, provides grazing light over the centre of the back wall, simulating the presence of a reflective surface in the trough.

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Abreu De Grancher Foundation

Projects

Client CitĂŠ Internationale Universitaire de Paris Original architectural design Albert Laprade

Paris, France

Architectural design and renovation Eddy Vahanian

The Rosa Abreu de Grancher foundation was inaugurated in 1933 to house Cuban students in Paris. It is named after Rosa Abreu, of Cuban origin, and her husband, French professor Jacques-Joseph Grancher, who worked with Louis Pasteur to produce the rabies vaccine. The Abreu family deed of gift was signed in 1929 and subsequently added to by the participation of the National Foundations, CitĂŠ Internationale Universitaire de Paris, which increased the number of rooms.

The building was designed by architect Albert Laprade, who went on to create the Paris Museum of African and Oceanian Art.

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BET Scoping

Partner Assistance iGuzzini illuminazione France

Artistic works (Plasticienne) E. Lukasiewicz

Photographs: Didier Boy de la Tour 1. Exterior of the Foundation premises 2. The well of light created by the stairs to the upper storeys 3. A communal area

General contractor Bateg

It was inspired by Havana Cathedral and built with an elegant Spanish colonial style.

In 2007, CitĂŠ Internationale signed a partnership agreement with the Paris Public Assistance Hospitals (AP-HP): AP-HP has 150 rooms of flats available for use by foreign professionals who are in training. iGuzzini was part of this initial, profound, retro-futurist renovation of the Albert Laprade building with ambitious goals but a fairly rigid budget: bringing the buildingâ&#x20AC;&#x2122;s wealth of historic features and architectural identity into line with regulations and preserving them.

Natural light and artificial lighting were essential

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components of the placeâ&#x20AC;&#x2122;s new identity.

The new luminaires, with a contemporary shapes are characteristic of the air of modernity there, such as the Glim Cubes set in the symbolic well of light, or the Gem pendant luminaires in the halls and the large salon.

There is also the same level of attention to lighting details in private areas, the materials and colours used being compatible with the original purposes of the rooms. Outside, the main entrance facade is emphasised by discrete luminaires which pick out the strong points, the colonnade and the pediment, with MiniWoody, iPro LED and a Yota.

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Projects

Coloured lighting in the Chaumont landscape Chaumont, France

Client Chaumont City Council Lighting design Jean-François Touchard Installation Cofely Inéo GDF Suez (Vendeuvre Agency)

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The Chaumont viaduct, in France’s Haute-Marne departement, stands across the Suize Valley.

Its size (654 metres long with 50 arches, some reaching a height of 50 metres) make it one of Europe’s most notable architectural works of the mid-XIX century. It was therefore essential it was lit to show off its grandeur.

Built in just 15 months between 1855 and 1856, the viaduct was erected to allow the railway to reach the top part of the city.

Partly destroyed during WWII, it was rebuilt in 1945.

Since then the viaduct has only been used for rail transport: city dwellers have never really walked along it, because at night it was shrouded in complete darkness.

It wasn’t until the set-up of the partnership

between the Chaumont city council and Inéo GDF-Suez, at the request of the Mayor, Luc Chatel, that the viaduct, no longer just used for rail traffic, was provided with lighting to suit its grandness.

“In the daytime, the viaduct is evenly lit. But at night the light comes from the viaduct. It traces a negative image of the viaduct and enhances its structure”, explains lighting designer JeanFrançois Touchard.

More than 400 LED luminaires now light up this work. The arches are shown off to the best advantage by MaxyWoody LED luminaires.

On the first level, the pedestrian path is marked out by cleverly placed lights using control systems and Linealuce LED luminaires. The dynamic RGB light has a different colour for each day of the week.

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Partner Assistance iGuzzini illuminazione France

Photographs: Didier Boy De La Tour, Richard Pelletier - Mairie de Chaumont 1.2. The viaduct and its place in the landscape during the day and at night 3.4.5.6. Various colour effects

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Every 15 minutes, tomorrow’s colour is mixed with today’s. At the week-end, all of the week’s colours are mixed to create a tunnel of living colours. The second level, reserved for trains, is always lit by blue iPro LED floodlights.

Finally, the arches are lit from the bottom up using Maxiwoody LED luminaires. Each arch is shown off differently. The intensity of the light varies depending on where you look at it from, producing slight movement, accentuating the lightness and ensuring that the viaduct always appears differently depending on the position of the observer. Finally, several Platea luminaires bolster the viaduct structures overhanging the main road. Thanks to LED technology the solution chosen is extremely economical: consumption for the entire work is only 18 kWh.

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Projects

Labour and trade court

Client Régie des bâtiments Architectural design DETP scprl J. Depelsenaire, Hernalsteens & Mousse architectes

Charleroi, Belgium

The area dedicated to the Charleroi Law Courts (including the Labour and Trade Court, the Trial Court of Primary Jurisdiction and the Justice of the Peace headquarters) needed new spaces for offices and additional courtrooms for hearings after the grouping together and extension of several jurisdictions. To house the Labour and Trade Court, the decision was made to renovate the old Institut National du Verre adjacent to the Law Courts: two buildings erected in the 1960s by architect Charleroi Jacques Depelsenaire.

He was put in charge of the restructuring work and sadly passed away a few weeks before work on the site ended. The relationship between interior and exterior suggested by the

double glazed skin of the facades is confirmed right from the building’s entrance by a long connecting wall lit with Ledplus luminaires.

Visitors arrive in the waiting room set up in the former glass museum area, with huge windows overlooking the city park and allowing the space to be filled with light.

The space’s dimensions are highlighted by the use of iRoll wall-mounted luminaires at the top of the columns and between the ceiling beams.

The courtrooms are profoundly peaceful thanks to their large size and the zenithal natural light allowed in by lateral openings, plus the artificial light from recessed Sistema Easy and iRoll wall-mounted luminaires.

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Partner Assistance iGuzzini illuminazione Benelux

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Photographs: Novilys - Philippe Piraux 1. Exterior with large water feature 2. A corridor looking onto the park 3. One of the courtrooms used for hearings

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Several rows of wall-mounted i24 luminaires guarantee up lighting to create a relaxing atmosphere for the 135 seat auditorium.

