Page 1

my light

my light

DEAN SKIRA

DEAN SKIRA

my light

DEAN SKIRA

ISBN

www.lupetti.com

www.oris.hr

978-88-8391-330-3

9 788883 913303


my light

DEAN SKIRA


my light

DEAN SKIRA

TO my Stars, that shared the good and the bad on this path, my team of associates, my light warriors. TO my Sun and my Moon, Elza and Lino. TO the Light of my life, Sonja and Ema.

To all those people I encountered on my journey, which influenced emotionally and professionally whom I have become. To those who broth me joy and those who broth me disappointment and pain. To all the architect and designers who shared my vision and investors who believed in it. Thank YOU


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my light editor/ Tamara Zamelli konzultant / Andrija Rusan design and layout / Tatjana Malnar Pocrniº revision and proofreading / Nick Saywell translation / Lidija Zoldoª, Daniela Biliº Rojniº naklada / 2000 printed by / Printera

© 2010 Lupetti - Editori di Comunicazione Editori di Comunicazione srl Via Malachia Marchesi de Taddei 3 – 20146 Milano Tel +39 02 202025 – Fax +39 02 20404340 redazione@lupettieditore.it www.lupetti.com Distribuito da Messaggerie Libri

isbn 978-88-8391-330-3

© All rights reserved. The reproduction of any part of this book without the express written permission of the copyright holder is forbidden.


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preface

my light

projects

events

people

index

contents


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preface

preface

PIERO CASTIGLIONI


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preface

Last thirty years have been marked by countless events and new perspectives in the field of illumination. As a matter of fact, the period following the year 1968 witnessed a great desire to break away with cultural and formal systems. After the years of recession, the end of energy crisis has brought about a revival of certain traditional values such as home, family, work, social stability, free time, and everyday hedonism. A renewed interest has been focused on lighting engineering. It is substantially still concentrated on the original rationalistic formulations combined with an increasingly precise ergonomic knowledge and associated with an exact vision of problems of ecology and energy resources. Respect for man, his needs, his health and daily comfort have again become indispensable elements of every project. Major light and appliances manufacturers have progressively adjusted to the increasingly more aware market. Consequently, they organize seminars and courses designed to update new laboratories of lighting engineering design and photometry. Development of technology and the respective line-up of resources present the designer with an increasingly wider range

of possibilities of choosing among light bulbs and components, complete with rather precise and accurate information and good assistance of manufacturers. In particular, we witness the co-existence of most varied formal factions, some of which are openly antithetic: certain decadentism on one hand marked by exasperating decorativism; on the other hand, there is a tendency of emphasizing product engineering. The latter is primarily spurred by the adjustment to more rigorous norms, the search for reducing production costs and the demand of more advanced technological performances. Formal aspects of this tendency are sometimes emphasized by the identification of the object with the aspect of “machine,” oftentimes hyper-expressed through an excessively complex image constructed with goniometric networks, true or false regulation handles, countless and often pleonastic and basically useless accessories, an aggregation of several identical multiples or polyfunctional elements in the same item of illumination. In fact, we are witnesses to a qualitative evolution of sources: energy saving, typological differentiation, productive integration with optical control systems, reduction of harmful or parasite emissions, higher output and longer duration of life, and the

resulting economization of maintenance costs. In terms of performance of appliances, we can notice an evolutional growth of electronics and IT systems applied to supply and control components and use of composite materials aimed at resistance and dissipation with respect to thermal values, besides recovery and reuse of traditional ones. **** Eight years ago, I met Dean on the occasion of a conference I had in Zagreb. I was very impressed by his explosive enthusiasm for the world of light, by his knowing how to find a symbolic value of objects and emphasize it by means of illumination. We have become friends who share basic concepts and project objectives. Attention for light design and sensitivity for measured operation of illumination are probably principal qualities that have made our cultural relation firm. Project sensitivity is an ability to converse with places, with monuments, with architecture and to value them through proper use of light. At times, what matters are dynamic effects or use of colour, otherwise, such effects are mere superfluous overlapping and they produce an absolutely negative result. Therefore, each project has to be calibrated to its respective

subject. Another element essential for lighting engineering project is understanding its user, the man. In fact, humanistic aspect has to be the engine of each and every development of ideas at all times, and people, those who see, are substantially the true end users. The house of light in Pula was Skira’s act of bravery in Croatia, a highly successful realization that met notable consent of architects and designers, an indispensable focal point for information and knowledge about lighting engineering, perhaps unique in Europe. Dean’s role in the international field of illumination is indisputably essential, and it has been confirmed by international awards. I wish that many other countries might have his experience and that numerous light designers might follow in his footpaths with the same courage. Best wishes to him and his staff!


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Gli ultimi trent’anni sono stati, per il settore della illuminazione, carichi di avvenimenti e di prospettive. Gli anni successivi al ‘68, infatti, presentano una grande volontà di rottura dei sistemi culturali e formali. Dopo gli anni della recessione, superata la crisi energetica, vengono riproposti alcuni valori tradizionali quali la casa, la famiglia, il lavoro, la sicurezza sociale, il tempo libero, l’edonismo del vivere. Nasce un rinnovato interesse per l’illuminotecnica, sostanzialmente ancora attestata alle prime formulazioni razionalistiche, unito ad una conoscenza ergonomica sempre più puntuale ed associata ad una visione precisa e preoccupata del problema ecologico e delle risorse energetiche. Il rispetto per l’uomo, per le sue necessità, la salute e il comfort quotidiano, tornano ad essere elementi imprescindibili da ogni progetto. Le maggiori case produttrici di lampade e di apparecchi si adeguano progressivamente ad un mercato sempre più consapevole e organizzano, di conseguenza, seminari e corsi di aggiornamento da affiancare ai nuovi laboratori di

progettazione illuminotecnica e di fotometria. Lo sviluppo tecnologico e la conseguente messa a punto delle sorgenti offrono al progettista una gamma sempre più vasta di possibilità di scelta sia di lampadine che di componenti, corredata da un’informazione abbastanza precisa e puntuale e da una buona assistenza generale da parte dei produttori . In particolare oggi registriamo la coesistenza di svariate correnti formali alcune delle quali in aperta antitesi tra loro: da un lato un certo decadentismo, improntato dall’esasperazione del decorativismo, dall’altro la tendenza a sottolineare l’ingegnerizzazione del prodotto. Quest’ultima è motivata soprattutto dall’adeguamento alle normative sempre più rigorose, alla ricerca del contenimento dei costi di produzione, alla richiesta di prestazioni tecnologiche sempre più avanzate. Gli aspetti formali di questa tendenza sono talvolta evidenziati dall’identificazione dell’oggetto con l’aspetto “macchina”, sovente iperespresso mediante un’immagine troppo complessa, costruita di reticoli goniometrici, di vere o false manopole di regolazione, innumerevoli accessori spesso pleonastici, e sostanzialmente inutili, dalla aggregazione di più multipli identici o con elementi polifunzionali nello stesso corpo illuminante.

Assistiamo all’evoluzione qualitativa delle sorgenti: risparmio energetico, differenziazione tipologica, integrazione produttiva con sistemi ottici di controllo, riduzione di emissioni nocive o parassite, rendimenti più elevati e maggior durata della vita, quindi economizzazione dei costi manutentivi. Riguardo alle prestazioni degli apparecchi rileviamo l’incremento evolutivo dell’elettronica e dei sistemi informatici applicati ai componenti di alimentazione e di controllo, all’impiego di materiali compositi, mirati alla resistenza ed alla dissipazione rispetto ai valori termici, oltre al recupero ed al riutilizzo di quelli tradizionali.

Sensibilità progettuale significa poter dialogare coi luoghi, con i monumenti, con l’architettura per valorizzarli attraverso un corretto uso della luce, talvolta sono utili effetti dinamici o l’utilizzo del colore, in altri casi tali effetti rappresentano una superflua sovrapposizione e producono un risultato assolutamente negativo: ogni progetto deve essere calibrato al soggetto a cui è destinato. Un altro elemento essenziale al progetto illuminotecnico è la considerazione del fruitore cioè l’uomo: l’aspetto umanistico deve sempre essere il motore di ogni sviluppo di idee, la gente, chi vede, è in sostanza il vero utente finale.

****

La casa della luce a Pola è stata la coraggiosa sfida di Skira in Croazia, una realizzazione di grande successo che ha riscosso notevoli consensi tra architetti e designers, un polo assolutamente necessario per l’informazione e la conoscenza del progetto illuminotecnico, caso forse unico in Europa. Il ruolo di Dean nel panorama internazionale dell’illuminazione è sicuramente essenziale ed è confermato dai premi internazionali ricevuti, mi auguro che in molti paesi possa ripetersi la sua esperienza e che molti light designers con lo stesso coraggio seguano la sua strada. Auguri e complimenti a lui ed al suo staff!

Otto anni fa incontrai Dean in occasione di una mia conferenza a Zagabria, fui molto impressionato dal suo esplosivo entusiasmo per il mondo della luce, il suo saper cogliere i valori simbolici degli oggetti per poterli mettere in risalto con l’illuminazione. Siamo quindi diventati amici avendo medesimi concetti di base e scopi progettuali, l’attenzione per il design delle lampade e la sensibilità di una misurata gestione dell’illuminazione sono probabilmente le principali qualità che hanno reso solido il nostro legame culturale.


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inspiration

light is my shadow light is my shadow

Dean Skira


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inspiration

If this is my day of harvest, in what fields have I sowed the seed, and in what unrembered seasons? If this indeed be the hour in which I lift up my lantern, it is not my flame that shall burn therein. Empty and dark shall I raise my lantern, And the guardian of the night shall fill it with oil and he shall light it also. Kahlil Gibran (Prophet)

Light.....the invisible form, revealing all other forms and creating another form we call shadow. Magic we simply call light surrounds us and our very existence in every moment of our life. As Loius Khan said: „All material in nature, the mountains and the streams and air and we, are made of Light which has been spent, and this crumpled mass called material cast a shadow, and the shadow belongs to Light.“ There are moments in life that seems so unimportant at the time when they are actually happening, but the impact of those moments last a lifetime. I remember clearly the moment when „light happened to me“. When I was about 12 my room was on the ground floor in my family home in Pula Croatia. I already had red painted fluorescent tubes under the bed and Edison bulb under the table cloth. I would create my own scenes and enjoy those moments alone, actually dreaming with my eyes opened, laying on the floor and creating pictures in my head that projected the distance future. I always knew that my world will gravitate around architecture but did not know that it will take a form of a light. ????

It was back in 1987 when I entered Eduardo s lighting showroom where the door of the new bright world opened the up for me. I was 25 at the time and I lived in NYC for a year by then. The reasons why he hired me remain a mystery to me, but soon we both realized that it was a choice that changes both of our lives forever. And that is how I opened my eyes and began to „see“the light. Eduardo is still a great friend, and one of those people that paved the way with light for me. At about the same time there where alos pople who strongly influenced my life who i never actualy met. It is mr.Earl Nightingale who made me understand that i am solely resposible for my present and my future simply putting in one magic word „attitude“, and dr.Wayne W. Dyer who made me believe that „there is no way to happiness -----hapiness is the way“ . The story is long, and I may tell it in some other occasion. Today, 22 years later I have so many stories to tell. I am definitely not one of those people that live blissfully ignorant of passion. Passion is the strongest ingredient of my existence and makes part of every venue I took in life. I believe that as the world technologically „progresses“the emotional contest

is always going to be the key and that is why I use all the technology available today as my brush that paints light on the black canvas of the night. Light is not turned on for architecture, for streets or historic buildings; it is for the people that live in that space. As we create more and more norms, standards, regulations which are mostly numeric, we lock ourselves in the quantitative part of our profession and the creative, free spirited, norm bending approach, sometimes is not widely excepted. Maybe people by our nature fear the different or whatever is beyond standard and simply feel safe within the boundaries of norms and standards. The big picture for me is different. It been said too many times that lighting design is both art and science. It is truth. It is the synergy of technology, scientific discoveries and inspiration of an artist that brings the truth emotional impact in those who lives in the lighted space or view the object. We tend to notice beautiful sunsets and purposely go on the sea shore to enjoy it. But we rarely walk inside the building to enjoy impressive lighting scenarios. In theaters it is „normal“ not to notice the great effort a lighting designer has done because it is expected and most people don’t even think about it. Our homes and offices should create the similar emotional impact at night. Creating scenes of light that relax us, allows comfortable reading while other are watching

TV or eating. Enable us to perceive the painting on the wall or sculpture as the light source. Having the possibility to dimm or turn on the light above our desk in the office and have individual control over light in our working environment. Relationship between intensiti, direction and clor determines the form of the oject within the space which is also dependent on light. It is the light that becomes matter, when it finishes being light. All matter is light.Light is the source of being.LOUIS KAHN The majority of people think of lighting as purely technical and solely functional discipline with its main function to able us to see after sunset. In recent years lighting specialist and other scientific society discovered a considerable effect of artificial lighting of physical and mental well being of all living thinks. In the case of human beings, light has considerable effect on our emotions. Space is annulled by darkness. If light is eliminated the emotive content of space disappears (Sigfried Giedion). Following such strong statement it is simply clear that our


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inspiration

profession has a profound impact on our every day (night) life and is becoming not only purely artistic or purely technical but also very responsible profession since it is touching the essence of our existence which differentiates us from other living beings. Light is almost always used to illuminate something, to create atmosphere by relationship between darkness and light reflecting from an object .

And why are we using the word ’artificial’….all the sources create light by some natural chemical or physical process. Men just learned how to use natural processes and with help of electric energy created light.

This relationship determines the form of the object, its color and texture, within the space itself, which is also dependant on light. Creating with light, means understanding the relationship between darkness and light.

Sun is naturally dynamic and uncontrollable source, artificial light is usually controllable and definitely predictable. If lighting specialist is involved in the project and has the open hands to use its knowledge and experience.We live in time where artificial sources allow as many posibilities for creativity and expresion as the sun itself.It is time to abandon the old ways of “making light” solely by calculating its quantity and start to “illuminate” our living space according to architectural and functional needs of inhabitants. We should never loose from our sight the main issue-- light improves quality of our night life, gives our space “better look” and makes it pleasant to live in. Most importantly, good lighting makes us feel better.

We need the right visual comfort in order to feel good!In too many ocasions we talk about light as the only tool to accentuate architectural space and detail. Recent unfortunate historic event 9-11 in NYC gave the opportunity to some artists to use light which unveilig itself created some unforgetable emotional experience.Two light beams instead of Twin Towers stood in the dark pointing in the sky. I am sure that every one who had the chance to see it, could not remain untouched by this spectacle created solely by light and mist in the air. Emotions where trigered beyond the two rivers that surround Manhattan. Light was used to create form – light itself became a form. Which words and symbols can we use to explain the language of light.? Musicians have their language using words like harmony, order, dynamics…and there are specific symbols to define the words. What about our lighting language? We use words like color temperature, glare, intensity, contrast…and what is the common denominator of both these artistic disciplines…it is emotions… that we create for people using the spaces we illuminate. Natural sources had this effect on us since the beginning of time, but what about artificial ones?

Metaphorically, inventor simply put the light source it in the glass envelope for all of us to use.

Light fixture or envelope around the source itself is the list point of my interest. It is usually just a decoration which sole purpose is too look appealing and decorative. That is why decorative lighting fixtures also need to be chosen well for their optical function especially to avoid unnecessary glare. It is very important to avoid creating lighting “noise” in our nocturnal environment be it city plaza or our living room. Lighting is like every other building material. Architecture for people is unthinkable without some source of „artificial“ light. The great challenge of every lighting designer is to abandon the role of trend and industry followers and marketing trends. Our role as advocates of quality and sustainable design should mainly head towards consultants to law makers and become problem solvers to all involved in urban and architectural

creations which affect us all for long time. Definition of architectural lighting itself means permanent installations where the initial cost should be the least important issue. The psychology of light includes an understanding of perception, luminance contrast, and subjective impressions of space. It is possible, of course, to simply introduce general illumination into a space to permit vision, but it is the emotional impact of an appropriate lighting system that provides the substantial challenge to the creative designer. Rules are substitute for thinking. I think that we should reconsider our way of thinking when we try to save our environment and ask our selves is this just another marketing strategy from lamp manufacturers to profit more by selling more expensive light bulbs. It is 21st century, demand for energy of all kinds will be greater every day, population and economic development is expanding rapidly. My opinion is that we should focus on finding clean and abundant energy sources instead of giving up on light created by heat since the day man invented fire and at the same time poison our environment and one of the most important and basic needs for pure survival which is water.What about “lighting pollution”…it effects our health and well being. Yes it does, but the question is: did we exaggerate in solving the problem by turning off the lights or living in the space illuminated by high or low pressure sodium lamps in historic city centers. Is it unrealistic to think that we can have true night sky and stars and at the same time feel secure in our streets in our urban landscape? The nighttime illumination of our buildings, statues and monuments is not going away. Asking the retail, advertising industry not to use illumination at night will meet tremendous opposition. Roadway and security lighting is not going to vanish, so we can conclude that in this case is all about priorities and publicly responsible design. Lighting design and regulations should be left to the professionals in lighting industry who can balance the need of good lighted space considering all aspects of environmental benefits and human needs.

