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13 I. 2006


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Editorial

Dear readers,

for iGuzzini, relations with schools - especially

with schools in and around our home base -

have always been a key element in the

companys development strategy.

Operating at the local level, in particular, the

company is able on the one hand to support

students and their families by offering

training courses linked to job opportunities

in the area, whilst on the other, the school

is afforded scope to expand its educationaloffering. And so, in this number we have

decided to initiate a dialogue with the rectors

of universities here in the Italian Marches,

and hear their thoughts on the relations

between the universities and local industry.

Also in this issue, generous coverage is given

both to projects delivered in collaboration

with famous architects, and to competitions

for architecture students promoted by our

Spain and UK branches.

Another way to sustain and foster

architectural culture.

Adolfo Guzzini


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Editorial

The MarchesThe universities and the territory

DesignThe lighting designers toolbar 2005

ProjectsMemory and Light.World Trade Center Memorial

Reflections in stone.Egypt illuminated by Dante Ferretti

Extension of the HighMuseum of Art in Atlanta

A Roman history museum

Illumination of theVictoria & Albert Museum garden

The Town Hall ofSant Antoni de Portmany

Melbourne Arts Centre

Shigeru Ban and the BeaubourgZaha Hadidand the Ordrupgaard museum

Sign of lightfor the Cathedral of the Resurrection

New lighton the Nevsky Prospect

Corporate cultureSecond edition of the competition:Pasajes arquitectura y crtica- iGuzzini illuminazione

iGuzzini Travelling Award 2005

The Snow ShowTurin 2006 Winter Olympics

iGuzzini illuminazione createsa new showroom concept

Lightcampus: new laboratories

Turin 2006 Winter Olympics

iGuzzini hosts ELDA and IALD

Light Conference

Intelligent Lighting Design

La iGuzzini lights upthe Toti submarine

Opinion

13Incontroluce

Summary

I. 2006


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The universities and the territory

Interview with Marco Pacetti,Rector of the Marches Polytechnic University

The Marches

The university has experienced far-reaching

changes under recent and current reforms.

Have these reforms affected relations between

the university and the territory? Ours is

an area - the Marches - with a lot of small

businesses? Have the reforms helped?

With the recent institutional changes introduced,

the Marches Polytechnic University has been

propelled further along a line of development

it had already decided to pursue many yearsago, and which is identifiable in our adopted

slogan of the 3 Ts: Talent, Technology and

Territory. These fundamental planks of the

universitys strategy have caused attention to

be focused on the dense network of SMEs

underpinning the production base of the region,

orienting the selection of professional profiles

toward those least represented and deploying

many study courses over the territory, so that

university training is brought to the centre

of the main manufacturing centres (Fermo,

Fabriano, Pesaro, San Benedetto del Tronto).

In what way does the Marches Polytechnic

University invest in research?

Are there research projects ongoing?

Which sectors are being targeted in particular

by the University in this area? With what

collaboration agreements?

The Marches Polytechnic University has always

believed that, without a high level of scientific

research on which to build, a respectable level

of university education can never be achieved.

This reflects the conventional Humboldtian

model of university by which our actions areinspired - actions involving significant invest-

ments in scientific research quantifiable at

around 30 million euros annually, of which

10 million euros/year are spent on equipment,

materials, computing etc These considerable

sums, funded with resources secured in a

context of national and international competi-

tion, and from the universitys own resources,

are spent on over 400 lines of research, shared

with businesses, universities and research

institutes in some twenty and more OECD

member countries, and in emerging South-

East Asian nations. The selected topics range

across alI disciplines typical of the facultiesof Engineering, Medicine, Agriculture, Biology

and Economics.

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Has this research activity also translated into

technological innovation? If so, applied in

which sectors? Has it triggered new entrepre-

neurial activities?

The outcomes of research projects and the

experience of specialist contributors involved

have often been channelled into technologi-

cally innovative solutions, through close

collaborations with companies in Italy and

abroad, which enter into agreements with

and commission searches and studies from

university departments. Naturally, this type ofsituation will arise more frequently in sectors

connected with industrial engineering and

information, also with business management.

Close interactions of this type also benefit the

primary agriculture and agrifood sectors,

whereas Medicine and Science faculties tend

by their very nature to be involved more in

basic research, or research applied to health

and environmental problems.

Now, the university has decided to move

beyond this traditional model of collaboration,

having identified the need to espouse a

third mission, the first two being the historical

remits of producing new knowledge

(research) and disseminating that knowledge

(teaching). The new third mission is one of

becoming directly involved in the economic

exploitation of new knowledge developed

in our laboratories, and accordingly, the

university will on the one hand complete its

task of spreading enterprise culture by sup-

porting business competition as e-Capital,favouring, rewarding and fostering the

emergence of new generations of entrepre-

neurs, while on the other hand giving life to

new business activities by encouraging the

start-up and contributing to the share capital

of new spin-off companies operating mainly

in hi-tech sectors. A dozen or so of these

spin-offs have been started up in recent

years.

The Marches Polytechnic University has long

enjoyed favoured relations with iGuzzini

illuminazione and the Guzzini group.

Any thoughts on this collaboration?

For years now, the Guzzini Group - and iGuzzini

illuminazione especially - have been fellow

travellers in many of the most innovative experi-

ences of our university-business association,

which include cooperating on European

research and technological innovation projects,

piloting the introduction of e-learning tools,

sponsoring spin-off businesses, and designingprofessional training programmes normally

difficult to find on the labour market. In short,

it can be said that between the Marches

Polytechnic University and Guzzini, there exists

a well-established and preferential collaborative

rapport that stands as emblematic, in a positive

sense, of how the overall share capital of a

territory can be increased through a network of

trust-based and selected liaisons between

businesses, and institutions of higher education

and research.

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Photos provided by the Marches Polytechnic University

1. Mikhail Gorbachev gives his inaugural lecture on receivingan honorary degree from the university.

2. Rita Levi Montalcini with Rector Magnifi co Pacetti.


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The lighting designers toolbar 2005

by Julle Oksanen

Design

Tool 1: concept

Concept includes the soul of your project. It is a thin red thread that has to befollowed through the entire design process. It is the same whether the project issmall or large. It has to have a soul - it has to Rock and it has to Roll!Design is an attitude, and if it has soul, then you have the chance of producingsomething that will be good.

100 million lumens of white light floats down

on the ground, wrapping the whole area in itsembrace. There is no glare. A blue line 6 km

long follows the outline of the harbour. Strong

and simple. Huge in scale. On the left side of

the blue celebration beam is a train. 1st Prize

in lighting design competition. Project in

progress. Design team: Artto Palo Rossi Tikka

Architects Ltd and Julle Oksanen Lighting

Design Ltd. We gave this project the name

AZUR. The hint of our Blue Harbour.