As requested by the local heads of the judiciary, who wanted to convey the idea of open Justice linked to society, the building is surrounded by a public park, linked to the cityâ&#x20AC;&#x2122;s pedestrian routes, with maximum visibility for the inner courtyard of the historic building. The car park was placed one level below the entrance, to help to hide it from view. This layout meant a 3.6 m height difference, therefore requiring anti-fall protection systems. To avoid interrupting the view towards the inner courtyard with a simple railing, a large overflowing pool-like structure was built.

This large body of water, without limits on two sides, is like a mirror reflecting the main buildingâ&#x20AC;&#x2122;s facade.

It is also a tranquil feature at the building exit, complete with a long suspended bench leading up to the main entrance, which is in turn embellished with a Corten steel portal reflecting the pattern of the beams in the waiting room and the material used for the retaining walls.

The most is made of the structure by lighting from recessed Light Up Professional LED and Delphi LED luminaires. The roof projection running all the way around the building is made lighter by Linealuce recessed luminaires in the outer corridor. Its purpose is to redefine, lighten and add depth to the building.

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A new town planning project for the South of Alicante

Projects

Alicante, Spain

Southern access to Alicante has always been affected by the existence of various road and port infrastructures and by a set of heavily used roads, preventing a relationship between the city and its maritime zone which over the years has been transformed into one of the city’s leading leisure areas, although lacking suitable town planning and the urban services appropriate for these kinds of public areas. The project was the result of the commitment of a number of public and private bodies, in particular Consellería de Infraestructuras, the organisation assigned the task of developing Comunità Valenciana road

Promoter Conselleria d’Infraestructuras i Transport Direcció General de Ports, Aeroports i Costes Architectural design Emilio Vicedo Ortiz Manuel Lillo Navarro

infrastructures, in cooperation with the City Council, Porto di Alicante and ADIF. The total surface area of this project is 72,500 m2.

The main aim was new route development for both vehicles and pedestrians, the development of parks and play areas, and improvement of the urban image of the city’s southern approach.

The second aim was to improve urban services, rainwater drainage and to provide a new lighting system and urban furniture.

The general guidelines aimed to expand public areas, pedestrian routes and parks by shifting and reorganising the road network.

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Civil engineers Mauricio Úbeda Müller José Carlos Sandoval Soriano Landscaper José Luis Romeu Lamaignere

Photographs: Zigzag Fotodisseny 1. One of the areas worked on 2. Daytime image 3.4. Pleasant, welcoming atmosphere after redevelopment

Partner Assistance iGuzzini illuminazione Iberica

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Secondly, the layout of pedestrian routes and cycle paths was created to achieve continuity with the existing routes, using them to link most streets and avenues, creating a set of new routes connected to leisure and relaxation areas, to children’s parks and areas planted with trees.

The luminaires selected were iRoad, Delo, Multiwoody, which used metal halide lamps with 3000 K colour temperature for 25-30 lux medium lighting on the roadway.

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Projects

Florence Hummerston Reserve

Client Città di Perth Designer City Design Lighting designer Wood & Grieve Engineers Pty Ltd

Perth, Australia

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Florence Hummerston Reserve, at the corner of St Georges Terrace & Mount Street, has undergone a series of improvements which have breathed new life into it.

This highly regarded little gem of a park, on the far west side of the city now has several interesting new features, in terms of seating, decoration, flowerbeds, footpaths and lighting.

Wood & Grieve Engineers, with application support from Mondoluce, put forward a lighting design that fits perfectly in the reserve’s natural environment.

Ledplus recessed luminaires were used on the steps leading up to the seating areas which are also lit by iGuzzini’s pole-mounted Flaminia lights. Euclide outdoor luminaires help to create a pleasant, low-glare light source along the new footpaths and flowerbeds. Recessed Light Up Walk Professional luminaires put the right emphasis on the charming fountain and sculpture area in the reserve. Overall, they’ve created a special space, truly welcoming, able to accommodate a large number of people who want to benefit from this urban oasis.

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Partner Assistance Mondoluce WA

Photographs: Ron Tan 1. The park in the urban setting 2. One area of the park

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Projects

Holmes Place Spa

Client Holmes Place Europe Architectural design and lighting design Höger Architectural Firm

Berlin, Germany

Preliminary architectural project ORMS Architects with the Höger Architectural Firm

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A harmonious mixture of wellness, spa and traditional fitness awaits guests of the new Holmes Place Spa in Berlin’s Potsdamer Platz.

The pleasant image is decisively affected by the architecture and lighting design.

Over an area of 4,500 square metres, guests can take part in traditional fitness activities, in large training spaces.

As well as a comprehensive programme of courses, the club offers a Holistic Room for yoga and meditation, a very elegant sauna and Turkish bath area, plus a swimming pool and beauty treatment rooms.

The task of the architecture was to satisfy the various functions of the rooms and client expectations, as well as creating an atmosphere able

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Interior design HĂśger Architectural Firm with ORMS Architects and CREATIVS

Photographs: Yashoda / Holmes Place 1.2. Spa area with very soft lighting 3. Spinning room

Partner Assistance iGuzzini illuminazione Deuschtland

to harmoniously bring together the different areas.

It was a major challenge, since Holmes Place Spa offers activities which are very varied such as fitness, which requires bright lighting for the gym or spinning room, and the spa, where very subtle, relaxing lighting is needed.

The solution is lighting design with extremely reserved lighting, enhancing the architecture and atmosphere. Where possible, recessed luminaires were used which do not project from the ceiling, so that the lighting layout is simple and neat.

The Easy fluorescent system was used in the beauty treatment area and in the shower cubicle zone. In particular, in the wellness area, whose look is dominated by dark surfaces, lighting was minimised to provide a comforting, relaxing atmosphere. Whilst in the large lounge on the top floor up lighting contributes to visitorsâ&#x20AC;&#x2122; total wellbeing with lit perimeters created by grooves cut into the false ceilings fitted with Reglette fluorescent luminaires, in the Holistic Studio, general lighting is provided by Reflex Professional Wall Washer luminaires together with Deep Laser Frame LED luminaires for different settings.