Physiological and psihological effects, sustainability, architecture, marketing, communications, daylight, lighting technologies and light controls – all make unseparable part of lighting design profession and requires competence in all these areas . We can not view this profession simply as black or white but as complex and responsible profession since it is touching the very existance of our lives. We live in the world of “quantity “, where still exist a strong feeling of constructive discontent by creative individuals who are the driving force and inspiration for others to bend the rules and make the most of available knowledge and technology to “spread the word” of quality. We do not design lighting for architecture but for the people that live in it MAY THE LIGHT BE WITH YOU! Dean S.


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projects

town of buzet ⁄ medieval castle and church, grobnik ⁄ city tower, rijeka ⁄ town of porecˇ ⁄ four seasons hotel baku, azerbaijan ⁄ the grand villa argentina hotel, dubrovnik ⁄ novi spa, novi vinodolski ⁄ hotel and park eden, rovinj ⁄ hotel maestral welness center ⁄ kempinski skiper complex, savudrija ⁄

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arena zagreb ⁄ shipyard cranes,pula ⁄ lamp-post, pula ⁄ molo longo, rijeka ⁄ zg-pavilion 09 ⁄ drazˇen petrovic´ memorial centre, zagreb ⁄ novamed polyclinic, zagreb ⁄ zagrebtrans ⁄ moscow apartment ⁄ k apartment, zagreb ⁄ family house, matulji ⁄ house munte, pula ⁄ iluna ⁄ lumenart house of light


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Colour temperature layers Buzet 1999 decorative lighting warm

2200K hps

octagon fluorescent 5000+K bell room blue cobalt fluorecent tower 2200K existing public lighting

2200K hps

decorative lighting outer walls details

3200 MH

2200K Hps

public lighting outer pathway pedestrian only

public lighting motorway Hps 2200k

Town of Buzet programme / town walls lighting design lighting design / Dean Skira

Buzet - lighting the city of truffles

client / Town of Buzet

in every colour there’s the light. in every stone sleeps a crystal.

project / 1999 realization / 2001

“the cross of changes” - enigma 2

[…]Dean Skira started the project by analysing the personality and the position of the old town, bearing in mind that it is visited by thousands of tourists and travellers coming from all directions. The town walls deserved the same all-round attention, and Skira sought not to let the finances get in the way of the project. This is why the town council had to wait a few years for the project to be completed. Using different colours, Dean Skira has been able to capture the dynamic unevenness of the walls and to draw attention to the main gate and particular façades. To avoid any excessive glare which might subdue or even distort the

image, he had to remove the existing, only recently installed, lighting fixtures next to the city walls and replace them with cut-off optics. The new cold metalhalogen light bulbs can illuminate the walls even higher, accentuating and enhancing the architecture, not only through direct light, but also through the use of different colours creating a threedimensional effect. Different levels of the town are illuminated by different types of fixtures (bulbs). These rely on their technical and lighting features to create new relationships with the existing structure, using temperature to create contrasts and achieve the desired colour. The new town at the foot of the old has yellowish street lighting, and the old town on top of the hill had to be illuminated by a more dominant, colder light. The old town of Buzet first shone with the new light on Christmas night 2000,

thus creating a unique townscape. It was a spectacular moment in which the town unveiled the mystical quality of its ancient walls and churches. Set against the new town at the foot of the hill, it seemed unreal. High quality lighting, as has been shown once more, should observe architectural form, style and composition. Together, architecture and lighting help us to understand space and the environment[…]

Excerpt from the text by Neda Cilinger published in Oris, Issue 14, year 2002

2200K Hps


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Medieval castle and church, Grobnik programme / fortress and church lighting design lighting design / Dean Skira electric engineering / Godvin Poropat client / Community Cavle project / 2008 realization / 2009 written by Dean Skira

The road towards a new relationship between the country’s cultural heritage and the general public is certainly by illuminating historic monuments and other cultural assets. The case of lighting the medieval castle Grobnik and Catholic Church positioned on top of the hill above the main highway from Zagreb to Rijeka, was a natural choice by those who wanted to communicate the importance of this structure and its historical presence trough time. Relatively low levels of 2 different color temperatures white light was chosen

to distinguish the outer walls from the castle within and the church built next to it. Since there is strong contrast with no public illumination in the background or houses, there was no need to use hi power reflectors to bring the structure to life during the night hours. The main goal was to keep the mystery of the ancient walls and allow the light and shadow to play the role of static presenters of this structure.


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City Tower, Rijeka programme / tower lighting design lighting design / Dean Skira client / Town of Rijeka intastallation / Tehprojekt Rijeka project / 1999 realization / 2000 written by Dean Skira

If we continue straight down Ignazio Hencke Street, we reach the City Tower. Above the entrance to every fortified town, there was a clock tower. Up to the end of the 18th century, Rijeka was encircled by walls. The public, cultural and economic life of the town went on within these walls. There were two ways of entering Rijeka: through “The Gate of the Sea” and through “The Upper Gate,” which could have been approached over a wooden bridge above a water filled ditch. In the 17th century, there was an additional construction on the tower and a clock was added to it, thus the name the Clock Tower or Torre d’orologio. The people of Rijeka used to meet “sotto la torre” or “under the clock.” The tower was also decorated with inscriptions, coats of arms and busts of Habsburg rulers. This is why we can find the two-headed Habsburg eagle and an inscription dating from 1695 above the entrance gate. There are also inscriptions on the architrave, one of them evoking reminiscence of Leopold I. On June 6, 1659, he issued a charter granting Rijeka the right to use as its coat of arms the double-headed eagle, both heads turned to the same direction, standing on a vessel from which water flows. Under the coat of arms is the inscription INDEFICIENTER (meaning “inexhaustible”). This coat of arms is also on the tower. The second inscription recalls the visit of Charles VI to Rijeka in 1728. In 1750, Rijeka was struck by a disastrous earthquake. Maria Theresa allocated

funds for the town’s reconstruction and also approved general town plan for a new town (civitas nova), under the condition that the Old Town would remain untouched. A modern housing district was built in front of the town on a landfill. As part of this reconstruction, monumental portal was added to the City Tower. Reliefs of emperors, work of the Rijeka sculptor Antonio Michelazzi, adorn the crown of the portal. In 1784, the Town Council purchased clocks for all four sides of the tower from “the best clockmaker of Ljubljana.” These clocks were operational until 1873, after which date they were replaced by clockwork that had been exhibited in Vienna during an international exhibition. This clock is still running today. After the design by the architect Anton Gnamba, the tower was reconstructed around 1801: tambour and dome were added. The City Tower is a symbol of Rijeka. In 1890, the architect Filbert Bazarig gave the town a new touch of Historicism and covered it with the dome that is still there today. As a significant cultural monument, the City Tower was renovated and conserved in 1983. In 1999, the town of Rijeka announced competition for illumination of the City Tower and we were invited to participate. In opposition to the conditions of the competition according to which a detailed technical description was required, as well as gathering of all formal

and legal documentation, we decided to sent only one picture and this without description or any text whatsoever. We sent a photo simulation of the tower illuminated in the night. It looked how I see it and imagine it under the artificial light. Of course, I knew all the way how its technical realization should be like and hoped that the Department for Preservation of Monuments would accept this idea. We won. We were invited to transform this simulation into reality and not long after that it happened in reality. Difference between the simulated and real picture is quite small and it seems that we managed to realize the desired aim to everybody’s pleasure, at the same time abiding to defined criteria of the quality of light, thermal radiation on the very facade, angle and position of the lamp in relation to observers from the Corso so that flash could be avoided, as well as durability of the source and options for maintenance. In this way, a task that was rather small in scale, but quite demanding in technical terms and precise as filigree work, was realized with help of Photoshop and possibility of visualisation of a construction in the night.


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Porecˇ, Latin Parentium, was settled already in prehistoric times. The town was established by the Romans two millennia ago and it has preserved street plan of the Old Roman Castrum until present time (Decumanus and Cardo Maximus). The main pedestrian and tourist line enters through Joakim Rakovac Square and Square of Freedom into the main pedestrian corridor of the Decumanus Street on the Marafor Square which connects former defense walls of the old town with the waterfront. Numerous cultural monuments are situated in the old town: the Byzantium left the most significant cultural monument from the 6th century, Euphrasius Basilica, which is at the same time the most beautiful preserved monument of the early Byzantine art in the Mediterranean; also, a preserved Romanesque House is here; the Istrian Council House which used to be a Franciscan Church; bell tower of Euphrasius Basilica from the 16th century; eastern tower and the walls dating from the Venetian rule, as well as most beautiful palaces in the town from that period. The role of illumination in town centres is rather complex, in terms of demands for creation of a new and unusual appearance of a town which is entirely different from the usual appearance during the day. Here, it is necessary to take into consideration most minute details when planning lighting, as well as each individual situation which would contribute articulation of building heritage, and then create inspiring atmospheres and assemble a harmonious design solution for an integral programme.

town of porecˇ programme / urban lighting master plan lighting design / Dean Skira and associates client / Municipality of Porecˇ area / town with 35.000 inhabitants, during the summer 100.000 project / 2009 written by Dean Skira

Study of street lighting of the town of Porecˇ provides basic guidelines for creation of concrete design solutions for micro locations within the zone of coverage. Special attention was paid to the protection from light pollution. The study defines street lighting at the general level, following demands of: pleasant environment, identity of the town, safety, orientation and promotion of important contents. Guidelines

which are elaborated with this project refer to treatment of space and lighting fixtures, problem of flashing, brightness, gradation of light over surfaces, unnecessary illumination, interesting places and points throughout the town’s space, reflex reflection, and geometry of lighting source – application of light and perception, thus motivating socially responsible design of lighting.

In approaching the choice of solution, it is necessary to observe a number of situations, from the analysis of urban structures and summarizing zones of interest in the historical nucleus to the choice of perceptive models for its spaces that further require the very light design within terms of all technical demands which are standard in application. The main criterion of the old town lighting is accentuation of the mentioned buildings and building complexes, as well as correct valorisation of the open public space with all the access pathways. In terms of concept, the solution of lighting can be divided in three groups: 1 Lighting of the main tourist-pedestrian lines 2 Lighting of cultural monuments from several directions (which will highlight shadows and thus reveal constructional forms and materials) 3 Lighting of the walls of the old town, connected with the waterfront and Promenade Lungomare. green areas historical monuments squares main pedestrian directions lungomare and promenade


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The study of street lighting of the town of Porecˇ was made on the basis of the zone of coverage, determined by the General Town Plan of the town of Porecˇ.

The chart presents the zones of lighting.

The chart presents the existing and planned collector road of the town of Porecˇ. Minimal transversal profile of the future collector road is 11 m in total.

The chart presents zones of combined usage intended for construction of housing, business, public, and community buildings with special accompanying contents.

If we would like to additionally accentuate touristic identity in a town of rich tourist tradition, we could illuminate it with colouristic lighting and create accents with special dramaturgy.

The chart presents zones of tourist usage intended for construction of catering tourist units with all accompanying service contents.

Treating of key lines and space during the night is primary in developing identity and recognizability of urban habitat, thus creating urban environment. It is necessary to precisely define the main roads for motor vehicles and communications with great density of pedestrians at night. For these pedestrian lines, it is necessary to use white source of light (metal halogen bulbs), thus creating network of “natural” lines which are joined into one entirety. As an improvement to the basic street lighting on the main roads and pedestrian lines, it is necessary to use sources of light with high reproduction of colours Ra>85, colours with illumination of 300K and long duration. In this way, visual perceptiveness of environment and aesthetics of space are increased, which attracts people to use the mentioned lines which can at the same time become secondary lines and increase safety.

Colouristic lighting is achieved by means of stressing individual segments of the town: for example, the walls and towers, windows of the Ro­ma­nesque House, the bell tower of the Euphrasius Ba­silica, the waterfront, etc. In these cases, lighting is activated by means of in advance arranged terms, for example, during the time of local folk ma­nifestations, theatre staging, fashion shows and similar. It is turned on for a short time so that the special illumination of the town is achieved in a cer­tain moment according to a directed scenario. As additional effects, it is possible to use water spurts set into the sea or fountains on floating bases which shed light through water and thus even more

intensify the image, in harmony with the lighting on the shore. The change of light colour in special moments: “Special Effects,” can be enabled with lighting fixtures on lamp posts which can change colours of light in their sources. In this way, it is possible to have a wide range of colours and their combinations in an easy and quick manner. Ability to programme enables complete autonomy of the very source of light. Such effects are accepted worldwide to a great extent as part of content and architecture, and at the same time its integral part. This kind of a town image, within which natural beauties are preserved, parks are designed and plants looked after, and all of these are made even more beautiful with special light effects, will be remembered for a long time by visitors and tourists. Then we could really contribute to Cassiodorus thought that “the Patricians live the lives of Gods here.”


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Dynamic pattern of light on the facade (proposal was not accepted)

Quoter circle ,half circle or full circle lighting fitures create manny possibilities in creating unique organic pattterns in the floor. LED RGB technology and precise circuitry definition allows many dynamic efects depending on the clients needs. Any given evening can be different. Lighting system can be progammed to create complitely different effect depending on the event in the hotel. Azerbadjan carpet pattern can become all red or all white or any other single color or combination of colors.

Four Seasons Hotel Baku, Azerbaijan programme / interior space, facade and the surrounding area lighting design lighting design / Dean Skira, associate Godvin Poropat client / Codest International s.r.l. architecture / Richmond international interior design; Reardon and Smith architects area / town with 35.000 inhabitants, during the summer 100.000 project / 2009 realization / 2011

CARPET OF LIGHT Carpet weaving is an art practised in Azerbaijan since the 2nd millennium BC. For many centuries during the historical existence of the Azeri nation both settled and nomadic ways of life were of importance. A carpet per se is democratic; however its real folk character is about something much more. A carpet unites people, cultivates a sense of collectivism, mutual aid, and brings about friendly cohesion. An Azerbaijan carpet embodies numerous and various functions, is in fact something more than just a combination of these purposes. An Azerbaijani carpet is not only one of the most important elements in the national way of life, not only a variety of the arts and crafts, but also a key link to the ethical and moral principles and customs of the people’s existence.

Carrying on this tradition we have combined modern design thinking with state of the art materials and manufacturing processes to create a modern version of this age old art with the “carpet of light” The carpet of light brings life to the Porte Cochere, attractive, eye catching and intriguing the controllable illuminated carpet is a joy to behold. Stepping out on to or walking over the concept of the carpet of light is associated immediately with Azerbaijan’s rich and historical culture The carpet of light is constructed from individual coloured tiles that contain illuminated segments using iLuna custom made RGB led fixture designed by D.Skira. The arrangement permits the construction of complex geometric

patterns that mimic a carpet perfectly. Fully controllable the lighting effect can be programmed to cycle in mono colour, multi colour or any desired combination of the former. This was designed for Four Seasons Hotel in Baku Azerbaijan.

To simplify the cutting of the stone every cut shape and size is exactly the same regardless of the shape or of the stone. Tiles drown on the floor plan are 56.5 cm square or triangle.The larger size stone tile of 80 cm is used when there is no fixtures in it. But there is still possibillity to cut the corner of the large tile if necessary .


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Hotels often used to welcome their guests with the same uniform lighting at reception and rest of the lobby. Restaurants too often seem to have chosen their lighting from the same menu, and most bars offered a cocktail of only a few lighting ingredients. In the case of this five star hotel we try to add more drama to the overall impression and purposely added some “shadow” to create a touch of theatrical scenery. The goal was to present everything in the best light as much the architecture itself allowed us to do so. The traditional sense of luxury needed the use of large chandeliers which added the effect of warmth and splendor and is centered over seating areas in reception hall, restaurant and also in the ball room areas. The lighting gives structure to entrance areas and separates walkways from relaxation zones. Recessed ceiling downlights with halogen lamps offer brilliant glare-free accent and theatrical shadow. Seating arrangements and lounge areas are given a

touch of flair providing the necessary background lighting also from ceiling downlights.

flipchart lighting and lectern lighting in conference rooms.

The reception desk and foyer are highlighted because they are generally the first places that guests and visitors see. The individual zones need to be distinguished with different light – different contrast, light and shadow.

The two essential ingredients for perfect restaurant lighting are atmosphere and zoning. Overall, the lighting should be subtle but walkways, service zones and such areas should be more brightly lit. Tables and other seating areas call for a relaxing atmosphere. The light will be bright enough for food and drink to be seen in their best light, but subdued enough to create a sense of privacy.