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When I started my lighting career 25 years

ago I found out that people working in this

sector tended to concentrate their efforts on

the aspects they knew best and were most

familiar with. Architecturally oriented people

would tend to focus on design aspects and

some of them almost hated calculations and

the technical elements of design.

Engineering oriented people concentrated

more on calculations, hardware stuff and

generally avoided or did not understand thearchitectural and ar tistic elements of design.

Even 25 years ago, I sensed somehow that

this was the opposite of how things ought to be.

The aim should be to solve problems and

understand the things that are not clear to us:

this is the best way to develop as a designer.

And so, I began slowly to collect tools that

would help me to understand the whole

package of what makes a good lighting design.

After 25 years and a great many educational,

research and lighting design projects, I think

I am now mature enough to open up my

personal toolbar, and in this way encourage

readers to analyze their own lighting designskills and tools. Remember that you do not

have to do it all by yourself. Create a network,

or hire people to handle the tools you may

not be familiar with. I have never met anyone

capable of using all the tools on their own. In

short: good lighting design is also teamwork.

When I introduce a tool in this article, I also

give examples of how I or my team may have

used the tool. I have minimized text in the

photos to leave space for the readers own

imagination, intelligence and creativity.

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Photos provided by Julle Oksanen

1.2. Porto Azzurro

3. Rendering for a bridge illumination project

Master Plan includes material analyses,

computing, calculations, sketches, handdrawings, luminaire design, documentation,

etc. Lighting designers collect a library of

ideas in their heads. From that library they

then take a lot of ideas, apply them to the

project and start to compare and analyze

different solutions. Funnily enough, the

final solution is often super simple, but at

the same time strong. Lighting design:

Julle Oksanen.

Philosophy of Black and White. Kinetic

lighting. Huge amount of white light withinthe bridge elements. No light at all on the

outer elements. Street-lighting and bridge

create a mystical effect on the surface of the

sea. Strong solution. Team: Julle Oksanen

& Oliver Walter.

Tool 2: master plan

Master Plan is the phase of design where the selected concept will be dressedup. It is also important to be sure that the selected lighting solutions functionproperly and fulfil all of the designers demands. This phase of the design oftenincludes demonstrations and mock-ups. It is good policy to inform the client atthe offer stage that the Master Plan does not include details of the design orworking drawings. It really is a master plan in the general sense.

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Julle Oksanen

Professor and teacher at various universities and

faculties of architecture in the United States, the

United Kingdom and Finland (including Cornell

University, NY, USA, Rensselaer University, Troy, NY,

London University, UK, Helsinki University of

Technology, etc.), he delivers the course Light &

Space Academy, The Finnish Travelling University

jointly with architect Hannu Tikka.

He has completed projects worldwide, including the

Opera House and Amphitheatre in Ankara (Turkey),

a Cathedral and Concert Hall in Germany, a Museum

in Estonia, office buildings, parks, streets, shopping

centres. Oksanen is a member of all the major lighting

industry associations, and the author of more than

30 books, leaflets and articles for international journals.

He is editor-in-chief of the Finnish magazine Valo

(light).

Julle Oksanen

Julle Oksanen Lighting Design Ltd

Jahtimestarintie 10 B

02940 Espoo

Finland

[email protected]

http://www.kolumbus.fi/jold


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Design

Tool 3: the lighting design process

There are different kinds of processes, created in order to ensure that light andspace can be handled properly. And there is also one particular reason why theseprocesses are very important: it is often the case that everyone involved - buildingand interior architects, electrical system designers, contractors, owners, clients,managing directors, etc. - wants to be a lighting expert. A selected lighting designerintroducing elements like Richard Kellys Ambient Light, Focal Glow andPlay of Brilliance to the project team and client, has the opportunity to lift

himself, or herself, to the same professional level as other recognized designers,like the architect, the interior designer and electrical system designer, and so on.It is a good way to enhance your status in the design team.

The lighting designers toolbar 2005

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4. Cutaway of the German cathedral

5.6.7. Rendering for a new museum in Estonia

8.9. Daylight view and computer simulation of a Gothiccathedral

Tool 4: computers

Even if computers are great tools for demonstration purposes, we have to rememberthat the most important thing in design is what runs from your head to yourdrawing hand. In reality, only the result is significant. My personal opinion is thata designer with soul and passion is more valuable to the team than a personloaded with dazzling computer skills, but soulless and with no passion.At any rate, we have certainly found out that you can show many different kindsof things with computers.

Cathedral in France. Computer conversion

from daylight digital photo to vision of night-

time illumination. After manipulation, we

showed how it could be done by calculation

of contrasts and evaluation with Hopkinsons

diagram. Computer manipulation Oliver

Walter, calculations Julle Oksanen.

New museum of art in Estonia, named KUMU.

Conceptual ideas are expressed with computer

manipulations. Huge glowing glass wall for

general lighting. Illuminated trees create

mystical feeling with constantly changing time

and seasons. Directionally adjustable ground-

recessed luminaires are like glowing stars on

the earth. Companion lights to the illuminated

glass wall. Architect: Pekka Vapaavuori,

lighting design: Julle Oksanen.

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Projects Memory and Light.World Trade Center Memorial

Padua, Italy

ClientVeneto Region,in collaboration withthe Municipality of Padua

On 29th May 2004, Daniel Libeskind presented

his proposal for a memorial commemorating

the victims of 9/11 - Memoria e Luce - to the

Veneto Region and to the press. The monu-

ment created by Libeskind revolves around a

joist from the Twin Towers that was donated

to the Veneto Region, and in turn by the

Region to the city of Padua, after being

exhibited in the American Hall at the Venice

Biennial. Memoria e Luce is located in the

Porte Contarine area of Padua and forms part

of an urban redevelopment scheme for the

district, which was once a basin providing

berths for pleasure boats. The installation

site lies along the east-west axis of the Porte

Contarine gardens.

The perimeter to the west of the area is

delimited by an ancient wall. A straight concrete

ramp leads up to the structure, affording

access to able-bodied and disabled visitors

alike. This same ramp also leads to the book,

and to an open-air space where people may

like to spend time reflecting quietly on the

tragedy. The installation has no impact on the

topography or vegetation at the site; there is

simply a glass wall running zigzag through

the ensemble, terminating in a wedge formed

by two glass walls that form the leaves of the

book. A page detached from the book carries

the joist from the World Trade Center and is

oriented toward the Statue of Liberty in New

York. IGuzzini was involved in designing the

illumination for the memorial.