In the spinning room the brighter light needed is provided by ceiling-mounted iN60 luminaires.

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Centro Ovale Chiasso shopping centre

Projects

Client Centro Ovale 2 Architectural design Elio Ostinelli Designer Elettroconsulenze SolcĂ SA

Chiasso, Switzerland

The Chiasso Oval Centre is a shopping centre with innovative design located in Chiasso.

The shopping centre was opened in September 2011 and contains 34 shops and restaurants.

The indoor and outdoor lighting is by iGuzzini, which was happy to comply with the clientâ&#x20AC;&#x2122;s request for a single supplier for the entire project.

The company was also chosen due to its ability to make special, purpose-designed products, to cater for the needs of this unique building.

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Installation Alpiq InTec Ticino SA Partner Assistance iGuzzini illuminazione Schweiz

Photographs: Paolo Carlini 1. Daytime view of the Oval Centre 2. An inside view 3. The Oval Centre with openings lit by iSign luminaires

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In this case the special product has “windows” of various sizes for indoor general lighting.

In all, the 32 entrances were fitted with iSign RGB luminaires to create coloured effects that would attract visitors’ interest.

In the service corridors, on the top floor and in all of the bars and restaurants recessed Deep Laser LED luminaires were used. Thanks to the fact that the lamp is set back, these provide considerable visual comfort.

Outdoors Ledplus LED luminaires made completely of glass were used. The round shape matches the outline of the Chiasso Oval Centre.

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Projects

Heron Tower

Client Heron International General contractor Skanska Architectural design Kohn Pedersen Fox

London, UK

At 230m high, Heron Tower, designed by Kohn Pedersen Fox, is the tallest building in the City of London. To re-enforce its night time presence, a striking approach to its illumination was adopted by American lighting design practice Illuminating Concept.

Traditionally, floodlighting such a building would have involved copious amounts of “HID” (High Intensity Discharge) projectors either located remotely from the building and aimed onto it, or located on the façade with unsightly fixing systems. These traditional methods consume high levels of energy, and also require regular maintenance schedules, something that is not an easy task when trying to access luminaires mounted to the exterior of a building hundreds of feet in the air.

New LED lighting technology allows us to change completely the way in which we design lighting schemes for modern architecture. Instead of lighting the building we can integrate the lighting into the façade therefore creating a completely different visual perspective of the building at night.

This is the design philosophy undertaken for the external lighting on Heron Tower.

The structure framing the glazing on the building façades creates a grid like pattern onto which individual point source blue LEDs were fixed, punctuating the meeting point of glazing and structure. Illuminating Concept decided to specify the application of 750 units of iGuzzini’s Glim Cube, surface mounted 1 watt fittings. Emitting a blue light, they serve to “crown” this 46 storey jewel within the heart of the city. Foreman Roberts and Skanska worked on how the driver and fixing brackets would integrate with the façade of the building, and how the luminaires would be installed.

The visual impact is both dramatic and striking, giving Heron Tower its unique identity and appearance in the City Of London at night, but most importantly for the client, the scheme is almost maintenance free and consumes very little energy (less than 1 kw/h), in line with Heron Tower’s focus on sustainability (the building has a BREEAM rating of ‘Excellent‘ and incorporates a number of green initiatives including an offset core that prevents solar heat gain and a veil of photovotaic cells on the southern façade).

The LED light fixtures have a rated life of 50,000 hours which equates to over 13 years of use with the lighting being switched on for an average of 10 hours per night every night of the year

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Lighting Design Illuminating Concept Engineering Arup

Photographs: James Newton Photographs 1.2. The tower in the urban setting

Partner Assistance iGuzzini illuminazione UK

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Projects

Paddington Station

Client Network Rail Architect Oxford Architects M&E Consultant WSP

London, UK

The 4th Span of Paddington Station, which was originally planned to be demolished, underwent an extensive improvement after Save Britainâ&#x20AC;&#x2122;s Heritage successfully campaigned for its preservation. The station is one of the main London termini for the capital and the 4th Span was built as an extension in 1916 to the original station designed by Isambard Kingdom Brunel.

The site has a strong historical significance as part of the Great Western Railway, and has been serving the capital as a major station since 1838. The station was substantially enlarged between 1906 and 1915 when the 4th span was added. It has been sympathetically renovated, involving repair and restoration of the original Edwardian glazed roof, so that platforms

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Contractor Morgan Sindall Lighting designer GIA Equation

Photographs: James Newton Photographs 1. The huge glass roof 2. Detail of the arches

Partner Assistance iGuzzini illuminazione UK

9 to 12 inclusive, can once more enjoy daylight.

Working together with Oxford Architects, WSP, Morgan Sindall and GIA Equation, our design brief was to provide a high output and efficient light source. Traditionally, floodlighting such structures would have involved the use of “HID” (High Intensity Discharge) projectors located on the façade with unsightly fixing systems.

These traditional methods consume high levels of energy, and also require regular maintenance schedules, something that is not easily achievable when trying to access luminaires mounted high up on the structure.

New LED lighting technology allows us to completely change the way in which we design lighting schemes for modern architecture, and due to the mounting height and restricted access where the luminaires were to be placed. iGuzzini provided the Woody LED as a solution, using Warm White LEDs to enhance the colour of the finished ceiling panels. This included improvement to the overall lighting and to sympathetically highlight the rib structure and ceiling details. Work was finally completed and the restored roof was unveiled. The LED light fixtures have a rated life of 50,000 hours, which equates to over 13 years of use with the lighting being switched on for an average of 10 hours per night, every night of the year.

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Projects

Linton and Kay Galleries

Client Gary Kay & Linton Partington Prime contractor Brookfield Multiplex

Perth, Australia

Architectural design and lighting design MATA Design Studio

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The new Linton and Kay Gallery premises are in one of Perth’s historic buildings with the most striking architecture : Perth Technical College.

The choice of this location meant that the inside had to be adjusted to reflect the outside of a complex that is part of the city’s heritage.

Moreover, a high profile art gallery has functional requirements which need special consideration.