A sophisticated lighting control system gives enormous flexibility in the whole hotel especially in restaurants and professional conference rooms so the lighting can be adjusted for specific tasks at different time of the day. Various light intensity, different types of luminaries, direct and indirect light in different combinations, mean the lighting system can cover a wide range of situations. Dimmable recessed spotlights offer brilliant and economical lighting, ideal for video presentations,

The façade lighting was a challenge since we tried to avoid the usual use of multiple directional metal halide reflectors. The choice was the new LED technology connected to a control system that can dim the linear lighting fixtures to a desired level depending on their position to achieve uniform lighting level thought vertical surfaces. I tried a completely different approach by creating unusual

pattern on the façade but it was a bit too radical and the client preferred more traditional solution which is enhancing the architectural detail which symmetrically repeats itself in the rhythm. The final choice is the neutral white linear light to enhance the natural color of the stone. The possibility of dimming and controlling different “layers” of light allows us to preprogram different scenes for various special events or holidays. As usual, one of the biggest challenges was to “hide” the actual source of light and fixture itself within architectural detail or wooden engravings in the ceiling. Carefully positioning and choosing optically shielded sources of each individual or group of fixtures, allowed glare free accent and pin pointing the direction of light cones. This light will visually guide the guests to enjoy magnificent interiors and architectural detail in this hotel.

Final facade lighting proposal (accepted) Visual presentation of the concept in the interiors of 4 Seasons Hotel, Baku.


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The Grand Villa Argentina Hotel, Dubrovnik programme / hotel, annexes, facades and surrounding area lighting design lighting design / Dean Skira, associate Godvin Poropat client / Grand Hotel Argentina architecture / Hugo Galleguillos interior design Stjepo Butijer architect area / 20.000 m2 project / 2001 realization / 2001

The Grand Villa Argentina hotel combines elegant exclusivity with exquisite attention to detail. This luxurious hotel is ideally situated just outside the famed walls of Dubrovnik. Sitting on a steep edge leading to the sea, views of the Adriatic, the island of Lokrum and to the old harbor of Dubrovnik are available from throughout the hotel, its extensive gardens and seaside beach. Luxury Dubrovnik hotel comprises of the main hotel building and four exclusive villas, each with its own story and style. Grand Villa Argentina’s historic architecture, stylish furniture redesigned by Chilean architect Hugo Galleguillos.

The project took place in 2001 with close cooperation with Helena Lenac who was a leading figure in this difficult venue where international crew of designers and architect worked closely to revive this complex site pooling together 1930 and 1960 architecture making it a true five star experience for its guests. One of the challenges we encounter was illuminating the landscape surrounding the entire hotel complex. Carved out of the big rock and hugged by the Adriatic Sea, the park is one of the main features offered to its clients. Lighting level and micro positioning of carefully chosen fixtures always took in consideration the magnificent view towards city walls of Dubrovnik.

Grand Villa Argentina’s 162 rooms and 7 suites feature uniquely decorated bedrooms that combine tradition with modern comfort and amenities.

Another challenge was the wild nature of the sea. Sometimes during winter storms, south wind could bring the waves al the way to the hotel building which is some

20 meters above the sea level. This is why mounting position and „anchoring“of each fixture was crucial. When the sea is turbulent is creates white foam near the shore that glows from the light purposely pointed toward the water. Big trees above the sea also move slowly with the wind in the dramatic theatrical and dynamic scenery. Sometimes during our working visits to the job site I would go out in the park in the late night and enjoy the quite movement of the gorgeous nature illuminated by the human hand. And there was the sound, of sparkling water glowing towards the shore in the night. It was truly magic experience.


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Landscape lighting at Hotel Argentina Park overlooking the medieval city walls of Dubrovnik.

25000 m2 floor plan - graphic simulation of future lighting system. Simmulation was used to chek the „balance“ of lit horizontal and vertical areas .

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Novi Spa, Novi Vinodolski programme / spa, central reception building, conference hall, restaurant and surrounding area lighting design lighting design / Dean Skira, associate Dean Matika client / Hotels Novi, Novi Vinodolski architecture / Ante Nikªa Biliº area / 12.000 m2 interior; 50.000 m2 surrounding area project / 2005 – 2007 realization / 2009 written by Ante Nikªa Biliº

The project Novi Spa was created as a kind of confrontation of different ideas and perceptions by people I invited on this project that lasted for two years. Our desire was to create a ship and at the same time, not to allude to Titanic of Le Corbusier. A ship ran aground in a Vinodol cove. It should become a refuge for shipwrecked persons of stress who are trying to find peace and save a moment of time in hedonism and not to lose the horizon of the Adriatic Sea framed by the island of Krk at the same time. The image of island of Krk on one side and landscape of Velebit on the other side, plunged into the lacy sea created by Bora, is an ideal base for creation of an architectural scenario. I believe this was the image that Proto-Slavs saw when they stepped here for the first time. They were not even aware that exactly they were the first tourists who never returned home. Thirteen centuries later, the sea is still the same. Bora from the Velebit blows with the same force (the Italians call it the Slavic Wind), and lavender, holm-oak and wine grape on the island of Krk are there, unmoving, like on the paintings of our landscape painters.

In order to create this project, I am no more an architect. All these materials around me are spent light. I do not observe Krk with the eyes of ProtoSlavs, I do not cry with tears of Celestin Medovic´. I create a film-pictography for new nomads about space as it used to be before and as it should be. I intentionally do not want to use the word “tourism” because this term is not sufficient to present this pictography. Every film rests on a good scenario, production and direction. Directing is a collective act for me. Today’s architectural designing is classical directing in which creators of different professions are included. The idea is not in an atelier, on a sheet of paper. The idea is in movement, in a discussion, in touch, in a dream, in a fig leaf, on the coast which I cannot define with a line. So, the Novi Spa is a film about a ship, which could have been directed by Federico Fellini and drawn by Milo Manara. The wondrous coast-outlining membrane, which hides the entire absurd of the wellness behind as a product of post-capitalism, hypostyle water hall, is

perhaps the introduction for a Fellinian dialectics of the Mediterranean madness. We bring a part of nature into the closed membrane, but are not brutal here. We are keeping equilibrium with concrete, glass, stone and canvas. We create shadow in order to please all the unusual characters, beautiful women and eyes full of desire. There is no place where shadow is as important and straight as in the Mediterranean, exactly because it belongs to light. The light on the ship Novi Spa is left to the builder of light and shadows, to Dean Skira. The moment when the night starts to devour the day and the sun orb settles behind Krk, and the sea and mountains gain shared gray-blue colour, the magic of light injects a new life to the Novi Spa. Only when the night comes and we watch from the side of the sea, can we experience entire lightness of the construction, reflection of water on the ceiling, full shine of the narcissoid space of fitness and treatments in the


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meandering colours, trapped in a large quasi-Aaltovian vase. Skira’s obsession with natural phenomena is best manifested in two projects within Novi Spa. The first one is space between the sea and the Spa which has never been realized, where Skira simulates lavender fields with slim lamps that remind of fireflies, enabling wind to create an image of light and thus determine boundaries between the swimming pool zone and beach zone. The second project was realized, to my great joy, although not entirely, as the ceiling of the terrace on the top of the Spa Centre. It should be noted that the Novi Spa is entered from the top floor and roof which is connection to the rest of the settlement via the stands with piazza and restaurants. The roof of piazza is meandered and it forms covered

Hotel & Spa Novi is a touristic complex that consists out of the central building where the main reception is situated, the hotel, spa centre and villas resort. The lighting project was a big challenge because of the complexity and variety of spaces that needed to be illuminated. According to our vision, the luxurious resort needed a new approach through carefully planned lighting design that would make a somewhat of a futuristic atmosphere.

and uncovered spaces. Surfaces on the ceilings of the covered meander are deeply lined with veins, after the model of fig leaf. Some veins shed light and some are treated with colour, and they spread all over the meandering ceiling. Perhaps this fig-like structure resulted from the Biblical Adam’s need to cover nudity. Skira and I will, exactly as Fellini and Manara, sail to Tutumpak with the entire immense set of characters and unrealized ideas, ready for the next quay because we are builders of ideas. In the meantime, new ideas will rudely impose themselves in our dreams, so why create then when it is so nice to dream? Coast-outlining architecture, Ante Nikša Bilic´, Pictography with Dean Skira

The entrance hall and the reception were designed to make a visual effect that offers pleasure to the viewer because of its continuous lighting that follows up to the terrace with a wonderful view on the Adriatic sea. The hallway-tunnel which connects the hotel and the spa was challenging to design because it has no daylight at all, and it is quite long so we decided to create a continuous color alternation and shape transformation enabling the tunnel.

Exterior lighting included the solutions for illumination of the greenery, main and supporting roads, decorative effects and safety lighting. The main idea and the lighting design strategy was to integrate the architectural lighting fittings together inside the architectural solutions and decorate it with the proper decorative lamps creating just the right visual comfort. The whole complex is controlled by Lutron Homework’s system. There are various preprogrammed scenes of lighting

depending on the functionality of the area, time of day and integrated audio control within the system. Color changing in the corridors is automatic and dimming is happening at the same time in preprogrammed sequences. The whole control system is designed so that it can function locally or controlled centrally from the reception.


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Walking through a 100 meter long tunnel after massage or swim in the pool was not intended to be an adventure. This structure was necessary after renovation of 5 star hotel and addition of new 10000m2 wellness center and SPA. Warm connecting tunnels where necessary since the distance was quite long and winter winds in this area can blow up to 150km h. Many ideas came upon the process of designing this space, hanging the pictures or sculptures so the guest would look at the artwork while walking

and so on. I came up with an idea to simply brake up these corridors with lines of dynamic light. Every „line“is integrated within the walls or ceiling and each one is different than the other. The light is continuously „ breathing“and some of the lines are randomly changing color. This way the scene is never the same and as you walk down the corridors light is dynamically following your steps in gentle move and chromatic change. When we turned on the light some of the comments where that this area is the most attractive of all and it was worth the effort and money.


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Hotel and Park Eden, Rovinj programme / park lighting design lighting design / Dean Skira client / Maistra area / 25.000 m2 project / 2005 realization / 2005

Lighting can turn landscape into dramatic scenery Successful lighting of landscape architecture strives to create visually intense effects and at the same time achieve balance of levels of illumination between different areas of composition. Light attracts attention and directs view, and this is the reason why illumination of landscape architecture demands diversity, grouping of areas according to importance, designing areas between zones, as well as general approaches to lighting according to zones. Dark surfaces should be avoided because of psychological feeling of safety. Out of the same reason, all potential obstacles on the lines of movement should be adequately illuminated, including stairways or border lines between water surfaces and pedestrian paths. Also, the difference between change of materials for paths and tracks should

be clear. Illumination of landscape should also respond to special situations which occasionally occur there (public manifestations, giving receptions, celebrations in the open, weddings or some other gatherings). In all these occasions, illumination can significantly affect memories that people cherish, related to a certain space. When thinking about this demanding project, we chose lighting sources within range of metal halogen illumination for large areas. Thanks to their long duration time and small demands in terms of maintenance, it represents unavoidable choice. The only need is to match colour of its light with the required situations and at the same time avoid discordance in display of colours and relation within lighting which could occur due to the features of such an illumination. In accents and indicators of direction, diode lighting fixtures (perimeter of the swimming

pool) were used. The plan was to reduce the entire maintenance to three types of light bulbs and with this, possibilities for additional intervention without significant investments were opened. With special optical systems, shades and technological solutions, the chosen lighting fixtures wee “given awareness� in this sense, and efforts were made to interfere as little as possible with life in all the existing forms (animals, plants). We also installed a regulator of lighting flow into the system of outdoor illumination with which the power of illumination can be programmed for periods of time defined in advance and in this way, energy consumption can be reduced to the minimum. In the general approach, landscape quality of the existing vegetation needed to be estimated and form of its illumination chosen. We emphasized isolated plants and in this way made distance from the


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points which have less striking features. The location is dominated by pines with open and pyramid-shaped crowns and cypresses, and here and there, one can find a beautiful specimen of oak tree or hornbeam tree. Distribution of lighting fixtures which illuminates tracks evenly contributes to a feeling of comfort and safety while moving. Well-balanced rhythm of illuminated points would represent a too strong visual framework which we wanted to avoid in landscape approach; therefore, the tracks were illuminated with an integral solution for situations pathway + grass area and pathway + hedge. Two lamp posts with NUVOLA reflectors which, paired with arresting diffusers of light, flank the passage between two swimming pool surfaces, provide space with indirect lighting which, apart from the usual, also shows its representative Arrangement of lighting on the lamp-post ensures direction to three different focal points: illumination of the footway, sideway deep beam into the forested areas and so-called “uplight,� a beam directed upwards which sheds light over the entire vertical stretch of the tree crown. The sideway reflector, apart from penetrating into the space of the pine forest, also outlines texture of the crown.

appearance. Elegant in design, they rise over space which serves as platform for banquets in some variations, plateau for ceremonies, or stage for receptions... In the times when saving of energy is one of quite important strategic issues in any economy, it is certainly recommendable to carry out the saving exactly in the street lighting. Lamp posts with reflectors are primary lighting fixtures which serve for achievement of a reduced number of lighting points of the street lighting, and increase quantity of light in space. Apart from saving energy, this enabled us to create a balanced image of night landscape; vertically (taking into consideration contours of horticulture in terms of their height) and horizontally (in terms of length of visibilty).


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Hotel Maestral Welness Center programme / welness center lighting project lighting design / Dean Skira, associate Dean Matika client / Hotel Maestral Novigrad interior design / Ante Nikªa Biliº area / 3000 m2 project / 2009 realization / 2010 written by Ante Nikªa Biliº

Redesign of post-socialist hotels is a true challenge. Not so much because of design, since it is anyway not primary, but due to the immense energy of contradictions. The smirk of moustached waiters, Borosanas, smell of cheap creams, mosaic of local vistas on the walls, seducing songs of the musicians who played on the hotel terraces, tanned female foreigners full of desires in their young bodies. All these are sketches of the tourism from our childhood. And how to incorporate a post-capitalistic project of healthy holiday called wellness, and if there is water involved then it is called spa, into such a doctrine. Exactly this contradiction provides multilayered nature to the project. To destroy mural by the local artist on the swimming pool wall and to install mirrors with miraculous spill over of coloured light, directed by the creator of light, Dean Skira, was a courageous decision on

the part of the head of project. Bavarian pensioners must have been in great wonder when commenting on this installation, accustomed to quite a large dose of kitsch and sea salt. Sophisticated entrance framed with curtains which often change colour requires only silence from the user. Gym, which used to be a storage room, is stripped bare to its essence. Industrial flooring and pipes in white colour provide space with an undertone of SF films, which is even more stressed with lamps that remind of test tubes. “In the gym, I feel like a chicken in incubator,” commented the manager of hotel complex with dissatisfaction. A certain dosage of voyeurism is underlined by glass walls facing the swimming pool and the main entrance to the hotel, therefore this incubator also becomes an important place where you can be seen and where you see each and every new figure, whatever they mean.

Even more interesting was redesign of the existing casino into spa. Perhaps darkened space is the only thing shared by the old and new space. In the new space, one does not lose anything except for few grams in the sauna and bath, and it is possible to experience setting of the sun in the sunset sauna, which not one casino or spa centre in the world can offer. This is why I love the Adriatic and its hotels as interpretation of the tourism that no longer exists.


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Kempinski Skiper Complex, Savudrija programme / Villa, Golf House, surrounding area, Congress Centre, Wellness and part of hotel (rooms excluded) lighting design lighting design / Dean Skira, associates Dean Matika and Godvin Poropat client / Skiper Hotels architecture / Matjazˇ Ivaniº area / 100.000 m2 project / 2008 – 2007 realization / 2009

Savudrija, September 2009; The Kempinski Hotel Adriatic opened its doors August 2009 as the first Croatian 5 star luxury seaside Golf & Spa Resort. Kempinski is the first international luxury hotel group to be present in this up-and-coming and presently relatively undiscovered region of Croatia Situated in the beautiful coastal area of Alberi near Savudrija (Istria), the 140 000 m2 park-style premises of Rezidencija SKIPER, house 22 luxury villas, each with its own pool, seven residence buildings with 61 luxury suites and three attractive apartment buildings. This recreational facilities include a wonderful pools cape, a large private beach, a modern sports centre, golf center, congress center and playground for children and their own SKIPER church. This was one of the largest hospitality lighting project we were involved in so far. The project required to balance the complex exterior lighting with interior lighting of each of the 600m2- villas ,

167 room hotel, golf center , landscape lighting , public street lighting, decorative façade lighting and so on, all of it spread over area of 140.000 m2. It took over 2 years of designing following the construction site , programming the extremely sophisticated control system that actually connect all of these facilities into one central control if necessary. My favorite part of this project was Golf house VIP restaurant where the structural elements did not allow for some typical pendant fixtures to “warm up” the space. The idea arrived one afternoon in my office when I asked my college Wolgy to scan the tip of the golf ball and redraw the lines of the pattern in the ball on the reflected ceiling plan of this space. The result was interesting. Curve linear form actually connected the asymmetric space and visually negate the strong columns . With indirect light those curves where enhanced. All around those curves I added some 11 pcs. Of Campana Brembana , a unique recessed fixture by Viabizzuno,

that integrates 80w fluorescent PLC lamps and RGB LED system. Ones installed and plastered, this fixture becomes integral part of the ceiling without visible seems and resembles the hole in the golf course. A large custom made decorative fixture by Artemide was mounted in the center of the space. The overall image was as the entire ceiling became a decorative chandelier. Landscape lighting required detailed study of using every possible niche to hide some linear LED systems under the steps or 60m long concrete bench, uplighting the palm and old olive trees and at the same time leaving enough light for pedestrian or vehicular traffic around the entire resort by using 7m high street poles with special optics so the light does not intrude within the residential pool gardens of the villas or hotel terrace. Pedestrian walkways also required custom height bollards with asymmetrically shielded light source to avoid light trespass.