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Photos: Gabriele Basilico and Veneto Region Archive

1. The Memoria e Luce memorial in its urban setting

2. Detail of the appliances utilized

Light is given a fundamental role in Daniel

Libeskinds design as an enhancer of the

memorial and the surrounding space, serving

at the same time to highlight the materials,

the architectural and structural solutions and

the different aspects of form that the

installation can assume when lit dynamically.

In other words, the illumination succeeds not

only in revealing the structural and architectural

aspects of the memorial, but also in

underscoring the message it seeks to convey.From the very first stages of the collaboration

with architect Libeskind, the idea was to use

coloured light to give emphasis to the

contemporary nature of the memorial and give

a clear definition of the urban setting in which

it has been placed.

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Designer of architectureand lighting schemeDaniel Libeskindwith Attilio Terragni

Technical sponsoriGuzzini illuminazione


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Projects Memory and Light.World Trade Center Memorial

Colour is used as a way of drawing attention

to the two distinct parts of the composition: the

joist set against a background of translucent

material, and their different modes of interplay

with changes in the coloured light.The appliances utilized are Colourwoody for

coloured and variable light, and profession

Light Up Walk for illumination of the

surrounding area. The light sources include

metal iodide lamps, and Led arrays.

The colour variation cycles have been

programmed to mark certain dates important

both to a European and to a US public.

The memorial is illuminated normally by white

light, with colour and variation introduced inone-hour loops on a number of dates symbolic

in Europe and the United States, naturally

including 11th September. Others are 25th and

31st December, 1st January, 25th April (Italian

Liberation Day) and 4th July.

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3.4. Memory and Light by night

5. From left: Daniel Libeskind, Minister Enrico La Loggia,President of the Veneto Region Giancarlo Galan, Mayorof Padua Flavio Zanonato, US Vice Consul General.Back: representatives from the band of the New York FireDepartment.


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Reflections in stone.Egypt illuminated by Dante Ferretti

Egyptian Museum, Turin3rd February - 30th June 2006

Projects ClientFondazione Museo Egizio

Gallery set-up conceptDante Ferretti

The Museo Egizio in Turin is the only museum in

the world, other than Cairo, dedicated exclusively

to Egyptian art and culture. With the institution

of the Fondazione Museo delle Antichit Egizie in

October 2004, the second most important

collection of Egyptian artefacts after that of the

Museum of Cairo passed into private hands.

For the first time in Italy, the governance of a

state museum, the Museo Egizio di Torino, was

entrusted to a privately run Foundation: an event

marked on 19th December by a ceremony with

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the Minister for Culture, the Hon Rocco Buttiglione,

in attendance. The founding members of the

Fondazione include two banks - the Compagnia

di San Paolo and the Fondazione Cassa di

Risparmio di Torino - the Piedmont Region, and

the Turin Provincial and Municipal Authorities.

The President of the Fondazione is the

well-known writer and journalist Alain Elkann.

The extraordinary collection of large statues

personifying sovereigns, divinities and princes is

among the main attractions of the Museo Egizio,


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Photo: Gabriele Basilico

1.2. Accent lighting for the statuary

and in February 2006 these pieces were pre-

sented in a completely innovative interpretation

by Dante Ferretti, architect and world-renowned

film set designer. Not since 1852, the time of

its original installation, had the statuary under-

gone any significant rearrangement, and the

existing set-up was strongly conditioned by a

diffused light - natural and artificial - falling

uniformly on the neutral walls and tending to

render the statues featureless, looking almost

as if they were in storage (Ferrettis own

remark), there in the vaulted rooms. Dante

Ferretti focused his treatment of the subject on

a sense of mysticism, and on that sor t of

reverential awe he professes to feel when con-

fronted with the remains of ancient Egypt. For

the new gallery set-up, accordingly, he decided

to encase the exhibits in a medium that would

give the public some perception of the sacred.

With this in mind, the light that envelops the

statues is carefully metered, and reflections have

been created that cancel out the empty space

surrounding them, enhancing the plasticity of

the shapes. His concept has been transformed

into reality thanks not least to the extensive

experience of Mekan in this line of work.

In the new layout, a dark red coloured skin

covers the walls and the roof, and within this

lining, accent lighting provided by Le Perroquet

beam-shaper spots enhance the exhibits by

bringing them up out of the murky depths.

The first step was to conduct a study and

assessment of the existing situation.

Lighting designMekan Riccardo Buzzanca



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3-4. Particolari dellallestimento

Projects Reflections in stone.Egypt illuminated by Dante Ferretti

A record was made of every statue: size, plinth,

material, photographic documentation.

From the measurements taken, a model was

obtained on which Dante Ferretti was able to

study and test his ideas for the set-up.

On the practical level, the design had to

reconcile artistic preferences with the technical

difficulties presented by the site, and the

sensitive context. Given also that this was a

temporary exhibition, all the solutions adopted

had to be reversible. The exhibition is com-

pleted by images projected onto the walls, new

captions and an atmospheric sound accom-

paniment. All lighting effects were obtained

with Le Perroquet fixtures, which with various

optical assemblies and suitable accessories

provide both background and accent light.

The interplay of light and shadow augmented

by mirrors, the particular illumination of the

statues, the slow-moving images and, not

least, the soundtrack, all accompany the

visitor on a truly fascinating visual journey.

3-5. Details of gallery set-up

4. Inauguration of the museum.From left, Mayor of Turin Sergio Chiamparino, with microphone.Alongside, Eleni Vassilika, Director of the Museo Egizio,Alain Elkann, President of the Museo Egizio Foundation,Dante Ferretti, Adolfo Guzzini.

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Extension of the HighMuseum of Art in Atlanta

Atlanta (Georgia), USA

Projects

The High Museum of Art, founded in 1905 by

the Atlanta Art Association, is the main museum

of art in the south-west of the United States.

Located in the artistic and business quarter of

the city centre, the High boasts a collection of

over 11,000 exhibits.

The museum possesses an extensive anthology

of 19th and 20th Century American art,

also a significant number of European paintings

and decorative works of art, an expanding

collection of Afro-American art and acontinuously updated collection of modern and

ClientHigh Museum of Art+ Woodruff Arts Center

Architectural designRenzo Piano Building Workshop, -M.Carroll, senior partner in chargein collaboration with Lord, Aeck& Sargent Inc. (Atlanta)

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contemporary art, photography and African art.

In 1979, the Coca-Cola magnate Robert W.

Woodruff offered a donation of 7,5 million

dollars toward a new infrastructure, in the

form of a challenge grant; the management

of the museum matched and exceeded the

offer, so that a total of 20 million dollars was

raised. The foundations were laid in 1981 and

the new facility opened two years later. The

museum building designed by Richard Meier

won international acclaim, and the design hasreceived many plaudits in the time since.