Lighting plays a fundamental role and must also absolutely cater to the client’s every requirement in terms of colour rendering, flexibility, lasting nature, energy saving and appearance. That’s what led to the choice of Primopiano spotlights, particularly suitable for cultural contexts, where light has to emphasise the quality of the works on show.

It was the first time that this type of architectural light luminaire had been used in Australia.

The LED luminaires, compact and from the latest generation, combine efficiency and low energy consumption.

The Primopiano spotlight has proved to be the perfect solution for a project such as the Linton and Kay Gallery, directed by Gary Kay and Linton Partington, who said: “We tested various museum LED lighting solutions for our new city gallery and we discovered that the output from iGuzzini’s Primopiano spotlights was absolutely the best.

The Mondoluce team provided great support for our project and worked closely with us and with MATA Design to find the ideal lighting design solution.”

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Engineering ATA Engineering Electrical design and installation Everett Smith & Co Pty Ltd

Photographs: Ron Tan 1.2. Gallery set-up

Partner Assistance Mondoluce WA

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Projects

The YMCA sports complex in Montréal

Client YMCA Architect Daoust Lestage Lighting Designer Eclairage Public - Gilles Arpin

Montréal, Canada

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Located on the corner of a main road and a residential street in a northern area of Montreal, Cartierville’s Y Centre has the look of a gleaming pavilion through a screen of vegetation.

The building is split into two units, one with two and the other with three storeys, each blending in with the surrounding residential districts to the north and south of the site.

Thanks to the great transparency of the structures, both towards the inside and the outside, the Y Centre confirms a real desire for openness with regard to its community. It is this transparency that was the starting point in the development

of the lighting design by Eclairage Public.

Gilles Arpin stated: “Our approach for general lighting led us to use linear lights in all of the building’s communal areas to make the most of the size of the structure and to achieve the desired light levels.

We used iSign luminaires because of their special light emission and their shape, which gives the place a playful touch.

In communal areas and offices we used the Libra pendant.Outside bollards guide users to the entrance, accentuated with a thin blade of light”.

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Photographs: Marc Cramer

Partner Assistance iGuzzini Lighting North America

1. Night-time view of the building 2.3. The interior spaces filled with natural light

YMCA (Young Menâ&#x20AC;&#x2122;s Christian Association) is an ecumenical Christian organisation which aims to provide support for young men and their activities. Every regional YMCA manages its own staff and finances. At present, in many regions, local YMCAs are practically only a community of sports centres, with little to do with the religious origins.

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Projects

Blue rooms for Foreign Painters in the New Uffizi gallery

Client Architectural, Landscape, Historic, Artistic and Ethno-anthropological Heritage Authority for the provinces of Florence (except the city, for historic, artistic and ethno-anthropological heritage), Pistoia and Prato

Florence, Italy

Since December 2011 the Rooms for Foreign Artists in the New Uffizi gallery have been open to the public.

These rooms with domestic dimensions “cabinets” for small works, like those which were used in the past - are filled with works by foreign painters from the sixteenth to the eighteenth centuries: Spanish, French, Flemish and Dutch.

The set-up makes a break with the Vasarian tradition of white and grey, of plaster alternating with soothing stonework. Blue-painted walls, a “vibrant, vivid colour; what seems best suited, for cultural and taste reasons, to the works for which the rooms were designed”, says curator Adolfo Natalini, in complete agreement with the choices made by director of the Uffizi Gallery, Antonio Natali.

During this first tranche of work for the New Uffizi, work was completed on the new systems for air treatment, air conditioning, fire-prevention, burglar-proofing and lighting. iGuzzini contributed as technical sponsor for general lighting in the rooms using Action luminaires combined with Lumen spotlights for accent lighting effects.

The rooms can be reached from the Gallery by going down the Western Staircase, one of the most demanding works finished so far because it stands in a small service courtyard which was greatly changed during the 20th century. The staircase is also now the new exit route, essential to cope with the increasing numbers of visitors.

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Project S.IN.TER. Spa - Alessandro Chimenti, Alessandro Moroni

Photographs: Mario Ciampi 1.2. The new rooms with the innovative choice of the colour blue

Scala di Ponente (Western Staircase) design Adolfo Natalini Technical sponsor iGuzzini illuminazione

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Ravissant stores

Projects

Client Ravissant Architectural design and interior design Joseph Fluck

Mumbai, India

Partner Assistance LSI Systems (I) Pvt.. Ltd

Ravissant in Mumbai is one of the leading upmarket retail chain stores for Indian craftwork and jewellery. The chain has a number of showrooms in several cities throughout India.

4 existing showrooms in Mumbai were recently renovated.

The interior design of the stores was by German architect Joseph Fluck who with input LSI Systems (I) Pvt. used iGuzzini luminaires.

In the Mumbai, Kemps Corner and New India Center stores they fitted recessed luminaires creating what almost seem like constellations in the ceilings, whilst the shop windows are lit with track-mounted Trimmer spotlights.

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Photographs: iGuzzini Archive 1.2. Kemps Corner 3. New India Center

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Projects

Cathedral Square comes alive again at night Florence, Italy

Promoter Florence Chamber of Commerce Sponsor Florence Municipal Government Office, Opera del Duomo Lighting design Illum Srl

Upgrading work was carried out on the lighting of Florence Cathedral and Piazza San Giovanni thanks to the initiative and support of the Florence Chamber of Commerce, which promoted a project for improving liveability in the historic - artistic centre of Florence. iGuzzini contributed by making available the best technical solutions for achieving the aims set by the promoter and designers. The project brought several challenges which iGuzzini had to handle after a rigorous comparison of the performance of its luminaires: from increasing lighting levels to more even lighting of the huge surfaces of the Cathedral; from improved colour rendering to, last but not least, the requirement not to add new installation points, therefore using existing ones, by replacing existing luminaires. To underline the magnificent facades of the Florentine architecture of the Cathedral, bell tower and baptistery, Maxiwoody floodlights were selected, whilst for the squares and pedestrian areas, Delphi wall-mounted luminaires were used with energy saving lamps. The project involved the Government Office, the Florence Chamber of Commerce and City Council, Silfi, Opera del Duomo, Illum Srl for lighting design and Tecnoengineering Srl for electrical design.