The whole resort is using tremendous amount of energy and requires constant maintenance. For this reason all fixtures use energy efficient sources and most metal parts where custom made of marine grade stainless steel by iGuzzini. The main entrance to the Kempinski Hotel required also intervention in structural design of the ceiling. For me, logical choice was designing a uniform raster of indirect light and some square downlight positioned at cross section of polygon. The lighting system was viewed and designed as a whole, regardless of so many different requirements and situations. Vertical and horizontal lines of sight blended into one unique picture as color changing reflectors projected onto hotel façade leaving the guests open view to a magnificent sunset in the direction of Dolomiti mountains far away across the Adriatic sea.


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View to a control room desk where centralised computer lighting control system is operated

Lighting zones definition on graphic user interface by Lutron Grafik Eye 7000 system.

arena zagreb programme / lighting control system of the entire building lighting control engineer / Godvin Poropat client / ingra and the City of Zagreb architecture / UPI2M area / 90.340 m2 / 150 KW power project / 2008 realization / 2009

Pregame lighting scene for final game between France and Croatia at Hanball World Championship in 2009

Arena Zagreb was built for World Championship in Handball that was held in 2009. Our national team won silver medal in dramatic final game with France. Aldo we where somewhat disaponted it was still a great achievement for our team. My engineer Godvin was there trought the competition, sitting behind the computer in the control room just to make sure that the control system he designed and programed, will work to everyones expectations.....and it did. This was probably one of the biggest engineering chalenges and great responsabilities he went trough, since he became a master in designing complex control systems for our lighting projects. We used higly sofisticated Lutron Grafic 7000 system for the same reason we use Lutron for all of our lighting control needs.....it always works, it lets you create

magical lighting scenes and never lets you down. The dynamic nature of lighting in a sports arena or stadium, or indeed anywhere, is obtained by using lighting control equipment. Most people, even those associated with the sports arenas themselves, do not realize how complex the lighting control requirements may be in such a venue. These are directly associated with the number of different activities taking place in the arena. The presence of broadcast television often further complicates the lighting control requirements. Different sports require different lighting levels, and the lighting of the spectator areas may also need to be adjusted. Each sporting event is a series of functions (preparation, entry period, pre-game, introductions,event, time-outs, half-time, post-game, exiting, cleaning etc.). The total number of lighting scenarios is over

50 for each sport. Most consultants and designers do not seem to anticipate how many scenarios there are. Also, there are often music concerts, traveling circuses,corporate functions and other non-sports events held in sports arenas, too. These generate revenue to the sports arena, and thus need to have the lighting flexibility. As a general rule, indoor stadiums have a higher usage than outdoor arenas. This is for two reasons, the first one being the obvious one that indoor stadiums are less affected by weather. The other more subtle reason is that indoor stadiums are usually smaller and therefore more suited for a large variety of different activities.

II KAT

STUBIŠTE II KAT

I KAT

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RESTORAN

1st floor plan

2nd floor plan

3rd floor plan

STUBIŠTE

It took several months of designing, programming and testing the system which I must say Godvin single handedly completed and deserved a gold medal for the effort and commitment.

III KAT

HODNIK

GARDEROBA

STUBIŠTE

SANITARIJE

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HODNIK

LOŽE INVALIDI

HODNIK

RESTORAN

GARDEROBA

GARDEROBA

SANITARIJE

SANITARIJE

SANITARIJE

LUMENART d.o.o.

“ARENA” Zagreb Elaborat: 72/08 Datum: 11/08

Izradio: Godvin Poropat

LOŽE INVALIDI

GARDEROBA

“ARENA” Zagreb Elaborat: 72/08

LUMENART d.o.o. Izradio: Godvin Poropat

“ARENA” Zagreb Elaborat: 72/08

LUMENART d.o.o. Izradio: Godvin Poropat


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SHIPYARD CRANES, PULA programme / cranes lighting design lighting design / Dean Skira client / Uljanik Shipyard project / 2000

My home town Pula has a history dating some 3000 years ago. Great civilizations have left their footprint in the architectural and cultural heritage. Some of the greatest Roman monuments like Coliseum still stand as reminder of those civilizations that thousands of tourist admire every day.

The industrial revolution in the early 19 century has brought us some new “monuments� which still stand and move every day in the gentle dance of steel, helping to create some of the greatest commercial ships ever built. This dance is going on for almost 200 years and I wanted to create the colorful

stage in which they perform. Becoming a key players in this theatrical stage, among tons of raw steel, light and color create a different role for those cranes as they move in the slow motion for decades without ever being tired.


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Lamp-post, Pula programme / lamp-post design for a roundabout in Pula lamp-post design / Dean Skira Structural engineering and mechanics / Buriº d.o.o Pula client / Town of Pula construction / Uljanik Shipyard realization / 2002

If a driver turns from the Istrian Y-road towards Pula[…]in the centre of a roundabout dictating the right of way, he will see the light post by Dean Skira, a convenient integration of industry and art, architecture and sculpture, optics and metal. The vertical of the post (which appears tectonic and virtualised at the same time) “anchors” the directions of the crossing, creating the dynamic and optical centre of the roundabout, the spear in the ring that visually whirls upwards, by almost visible centripetal powers, the circular movement around the roundabout. The polished metal tubes of the bearing element - recalling the Roman sheaf of wheat – are joined in the optical centre of the composition of the light post emitting blue and white lights at night. . The lightbearing element built into the stone base is constructed by an interesting interplay

indirect illumination (spots are “members of they city establishment” according to Mirjana Vodopija); their sensitivity to the inherited space gives license to Lumenart to kill the practice of the dense “planting” of urban furniture designed according The post in Pula, a hybrid lighting element to the principles of the post-modern and urban-scale sculpture, is of minimalist ”historicism” that transforms public space into fish-markets. design made according to the principle of technological reductionism and formal The lamp-post of the Na mostu integrity of all the elements common to roundabout in Pula will become a kind of communication and design disciplines. a trademark of the city itself, a modern The aesthetic and formal qualities of the age souvenir. The cold aesthetics of the post are the expression of a sensitivity metal structure, the flash of circular to the public space and the environment. lights and the way it carves through the The traditional division between the old atmosphere will force Skira to compare (ancient) and new, between the historic himself to his own chromium motorcycle city core and the suburbs tends through “the latest creation of the new biker its construction to abolition. generation (Heavens Angels)” […] […]The project for Pula represents a radicalisation of the theme of the bandera, Excerpt from the text by Silva Kalcˇic´, published in Oris, issue 25, year 2004. or lamp-post, by combining direct and of full and void, of volume and plane resembling a “sheaf” post partly covered on the top by metal sheets (anthracite in colour) of convex, rounded, continuous lines.


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molo longo, rijeka programme / Rijeka Breakwater lighting design lighting design / Dean Skira landscape design / Miroslav Gudelj client / Port Authority Rijeka client / Town of Pula project / 2010 expected realization / 2011 - 2012

Rijeka breakwater is, in formal and symbolical sense, basic determinant of “The Sea Gate” to the town of Rijeka and the port sea zone. With its appearance, the breakwater and lighthouse are reduced to utilitarian level in terms of their physical dimensions, as well as their construction and forming. After business and developmental transformations of Rijeka’s port operations, process of restructuring and urban repair work in the zone of the port commenced. This means that the breakwater of Rijeka would be used for establishing functions that were not present in the image of broader town’s centre and the town in general, and that would motivate this space to become a powerful sequence of the town’s centre (forming of an industrial park). The project of lighting defines function of ships’ entrance into the Rijeka port and recognizing position of the breakwater in relation to the town’s structure. At the same time, it creates a new attractive vista from the town’s waterfront towards the sea. Town tissue of Rijeka, woven along the hill above the sea, and its street lighting

and the illumination of the breakwater merge into a uniform image which does not allow clear recognition and visual estimation of distance between the breakwater and town. In order to solve this problem, I decided that the light of the breakwater and passengers’ terminal will be in cold white and decorative blue colour exclusively. With this, a contrast would be created between the high pressure sodium yellow light of street lighting in the town and white and blue LED light on the line of the breakwater. Rhythm, symmetry and linearity of the illuminated surface will additionally contribute to the visual identity when observed from the shore and to the clearness of the vista of the breakwater when observed from the sea. Architectural detail of the panoramic pathway carrier of the roofed glass pavilion which repeats itself in a rhythm imposes contemplation about hidden reflectors which will illuminate the pedestrian zone from both sides on the northern side and stone blocks zone that protect the pavilion and breakwater from waves on the southern side. With different optical devices and powers of reflectors, evenness of illuminated surface of promenade was achieved, as

well as an emphasis on texture of rough stone on the southern sea side. Also, two pavilions are planned as catering content which remind of cranes with their steel structure. The cranes will remain on the breakwater as reminders of former cargo port. Decorative illumination of the cranespavilion is anticipated exclusively in cobalt blue colour. Pillars in the continuation of the breakwater are planned to be made of weathering steel with double LED reflectors and blue diodes on the very top. In this way, rhythm and linearity of the illuminated surface, with the accent on the blue top of the pillar which reminds of a lighthouse, is continued. Relative relation of light and shadow, helped with the dynamics of waves, will surely create an unusual effect and unforgettable experience to the passengers who enter the Rijeka Port. To skippers and ship captains, entering port will be facilitated by means of a unique lighting installation, which will be inviting to the town people of Rijeka to take a stroll over a kilometre long pedestrian pathway in the middle of the sea at night as well.


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ZG-Pavilion 09 programme / pavilion lighting design lighting design / Dean Skira, associate Dean Matika architecture / Hrvoje Njiriº, Vedran Sˇkopac, Nikola Fabijaniº

Temporary pavilion for the 44th Zagreb Salon

client / njiric+ arhitekti

Manfredo Tafuri (1980)

area / 55 m2 project / 2009 realization / 2009

It may seem, in fact, incoprehensible or even contradictory to denonuce a lack of criticism in a situation that seems, on the other hand, caught in inextricable intellectual knots. Hrvoje Njiric´ and Vedran Skopac s pavilion proposal for this years Salon clearly seeks to critique contemporary materia culture in Croatia. Being critical in a country without a clear target for criticism (who is really responsible?) and with little room for critical distance (the population of a mediu sized city) is no easy task. To make matters worse, architecture is a difficult medium for social critique, requiring large investment as well as broad consensus even when the project simply seeks to solve a problem instead of articulating an argument. In te contemporary architectural discourse, skepticism as to the possibility of critical architecture has grown into a theoretical position known as the Post Critical, at least a partial acceptance of the forces of capital and popular culture. The doscourse around the possibility of a critical architecture reached its pead around 1980, the year when Kenneth Frampton, in gih work Modern Architecture: a Critical History , attempted to construct a historical framework for contemporary „CRITICAL“

ATCHITECTURE. The book concluded with two possible critical positions: one the hand Mies s beinahe nichts (almost nothing) a matter of fact approach that „the buliding task to the status of industrial design on an enormus scale“ and on the other a new kind of vernacular, a „set of (architectural) relationships linking man to nature“, this concept eventually develping into Frampton s theory of Critical regionalism The ZG-pavilion 09 mimics the precarious state of the Keaton house, and through this form of oddly shaped windows and gravity defying structure, begs the question as to who is jumbling the instructions in Croatia and why? The pavilion s mimicry of the Keaton house could go further than this critique of contemporary Croatian material culture. The do-it-yourself attitude of the Croatian public with its acceptance of new materijals and constructive systems as opposed to new forms provides an opportunity for an architect willing to assume the role of a „Handy Hrvoje“ ; a designer willing to proviede instructions for experimenatiton, rules for playing safe, an open source architecture. The next step in this line of architectural research is clear: Handy Hrvoje needs a pair of unsuspecting newlyweds.

Ivan Rupnik (july 2009) ZG-paviljon 09 njiric+arhitekti

Illuminating the ZG pavilion may not be considered as purely functional or typical architectural lighting project. It is more as artistic lighting installation following the structure that professor Njiric and architect Vedran Skopac have envisioned. The floating cylinder in the middle of the structure was used as glowing “reflector” on which we projected moving image from 3 video projectors mounted at 120 degrees angle. Following the vertical substructure linear cold cathode tubes where used and divided in circuits by each level. Control system was used to make the horizontal lines “breathe” as they where dimming in preset time schedule upward and downward. In the center of the top of this structure framing projector was used to keep the light exactly to the table edges. Light was cold in color temperature as well as black and white movies running on the screen cylinder. The whole light scenery was as dynamic as the structure itself.


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DraZˇen PetroviC´ Memorial Centre, Zagreb programme / Memorial Centre lighting design lighting design / Dean Skira architecture / Ante Nikªa Biliº, Andrija Rusan client / Drazˇen Petroviº Foundation area / 250 m2 project / 2004 realization / 2006 written by Ante Nikªa Biliº

To design a museum for the legend of the Croatian sports and, for me, the most important basketball player of Croatia and Europe who tragically died is a great challenge. He was the basketball player who opened the door to NBA for European basketball players. After his arrival in the USA, all the basketball players who came from the outside of the USA had a rather different treatment, and there is no one serious NBA team today without one player from abroad.

are images which are impossible to be erased from memory.

Dražen Petrovic´, with his breathtaking playing, discipline and striving spirit, became a charisma already as a young player, as well as model to all the boys who were throwing the ball through an improvised hoop somewhere between housing buildings and courtyards. When he was barely eighteen, he won the national championship with the club Šibenka from his home town Šibenik and made Šibenik a basketball centre. After joining Cibona, the club achieved planetary success and popularity. They were given their own hall and business complex within which today’s museum is situated. His playing in Real Madrid, Nets, and winning one of the first medals for Croatia at the Olympics in Barcelona

Our architecture must not be imposing, dominant, decorative. It has to be a framework for events, a movement. Framework for Life. Dražen Petrovic´ is a synonym for faith in winning, faith in Life.

Therefore, I perceive the approach to the project as complex. How to present life of this brilliant sportsman without being pathetic and banal, and without being lost in too figurative and monumental idea? With Andrija Rusan and Dean Skira as light designer, I commenced discussion about how to present the space. What to present?

We design two concave membranes. One is projector screen and the other membrane is utilitarian, with gallery, staircase and showcases. Video project is designed by Ivan Marušic´-Klif, who provides the space with additional multimedia quality. The museum thus becomes both multimedia and educational centre. Everything that Dražen deserved. Buses with children from all regions come to the museum to see movement, play, the sport itself.

Annual reward ceremonies for young sportsmen are held in the museum. Many of these boys were born after Dražen Petrovic´ died and they never watched Dražen’s bravados. Therefore, video recordings remain for them, and the eternal movement of the sport. And my legs still tremble when I recall the summer of 1992, Dražen’s free throws and conviction that he cannot miss. HE NEVER MISSES. We are in the finals.


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While there are no rules in how to make good lighting, many manuals and technical books gives us a proper guidelines on how to provide adequate lighting for different spaces . This can help us fulfill the formal requirements but if we want to step out of the ordinary it takes more than that. In 22 years of dealing with clients in various projects from residential to large public buildings or city master plans I have learned that the final decision, is always in the hands of the investor. The creative mind of Architect or interior designer may well agree with the idea but transmitting the idea to investor is the important part of the design process which does not always reach fertile ground. It may be rejected because of the more radical unusual approach, or maybe out of fear of high cost of realization.