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Photo: Michel Denanc

1.3. Interiors of the museum with its funnel ceilings

2. Exterior of the building

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Design teamE.Trezzani (associate in charge),S.Ishida (senior partner),S.Colon, D.Patterson, A.Symietz withF.Elmalipinar, G.Longoni, M.Maggi,A.Parigi, R.Sproull, E.Suarez andJ.Boon, J.Silvester, S.Tagliacarne,B.Waechter, M.Agnoletto, S.Chavez,D.Hlavacek, R.Supiciche, A.Vrana;

M.Ottonello, G.Langasco(CAD Operators); D.Cavagna,F.Cappellini, S.Rossi (models)

ConsultantsOve Arup & Partners + Uzun & Case +Jordan & Skala (structure and services);Arup Acoustics (acoustics); ArupLighting (lighting);

HDR/WLJorden (civil engineering);Jordan Jones & Goulding (landscaping);Bergmeyer Associates (interiors/restaurant); Brand+Allen Architects(interiors/retail)

In 2003, to celebrate twenty years in its new

building, the High presented a series of

improvements made to its interiors and

galleries, and a new chronological ordering

of its permanent collection, then in November

2005, three new spaces were opened to the

public, creating a vibrant arts village at the

Woodruff Arts Center in Midtown Atlanta.

With these further buildings, designed by

Italian architect Renzo Piano, the total floor

space of the museum has been increased to

29,000 m2 (more than doubled). AtlantasHigh Museum of Art has been made part of

an impressive expansion scheme under which

the Woodruff Arts Center, together with the

Symphony Hall (opening shortly), will become

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a venue of international standing for art lovers.

Entrusted to Renzo Piano, the extension

also incorporates the natural environment -

described by Piano as Atlantas DNA. The

new complex will include a large communal

open-air space in Sifley Piazza, around which

the three new buildings are situated. A special

version of the Le Perroquet fixture was made

by iGuzzini for this project, with 70W street-

lighting optical assembly in a pole-mounted

spot, and 39W Flood, specified here for the

first time as an outdoor unit. Indoors, the worksof art are ingeniously lit by a ceiling installation

with over 1000 funnels filtering natural light

into the galleries for the best possible visual

experience.


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A Roman history museum

Aalen, Germany

Projects ClientCity of Aalen,Economy departmentErwi Utz

Direction of worksTomas Snder

The Limesmuseum in Aalen, the biggest and

most important museum of Roman history

in Germany, is located in the area north of the

Alps most heavily fortified by the Romans

in ancient times and focuses on the Imperial

occupation of German lands in the south

during the 2nd Century AD. Built in 1964 as

a branch of the Archologisches

Landesmuseum Baden-Wrtemberg, the

Limesmuseum was enlarged in 1981 and

in 2000, and having benefited frominvestments totalling 1.5 million euros has

now become an archaeological park.

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As part of the most recent expansion, the

museum installed a life-size and entirely faithful

reconstruction of part of a Roman settlement,

measuring 85 x 24 metres overall. With the

enlargement accomplished, the museum now

offers a complete and significant overview

of what military and civil life was like along

the Germanic Limes. The Roman army was

superbly equipped, as witnessed by the

collection of arms unearthed and skilfully

restored, notably swords and spears, heavychain-mail armour, a full-scale reconstruction

of a catapult, and other machines of warfare.

Single items of everyday use and cultural

significance, on the other hand - utensils,

crockery, gold and silver jeweller y, coins -

afford a glimpse of the social milieu at these

outposts. Parts of the surrounding area have

also been reorganized to optimize the

interface between the visitor routes and the

old Roman roads. Outdoor areas are

illuminated by Mininuvola and Linealuce

fixtures, which provide indirect lighting and

bathe the setting in a warm glow, free of glare.

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Photos: MM-Video-Fotowerbung

1.3. Exterior

2. Interior with reconstruction of the encampment

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Illumination of theVictoria & Albert Museum garden

London, England

Projects

iGuzzini was selected by the Special Projects

division of A.C. Lighting to supply fixtures for

the new John Madejski garden at the Victoria

and Albert Museum, in the London borough

of South Kensington. The garden is a

centrepiece of the V&As Future Plan (a

ten year redevelopment programme) for the

museum, and is named in honour of the

entrepreneur and benefactor John Madejski.

The garden was designed by the multi-award

winning firm Kim Wilkie Associates, andopened officially by the Prince of Wales in

July 2005.

Project ManagerLand Lease Projects,Victoria and Albert Museum

Landscape architectKim Wilkie Associates

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The new arrangement allows the garden to be

used both as a conventional enclosed courtyard,

and as a setting for exhibitions, theatre, parties

and events, providing an attractive and light-

filled space at the heart of the museum where

visitors can relax and socialize. A complete

transformation takes place after dark, when

the garden is lit up in a dramatically illuminated

setting created by KWA in collaboration with

Lighting Designer Patrick Woodroffe and with

Adam Bassett. The lighting scheme uses ofbands of light around the central ellipse area,

iridescent illuminated glass planters around

the lawn, and illumination of the museum

windows and faades overlooking the garden.

One of the biggest challenges was that of how

to light the reveals of the 137 windows along

the faades of the surrounding building.

Following a series of trials, the choice fell on

iGuzzini Radius window fittings with 3000K

70W metal halide lamps, as the powerful

blade of light emitted by this combination was

found to be most effective in highlighting the

reveals and showing off the ornate architecture

to best advantage.2

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Photos: A.C. Lighting Special Projects

1.2.3. John Madejski Garden

Seventeen MiniWoody spots were used to

uplight the recesses in the facades and pick out

the detail on the columns, as these have

adjustable beam angles found to be ideal for

the application, whilst the fixtures selected to

illuminate the two statues higher up were

Platea 5 degree spotlights.

To illuminate the 22 square glass planters

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Lighting design concept:Patrick Woodroffe & Adam Bassett

Electrical system supplierMITIE Scotgate,M&E consultant Arup

around the perimeter of the lawn and the steps

of the ellipse area, A.C. installed nearly 400m

of LED strip lighting. This involved securing

88 one-metre lengths of the strip to the sides

of the planters, which would generate a glow

in the blue-green glass, and fixing a further

50 six-metre lengths to the underside of

the pool steps.