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Electrical design Tecnoengineering Srl System management Silfi

Photographs: Gabriele Mannelli 1. A bustling Cathedral Square 2. The new Cathedral lighting 3. How it looked before

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Projects

Cathedral Square comes alive again at night

4.5. The new lighting guarantees security and an attractive appearance

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Projects

ThyssenKrupp Headquartersp

Client ThyssenKrupp Real Estate GmbH Architectural design ARGE Architetti TKQ JSWD Architectural Firm Chaix & Morel et Associés

Essen, Germany

At the historic premises in Essen’s Krupp belt, the ThyssenKrupp group has erected its new headquarters. It brings together the admin offices which were previously spread over a number of different premises and will become the group’s nerve centre. The district’s architecture is based on the idea of a campus: no solitary element rises up from it, but rather it is a flat, flexible structure built according to a joint project by ARGE Architetti TKQ, JSWD firm of architects and Chaix & Morel et Associés. The individual buildings nestle in a green area with lawns and trees. Connected by short pathways and small squares, the buildings are alongside a central lake.

The motif linking all of the buildings on the campus is the principle of overlapping the outside and the core. Metal fabrics, pierced sheet metal, sunshade strips and large, coloured, smooth sheet metal pieces are used to create many of the buildings’ surfaces. There are some areas with glazed facades.

The changeable daylight brings variety to this mixture of transparent, solid and intermittent layers.

A lighting idea carefully designed by the Licht Kunst Licht firm guarantees that these architectural choices also work during the evening and at night.

The attraction of this area is mainly due to the indoor lighting of the buildings which filters out, and a perception-changing solution adopted for the outdoor zone. The central lake at the ThyssenKrupp headquarters plays a key role in the lighting of the outdoor plants. At night the Q1 main building is reflected by the lake and the light reflected from the lake back onto the facade of the building creates ever-changing volumes and depths. Careful selection of the outdoor luminaires means that the look of the buildings isn’t compromised, avoiding unwanted reflections and intrusive light points.

Along the two main paths, one large for pedestrians, on the left of the lake and the “Allee der Welten“ on the right with 15 types of trees from five continents, Delphi luminaires are installed, with a double optical assembly and excellent anti-glare features.

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Lighting design Licht Kunst Licht Electrical system installation August Neugebauer GmbH & Co.KG Partner Assistance iGuzzini illuminazione Deutschland

Photographs: Christian Richters, Lukas Roth 1. Main building facing the large pools lit with Delphi luminaires 2. By day 3. La Allee der Welten

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A specially developed adjustable optic allows the luminaires to be flexibly angled in both directions.

The designers opted for theatrical lighting with a clear light/dark contrast. Roads for vehicle traffic are lit to legal standards using Delphi luminaires with a street optic. This project won an award in 2012 for the best street lighting project in the â&#x20AC;&#x153;Der Deutsche Licht Design - Preisâ&#x20AC;?.

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Projects

A new BioCity theatre in NĂŚstved

Client Nordisk Bio Contractor KPC Interior designer Confect

NĂŚstved, Denmark

Nordisk Film, a company in the Egmont Group, is a leader in Northern Europe in the sector for the development, production and distribution of creative content of films and electronic games.

It holds the Northern European distribution rights for Sony PlayStation and owns movie theatres in Denmark and Norway.

More importantly, the Nordisk Film production and post-production sites are used by many Northern European film companies.

The latest structure to become part of the group of Biocity cinemas is BioCity glittering multi-screen movie theatre with an excellent

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digital audio system and ultra-sharp digital projection. A cinema in which highly energy efficient lighting creates a thrilling atmosphere, without compromising colour reproduction.

A solution that is practically maintenance-free.

The special scene setting begins even before you enter the cinema: the concrete facade is decorated with lighting effects that look like stars, obtained using a special version of Glim Cube luminaires. The area in front of the cinema entrance is lit with Maxiwoody RGB pole-mounted floodlights for coloured, changeable effects.

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Installation Alpha Electric Partner Assistance iGuzzini illuminazione Danmark

Photographs: Ole Ziegler 1.2. Outdoors, with lighting effects created using Glim Cubes and Woody coloured luminaires 3. The movie theatre inside 4. One of the waiting areas

The glass front is lit by pendant Le Perroquet luminaires. When you enter the hall you see the huge Nordisk Film logo and many images from old films, which are also arranged along the corridors lit with Deep Laser and Pixel Plus luminaires. Inside the movie theatre itself, great care was taken to create a welcoming atmosphere. Warm colours were used in wall-mounted luminaires which provide diffused, comfortable lighting. Grazing light is used on the big screen, directed at a sharp angle in order to highlight the texture. Also to create a warm effect these grazing lights must be close to the surface.

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Projects

New public lighting for Leicester Square London, UK

Client Westminster Council Landscape Design Burns & Nice Lighting design Burns & Nice Arup Lighting Hyder Consulting

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The study and production of new lighting for Leicester Square was part of a general makeover project for the area.

In particular, the lighting design aimed to create a sense of security for people using the gardens after dark, illuminating the paved areas and the central statue of Shakespeare. The lighting set-up is fully compatible with the police CCTV systems monitoring the square.

By day, the visual impact of the luminaires had to be minimised: three poles in the central circle and four smaller lighting columns at the garden entrances. From these points they can light both the paved areas and the fountain and statue which is the centrepiece of the gardens. iGuzzini created a bespoke system of lighting columns, using a set of 12 W neutral white LED floodlights, arranged in clusters in the shaft of a

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Partner Assistance iGuzzini illuminazione UK

Photographs: James Newton Photographs 1.2. The busy square with new lighting

light column. It’s an elegant solution which by day has a minimalist look and blends seamlessly with the garden surroundings, but at night is both functional and attractive. The groups of luminaires are positioned at various heights behind transparent polycarbonate screens. Each luminaire cluster is fitted with a DALI dimmable LED driver, at the base of each lighting column behind the access door, controlled by a remote control system that allows the lights to be dimmed and brightened as required by the end customer.

At night it is an “avenue of light” which lights the paved area by directing the individual luminaires in the group towards a specific spot on the ground. Thanks to the special optical features of the LED floodlights, the light only falls where it is wanted, hardly touching the adjacent lawns.