Novamed Polyclinic, Zagreb programme / polyclinic interior space lighting design lighting design / Dean Skira, associate Maja Lipovcˇiº interior design / Ante Nikªa Biliº, Vanja Biªºaniº and Suncˇica Masteliº-Iviº client / Novamed Polyclinic area / ?? project / 2009 realization / 2010 written by Ante Nikªa Biliº

The interior of Novamed Clinic is set on three levels in terms of programme. The ground floor includes reception zone, beauty centre, Paediatrics Department, Internal Medicine Department, pharmacy and cafe bar. The first floor includes Dental Medicine Polyclinic and Gynaecology Department, and the second floor offices, small hall for education and suites for patients. While designing these spaces with Vanja Bišc´anic´ and Suncˇica Mastelic´ -Ivic´, we wanted to avoid sterile and depressing atmosphere on which medical centres remind all of us. Naturally, white colour is the basic initiator of the idea, but not white as emptiness, but white as attitude. As basis, as stage for atmosphere. We sent our sketches to Skira Studio and in this way, fragments of the polyclinic were being created, like a Roman mosaic

shed with light. We were trying to round all reception spaces, giving them meaning of capsules in order to provide a kind of broadened communication to the space between consulting rooms and reception desk. These communications are veins or circulatory system of this organism. Treatment of the ceiling, as the most important forming element of the polyclinic, resulted from awareness that while we are sitting in a dentist’s chair or on a medical table with physician, our eyes are directed towards the ceiling. Over the ceiling, various thoughts pass. Therefore, why would not ceilings make us cheerful (because we do not visit polyclinics with too much joy)? In this way, the polyclinic takes over vocabulary of catering and seemingly terminates the feeling of nausea and sterility, and we forget about our fear for a brief moment.

This was definitely quite radical approach towards illuminating the private medical clinic. When a sick person or one in need of medical assistance walks into a clinic, expectations of interiors or feeling of space is usually light green walls, Armstrong ceiling with 60x60 fluorescent fixtures. My idea was the opposite of that. Why not create a space where patient will not feel the pressure and formality of medical institution? Why not create a space that is fun and dynamic, colorful and inviting, with ever changing scenes of light? That was the main drive, creating a ceiling that is more as sculptural lighting installation instead of formal lux per m2 lighting approach. The idea of the form of this installation came out of picture of brain cells in one local newspaper. Transforming the basic image of these cells into a lighted curve linear organic form was a challenge not only presenting the idea but also building it. We had to find the exact possible location of continuous curve since the ceiling is packed with sprinklers, HVAC ducts and other installations. It needed to bi continuous to reveal the idea of continuity and connection of cells in our mind. The visitors probably won’t understand at first glance, what this form represents but it will certainly make them think about it and forget for the moment where they actually entered and for which reason. The idea appears as complete opposite of usually expected in these institutions. I must say that I did not expect the positive reaction of investor or architect, but after I presented the 3d simulation it reached the emotional and adventurers side of them and decision was quickly made go for it. And we did it. In most of my recent lectures I was showing this project as part of explaining that ones in a while we must dare to step out of the ordinary, and that lighting design should be unique for individual space or client. It is the emotional context of lighting , and willingness to abandon old habits which prevailed and defined the use of light in this space.


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zagrebtrans programme / office building lighting design lighting design / Dean Skira, associate Bozˇidar Pustijanac architecture / Amira Cˇauªeviº client / Zagrebtrans area / ?? project / 2009 realization / 2009 written by Amira Cˇauªeviº

It is my assumption that a project task which requires light design for a business building with glazed exterior and interior membrane that forms the shape of circle, therefore the solution has to include reflections of light as well (and they are certainly more difficult to be specified ahead than it is the case with orthogonal spaces), does not occur regularly to a light designer. Since the beginning of the joined coope­ ration of Dean Skira and our archi­tec­tural office, I always waited for the first sketches and concept designs with exceptional curiosity, and then for their development. I find Dean’s unique approach to light design as compatible to our thinking about space, which almost always results in accepting his entire design. In the case of Zagrebtrans company office building, I found the first presented

idea of light design as especially interesting because it was a great departure from standard ways of office lighting. Unfortunately, due to the conditions defined by heating and cooling system, which uses the ceiling surface for distribution of air, this proposal had to be abandoned. Truly concerned, I expected a compromise solution. Luckily, there was no place for anxiety, because true creative personalities find inspiration in the challenge of solving technical restrictions. In this way, even better integration of light and space was achieved in the end. We created office space of open type where visual communication is unhindered from almost all parts of the building. Inside, lighting was placed into the ceilings unpretentiously, in interesting rhythms, emphasizing exactly what it should in the foreground – the very light.

Lighting fixtures are skilfully interpolated, they do not protrude from the ceiling and wall surfaces, but they discreetly define the volume. Full inter-penetration of architectural design and lighting occurred in the central hall where illuminated circles on the ceiling of different size in fact represent reflections of circular forms on the floor, creating something of a double image within which space distributed itself. Transparent illuminating orbs are lowered from the ceiling like drops and they are suspended at different heights, thus additionally dynamising the space. In this manner, the poly-floor cylindrical volume was given a connection along the entire height. This play of light attracts the eyes of the employers as well as visitors, offering them pleasant feeling of being in such a space.


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K apartment, Zagreb

Moscow apartment programme / apartment lighting design lighting design / Dean Skira architecture / Andrija Rusan, Jasminka Rusan client / private area / 200 m2 project / 2005 realization / 2005 written by Andrija Rusan

It is a “bachelor apartment� in an elite area of Moscow for a man of refined taste and whose thoughts are difficult to grasp. Difficult, very difficult task. From the creator of space, it demands an extraordinary concentration, much contemplation, pondering... The idea of a predefined concept of the apartment was supposed to be supported by an exclusive and precise design, as well as the choice of material and colours. Value of the chosen elements makes the lighting prominent. In the best possible way, illumination underlines the idea of the architect, designer, within which each element has its own meaning and value. And, at the very end and almost most importantly, lighting is what creates atmosphere. It is light what we want to see, what we want to live in, enjoy in...

programme / apartment lighting design lighting design / Dean Skira architecture / Andrija Rusan client / private area / 331 m2 project / 2007 realization / 2008 written by Andrija Rusan

A young man who intends to create home for his future family chose a design for penthouse (both the size of the apartment and outer terraces) in broader centre of Zagreb. Everything is in accordance with his upbringing, education, ambitions and means. In such a demandingly defined programme, it was necessary to create an entirety of all elements of design and all these to serve creation of a pleasant and functional setting for life for an investor with raised awareness. The resulting setting shows that there was a concurrence on the desired aim between the investor, architect and (unavoidably) light designer. The lighting and illumination options support (create) in all respects desired atmosphere(s) in this large apartment, in different places and all according to a current mood of the user.


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Family house, Matulji programme / family house and surrounding area lighting design lighting design / Dean Skira, associate Maja Lipovcˇiº architecture / Vukuªiº arhitekti client / private (Dr. Zˇeljko Miljaniº) ?? area / 1200 m2 project / 2009 realization / 2010 written by Maja Lipovcˇiº

A house, situated above Rijeka, with a unique view of Kvarner requires lighting which is appropriate for its enviable position. These are in fact two houses, the owner’s house and a guesthouse, which are connected with an underground corridor. In the first one, greatest challenge in terms of lighting was the staircase on the northern side which extends over three floors and frames the opening of the panoramic lift. It was necessary to make this very important segment of the house, visible from the main entrance into the house, even more attractive and warmer since it is defined by three clear vertical surfaces (deprived of any spatial intervention). To find a way how to leave simplicity and linearity of the architecture undisturbed and at the same time, to create high quality lighting and if possible, to offer the user a new experience was not an easy task at all. Lamps were specially made for this occasion after our design. Horizontal linear lamps, which extend from the basement level over the entire surface of the walls in different lengths and seemingly set in random order, create dynamics and draw attention to this frequently neglected segment of residing. The dynamics is enhanced with creation of scenes that include groups of lines with higher or lower intensity. The play with linear forms of lighting continues in the gym. There, fluorescent lines run from the ceiling down the wall in parallel line. The lines are discontinuous in irregular pattern in order to create a

sense of movement and thus motivate the user of the gym to recreate. Scenes, light intensity and quantity of natural light in the rooms are regulated by means of a system for managing artificial light and daylight. The user has possibility to adopt lighting to his need at any moment, choosing a desired scene with one click. Lowering of motor-driven window shades in the same way enables controlling of the quantity of daylight in a room. The southern side of the house offers maximum pleasure in the vistas through large and numerous glass walls. When the room lighting was created, great attention was paid not to disturb the transparency and hinder the view. Larger part of lighting fixtures is concealed in the ceiling or walls. Merely few decorative lamps create cosiness of a home. Nevertheless, when an exterior space image creates discomfort – whether it is direct sunlight penetrating into a room or the sight of a storm – the interior space closes. Window shades blend with the wall surfaces and offer the user perfect pleasure of a home for different house activities or rest. The connection between the two houses is an underground corridor, fifteen metres long. The tunnel is a place where one does not linger. So, it is necessary to equip it with sufficient quantity of light in order to neutralize possible feeling of uneasiness. The lighting is indirect, placed in channels on lateral walls in

such a way that it sheds light towards the ceiling and towards the floor along the entire length of the walls. Light follows architecture here, in this concrete case it connects without discontinuities. The swimming pool on the ground floor of the house, open towards the south, towards the sea, can become a stage for a play with colour spectrum of the rainbow during the night. Light, which penetrates through the glazed surface of the upper floor terrace, falls on the water surface and is then reflected all over the walls of the room. Since these houses communicate with the outside ambience directly, each and every part of the environment is carefully designed and likewise illuminated. Vegetation that outlines the edges of the plot is uniformly illuminated so that the residents have sense of the space in which they move in the night time. Each tree has its own role, and its importance is supported with light accordingly. Beneath the terrace console of the owner’s house, indirect lighting which elevates the house visually above the ground is placed, while there is green section with vegetation installed in the terrace zone. Interpenetration of the interior and exterior spaces is most obvious here; therefore, it was necessary to connect both parts into mutual scenes with lighting.


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House Munte, Pula In family houses, the programme is usually standard enfilade of frames for daily cycles with similar bases that are more or less typical for all of us. Nevertheless, it is possible to have feedback influence, in other words inducing one, on the manner in which we approach these frames with spatial articulation of types of connections, position within the entirety, processing and accentuations. Rituals of our lives are relevant for basic balance, and in the fold of a family house they are thematized as the main motivators for research, especially when we alone are involved in the process of architectural design. A person who creates this programme for himself as a new framework also penetrates into new interior spaces in terms that he transforms surmised potentials into a new reality of life, therefore he can count that from one excellence to another excellence the frames of his acts will change as well within the defined striving.

programme / family house architecture and lighting design / Dean Skira client / Dean Skira area / 420 m2 project / 2000 realization / 2002 written by Daniela Sˇkandul

“...by changing space, leaving the space of our usual sensibility, we enter into communication with space which is innovative in psychical sense... Because we do not change places, we change our nature.” (Bachelard, “Poetics of Space,” 1969)

House Skira is located near Pula, on the outskirts of the inhabited area of a tourist town which lives that wellknown life imbued with summer visitors in search for sun and sea. There are no any constructions whatsoever between the house and the coastline, the access street is blind alley, there is a pine forest in the contact area, the main orientation is south-east, level of insolation is optimal for Mediterranean conditions, and the view of a small bay and island is unhindered.

It the body of the house, we first seek for anthropomorphic (or biomorphic) symbolism – and we find it: it is thematized in the interior as well as in the exterior with snail-like spiral of the stairway, which can be read already from the access front. Tightened with the corpus of the house, the cylindrical vertical is trying to break free from the canvas and builds the entrance, transforms into sail or fin and steers from the mast of the cornice. The metaphor of its corporality as a ship is inseparable; the house of total whiteness under the intense coastal sun with its corners which slightly tears blueness and hold the course – south-east, where there is no end to sight. The body of the house is in fact set in cubic proportions, and only occasionally

there is a circular window on the deck or in the interior, small shadow of the sail on the eastern front and flooring under the feet reveal that one is sailing; palm trees – enough to stay on course and indulge in salty smell. On the inside, square and round forms are not fighting at all anymore; invisible things which the house implies in its usage become significant: regular spatial connections of the daily and nightly or dividable and divided space to most intimate zones; open front of the living room luxuriously placed along the entire line of the ground floor all the way to the almost continuous glass line and over, to the formed living room outdoor. Furthermore, involution of the spiral, which is seemingly placed peripherally, but still very powerfully manages processes in its entire verticality, develops in the sequence of the floors exactly in the same way the interiorised contents appear from the ground to elevation, with ending point at the steering place of the roof pavilion where stars are observed with a telescope. This house is very clearly regenerative place for all involved. Illumination in the interior is a separate subject; model and inspiration is always natural lighting. Natural light usefully creeps into the house in every opportunity and is accentuated with the additional lighting, especially during atmospheric changes of the day cycle. Installation of fixtures, concealment in channels or accentuation with decorative illumination are means to achieve that. As functional lighting is concerned, there is outdoor LED lighting present, control of the garden by means of lighting with timer which prevents unwanted gathering and night lighting in the interior – red LED for movement in the dark, low along the


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floors. The entire lighting is programmed: there are not light switches for an individual lighting fixture, but control and choice of scenery, related to each of possible activities. The result is always precise upgrade, which is expected from the non-material participant. No matter how refined materials and executions, no matter how much attention was paid while equipment and incorporated elements were installed, it is lighting that brings about desired effect of elation, that relates experience to emotion. There is no lack of attention in technological-functional part as well: the house has low energy consumption in its forming and orientation of openings that catch the most useful insolation from the south-east, in multilayered quality of elements of the walls and roof with plenty of insulation, and in alternation of secondary energy source with a complete

system of hot water preparation and heating by means of solar collectors. Auto-ventilation is enabled via stairway and roof, lifting of air is used optimally therefore cooling is used rarely. Proper insulation enables agreeable temperature in the interior during the hot days as well. The entire realization came into being with special attention paid to all elements of comfortable life; all significant knowledge and technologies are integrated “carefully for a good master.” Our toast from the deck could be: “For many such examples, in many climates and for different lifestyles!”


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iluna programme / lighting fixture design design / Dean Skira client / iGuzzini project / 2009 realization / 2010

In many occasions during research of which fixture or type of source to use for a given situation, many time it occurs that we simply can’t find what we need to accomplish the idea to its minor detail. Thousands of lighting fixtures are available today. There are almost infinite choices in form, color, sources, optics and so on. Especially in decorative world where form is the only criteria used to make a choice. Professionals know that form of the fixture is the last think we should consider while specifying lighting tools in the given space. Today LED technology has brought so many new possibilities in form and function of lighting fixtures. There is still quite limited choice of fixtures designed around this source; they are mostly retrofitting traditional sources with new one. The shape and dimension in most cases remain the same. Naturally it will take time to change the mind setting of

fixture designers that the new source is smaller, linear or point, or many points in linear or curve linear row. The basic idea of iLuna is to undo do usual centered source and dismantle the typical recessed up light round fixture into 4 parts of the curve. One quarter of the circle is a basic form from which derives so many different forms put together in the infinite possibilities of this composition. The idea developed of necessity to illuminate a column from the ground and achieving uniform linear light without the usual scallop on the bottom part. Same is for the trees in landscape lighting. The visual effect is entirely different than using usual round recessed fittings. Not only in form of light emitted from it but in volume of the body itself which to many times become large obtrusive element within the space. Quarter circle, half or tree quarter circle or full circle leaves us without the large

middle part which inevitably creates large glary surface. The rest of the body that houses powerful HID or hot halogen bulb must take into account the heat generated by the source and leave enough space for reactors. In case of LED source many of these limitations are avoided and large housings are no longer necessary. Heat transfer is also smaller problem especially if used in public areas where there is possibility for someone to touch the fixture while on for a while. iLunas form and function allows for many different shapes, power ratings, flood or spot, uplight , accent or signage RGB. It is complying with functional environmental and esthetic demands. The housing is reduced to the actual size of the source. I designed the whole series of possibilities of fixture by composing this simple form. Uplight, downlight, wall light closing the inner and outer corners, small pathway bollards or high poles for parks. As the


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power of LED sources develops it will be possible to use as a street light for motorway traffic. In 2009 I presented the idea to iGuzzini lighting manufacturer and decision is made quickly to begin with production. We build the prototypes and soon it will become standard product in their 2011 catalogue. iLuna is one of the clear examples where “form follows function� and I am confident that it be a very useful lighting tool in many deferent occasions.