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The Town Hall ofSant Antoni de Portmany

Ibiza, Spain

Projects ClientSant Antoni de PortmanyTown Hall

Architectural designand DirectionLina Gener, interior architectAntonio Calvo, architect

Spatial transparency reflects the dialogue

between administration and the administered,

based on parameters of simplicity and

efficiency, and spatial organization of the

different administrative areas likewise has

been hierarchized with efficiency in mind:

the areas visited most often by the public

(town planning, public works, land registry,

revenue) are located on the ground floor for

best possible service, nor forgetting the most

important room - the Council Chamber - open

to the public as a statement of participation

and democracy in municipal affairs.On the upper floor are cubes of glass and

steel, delineating the different areas of the

departments and legal services, as well as

the Majors office and the law enforcement

office. The lighting system utilizes a

combination of direct and indirect sources,

Sant Antoni de Portmany is one of the five

municipalities of Ibiza. Associated historically

with agriculture and with the sea, Sant

Antoni has developed recently into a leading

tourist destination of the Balearics, and

become the capital of Chill-Out, a musical

genre evocative of the sun dipping into the

sea at twilight.

With this recent change of scenario, the

population has found itself in need of new

municipal structures able to provide efficient

and upgraded services. It was decided to

renovate and refurbish premises opposite theClub Nutico in Sant Antoni, at Portmany

Bay, a huge natural harbour used since ancient

times. The project involved converting a suite

of rooms on the ground floor and first floor,

adopting a functional design aimed at

openness and transparency.

for optimum visual comfort. Light Air luminaires

and Le Perroquet spotlights are used. The

reception is a generous size, and benefits

from the soft ambient light of the glass cubes

defining the spaces constituting the council

chamber and town planning office. This light

is complemented by the accent light from the

hanging Le Perroquet spots and Gem fittings.

With the exterior seeking to establish a

transition between town and port, certain

elements are translucent and others are

compact, painted in a strong blue and

illuminated with an evocative blue, favouringspatial continuity from the building to the

sea. The impact of the lighting is gauged

carefully to ensure that an office building of

this type - an administration and reception

centre - can still blend easily into a

waterfront setting.

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BuilderPepe Simon, S.L.

SystemsBadi, S.L.

Photos: Toni Ramon Planells, Jose A. Porras Molina

1.2.3. Interiors of the new premises

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Melbourne Arts Centre

Melbourne, Australia

Projects

The Arts Centre is the main venue in Melbourne

for exhibitions, music and theatre, and is

composed of two buildings on the Yarra river.

The design for the construction of this cultural

centre was approved in 1960. Its architect

was Sir Roy Grounds.

In subsequent years, the project was thrown

into difficulty by problems with the geology of

the area, so that the design was revised and

the centre became an ensemble of two distinct

buildings: the Theatre complex and the Hamer

Hall, inaugurated respectively in 1984 and in

1982. Kriss and Radius fittings were used for

the illumination for the Hamer Hall.

The lighting design is based on the notion of

a contrast created between the uniform

illumination of the walls with blue light, and

the yellow light from the sodium lamps of the

fixtures highlighting the window recesses.

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Architectural designSir Roy Grounds

Lighting DesignerRachel Burke Lighting DesignRachel Burke


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Photo: McKenzie and Associates pty ltd - Ian McKenzie

1. General view from the garden

2. General view from the Yarra river

Project ManagerKaren McKendrick(the Arts Centre)

Technical ManagerDavid Campbell(the Arts Centre)

2

Electrical system designerConnell Mott MacDonald

Electrical ContractorsFordham ElectricalIndelec Industrial ElectricsBelcher Electrical

Apex ElectricalStage Electrics


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Shigeru Ban and the Beaubourg

Paris, France

Projects Architectural designShigeru Ban Architects


This structure was erected to accommodate

the members of the team entrusted with

development of the design for the Centre

Pompidou at Metz (CPM), in France. It will

be occupied by the architects and designers

for the entire duration of preparatory work on

the new museum, and serve also to house

items for presentation to members of the

public, who can therefore keep abreast of

how the CPM project is evolving.

The studio appears as a tubular enclosure

34.5 m long and 4.4 m wide, and is covered

along its entire length by a semicircular vault

covered by a waterproof membrane and

panels fitted over a rib cage fabricated from

cylindrical members. The cage is composed

of 29 semicircular arches, perfectly identical

in length, and a lattice of transverse struts.

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Photos: Didier Boy De La Tour

1.2. Two views of the installation

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The ribs are fashioned from cardboard tubes of

120 mm internal diameter and 760 mm

external diameter.

The assembled vault and base section are covered

by an outer membrane of PTFE (Polytetrafluo-

roethylene), which guarantees watertightness.

The two flank frontages and the ends are timber

framed with wooden infill panels.

The temporary structure is designed to enclose

a single continuous space in which the various

functional areas are demarcated using room

dividers in the form of free-standing bookcases.

The space is divided into a succession of

areas: reception, conference room, work area,

relaxation area and model gallery, and is visible

in its entirety from the Pompidou Centre.

As technical sponsor for the illumination of

this interesting temporary building, iGuzzini

illuminazione also supplied the fixtures.

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Zaha Hadidand the Ordrupgaard museum

Copenhagen, Denmark

Projects Architectural designZaha Hadid

Associate ArchitectPLH Arkitekter A/S

In March 2001 the Danish Culture Ministryinvited tenders for the design of an extension

to the Ordrupgaard museum, such as would

provide new display space in which to stage

special exhibitions for the permanent

collection. The aim was to improve the space

and conditions in which exhibits are kept,

and to create more space for shows and for

visitors, with the addition also of a new

foyer, a caf and a multipurpose hall.

Five designers were short-listed and asked

to submit bids, presenting their ideas for the

project. The choice for the Ordrupgaard

museum extension fell on Zaha Hadid, an

architect of world renown famous for projectsof exceptionally high value featuring design

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techniques free of any burden imposed bytradition and convention. The BMW

headquarters in Munich, the PHAENO

Science Center in Wolfsburg and the

Cincinnati museum of contemporary ar t are

some of her best known buildings. Zaha

Hadid based her design on a strategy whereby

the existing landscape is abstracted,

interpreted and translated into geometries

from which to generate structural models.

Adopting this approach, Hadid manages

to integrate the complexity of the design in

an elegant and dynamic spatial dimension

developed from contours of surprising

architectural conception.

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Photos: Ole Ziegler

1.2. Exterior of the building

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Lighting ConsultantsArup Lighting

Design ConsultantsEngineeringBirch & Krogboe A/S

The original concept for the exhibition

spaces and the choice of materials, intended

to achieve the aims of camouflage and

transparency at one and the same time, are

primary elements of design that strike the

visitor from the moment of entering the

museum, where the eye is met by glass

surfaces set into concrete structures. Of key

importance, also, is the relationship of the

structure with the surrounding landscape,

given that one of the primary aims of the

Ordrupgaard museum extension was to

create a new and harmonious vista within

the architecture of the site, affording visitors

a new visual experience each time. The

outcome is a classically inspired extension to

the Ordrupgaard coexisting comfortably with

the original museum block, which has been

standing for 100 years. For general

illumination, the preferred solution was to

use recessed downlights in the ceiling, in

combination with recessed fluorescent lighting

for pedestrian areas and in the multipurpose

hall, and Linealuce luminaires along the

walls, also recessed, to floodlight the building.