Vertical brightness boosts the sense of safety in what can generally be called a well-lit area, without compromising the visual interest and definition of the statue.

The largest lighting columns positioned around the central statue hold a total of 20 optical elements in 4 groups. One group on each column lights the fountain and the statue of Shakespeare.

Additional spot lighting is obtained using groundrecessed LED lights which illuminate the canopy of plane trees lining the gardens and at night help to create a marvellous backdrop.

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Braine L’Alleud lights two real gems

Projects

Braine L’Alleud, Belgium

Client Braine L’Alleud Town Council Project management Braine L’Alleud town council town planner, Jean-Pierre Forget Lighting design Graine de Lumiere

As early as 2006 Vincent Scourneau, mayor of the Belgian town of Braine L’Alleud, always sensitive to the need to make the most of the town’s heritage, having been informed about the performance of new LED lamps, decided to make use of them to light the architectural monuments in his town. The Ophain Church was the first monument to get lighting that would show it off in the best possible way. As a result, its appearance at night is very different from how it is seen during the day.

Thanks to the artificial lighting several details are picked out and others are hidden with a playful and logical light and dark effect. As well as Linealuce T16, Light Up and Miniwoody discharge luminaires, using traditional lamps, Miniwoody and Woody LED luminaires were used.

The lighting designer decided to use the colour blue to emphasise the two slate bell towers, adding a touch of magic that is further underlined in winter against a snow-covered landscape.

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Partner Assistance iGuzzini illuminazione Benelux

Photographs: Didier Boy De la Tour 1.2. The church 3. The town hall 4. Detail of the facade

In 2011, the Braine L’Alleud town hall was the second architectural monument to be lit up in attention-grabbing style. In this case Grain de Lumière® picks up even the smallest detail and provides a complete view of the building in three shades ranging from cold white, to earth, to the hot white of the skylights, passing through neutral white at the centre. Linealuce LED luminaires light the larger areas, whilst the Glim Cube range is used to bring out the architectural details.

The same blue as was used for the church bell tower is used on the town hall balcony, with Light Up Light LED luminaires. MiniWoody LED floodlights come out of the skylights and watch over the town. After these two jobs, the updating of the town’s lighting will continue.

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Projects

“Luca Signorelli. De ingegno et spirto pelegrino” exhibition

Curators Fabio De Chirico, Vittoria Garibaldi, Tom Henry, Francesco Federico Mancini

Umbria National Gallery Perugia, 21/04 -26/08/2012

Organisation Civita

Set-up Pro.Rest srl - Dino Sperandio

The last exhibition of works dedicated to a single subject, Luca Signorelli, a Renaissance master who worked extensively in central Italy from 1472 to 1519, dates as far back as 1953. That means the exhibition held in Perugia from April to August 2012 was an event which attracted the attention even of the New York Times.

More than 100 works were displayed, two thirds of them by the Cortona-born painter. Fabio De Chirico, Vittoria Garibaldi, Tom Henry and Francesco Federico Mancini were the curators of the exhibition, which was promoted by the Ministry of Cultural Heritage and Activities (Umbria Regional Directorate for Cultural Heritage and Artistic Historical and Ethno-anthropological Heritage), the Umbria Regional Authority, the Perugia and Terni Provincial Authorities, the Perugia Municipal Authority, The Castello and Orvieto City Councils, the Perugia Diocese, Castello and Orvieto Cities, by Opera del Duomo di Orvieto, by the Foundations of Casse di Risparmio di Perugia, Castello and Orvieto Cities, Chamber of Commerce of Perugia and Terni and

by Perugia University.

The show was split between three exhibition spaces: Umbria’s National Gallery in Perugia, the Works Museum in Orvieto Cathedral & Church of the Holy Apostles, and the Municipal Art Gallery in Castello. The section in Perugia’s Umbria National Gallery illustrated Luca Signorelli’s entire artistic career except for a few paintings he did later on, which were in the Castello section covering his artistic legacy.

The exhibition featured an environmentallyfriendly set-up: minimalist aesthetic solutions and the use of recyclable materials, biodegradable paints, photovoltaic panels and LED lamps.

Primopiano LED luminaires were fitted, using very high colour rendering lamps that allow an extraordinary perception of the works, as described by curator Vittoria Garibaldi.

This result was guaranteed with energy consumption of 700 W, supplied by the two photovoltaic panels.

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Photographs: Luca Petrucci 1.2. The low energy impact set-up

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Projects

Technogym Village

Client Technogym S.p.A. General contractor Maire Tecnimont S.p.A.

Cesena, Italy

Designer Antonio Citterio Patricia Viel and Partners

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The great thing about the area chosen for the Technogym Village is its proximity to the A14 motorway, Cesena junction.

Thanks to its extremely long zone overlooking the motorway, the factory has great visibility and company vehicles can get around easily.

The entire production area is lit with recessed Light Up 35W iodide luminaires.

The Technogym Village, made up of the office building, Wellness Center and R&D Centre laboratories, gives onto the park, designed by the beretta kastner firm of architects which also included some functional aspects such as vehicle circulation and visitor car parks.

The luminaires in this zone are non-invasive: the entire area with vehicle access has grazing light from small-body, stake-mounted iPro floodlights, fitted with an anti-glare visor.

Light Up accent lighting is used for the trees scattered throughout the park. Also outside, on the terrace of the wellness and reception area, Ledstrip luminaires are fitted on the containers and used with recessed luminaires to create perception-changing lighting.

The new office building runs parallel with the industrial building, 200 mm long, 4 floors high and with a total surface area of around 10,700 m2.

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Design group Augusto Barichello, Fabrizio Ferranti, Elenora Grassi, Barbara Soro, Andrea Ravogli, Stefan Kastner Structures Consultants Redesco Systems studio R.B.

Landscaper beretta kastner architetti On site structures Ing. Paolo Buratti

Photographs: Studio Senape - Marco Onofri 1. Exterior with grazing lighting on the road 2. The office buildingâ&#x20AC;&#x2122;s wooden roof

Carpentry Finnforest Merk GmbH

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Vertical distribution is guaranteed by three stairways, as well as a column with two separate lifts and a panoramic staircase. The main entrance is through the park, close to the most exclusive area, which includes the chairmanâ&#x20AC;&#x2122;s office and the auditorium. A huge curved roof made of laminated timber and the glass and timber curtain wall facing the park enhance the building whose remaining structure is a very simple and economical combination of prefabricated elements made of reinforced concrete and steel.