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power led spot version or RGB version

iLUNA composition simulated in the real space


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“It can be done”: Lumenart house of light programme / office building interior and lighting design / Dean Skira architecture / Andrija Rusan client / lumenart

area / 665 m2 project / 2005 realization / 2006

[…]The building’s core is a common brick and concrete construction characteristic of low-tech industrial halls. The simple cube, however, is clothed on both sides, on the inside and the outside, and so something that any skilful constructor could construct has evolved into a totally contemporary, distinctly postmodern architecture (surely agreeable to the pioneers of postmodernism as well). The exterior of the building reflects neither the logic of construction nor the concept of the interior space – form does not follow function – and nor, most certainly, has this project been built on the “less is more” principle – if I restrain myself to merely three tenets of modernism. The simple brick cube represents indeed just a skeleton for the interior and exterior coverings, treated as autonomous elements and as consequence designed in that manner: the author of the pressed glass panelling of the exterior of the building is Andrija Rusan, while the epoxy floor coating and plaster cardboard plates of the interior architecture are the design of Dean Skira. Both of them followed, each in his own way, their own ideas, the image of the building they had recognized as the right one; more than the logic of the programme or construction. Both of them are gifted by a specific aesthetic sensibility which can be traced in similar design interventions inside and outside the building, which certainly led to their collaboration. The building’s image was probably conceived on a ferry in the middle of the Adriatic, on the way from the island of Hvar to Split. Skira was contemplating his new office building aloud, while Rusan listened and sketched a little, just for himself. When Skira saw the sketched image, he immediately recognized it as the right one. The fact that no one had ever built anything so audacious before

in that area, didn’t disturb them. Rusan pictured the building as a large crystal of irregular form, still needing to be turned into geometric figures in order to be constructed. Thanks to the new envelope, what is basically a low-tech construction has been turned into high-tech architecture. Solving the ambiguity of completion of such complex construction supported by comparatively low funds and the use of the simple technology locally available at present didn’t trouble them either. The starting idea was to envelop the building in Corten steel – in red earth colour; but in the end they decided to make it completely white. Intensely white to the same extent is the primary colour of the interior. The probability is we shall come closer to the real reason for the choice of colour not by associating it with another modernist premise but recognizing instead that the architect and the designer simply saw white as the colour of the right effect. One of the positive effects of the white interior is that it serves well as a background for the lighting devices in the display area and the salesroom of the building. It makes different colours, shapes and materials stand out into the foreground. The white surface also works well for the lighting effects demonstrations on the first floor, designed for lectures and illumination presentations. Here, the white walls serve as a large projection screen. The laboratory whiteness in this building makes you feel you have entered a space used for scientific research, which would in this case be the lighting. Considering how seriously the designers and engineers of this company take the task of working with illumination, dressing them in white coats and giving them white gloves to wear would quite fit the picture. A showroom used for

presentations of lighting devices is in the basement, a studio for designing the illumination is on the ground floor, while a lecture hall for studying the lighting effects is on the first floor. Owing to its pure whiteness, the interior indeed resembles a laboratory for the complex programme of nurturing the culture of illumination. A positive effect of the whiteness is also shown when viewing the building from the outside, from afar. Seen from the coast, it resembles a large, white crystal which catches the eye immediately, being surrounded by colourful pastel architecture; at the same time, it resembles southern Mediterranean architecture or a gigantic light (wrapped in a semi-transparent white fabric) as a Nordic designer would have designed it. Such a double standard (as well as the duality of associations) surely also contributes to the building’s extravagance. It stands out from its surroundings – at day due to its form and completely white surface and at night because of the multicolour lights projected onto it – it really represents a recognizable object in space, a landmark. What was still recently just one part of Pula has now been turned into a very special area.[…]

Excerpt from the text by Petra Cˇeferin, published in Oris, issue 44, year 2007


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Designing, Building and Living in the House of Light Following the idea to build a facility where the architecture accompanies the light and the light enhances the architecture led to the realization of the House of Light. The process of designing and building the House has been a challenging experience. The intention was to use all the technologies to support the integration of architecture and lighting design. After the project was finished, the team is now enjoying a great benefit and pleasure by living in the House of Light. It shows a constant influence on the team’s creative process. Also, the research showed that the realization of the project directly influenced on strengthening the company's corporate culture and that work results are directly connected to a higher employee's job satisfaction. Our working accomplishments represent the best reference for a professional and innovative approach to the theme’s presentation. House of Light is the project that reveals the whole process from the appearance of the vision until the finalization of the project and its nowadays functions and usage. It shows how much knowledge, experience, technology, enthusiasm and creativity have been put into the project and how this great synergy made possible that a vision became reality. The idea for the building’s look was born on a ferryboat in the middle of the Adriatic, on a trip

from Hvar to Split. I was talking about my ideas for a new office building with my friend Andrija Rusan, the architect, while he was listening and sketching, without a specific purpose, just for himself. I remember the moment when he suddenly recognized one of the sketches as the right image of the building. Instantly he knew that this was it. We did not fear about the fact that nothing so daring had ever been built on the chosen location. Seen from a distance, the building stands out because its unusual shape and white surface that reflects the sunlight, and at night because of its various lighting creations. The color combination was designed to create an effect similar to that of Mondrian's paintings, with a range of lighting scenarios. The facade can be immersed in the changeable colored light, with the windows illuminated by the cold white light and vice versa, or just the facade illuminated with the windows switched off. The volume of the building is highlighted by four colorwoody iGuzzini projectors. Two neon tubes (cold cathode) from Antrox have been placed inside each window, in an aluminium profile: one in cold white (6000°K) and the other colored. The surrounding greenery, especially the two-three hundred year old olive trees, is illuminated by asymmetrically fitted projectors. Red LEDs mark the vehicle route, while white LEDs highlight the steps as an architectural feature. The interior lighting system is totally built into the architecture. Clear

white was chosen as the basic colour of the interior mostly because it is effective regarding lighting effects. An interest in light is indeed taken seriously here. In the basement, there is an exhibition hall for lamps and various light sources, a studio for lighting design is on the ground floor, and a research room and lecture hall on light effects is on the first floor. Linear light is completed by a few halogen spotlights and metal halides and an RGB fluorescent system is installed along the walls. The lighting scenery, inside and outside, is managed by a Lutron Homeworks Interactive system and is programmed on the basis of the daylight, taking into account how it varies during the day and at different times of year. The programming, or manual management of lighting and scenery, is handled by means of elegant minimalist style console, designed to be as unobtrusive as possible.


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events


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events

grand openning

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lecture castiglioni

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lecture numen


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željko buric´ Željko Buric´. Završio studij tržišnih i vizualnih komunikacija, od 1976. bavi se oblikovanjem Od 1988. vodi studio FABRIKA u Puli.


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It is amazing how easy is to discuss lighting, architecture, and design with Skira and in this way create new worlds for our investors, friends, me for him, he for me. It all looks so normal, understandable in itself, simple and logical to the point that I feel somewhat afraid when I step away from last project. Because, I ask myself: was it a coincidence, and did lucky stars merely fall into place? And, will this happen again on the next project? And this has been going on for years now! I wish to go on like that. Because I have not met better designer of light (nor have I been looking for one).

andrija rusan Andrija Rusan. Graduated from the Faculty of Architecture in Zagreb in 1980. Heading his of own atelier Rusan arhitektura since 1986 in Zagreb.

And something else is extremely important to me. And this is his friendship and understanding in each and every situation that matters.


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“I first met Dean through my brother Vittorio almost 22 years ago. As I started working with Dean, I began to take notice of the fact that he had great vision and a very acute sense of style. What impressed me the most about Dean was, and still is his ability to give you his undivided attention and a sense of deep listening; Dean was always ready, willing, and able to learn whatever you were willing to teach him. Whenever I sent Dean out to a job, he was always able to deliver the

edwardo rosso Andrija Rusan. Graduated from the Faculty of Architecture in Zagreb in 1980. Heading his of own atelier Rusan arhitektura since 1986 in Zagreb.

correct design and product specification based off of what the environment he was lighting called for. I have always believed that pure lighting design is truly driven by what an environment needs. Dean remains one of the few people that I have met that has the ability to listen to the needs of an environment, and light it accordingly. As we continued working together, Dean and I developed a great personal relationship and a real friendship that existed outside of our work.”


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box” I was facing, to this large-scale lantern, to this contemporary piece of architecture that exceeds every expectation and invites your imagination to discover it. I recall that the inauguration of the Lumenart And yet, the architecture of Lumenart is first and headquarters was greeted as a very prestigious foremost human. event. It radiates an atmosphere I would define as halfway Its architecture was described as an example between cosy and creative atelier: a place for of genuine, audacious architecture of light, true designing, meeting, organizing seminars, exhibiting pride for those who, like iGuzzini, appreciate the and selling, where everything becomes part of an application and interpretation of the object and experience. subject matter of their industrial activity in the It is where, every night, the violinist tunes highest form owing to skills of an exceptional his instrument and, leaning against his desk, author. surrounded by smiles on photos of his family, Perhaps it is the same kind of emotion a luthier among sketches and notes scattered around, the would experience listening to symphonic look in his eyes and his thoughts get lost beyond magic created by a virtuoso violinist “using” his the large glass wall, indulging in the remarkable instrument. view of sea sunset, right underneath… this is Dean. Subsequently I too arrived to Pula, invited by Night falls, the lantern is lit, coloured lights creep Dean, as a lecturer at a course dedicated to an into gaps, restoring a kind of magic that evokes issue of illuminotechnic design. Svoboda and endows the place with modernity, A small and inconspicuous sign indicates the descent on a narrow path that sneaked between amazement, elegance and character… And this is the Lumenart of my memories. suburban houses and secluded natural spots A warm greeting, Dean. which, like an indigenous reserve, communicate a somewhat sauvage elegance… in this particular I admire people who, like you, know how to context, eyes are not ready to meet what emerges risk a change, follow their instinct and genius, successfully declaring their passion and feeding it right there, in front of them. on poetry and humanity. -Wow- was all I could say reacting to the “white Dean Skira: I have already heard about him in the office.

luciano laura

suzana

donat

james

laura cinquarla Laura Cinquarla. Graduated in Industrial Engineering (DIG) from the Polytechnic University of Milan in 1998. After three years spent in Iveco, she went to work in iGuzzini illuminazine SpA, the headquarters in Recanati (MC). Motivated with her personal passion for architecture, she has a position of Lighting Training Manager.


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piero castiglioni Piero Castiglioni. After graduating in architecture in 1970, he worked with his father Livio in Via Presolana from 1973-1979, mainly specialising in lighting design. After his father’s death (1979), he went on working on interior and outdoor lighting design with new assistants in the same office.

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dean skira

Dean Skira was born in 1962. In 1986 he left for the USA to study interior design at the Fashion Institute of Technologies in New York. In 1990 became a member of IES The Illuminating Engineering Society of Northern America, New York section. In 1994 he returns to his home town of Pula. In 1990 Dean Skira established Lumenart d.o.o. and in 2009 Skira d.o.o. Both design companies are specialized in all aspects of commercial, urban and residential architectural lighting design projects and hi-end integration systems, primarily in Croatia. Skira s professional philosophy is continuous advancement of lighting technology knowledge. He built a House of Light office building which functions as a working place, a showroom and

an educational centre. During the last few years, Skira regularly hosted and presented many educational seminars in the company’s Light Lab (Retail lighting design, Lighting pollution, External lighting solutions, etc.) and attended professional conferences where relevant topics were elaborated. Also, Skira was several times invited as a lecturer at the Academy of Applied Arts in Rijeka, Croatia., Zagreb school of Architecture department od design, Split school of Architecture featuring topics in basic s of architectural lighting design for students, International lighting congress Balkan Light 2008, Slovenia, Ljubljana 2008 Emotional and other aspects of artificial lighting in our living environment, as a representative of Croatian

Lighting society, guest speaker in Moscow, Russia for a selected group of architects in 2009 and at Frankfurt 2010 biennale as a guest speaker at Viabizzunos event featuring the topic Integration of lighting systems in architecture. As the vice president of Croatian Lighting Society, he values that the educational component, manifested trough the sharing of knowledge and experience, has a great importance on the advancement in the profession. He also lectured at CEI event, Assembly of the Architects, Croatia, Pula, 10th December 2007, Lighting design or designing darkness in urban environment Association for development of Croatia, Crikvenica, 18th April 2008, Sustainability, at what price? In the last

few years Skira team has been involved in some important international project in Europe, Israel , Moscow and former republics of USSR. Their efforts have led to special creations that were crowned by the integration of light and are testimony to creative co-operation with the architects and their vision. Skira’s work was recognized by many awards and publications (International prize Dedalo Minosse for Commissioning a Building 2007-2008, publication in the Phaidon Atlas of Contemporary World Architecture, nomination for the EU prize Mies Van der Rohe 2009 etc.) IES Award of Merit for Town Buzet (2002) and House of Light (2009).


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lumenart

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Lumenart Ltd. is the leading company specialized in all aspects of lighting design, engineering and distribution of fixtures and architectural light management systems. Founded in New York in 1990, Lumenart continued its work in Croatia in 1995, and since then has had great international accomplishments and valuable experiences in the field of integrated lighting and implementation of illumination technologies. Professional, thorough and creative approach to every project, total quality management, constant education and specialization, together with keeping up with technological progress, has

generated excellent results and great satisfaction among our clients. Our team consists of lighting designers, product designers, electrical engineers and programmers, what makes our final product complete, since its creative content is fully elaborated from the technological, energetic and operational aspect. Among Lumenart’s numerous realizations in Croatia and abroad there are lighting solutions for hospitality, industry facilities, commercial premises, banks and financial institutions, private residences, urban complexes, religious buildings and landscape areas.

godvin zoran samanta

maja sandra

boĹžo

wolgy

dean

dean m.

bojan goran


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index

1996 URBAN LIGHTING MASTER PLAN, Medulin County

1998 BOUTIQUE ARENA TRIKOTAŽA, Pula CAFE BAR CVEK, Pula CAFE BAR KOVA, Labin CITY LIBRARY FACADE, Osijek HABULINEC CASTLE, Zagorje HOTEL PARENTIUM, Porecˇ HOTELS EDEN, PARK & ISTRA, Rovinj HOTELS KORALJ & POLYNESIA, Umag LAGUNA BANKA, Branch Porecˇ MASTER PLAN CITY OF PULA URBAN LIGHTING HISTORIC TOWN CORE, Novigrad URBAN LIGHTING HISTORIC TOWN CORE,Rovinj URBAN LIGHTING, PARK NA RIVI, PULA WINE CELLAR MATOŠEVIĆ, KRUNČIĆI

1999 AURUM INSURANCE OFFICE, PULA BOUTIQUE D&G, ZAGREB CAFE BAR DEGLI SPECCHI, PULA CHURCH POHOĐENJE BLAŽENE DJEVICE MARIJE, POMER GOLJA RESIDENCE, ŠIKIĆI HOMAN RESIDENCE, PULA LAGUNA BANKA, BRANCH VRSAR LAURA BOUTIQUE PULA OFFICE ACTION, PULA RESIDENCE ČEFERIN, LJUBLJANA RAKAMARIĆ RESIDENCE, NOVIGRAD TEMPLE OF AUGUST AND CITY HALL, PULA THE CAVE OF PAZIN, PAZIN ULJANIK SHIPYARD CRANE, PULA URBAN LIGHTING,PARK SLOBODE, PAZIN BOUTIQUE NINA, PULA BOUTIQUE SLAVONIJA, PULA BOUTIQUE VARTEKS, ZAGREB CAFE BAR 2000, RIJEKA CAFE BAR KAJO, POREČ CAFE BAR ZEN, PULA CAR SHOWROOM PEUGEOT, ZAGREB CHURCH SV. ILIJE, KISELJAK (BiH) CHURCH SV. JELENE, KASTAV ABAK RESIDENCE, PULA FLOWER SHOP DECOR VERDE, PULA

FOTO ZOOM, Pula GALLERY HDLU ISTRA, Pula ISTRA COUNTY OFFICES, PULA JUKICA RESIDENCE, RIJEKA LAGUNA BANKA, Branch Novigrad LAGUNA BANKA, Branch Pula MONUMENTAL PARK OF NATIONAL LIBERATION WAR, Buzet PIUTI RESIDENCE, BUJE SUPERMARKET VALALTA, ROVINJ ŠORIĆ RESIDENCE, ROVINJ TADEJ RESIDENCE, LJUBLJANA TOTEM PALAZZO MADAMA, TORINO (IT) TOURIST AGENCY ACTIVA TRAVEL, PULA TOURIST VILLAGE VILLAS RUBIN, ROVINJ URBAN LIGHTING KANDLEROVA ULICA, PULA URBAN LIGHTING,WALKING AREA GIARDINI, PULA VILLA ANNA, RIJEKA ZUSTOVIĆ RESIDENCE LABIN ŽUNEC RESIDENCE,PULA CAR SHOWROOM CITROEN, PULA CHURCH AND CHURCH TOWER, VODNJAN CHURCH OF ASSUMPTION BLESSED MARY (VELA CRIKVA),RIJEKA CITY LIBRARY, PULA CROATIAN NATIONAL TOURIST BOARD, OFFICE BRUXELLES CROATIAN NATIONAL TOURIST BOARD, OFFICE FRANKFURT CROATIAN NATIONAL TOURIST BOARD, OFFICE LJUBLJANA FAMILY PARK MEDULIN GLAVINA RESIDENCE, ČABRUNIĆI JOZIN RESIDENCE, PJEŠČANA UVALA, MEDULIN LAGUNA BANKA, BRANCH ROVINJ MUSEUM,CHURCH AND GALLERY BRIJUNI OFFICE T.BRASS - PITARELLO, PULA PASTRY SHOP, PLAVA LAGUNA, PORECˇ PODUJE RESIDENCE, PULA POLYCLINIC ARS MEDIKA, PULA PUČKO UČILIŠTE U MALOM LOŠINJU, KULA U VELOM LOŠINJU RAIFFEISEN BANK AUSTRIA DD ZAGREB, BRANCH ZADAR RESTOURANT QPOLA,PULA SKIRA RESIDENCE, PREMANTURA URBAN LIGHTING, KOŠLJUN ISLAND URBAN LIGHTING, OLD TOWN,BUZET URBAN LIGHTING, PARK AND PLAYGROUND VIDIKOVAC, PULA BANK AUSTRIA, OFFICE SARAJEVO,BIH BOUTIQUE KAPRIC, ZAGREB BOŽIĆ RESIDENCE, ROVINJ CAFE BAR LAVAZZA, ZAGREB