The paintings are lit by exposed directional

spots fitted with halogen lamps, to accentuate

their full expressiveness.


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1

Sign of lightfor the Cathedral of the Resurrection

St Petersburg, Russia

ClientLensvet - Alexander Kuzyakin

Lighting designPiero Castiglioni


Projects

The new iGuzzini-sponsored illumination

system designed by Architect Piero Castiglioni

for the Church of the Resurrection in

St Petersburg highlights the imposing

Russian-Byzantine style architecture of the

building, as well as underscoring the

dramatic event that the cathedral itself

commemorates: the assassination of 1 st

March 1881, in which Tzar Alexander II

lost his life. For this reason, it is also known

as the Church of St Saviour on SpilledBlood. A building unique in St Petersburg,

it is clad in coloured mosaic and surmounted

by splendid onion domes, recalling the

Cathedral of St Basil the Blessed in Moscow.

Castiglionis project is based on replacing

the light sources utilized hitherto, and

increasing the number of fixtures installed.

The new system utilizes metal halide light

sources emitting warm white hues, with a

high colour rendering index and lower

power output than the optical assemblies

installed previously. The lighting system

designed by Castiglioni also envisages the

use of various iGuzzini luminaires bothmounted on poles and attached directly to

the building. Using these different appliances

in combination, it becomes possible to

obtain a general illumination of the faade

surfaces with an appreciable uniformity of

lighting values and maximum control over

cast shadows.

MaxiWoody spots with reeded glass optic

installed on poles or positioned at roof level

on the buildings facing the Griboedov canal

radiate elliptical light beams overlapping one

with the next to throw a uniform light on the

faades. The lateral domes and the spires are

illuminated by the beams from further

MaxiWoody fixtures, in this case superspots.

Cast shadows - which even in daylight can

detract from the splendid onion dome of the

central tower - are cancelled out at night bythe light from 4 Platea floodlights positioned

on the roof of the Cathedral.


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2

Photos: Gabriele Basilico

1. Front view

2. Detail of the onion domes


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3. View from the canal

4. Photo of the inauguration

5. Valentina Matvienko, Governor of St Petersburg,Piero Castiglioni, Paolo Guzzini

Projects Sign of lightfor the Cathedral of the Resurrection

4

Radius spotlights with a special device allowing

variation of luminous flux provide dynamic

lighting for the bell tower on the west side,

above the Chapel of the Crucifixion. The general

illumination upgrade for the Church of

St Saviour on Spilled Blood is completed by

counterbeam lighting of the historic perimeter

railing around the cathedral and its grounds,

for which Radius spotlights were selected.

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New lighton the Nevsky Prospect

St Petersburg, Russia

ClientLensvet - Alexander Kuzyakin

Projects

The Nevsky Prospect is the main thoroughfare

of St Petersburg, a busy place, and the traditional

centre of city life. By reputation, St Petersburg

is one of the few European capitals to retain

the perhaps rather provincial concept of a town

centre. Locals and tourists alike congregate

there: Gogol described the Nevsky Prospect as

Petersburgs universal point of convergence.

The central character of the place has precise

historical connotations. In 1737 a special town

planning committee was set up to rule on howthe city would develop around a central location

- the Nevsky Prospect of today. So it was

that the nobility began building fine palaces,

although none of these was permitted to

exceed the Winter Palace in height. Since the

Nevsky Prospect took shape over a relatively

long period of some 150 years, it is lined by

buildings in different styles, from baroque to

modern, and a stroll along its 4.5 km offers

what amounts to a potted course in the history

of Russian architecture.

The lighting design implemented along the

avenue aimed at rendering the illumination

visually homogeneous on what is such an

important arterial route through the city.

Different fixtures are used, combining to

produce various effects. Linealuce units are

mounted on cornices, Radius fittings throw

blades of light onto windows, whilst Platea

and Maxiwoody floods are used as wall

washers.

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Photos: archive iGuzzini

1.4. Simulation of the entire Prospect

2. An exterior by night

3. Plan of St Petersburg

5. The Marian Peretjatkovich building, formerly the HQof Aeroflot

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Second edition of the competition:Pasajes arquitectura y crtica - iGuzzini illuminazione

Barcelona, October 2005, Spain

Corporate culture

The jury met in Barcelona during October 2005

and the task of selection was especially difficult,

given the high level of quality displayed by the

entries presented. Following a preliminary

selection based on joint analysis by all members

of the panel, the field was narrowed to 105

entries, from which 38 were then chosen to

form part of the exhibitions held in the course

of 2006. Of the 38 contenders, 14 finalists were

short-listed, and from these came the winners,

with the second prize awarded ex-aequo.As regards the first prize, the jury wanted to

favour the kind of approach identifiable with a

system of planning measures aimed at

reutilizing urban spaces. The winning project

would be one that sought to bring about social

and relational improvement through

architectural solutions without any of the

extravagance or self-importance that generally

takes over these competitions. The winning

candidate would show a commitment to

finding ways o f engaging in communication

and dialogue with the public institutionsresponsible for planning these solutions.

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JuryPiergiovanni Ceregioli - Director of theiGuzzini Study and Research CentreMnica Garca - Architect, winnerof the inaugural competitionSantiago Cirugeda - Architect,Director of the Recetas Urbanasstudio, Malaga

Enric Ruiz-Geli - Architect,Director of the Cloud 9 studio, BarcelonaXavier Costa, Architect, Directorof the Escola Elisava, BarcelonaJos Ballesteros - Directorof Pasajes ArquitecturaJosep MasbernatiGuzzini illuminazione Spain

Secretary to the JuryGala Martnez

Photos: iGuzzini archive

1. Winning entry 1st prize

2.3. Commended entries 1st and 2nd accessit

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Second edition of the competition:Pasajes arquitectura y crtica - iGuzzini illuminazione

Corporate culture

5

Such a policy is not common in schools, where

competitions are lauded customarily as being

the only way to manage architecture. Entries

receiving the second prize ex-aequo presented

a number of different features, but all had in

common a strong gestural component and

intelligent use of resources. In the case of the

accesit commendations, in keeping with the

spirit of the competition, the selected entries

were those that stood out for their careful use

of light. The two entries selected were notablerespectively for their use of light as tool and

material in creating the landscape, deploying

a series of changeable systems in which

lighting is seen as a fabric, and for their

extreme sensitivity in the use of artificial

lighting, not merely as an element subordinate

to architecture with clearly delineated

functions, but as an important aid to comfort,

acclimatization and a correct interpretation of

spaces. There were also mentions for selected

projects with criteria similar to those already

described, which together with the prize-

winning entries provided the basis for a lively

debate, and for this very reason must beconsidered worthy of inclusion in the roll of

winners.