The timber roof is lit by 70 W Woody discharge floodlights with a wall washer screen.

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Projects

Technogym Village

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Inside the office building iGuzzini lit all areas except the actual operations offices.

At ground level below the Wellness Center is the restaurant - canteen, lit with recessed Pinhole luminaires using 20 W dichroic lamps, whilst in the food counters area Tecnica tracks and spotlights were used with halogen lamps as well as Pixel plus recessed luminaires.

The lifts exit area, corridors and bathrooms were lit with 35W Deep Minimal luminaires.

The staircase, which is the buildingâ&#x20AC;&#x2122;s key feature, has a spectacular solution: it is itself a luminaire

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3. The staircase. The key element of the office building 4. The restaurant - canteen

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thanks to the Barrisol covering the bottom of it.

Inside the Barrisol several RGB Ledstrips create variable and coloured light, in Technogym yellow and 3000 K white which is the colour temperature used to light the entire complex.

The Ledstrip luminaires are arranged in the staircase to obtain uniform lighting over the surface. Other Ledstrips are floor-recessed, made by working together with the company that produced the glass partition walls.

The construction is completed by the â&#x20AC;&#x153;Wellness Centerâ&#x20AC;?, a building with an elliptical plan

covering around 2,700 m2 immersed in the park and linked to the offices close to the main entrance. The two-storey structure houses a gym and a swimming pool, completely made of laminated timber and transparent to the outside of the park. The actual Wellness zone has a first level for the reception lit by 70W Frame luminaires, and a bar zone as well as a great deal of equipment, making it an excellent showroom. In the gym used by employees, the lighting is from pendant Composit and Central luminaires for general light.

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Company culture

Light & Building 2012 Frankfurt, Germany 15-20 April 2012 Hall 3.1 E31

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For its part in Light & Building 2012 iGuzzini boosted its collaboration with art director Giancarlo Basili, with whom it had worked on the Italian Pavilion in Shanghai and the “Bob and Nico” exhibition, about the human and artistic adventure of Roberto Benigni and Nicoletta Braschi. The company relied on the sensitivity and depth of one of the leading Italian cinema art directors to create a space that represented products “Made in Italy”, with references to the pleasure of spending time together, a multilayered culture, but also open towards the future, and even able to anticipate it. This is how Basili himself described his design. “The idea for this exhibition space came from the relationship

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Photographs: Max Shulz, iGuzzini Archive 1.2. The stand full of visitors

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between creativity and high technology which is what makes iGuzzini stand out: using 3D and real images I wanted to show off the company’s creative strength. A symbol of technology in constant flux, a great LED-lit video-floor, at the centre of the space, runs on a loop impressive images of Italian scenery. An emblem of Italian art and culture is provided by the hyperrealist reproduction of the famous Mantegna fresco, “The Bridal Chamber” which hangs from the ceiling.

The painting made using a technique that faithfully reproduces the original turns the visitor’s attention to the relationship between nature and the major architectural achievements of the past, a relationship that is constantly explored

by iGuzzini. A 6m x 3m plasma wall, set along the back wall, projects a series of videos guiding visitors through the discovery of the iGuzzini universe, from idea to design development, using interviews with the main people involved.

There are two large side galleries, a theatre of indoor and outdoor products, accompanied by dramatic projections with details of every aspect of the luminaires on show. The specially-made film clips describe the object and enlarge it but visitors can also handle the products themselves, as they stand on a table, like a work of art. Visitors were also offered a “Lighting Experience”, with the chance to experiment with lighting effects created using the luminaires in a purpose-designed tunnel.

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Company culture

iGuzzini sponsor of “City of Light-Jyväskylä” 2012

The second “City under Microscope” event, organised by the LUCI association was held in Jyväskylä, Finland, from 19 to 22 September 2012.

LUCI (Lighting Urban Community International) is an international network, set up in 2002, which brings together cities and lighting professionals committed to using light as one of the main elements for urban, social and economic development, with a special interest in sustainability and the environment. It now has almost 100 members, amongst cities on all continents and professionals.

The LUCI “City under Microscope” events initiative allows participants to take an in-depth look at the lighting strategies of one of the member cities, over a 2 day period, with field trips and technical conferences about temporary or permanent lighting projects.

Jyväskylä is the city of light furthest north out of LUCI members and every autumn it hosts “City of Light”, the only event in Finland dedicated to urban lighting. On this occasion it hosted a seminar dedicated to lighting parks and gardens which was attended by nearly 100 landscapers and makers. iGuzzini has always had an interest in these subjects and sponsored the event.

One of the installations visited by participants was the new lighting set up using Wow luminaires in the city centre.

For more information www.luciassociation.org/luci-home-cum-jyvaskyla.html www.cityoflight.jyvaskyla.fi

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Company culture

ET Acetech 2012 Mumbai, Mumbai Exhibition Center 18 - 21 October 2012 Hall 3.1 E31

A new space for the application of light in New Delhi

Passeur de lumière Eric Michel au Couvent de la Tourette, Eveux 9 February - 31 March 2013

iGuzzini illuminazione took part thanks to its dealer in India, L.S.I. System, India at ET Acetech 2012, held at the Mumbai Exhibition Center from 18 to 21 October. This trade fair is the most important not just for India, but also for the whole of South-East Asia, dedicated to all companies involved in construction: from building contractors to companies selling bathroom accessories, from water treatment systems to lighting. On 19 October in particular there was a seminar about lighting which LSI system took part in. There were more than a million visitors and over 1300 exhibitors. LSI System’s presence was a big success. The most popular luminaires were Laser Blade, Linealuce compact and mini versions, iWay and Lun Up.

LSI, iGuzzini’s dealer in India, opened a new concept store in New Delhi, presenting the latest technologies regarding lighting and light control systems. Inside the store areas were created for demonstrating lighting solutions for all types of environments, such as the home, office, retail spaces, and art displays, as well as, outdoor and facade luminaires. The lighting applications shown at these points help provide people with a better understanding of the language of light.