CAFE BAR TELEVIZIJA, PULA CAR SHOWROOM CERINI, PULA CAR SHOWROOM SEAT,ZAGREB CENTER FOR FOREIGN LANGUAGES, ZAGREB OFFICE BUILDING EXOR, ZAGREB COURTYARD OF BANSKI DVORI, ZAGREB CROATIAN NATIONAL TOURIST BOARD, OFFICE MILAN CROATIAN NATIONAL TOURIST BOARD, OFFICE ROME ČOHILJ RESIDENCE, PAZIN ĆURKOVIĆ RESIDENCE, ZAGREB DAYTONA BEACH HOTEL, PULA FLOWER SHOP DECOR VERDE-KOPARSKA, PULA FRLAN RESIDENCE, RIJEKA GALIĆ RESIDENCE, POŽEGA HERUC GALERIJA, STORE, PULA HOTEL ARGENTINA, DUBROVNIK HOTEL ROVINJ, ROVINJ LAW OFFICE MAČEŠIĆ, RIJEKA OFFICE IPRO INŽENJERING, ZAGREB RAIFFEISEN BANK AUSTRIA DD ZAGREB, BRANCH SPLIT RAIFFEISEN BANK AUSTRIA DD ZAGREB, BRANCH PULA RAIFFEISEN BANK AUSTRIA DD ZAGREB, BRANCH RIJEKA RESTAURANT CISTERNA, ROVINJ RESTAURANT LETO, PULA VILLA KOLUNDŽIĆ, ZAGREB VULAS RESIDENCE, ZAGREB AKERMANN, RESIDENCE, UMAG BANK AUSTRIA,OFFICE MOSTAR, BIH REDEMPTORIS MATER, PULA BOGDANIĆ RESIDENCE, ZAGREB BOUTIQUE FURLA, PULA CAFE BAR, POŽEGA CAR SHOWROOM MAZDA UKIĆ, RIJEKA CAR SHOWROOM ŠTASNI ŠKODA, ZAGREB CASINO HOTEL EXCELSIOR, DUBROVNIK CHURCH CERNIK I SV. KRIŽ, RIJEKA CINEMA CINESTAR ZAGREB COMMERCIAL BUILDING VALIPILE, SESVETSKI KRALJEVAC DENTAL LABORATORY M. RASOL, PULA DHL OFFICE BUILDING, ZAGREB DONATELLA STORE, ZADAR DOŠEN RESIDENCE, SELCE ELEKTROPRIMORJE HEADQUARTER BUILDING, PARK AND FACADE, RIJEKA FACULTY OF LAW, ZAGREB FURNITURE SHOWROOM VIRGIN, PULA HOTEL CROATIA, CAVTAT HOTEL CROATIA, CAVTAT HOTEL PALACE, ZAGREB

KAIĆ RESIDENCE PULA LAGUNA BANKA, BRANCH VERUDA, PULA LANSCAPE PEROŠA RESIDENCE, PULA LAW OFFICE VOJKOVIĆ, ZAGREB MARIĆ RESIDENCE, ZAGREB MIHOVILOVIĆ RESIDENCE MITROVIĆ RESIDENCE, LIŽNJAN MUNICIPAL COURT MALI LOŠINJ MUNICIPAL COURT FACADE, PULA OFFICE FABIJANIĆ, ZAGREB OFFICE BIOKOZMETIKA, ZAGREB BRANCH HYPO ALPE ADRIA BANK, ZAGREB OFFICE NAVELA, PULA OFFICE SMAREGLIJEVA 1, PULA PANTOVČAK RESIDENCE, ZAGREB PAROCHIAL OFFICE AND SURROUNDINGS OF CHURCH SV. MARTIN, VRSAR PARTNER BANKA, BRANCH PULA RAČA RESIDENCE, PULA RAIFFEISEN BANK AUSTRIA DD ZAGREB, BRANCH ŠIBENIK SHRINE GOSPE OD UTOČIŠTA, ALJMAŠ TOURIST AGENCY UNILINE, PULA TOURIST VILLAGE BRULO,POREČ TOWN CEMETERY, PULA URBAN LIGHTING FRANE PETRIĆ SQUARE,CRES AND RIVA LOŠINJSKIH KAPETANA-MALI LOŠINJ URBAN LIGHTING,PARK HOTEL EDEN, ROVINJ URBAN LIGHTING,PARKING AREA BUSINESS CENTER MANI, ZAGREB URBAN LIGHTING,PARKING AREA BUZIN, ZAGREB URBAN LIGHTING,PARKING AREA GRAMAT, ZAGREB APART HOTEL RABAC ASSEMBLY HALL POREČ BALZARENO RESIDENCE, ROVINJ BOTANICAL GARDEN/GIARDINO BOTANICO, LUCCA (Italy) MUNICIPAL COURT HOUSE FACADE, MALI LOŠINJ CAR SHOWROOM AUDI, RIJEKA CASINO PULA CHURCH GOSPA OD MILOSRĐA, PULA CICVARIĆ, RESIDENCE, PULA CITY HALL POREČ CLINIC FOR PHYSICAL MEDICINE AND REHABILITATION PEHAREC, PULA OFFICE BUILDING BARBAT, RAB COMMERCIAL BUILDING INDI, VODNJAN ČEHIĆ RESIDENCE, PAZIN DELBIANCO PERIĆ RESIDENCE, PULA DVOJKOVIĆ, RESIDENCE,ZAGREB ELDOS, RESIDENCE, PULA


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GOLEMOVIC RESIDENCE, VARVARI POREC GREEN MARKET, PULA HERUC GALERIJA, STORE, RIJEKA HOTEL ADRIATIC, OPATIJA HOTEL ISTRA, UMAG KVARNER WIENER STADISCHE INSURANCE, BRANCH RIJEKA KVARNER WIENER STADISHE INSURANCE, BRANCH ZAGREB LAGUNA BANKA, BRANCH UMAG LAKOVIĆ RESIDENCE, POREČ LANDSCAPE ČEHIĆ RESIDENCE, PAZIN LOLIĆ-MATEK RESIDENCE, LJUBLJANA LOUNGE BAR ZAGREB LUKOVIĆ, RESIDENCE LUMENART OFFICE, PULA MIHELČIĆ RESIDENCE MILIĆ RESIDENCE, VABRIGA OFFICE BUILDING MAUN, SESVETE OFFICE EUROKOD, ZAGREB SHOWROOM INTERIO, RIJEKA BOUTIQUE TIBOR OPATIJA OFFICES GLOBAL RELAX SYSTEM, ZAGREB & PULA ORTHODOX CHURCH SV. NIKOLA, RIJEKA PARTNER BANK, OFFICE VARAŽDIN PARTNER BANK, OFFICE ZAGREB POLJAK RESIDENCE, PULA NOTARY PUBLIC OFFICE OBROVAC SKIRA,PULA PULA HERCULANEA,PRINCIPALS OFFICE, PULA RAIFFEISEN BANK AUSTRIA DD ZAGREB, BRANCH POREČ RESTAURANT KANTINA, PULA RUDAN RESIDENCE, BARBAN SHOPPING MALL SOLIDUM, ZAGREB STIPO RESIDENCE, IČIĆI URBAN LIGHTING OLD TOWN PULA URBAN LIGHTING PRIMORSKA ULICA, POŽEGA URBAN LIGHTING ULICA SERGIJEVACA, PULA URBAN LIGHTING VERUDA, PULA URBAN LIGHTING, HUM URBAN LIGHTING,PARK OLGE BAN, POREČ URBAN LIGHTING,PARK VALDIBORA - ROVINJ ŽIVOLIĆ RESIDENCE SMOLJANCI AUTOCAMP LADIN GAJ, SPORT & RECREATION AREA, BRTONIGLA BEAUTY-WELLNESS CENTER, TERME ČATEŽ CAFE BAR ANDRIC, ZAGREB CAFE BAR MUSHROOM, PULA CAFE BAR TEHOMARKT, PULA CAFE BAR, LABIN CITY LIBRARY POREČ OFFICE BUILDING ELAN, PULA OFFICE BUILDING UNILINE d.o.o. PULA DOBLANOVIĆ RESIDENCE, PULA

G2, RESIDENTIAL AND BUSINESS BUILDING,RABAC GALLERY MMC LUKA, PULA GUDELJ RESIDENCE, RIJEKA HAIR STUDIO GOGA, PULA HISTORICAL MUSEUM PULA HOTEL EDEN, ROVINJ HOTEL PARK, ROVINJ HOTEL RAB JOVANOVIĆ RESIDENCE, PJEŠČANA UVALA,PULA LANDSCAPE IN-DI BUILDING, VODNJAN LANDSCAPE KAPTOL CENTER, ZAGREB LANDSCAPE VILLA IĆIĆI LANDSCAPE TEHNOMARKT OFFICE,PULA LATIN RESIDENCE, ŠTINJAN, PULA LOUNGE BAR - NP BRIJUNI LOUNGE BAR AND RESTAURANT E&D, PULA MILJEVIC RESIDENCE, PULA MIRKOVIC RESIDENCE . PULA MIRKOVIĆ RESIDENCE, ZAGREB MOSCOW, RESIDENCE MUSEUM DRAZEN PETROVIC - ZAGREB MUŠKARDIN RESIDENCE, BALE OFFICE GOLEMOVIĆ, POREČ OFFICE RUSAN ARHITEKTURE, ZAGREB OFFICE GLOBAL RELAX SYSTEM OSIJEK OFFICE ŠUKOVIĆ, PULA OSTOJIĆ-PERIĆ RESIDENCE, MEDULIN PARTNER BANK,OFFICE ZADAR PARTNER BANKA, BRANCH TRG BANA JELACICA, ZAGREB PASTRY SHOP STURAGO, ROVINJ POOL AREA POLARI, ROVINJ POOL AREA VEŠTAR, ROVINJ POREČ THEATER,POREČ GALERY AMPHITHEATHRE ARENA, PULA RAIFFEISEN BANK AUSTRIA d.d. ZAGREB, BRANCH DUBROVNIK RAIFFEISEN BANK AUSTRIA d.d. ZAGREB, BRANCH ZAGREB RAIFFEISEN BANK AUSTRIA DD ZAGREB, BRANCH ROVINJ RAIFFEISEN BANK AUSTRIA DD ZAGREB, BRANCH UMAG RESTAURANT VALTER, PULA T-COM, BRANCH MAKARSKA T-COM, BRANCH OGULIN T-COM, BRANCH: VUKOVAR, UMAG, BJELOVAR, ZADAR, SIBENIK, ZABOK, VIROVITICA, NOVA GRADISKA, IMMOTSKI, CAKOVEC, SL. BROD, CRIOKVENICA THE FRANKOPAN TOWER, BRIBIR TIHANA RESIDENCE TOURIST VILLAGE VALKANELLA POOL, ROVINJ URBAN LIGHTING TRG SLOBODE, POREČ

URBAN LIGHTING CASTEL AND FORT, GROBNIK URBAN LIGHTING WALKING AREA, CRVENI OTOK, ROVINJ URBAN LIGHTING,PARKING AREA HOTEL PARK, ROVINJ VILLA VULIN, PULA VOLOSKO RESIDENTIAL BUILDING, VOLOSKO AGROTOURISM BECCACCIA, VALBANDON AUTOCAMP POLARI, ROVINJ AUTOCAMP VESTAR, ROVINJ AVENUE MALL ZAGREB BIONDIC RESIDENCE,GORNJE PREKRIŽJE BOUTIQUE DELBIANCO, PULA CAFE BAR ANTENA SAT, PULA CAR SHOWROOM CHEVROLET,RIJEKA CAR SHOWROOM VOLKSWAGEN, RIJEKA CEMETERY KRISTA KRALJA, POŽEGA CHURCH DRENOVA, RIJEKA CHURCH SV.NIKOLA RIJEKA CHURCH SVETVINČENAT CITY HALL VODNJAN CITY MUSEUM, UMAG OFFICE BUILDING HEP ZAGREB ČOVIĆ, RESIDENCE, ZAGREB EDUCATIONAL CENTER MILOJEVIC RADJA ENOTECA AND HUNTER’S ROOM, LAŠĆINA GALLERY MOTIKA, PULA GULLIVER OFFICE, POREC HAIR STUDIO SMILOVIĆ, PULA HOTEL CASTOR, RABAC HOTEL PARK WALKING AREA, ROVINJ IKB BANKA, OFFICE POREČ KAMENSKI RESIDENCE, ZAGREB KASTELIĆ RESIDENCE, KRANJSKA GORA KOZULJ RESIDENCE, ZAGREB KRISTIJAN RESIDENCE, PULA VILLA KRISTINA RESIDENTIAL BUILDING, PULA LANDSCAPE DRAŽIĆ RESIDENCE, ZAGREB LUNGOMARE HOTEL PARK - ROVINJ LUSH STORE,HVAR LUSH STORE, ZAGREB MARKET POLARI, ROVINJ MARKOTA RESIDENCE, STANCIJA NEGRIČANI MARTIĆ RESIDENCE, ZAGREB US AMBASADORS RESIDENCE, ZAGREB MASTER PLAN CITY OF POREČ MILETIĆ RESIDENCE, POREČ NEFAT RESIDENCE, KLARIĆI NICEVIĆ RESIDENCE, MEDULIN OFFICE AD PULA OFFICE BANG & OLUFSEN, ZAGREB OFFICE BUILDING INSTITUT IGH, RIJEKA OFFICE LASERLINE, UMAG PARTNER BANKA, OFFICE RIJEKA PARTNER BANKA, BRANCH DOLAC, ZAGREB

PASTORAL CENTER, ROVINJ PERNAR RESIDENCE, PULA PERŠIĆ, RESIDENCE RABAC POTOČKI RESIDENCE, PULA PRIPUZ RESIDENCE, ZAGREB RAIFFEISEN BANK AUSTRIA DD ZAGREB, BRANCH MATULJI RAIFFEISEN BANK AUSTRIA DD ZAGREB, BRANCH RIJEKA III, RIJEKA RAIFFEISEN BANK AUSTRIA DD ZAGREB, BRANCH SPLIT RAIFFEISEN BANK AUSTRIA DD ZAGREB, BRANCH ZAGREB RAJKOVIĆ, RESIDENCE, PULA RESTAURANT CICVARIĆ MEDULIN RESTAURANT GO CART DENI, PULA RESTAURANT MARINA - HOTEL PARK, ROVINJ STOMATOLOGY AMBULANCE SAMBUNJAK, RIJEKA ŠUKOVIĆ RESIDENCE, PULA ŠUMONJA RESIDENCE, PULA T-COM, BRANCH:BIOGRAD, TROGIR, GOSPIC, KRIZEVCI, KARLOVAC, KOPRIVNICA, VELIKA GORICA, SINJ, METKOVIC TENIS KLUB I KAT MAISTRA TONKOVIĆ RESIDENCE TORBAROVA RESIDENTIAL BUILDING, ZAGREB UMIČEVIĆ RESIDENCE, VRSAR URBAN LIGHTING ULICA SV.KATARINA, LABIN URBAN LIGHTING KOBLER SQUARE, RIJEKA URBAN LIGHTING, PETRICA KEREMPUH SQUARE, ZAGREB VILLA MATERADA, POREČ WELLNESS HOTEL ISTRA (CRVENI OTOK) ROVINJ ŽUTELIJA, RESIDENCE,ZAGREB BOUTIQUE CALVIN KLEIN, PULA BOUTIQUE GLAMUR, ZADAR BOUTIQUE OBUĆA, AVENUE MALL, ZAGREB BOŽAC RESIDENCE, ŠIŠAN BREZAK RESIDENCE, ZAGREB CAFE BAR BABBAR, ZAGREB CHURCH BOŽJE POLJE, VIŽINADA CHURCH SV. PETRA APOSTOLA, IVANIĆ GRAD CINEMA VALLI, PULA CITY HALL PAZIN COMMERCIAL BUILDING LABINFOOD, PULA OFFICE BUILDING SIGMA, ZAGREB CROATIAN LIBRARY FOR BLIND PEOPLE, ZAGREB ČAUŠEVIĆ RESIDENCE, ZAGREB DEŽELIĆEVA, RESIDENCE, ZAGREB FAMILY PANSION STANCIJA KOCI, UMAG FLOWER SHOP MERKATOR, PULA GLUHAČIĆ RESIDENCE , PULA GOLF CLUB ZAGREB HOTEL BARBARIGA, BARBARIGA