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4.5. Winning entries 2nd prize ex aequo

6. The prize-winners

7. The competition jury

Winning entries

1st PrizeBeatriz Sendn.

2nd Prize ex aequoJess Muoz.

3rd Prize ex aequoEduardo Jimnez.

Accesit - commendedNatalia Ibez.

Accesit - commendedMara Navascus.

MentionLuis A. Alonso.

MentionIrma Coello Muoz.

MentionJulio De la Fuente.

MentionJuan Galbis.

MentionIrene Prez.

Intergenerationalreactivation centre

Aeronautical andastronautical museum

Landscape of events seen througharchaeological remains

Imprimiendo Trazas

Ave - Albacete

Spa + Hotel in the newTalavera centre

Visigothic museum atEmrita Augusta

Social and sports centre- Madrid city centre

Tourism developmentin the Strait

Aula litorale.Seafront developmentat Toyo - Los Arenales

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iGuzziniTravelling Award 2005

RIBA, Royal Institute of British ArchitectsLondon, England

Corporate culture

For the second time, iGuzzini was involved

recently as sponsor in the Presidents Medals

Student Awards 2005. The winners were

announced during a ceremony held at the Royal

Institute of British Architects (RIBA) on

Wednesday 7th December. These awards are

intended to promote excellence in the study of

architecture, reward talent and encourage

architectural debate, and iGuzzini, sharing in

a willingness to support the work of young

graduates, has become an active member of

1

the jury assessing the design projects, offering

a prize of its own: the iGuzzini Travelling Award.

The jury met on 8th November 2005 at the

iGuzzini offices in the Business Design Centre,

Islington. The panel included lighting designers

Jonathan Speirs and Mark Major of Speirs &

Major Associates, and the Italian architect Doriana

Mandrelli, wife and associate of Massimiliano

Fuksas. All the projects submitted were of high

architectural quality, and the jury had a

particularly arduous task making their decision.

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Photos: Amanda Clay Photography, Jonathan Syer

1. Competition participants

2. Martha Schwartz, jury member

3. Jack Pringle, President of RIBA

4. A moment during the party

5.6. The jury at work:Doriana Mandrelli Fuksas, Jonathan Speirs, Mark Major.

Coordination of the iGuzzini jury: Stefania Venerito Evans

The selection criteria favoured those projects

in which light was used creatively, both as

a tool and as a material for the construction

of space. Winners of the competition in Part

One (open to students who have completed

an initial three year degree course) and Part

Two (open to students who have gained a

post-graduate diploma or masters degree),

who received their award personally from

Adolfo Guzzini, CEO of iGuzzini, secured

themselves a training course at the companysheadquarter s in Italy. The winning Part One

entry in the 2005 edition of the iGuzzini

award was: Harmonic Proportion by

Benjamin Koren of the Architectural Association.

The jury gave the reasons for their choice

as: Light is used in an a rtistic way, works

with both artificial and natural light.

Presents conceptions of light and shade

that are unusual and singular. The reason

given for selection of the winning entry in

Part Two, The Royal Victoria Colourworks

by Johan Berglund of Bartlett/UCL was:

From the lighting standpoint, this project

has great potential that could be developedin remarkable ways.

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Corporate culture

Harmonic proportion in AmorphicForm: A Music Pavilionby Benjamin Koren

Winning project - iGuzzini Travelling Award

Part 1

Reason: A very good piece of work, resulting

from fundamental principles

Koren developed graphic lines constructed

utilizing Fibonacci harmonic numbers, adding

a dimension and transforming them into curves

with continuous surfaces.

iGuzziniTravelling Award 2005


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The Royal Victoria Colourworksby Johan Berglund

Winning project - iGuzzini Travelling Award

Part 2

Reason: A thoughtful study of light and shade

- a sensitive response to the peculiarities of a

complex area.

The project deals with the point where ground

meets water. The site is a former mooring bay

near the Royal Victoria Docks, now turned into

a paintworks.

In addition to a laboratory, there are studios and

accommodation for three resident artist painters,

who also test and evaluate the oils and

watercolours produced. The studios lie belowground level in an empty dry dock, and light is

directed down into the sunken area in a number

of ways.

Images of the winning projects


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The Snow ShowTurin 2006 Winter Olympics

Sestriere, 5th February - 19th March 2006

Corporate culture CuratorLance Fung

Project DirectorJeffrey Debany

Project ManagerNomie Lafaurie

The Snow Show is an international exhibition

addressing the theme of collaboration and

crossover between art and architecture.

Contributors are invited to work with media

they would not normally use: snow and ice.

International artists and architects worked

together, interacting with the landscape, with

a cultural environment, with ephemeral

materials. The show presents six architectural

installations covering over 100 square

meters and rising to heights of 6 metres.

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Photos provided by Isometrix

1.4. Night-time and daylight view of compositionby Jaume Plensa and Norman Foster

2.3. Installation by Yoko Ono and Arata Isozakiin daylight and by night

5.6. Installation by Carsten Holler, Tod Williamsand Billie Tsien by night and in daylight

Construction ManagerGianni Talamini

Lighting designIsometrix - Arnold Chan


Artists and architects working in pairs: Daniel

Buren & Patrick Bouchain (France), Carsten

Hller (Belgium) and Williams &Tsien (USA);

Italians Paola Pivi and Cliostraat; Jaume Plensa

(Spain) and Norman Foster, Japanese Yoko

Ono and Arata Isozaki; Americans Kiki Smith

and Labbeus Woods. The further pairing of

Lot-Ek and Francesca Roatta designed the

pavilion entrance. The lighting design was

entrusted to Isometrix, whose principal Arnold

Chan engaged the London branch of iGuzzinias technical consultant. The shows curator is

Lance Fung, director of Albion Project. iGuzzini

was technical sponsor for the event, providing

the fixtures needed to provide the right kind of

lighting control for these fascinating and highly

original installations.

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iGuzzini illuminazione createsa new showroom concept

iGuzzini Partner Assistance

Corporate culture

The new iGuzzini showrooms have been

designed as facilities in which to present the

changeable expressions of artificial light:

biodynamic light systems, control panels of

the latest generation, colour and dynamic

spots, recessed LED units, designer appliances

offering more and more crossover performance

features.