Light is central to Le Corbusier architecture.

To him, it was a material like concrete, to be used for building structures. At La Tourette, designed by architects Le Corbusier and Xenakis, the focus is firmly on light.

Eric Michel, who has spent many years working with light as his material was a natural choice.

Through his works and installations, the artist prompts us to experiment with light. He uses it to cast doubt on our relationship with reality, deftly playing with the dividing line between what is real and what is not. iGuzzini illuminazione France is sponsoring the show and will take part in the “Light talks Architecture, art and light” meeting held on 16 February.

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Social strategy. iGuzzini officially opens its Facebook and Twitter accounts.

In 2012 iGuzzini decided to start using company pages on Facebook and a Twitter account.

The decision to do this was linked to the communications strategy adopted since 1982, which aims to emphasise the importance of the correct use of light on people’s quality of life.

It’s a strategy that in recent years was summed up with the slogan ‘Better Light for a Better Life’, which over the years resulted in adverts based on the social and cultural values of a top quality lighting design.

A good lighting project requires the cooperation of a group that shares these goals: from the clients to the architect to the lighting designer to the fitter.

A team able to create spaces in which artificial light plays a major role in guaranteeing the best quality of life for those who live in such areas. iGuzzini now sees social networks as an opportunity to continue this winning strategy:

Facebook and Twitter are where internet users spend most of their time online.

In the spring of 2012, when we started setting up the pages for the various branches, Facebook had more than 900,000,000 users. Now that figure is more than one billion. Social networks bring together both lighting project professionals and those people who benefit from the quality of light. Thanks to our online presence, iGuzzini doesn’t just continue communicating its values but, unlike in the past, can develop direct relationships with everyone. At the moment we have active Facebook and Twitter accounts for the branches in France, the UK and Spain, whilst those for Italy are coming soon. At international level, there is also an iGuzzini channel on YouTube, with around 200 videos, which has had more than 120,000 hits, and Twitter, with around 1200 followers.

iGuzziniFrance iGuzziniIberica iGuzziniUK

@iGuzziniUK @iGuzziniFrance @iGuzziniIBERICA @iGuzzini iguzzinispa

Neon - Who’s afraid of red, yellow and blue?

Maison Rouge, Paris 17 February - 20 May 2012.

From 17 February to 20 Many 2012 Maison Rouge, one of France’s leading contemporary art galleries hosted the first large international exhibition on the use of neon in art from the 1940s to the present day, presenting more than 100 previously unseen works of art.

To mark the occasion, iGuzzini France promoted an initiative linked to its Facebook page, setting up a competition: visitors to the exhibition could take part in a competition to win a Pizzakobra, by answering questions about “neon”.

There were 340 entries, and the winner was selected by Antoine de Galbert, founder of Maison Rouge.

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London Velonotte 23 June 2012, London

In summer 2012 iGuzzini put on its first social event by taking part in London Velonotte. iGuzzini UK sponsored the London edition of an event which has been a critical success in many cities around the world: Velonotte, devised by Sergey Nikitin, allows those taking part to enjoy the cityâ&#x20AC;&#x2122;s architecture in a unique way: riding a bicycle, late at night. During these visits the guides work alongside experienced architects who illustrate the buildings. There have already been versions of Velonotte in Moscow, Rome and St Petersburg.

In particular, the London event covered the East End of London, which is constantly changing, with several stops at the Olympic Park, the latest new feature in the area. During the tour, architects and historians like Peter Ackroyd, Richard Rogers, Ricky Burdett, Peter Murray and David Adjaye guided participants by appearing on the partner radio station Resonance FM.

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I. 2013

Incontroluce Six-monthly international journal of lighting culture Year XV, 26 Editorial office Centro Studi e Ricerca iGuzzini Fr.ne Sambucheto, 44/a 62019 Recanati MC +39.071.7588250 tel. +39.071.7588295 fax rc@iguzzini.it iGuzzini illuminazione spa 62019 Recanati, Italy via Mariano Guzzini, 37 +39.071.75881 tel. +39.071.7588295 fax iguzzini@iguzzini.it www.iguzzini.com 071-7588453 video Graphic design Studio Cerri & Associati Editor iGuzzini illuminazione spa Contributions to this edition were provided by iGuzzini illuminazione Benelux Bvba/sprl iGuzzini illuminazione Danmark iGuzzini illuminazione Deutschland GmbH iGuzzini Illuminazione Espa単a S.A iGuzzini illuminazione France S.A. iGuzzini illuminazione Schweiz AG iGuzzini illuminazione UK iGuzzini Lighting North America Lighting System Italy (1982) Ltd Mondoluce, West Australia (W.A.) Cover photograph Richard Pelletier - Mairie de Chaumont Printed: March 2013 Tecnostampa, Recanati

The editorial team is not responsible for errors and omissions in the list of credits relating to projects and supplied by collaborators.

Any additions or corrections will appear in the next issue.

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Satoshi Uchihara / Richard Meier & Partners / Piero Castiglioni / Guido Bianchi / Maurizio Ciavolella / Eddy Vahanian / Jean François Touchard / DETP scprl / J.Depelsenaire, Hernalsteens & Mousse Architectes / Emilio Vicedo Ortiz / Manuel Lillo Navarro / City Design / Wood & Grieve Engineers Pty Ltd / Architectural Firm Höger / ORMS Architectes / CREATIVS / Elio Ostinelli / Elettroconsulenze Solcà SA / Kohn Pedersen Fox / Illuminating Concept / Oxford architects / GIA Equation / Mata Design Studio / Daoust Lestage / Eclairage Public - Gilles Arpin / S.IN.TER. Spa - Alessandro Chimenti, Alessandro Moroni / Joseph Fluck / Illum Srl / ARGE Architetti TKQ / Architectural Firm JSWD / Chaix & Morel et Associés / Licht Kunst Licht / Confect / Burns + Nice / Arup Lighting / Hyder Consulting / Jean - Pier Forget / Graine De Lumiere / Pro. Rest Srl - Dino Sperandio / Antonio Citterio Patricia Viel and Partners