HOTEL KAŠTEL KASTAV HOTEL PARK ENOTECA, STORE, COCTAIL BAR, ROVINJ HOTELI NOVI, NOVI VINODOLSKI ISTRIAN NATIONAL THEATRE (INK) FACADE, PULA KAPELOTO RESIDENCE, PULA KOMPARIC RESIDENCE, PULA KOMPARIĆ RESIDENCE, ZAGREB KOVAČ RESIDENCE, ZAGREB KVARNER VIENNA INSURANCE GROUP BRANCH PULA LANDSCAPE HOTEL MONTE MULINI, ROVINJ LANDSCAPE PRIMORAC RESIDENCE, ZAGREB LOJENRESIDENCE, ZAGREB MARAS RESIDENCE, ZAGREB MARFAN RESIDENCE, UMAG MATICCHIO RESIDENCE, PULA MAX BOUTIQUE, PULA MILJAVAC RESIDENCE, PULA NEFAT, RESIDENCE, PULA NEZACTIUM OFFICE, PULA ODAK RESIDENCE, ZAGREB OFFICE FRIGOBOX, PULA OFFICE PLAVI SERVIS, PULA OFFICE RUSAN ARHITEKTURE ZAGREB OFFICE VIA-ING, PULA SHOWROOM W PROJEKT, RIJEKA OLIVE OIL TASTING ROOM CHIAVALON, VODNJAN PALISKA RESIDENCE PBZ BANKA, BRANCH NOVIGRAD PECULIĆ, RESIDENCE, RIJEKA PICK, RESIDENCE, ZAGREB PIZZERIA MARKOVIĆ, PULA PRIMORAC RESIDENCE, ZAGREB NOTARY PUBLIC OFFICE CRLJENICA, PULA RAIFFEISEN BANK AUSTRIA d.d. ZAGREB, BRANCH BAKAR RAIFFEISEN BANK AUSTRIA DD ZAGREB, HEADQUARTERS MAGAZINSKA UL, ZAGREB RAIFFEISEN BANK AUSTRIA DD ZAGREB, BRANCH MAKARSKA RAIFFEISEN BANK AUSTRIA DD ZAGREB, BRANCH METKOVIC RAMLJAK RESIDENCE, ZAGREB ROADWAY LIGHTING, ŽATIKA, POREČ RUSAN RESIDENCE, DAŠEKOVO RUSSO RESIDENCE, RIJEKA SHRINE SVETA MATI SLOBODE, ZAGREB SOMMER RESIDENCE, ZAGREB SOŠIĆ RESIDENCE, ROVINJ SPORTS HALL ARENA ZAGREB BOUTIQUE GAASTRA, AVENUE MALL ZAGREB BOUTIQUE NORDICA, AVENUE MALL, ZAGREB

SUMMER HOUSE DRAŽIĆ, ZAGREB ŠKUNDRIĆ RESIDENCE, OPATIJA T-COM, BRANCH VARAZDIN I PAZIN TEVŠIĆ RESIDENCE, ZAGREB TPK HEADQUARTER BUILDING, ZAGREB TRIFUNOVIĆ RESIDENCE, VRSAR TURISTIČKO NASELJE SKIPER, HOTELI KEMPINSKI UNIVERSITY OF PULA, DEPT.OF ECONOMICS AND TOURISM DR. MIJO MIRKOVIC, PULA URBAN LIGHTING KASTAV SQUARES URBAN LIGHTING OLD TOWN, POREČ URBAN LIGHTING,PARK MONTE ZARO, PULA URBAN LIGHTING,PARKING AREA ŽATIKA, POREČ URBIS ARCHITECTS HALL, PULA VERBANAC RESIDENCE, RABAC VILLAS MIKULIČIĆ, ZAGREB ZAGREB CITY CENTAR, ZAGREB ADROVIĆ, RESIDENCE, ZAGREB BAN RESIDENCE, PULA BIRIBAĆI RESIDENCE, BIRIBAĆI BREZAK B&O OFFICE, ZAGREB CAFE BAR, MAKARSKA CITY HALL AND MUSIC SCHOOL, PAZIN ĆURKOVIĆ RESIDENCE, VOLOSKO DIMINIĆ RESIDENCE, UMAG FACULTY OF PHARMACY AND BIOCHEMISTRY, ZAGREB FILIPOVIĆ RESIDENCE, ZAGREB GADŽE RESIDENCE, ZAGREB HOTEL BELLEVUE, RABAC HOTEL KEMPINSKI, SAVUDRIJA, UMAG HOTEL NEPTUN, POREČ HOTEL PLAKIR, DUBROVNIK IVANČIĆ RESIDENCE, BUZET KALOĐERA, RESIDENCE,ZAGREB KARLOVAČKA BANKA ZAGREB, BRANCH RIJEKA KARLOVAČKA BANKA ZAGREB, BRANCH SESVETE KARLOVAČKA BANKA ZAGREB, BRANCH SPLIT KARLOVAČKA BANKA ZAGREB, BRANCH KUTINA KRAJCAR RESIDENCE, GALIŽANA LANDSCAPE GOLEMOVIĆ RESIDENCE, OPATIJA LANDSCAPE VILLA TUŠKANAC, ZAGREB LAZARIĆ RESIDENCE, PULA MEGRAD RESIDENCE, ZAGREB MIHALIĆ RESIDENCE,PULA MIHOVILOVIĆ-ĐORĐEVIĆ RESIDENCE, ROVINJ NIKOLIĆ RESIDENCE,PULA OFFICE AGG, PULA OFFICE BUILDING ZAGREBTRANS, ZAGREB OFFICE REGINEX, ROVINJ OFFICE STARUM, ZAGREB OREŠAR RESIDENCE, ZAGREB ORIS PAVILLION,ZAGREB PALACE FRITZY, MALI LOŠINJ

PERIĆ RESIDENCE, BANJOLE PERIĆ RESIDENCE, PULA PHARMACY, BALE POLYVALENT EXHIBITION HALL OF MINISTRY OF INTERNAL AFFAIRS, ZAGREB RAIFFEISEN BANK AUSTRIA DD ZAGREB, BRANCH PETRINJSKA UL,ZAGREB RAIFFEISEN BANK AUSTRIA DD ZAGREB, BRANCH SPLIT IV, SPLIT RAIFFEISEN BANK AUSTRIA DD ZAGREB, BRANCH VUKOVARSKA UL.,ZAGREB RESTAURANT ELEKTROISTRA,PULA RESTAURANT K&F, FAŽANA ROADWAY LIGHTING FACINKA, POREČ ROADWAY LIGHTING PARKWAY, POREČ ROADWAY LIGHTING, ROUNDABOUT ŽATIKA,POREČ SKIPER KEMPINSKI RESORT VILLAS, SAVUDRIJA SMEH OFFICE, ZAGREB STOMATOLOGY AMBULANCE VOJNIĆ, UMAG BOUTIQUE VEMLA DUBROVNIK STRUPAR RESIDENCE, ZAGREB THE ZAMET CAVE,RIJEKA TRSAT CASTLE, RIJEKA URBAN LIGHTING, ŽUPANJA SQUARE,ŽUPANJA URBAN LIGHTING, SV. KUZME I DAMJANA, SQUARE, FAŽANA VILLA OPATIJA, OPATIJA VLADOVIĆ RESIDENCE, ZAGREB VLAŠIĆ RESIDENCE, PULA WELLNESS REZIDENCIJA SKIPER, SAVUDRIJA WINDOW SHOWROOM,ZAGREB ZIMIĆ RESIDENCE, ZAGREB AVENEU MALL OSIJEK BRNIĆ RESIDENCE,PJEŠČANA UVALA CAFE BAR LEMON, ZAGREB COMMERCIAL BUILDING GRAWE,GRUŽ CONGRESS CENTER SKIPER HOTEL, SAVUDRIJA, UMAG ČOVIĆ RESIDENCE, CRIKVENICA DENTAL CLINIC RIDENT,RIJEKA DIMINIĆ RESIDENCE, PULA FACULTY OF LAW,SPLIT HOTEL FOUR SEASONS, BAKU, AZERBAIJAN HOTEL RIVIERA FACADE, POREC JURMAN RESIDENCE, ZAGREB KARLOVAČKA BANKA ZAGREB, BRANCH SESTRE MILOSRDNICE,ZAGREB KARLOVAČKA BANKA ZAGREB, BRANCH ŠPANSKO,ZAGREB KULMEROVI DVORI RESIDENCE, ZAGREB MEJAŠKI RESIDENCE, PODSUSED MILJANIĆ RESIDENCE, RIJEKA OFFICE ARTA- PROJEKTIRANJE, ZAGREB PALACE HEKTOROVIĆ, HVAR

PALIĆ RESIDENCE, ZAGREB PAVILLION - NJIRIĆ ARHITEKTI, ZAGREB PEDESTAL FOR SCULPTURE SIZA,ZAGREB POLYCLINIC NOVAMED, ZAGREB RAIFFEISEN BANK AUSTRIA DD ZAGREB, BRANCH SPLIT I, SPLIT RAIFFEISEN BANK AUSTRIA DD ZAGREB, BRANCH SPLIT V, SPLIT RESTAURANT RBA BANK, PALMOTIĆEVA UL, ZAGREB ROADWAY LIGHTING INTERSECTION VARVARI, POREČ ROADWAY LIGHTING TRG NA MOSTU (PUNTA),PULA ROADWAY LIGHTING, ROUNDABOUT BADERNA ROADWAY LIGHTING, ROUNDABOUT BRTONIGLA RUBEŠA RESIDENCE, RIJEKA SALVADOR RESIDENCE, PREMANTURA SAMSONITE STORES, SPLIT, ZAGREB, ZAPREŠIĆ SHOWROOM W-PROJEKT, RIJEKA URBAN LIGHTING, PETAR ZORANIĆ SQUARE, ZADAR VUJIĆ RESIDENCE, PULA WELLNESS HOTEL MEASTRAL, NOVIGRAD ŽINIĆ RESIDENCE, ZAGREB AGROKOR OFFICE, ZAGREB AGROTOURISM MACURA, POROPATI AUTOTRANS OFFICE, PULA BAŠIĆ RESIDENCE, PULA BEVANDIĆ RESIDENCE, PULA CAFE BAR ASK, ZAGREB CHATEAU ZORKOVAC, OZALJ CHIAVALON RESIDENCE, VODNJAN CHURCH MOTVURAN, MARČANA ĆORLUKA RESIDENCE, ZAGREB GALLERY MAKINA, PULA GRAND HOTEL PARK AUDITORIUM ROOM, DUBROVNIK HAIR STUDIO ASK, RIJEKA HOME CINEMA QUBA, AZERBAIJAN ISLAMIC CENTER, RIJEKA KRSTULOVIĆ RESIDENCE, ZAGREB KVARNER VIENNA INSURANCE GROUP, BRANCH VARAŽDIN LALIĆ RESIDENCE, ZAGREB LANDSCAPE HOTEL LONE, ROVINJ MAROCHINI RESIDENCE, LOVRAN MIŠKOVIĆ RESIDENCE, BANJOLE MULTIPLEX CINESTAR, ARENA SHOPPING MALL,ZAGREB PAVIČIĆ RESIDENCE, RIJEKA RAIFFEISEN BANK AUSTRIA d.d. ZAGREB, BRANCH JURIŠIĆEVA RESTAURANT DUBRAVKIN PUT, ZAGREB


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introduction

RESTAURANT PINETA MARE, VALBADON RESTORAN RAVAN, OTOK ŽAKAN ROADWAY LIGHTING, ROUNDABOUT LA COOP, POREČ ROADWAY LIGHTING, ROUNDABOUT MONTE MULINI ROADWAY LIGHTING, ROUNDABOUT VRVARI STOMATOLOGY AMBULANCE MENIGA, ZAGREB URBAN LIGHTING PARK LUKAVEC VOJKOVIĆ RESIDENCE, ZAGREB WATERBREAK PIER MOLO LONGO, RIJEKA WINE CELLAR KOZLOVIĆ, MOMJAN ŽLIBANOVIĆ RESIDENCE, RIJEKA

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142

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introduction

awards

image credits

International Illumination Design Award 2002. - Award of Merit

Lutron most unnusual instalation in Europe 2006.

International prize Dedalo Minosse for Commissioning a Building 2007-2008.

IES Award of Merit for lighting design of Lumenart House of Light

Illuminating Engineering Society of Northern America awarded the project „Medieval Town Buzet“ The IES Illumination Award provides a unique opportunity for public recognition of professionalism, ingenuity and originality in lighting design.

Lutron Inc., the leading manufacturer of lighting control systems, recognized the specific installation of the House of light’s integrated central lighting control system, with the prize Most unusual installation in Europe 2006.

Dedalo Minosse, which is celebrating the first ten years since its foundation, is the only prize of its kind. Indeed it acknowledges the value of the design and puts the spotlight on the commissioning parties. The fact that quality architectural creations can only result from a meeting of minds between those promoting it and those designing it is often forgotten. Dean Skira received a great acknowledgement for his part of the House of light realization.

International award for professionalism, creativity and originality in lighting design, recognized by the prestigious Illuminating Engineering Society of Northern America, awarded the House of light with the Award of Merit.

Publication in the Phaidon Atlas of 21st Century World Architecture The only resource of its kind, The Phaidon Atlas of 21st Century World Architecture contains, in a single volume, over 1,000 of the most outstanding works of architecture built since 2000. The House of light is among them.

Mies van der Rohe award 2009. The House of Light is proposed for consideration by the jury of the European Union prize for contemporary architecture. The Prize is a joint initiative of the European Commission and the Fundation Mies van der Rohe. The principal objectives are to recognize and commend excellence in the field of architecture and to draw attention to the important contribution of European professionals in the development of new concepts and technologies.

ARENA TRIKOTAŽA AUSTRIJSKA BANKA PULA CAFFE BAR KOVA CVEKI DVORAC U ZAGORJU GRAD NOVIGRAD GRAD OSIJEK GRAD POREČ GRAD PULA GRAD ROVINJ GRAD UMAG HOT ADRIATIC JADRAN TURIST LAGUNA BANKA POREČ MATOŠEVIĆ PARK NA RIVI ROBERTO D.O.O. ACTION ARMANDO AUGUSTOV HRAM I VJEĆNICA AURUM OSIGURANJE AUSTRIJSKA BANKA PULA CAFFE BAR DEGLI SPECCHI CEFERIN CRKVA U POMERU D&G DUĆAN DIZALICE ULJANIK FORUM FOTOLABORATORIJ U RIJECI HOMAN HOTEL MILLENIUM OPATIJA ITS POSLOVNICA LAURA NEFAT LIVIO ORSON PARK PAZIN PAZINSKA JAMA RAKAMARIĆ VRSAR BANKA ZDRAVKA ZGRABLIĆ VALALTA AKTIVA TRAVEL RAKAMARIC ROVINJ BANKA U NOVIGRADU IVICA SORIC CAFFE BAR RIJEKA HOTEL ISTRA BUTIK SLAVONIJA KISELJAK KASTAV BASIC MALI LOSINJ ZUSTOVIC RBA SPLIT IRENA CABAK CAFFE BAR KAJO POREC LAGUNA BANKA PULA KOVAC ZAGREB SPOMEN PARK U BUZETU VILLA ANNA KANDLEROVA ULICA

PEUGEOT MAJSTOROVIC BRGIC AGENCIJA BOUTIQUE NINA PIUTI TADEJ PREMANTURA JUKICA ZORAN ZUPANIJA VILLAS RUBIN KOVAC HDLU ISTRA ZOVIC GLAVINA AUTO UKIC MAZDA TOTEM TORINO RADETIC STAN LEGART VARTEKS GIARDINI EMIL ZUNEC ZEN BELAS KSENIJA HORVAT CERVAR GLAVINA VELA CRIKVA KUCA U PJESCANOJ UVALI JOZIN TORANJ I CRKVA U VODNJANU SORIC PLAVA LAGUNA RBA NATASA PUCKO SVEUCILISTE HTZ URBIS KNJIZNICA KOVAC ZG OTOK KOSLJUN FILIP HTZ LJUBLJANA LAGUNA ROVINJ SKIRA KRIZANEC BRIJUNI GRAD BUZET FRIGOBOX ZDENKA FRIZERSKI SALON BREZAC KOMEL PODUJE KUCA HTZ FRANKFURT STARA ROBNA KUCA NEFAT igraliste medulin PARK VIDIKOVAC


my light

DEAN SKIRA


my light

my light

DEAN SKIRA

DEAN SKIRA

my light

DEAN SKIRA

ISBN

www.lupetti.com

www.oris.hr

978-88-8391-330-3

9 788883 913303

My Light - SKIRA  

Architectural Lighting Design

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