Architects, interior and lighting designers,

and professionals with an interest in lighting

engineering generally will be able to familiarizethemselves with the most innovative tech-

nologies, and the possibilities afforded by

iGuzzini products, as well as simply seeking

advice on the type of light best suited to their

project. The light laboratory will offer

comparisons between light sources, applied

to different types of material, simulations of

typical environments to be lit - a museum,

a shop, the window of a historic building -

all serving to demonstrate how l ight plays a

determining role in the way shapes and

colours are perceived.

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Photos: Gabriele Basilico, iGuzzini Archive

1. The light laboratory

2. Journalists in the light laboratory

3. View from outside

4.6. Moments during the party

5. Adolfo Guzzini and wife with Santo Versace

Significant examples selected to set up the

iGuzzini showroom as a place where visitors

can learn the language of light. The new Milanpremises were inaugurated 8th November 2005,

with a presentation to the press followed by

a reception.

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The Lightcampus project was launched by

iGuzzini in 2002 with the aim of promoting

the company philosophy by spreading the

word in matters of the culture surrounding

light and its use, in other words awareness

as to the role of correct lighting solutions and

their impact on quality of life. The initiative is

aimed at lighting professionals across a broad

range of skills, from installers to architects,

and generally not iGuzzini employees.

Four years on, a community of some 7,000registered users has built up around the

platform. A recent upgrade implemented in

collaboration with Nautes in 2006 is intended

to widen the scope still further: the develop-

ment of communities with interests and

practices complementary or parallel to the

lighting engineering sector.

The new platform envisages an approach

opposite to that of its predecessor, which

allowed the user simply to access a structured

course of lessons and perhaps contribute

to the forum or read the news items; now,

the platform promotes itself to the user via

permanently active tools inviting involvementand participation. These tools allow the

company to gain a more detailed profile of the

user accessing the virtual campus and taking

part in the initiatives, so that it can arrive at a

more accurate understanding of the intended

target and activate the right kind of loyalty

schemes.

A new section about to be added, entitled

To Apply, is dedicated to training through

the study of successful practical applications

and experimentation of the theories learned

from them. This will have two areas: Case

Study and Laboratory.

Corporate culture Lightcampus: new laboratories

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Case Study

Here the user will be able to explore a range of

interesting projects, learning from the techniques

employed and the products used in them.

The topics addressed will provide both a source

of detail for the student already familiar with

the theory, and a body of preparatory training

material for virtual laboratory participants.

Laboratory

This area provides access to a series of virtuallaboratories allowing the user to work in a

simulation environment where theories learned

previously can be put into practice and tested.

The user is able to view the virtual environment

from inside, through a full 360, effectively

entering and taking up a stance from which

to study spaces, furnishings and materials.

The user can also load a set of parameters

(Fixtures, Sources, Optical assemblies) that will

define the lighting for the environment.

During the creation procedure, help is available

step by step from instructions that appear

alongside the representation on the screen.

In addition, this part of the Lightcampusplatform provides a theory support tool contex-

tualized to the theme of the simulation, giving

the user fast access to basic theoretical

information on the particular theme so as to

enable further progress even when in difficulty.

Once all the parameters have been entered,

the system will indicate the outcome of the

exercise: if the judgement is negative, the user

can go back and try again with different

parameters; if the outcome is positive, it will

be possible to download a PDF document

containing data relative to the work completed

within the virtual environment.

1. Virtual environment

2. Fixture selection options

3. Incorrect lighting solution

4. Correct lighting solution

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Corporate culture

iGuzzini hosts ELDA and IALD

On 21st January 2006, iGuzzini UK hosted

a joint meeting of ELDA (European Lighting

Designers Association) and IALD (Interna-

tional Association of Lighting Designers)

in its offices at the Business Design Centre,

in the London borough of Islington.

Turin 2006 Winter Olympics

The 2006 Winter Olympics afforded the city ofTurin an oppor tunity to run a number of

projects aimed at improving its appearance.

iGuzzini contributed to many of these as con-

sultants on lighting-related matters. We were

involved in the illumination of Gae Aulentis

Palavela (where the figure skating and short-

track competitions were held) and the Hockeydome designed by Arata Isozaki.

We also designed a special fixture for the

Olympic Village in Sestriere. Another project on

which we collaborated, together with lighting

designer Mekan and architect Dante Ferretti,

was the lighting for the Museo Egizio, which in

December 2005 was privatized, passing fromstate ownership to the Fondazione per il

Museo Egizio (see the Projects feature for

more information).


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Corporate culture

Intelligent Lighting DesignLondon, 7th March 2006

On 7th

March 2006, a meeting was held at theCavendish Conference Centre under the title

"Intelligent Lighting Design", promoted by the

Architect's Journal in collaboration with iGuzzini.

Various topics were addressed during the

discussions - enhancing the urban environment

through lighting design, innovative lighting

design and light technologies.

Among those taking part were certain of the

premier lighting design studios, notably Speirs

& Major Associates, BRE, Hoare Lea Lighting,

DPA Lighting, Arup Lighting, and Pinniger &

Partners.

Light ConferenceCopenhagen, 29th September 2005

The Light Conference, first held in 2003, is abiennial event organized by the Danish branch

of iGuzzini Illuminazione.

The Copenhagen Light Conference was held as

part of the international design festival INDEX

2005. Among those taking part in the discus-

sions were Jonathan Speirs of Speirs & Major,

Charles Stone and Paul Marantz of Fisher

iGuzzini lights upthe Toti submarine

On 7th December 2005, members of the public

were finally able to see a piece of history, the

Italian Enrico Toti class submarine S-506.

iGuzzini contributed as technical sponsor to

the illumination of the submarine, which now

stands in front of the main entrance to the

Leonardo da Vinci Museum of Science and

Technology in Milan.

Marantz Stone, the architect Jan Edler ofRealities United, Berlin, the architect, lighting

designer and lighting appliance designer Vesa

Honkonen, and Maria Widell Christiansen of

the Volvo design department.


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The great challenge - and opportunity -

offered to industry today must surely be

that of nanotechnology: the chance to exploit

technologies based on a scientific discipline

envisaging the utilization, at industrial

level, of matter 200,000 times smaller

than the thickness of a hair, measured in

millionths of one millimetre, i.e. in nano-

metres. One of the new areas of technology

being explored currently by our company is

precisely that of nanotechnologies appliedto the control of light radiation.

The aim is to create optical systems such

as will improve the performance of lighting

appliances from the standpoint of energy

efficiency, and in terms of visual comfort.

Research is being conducted in close

collaboration with one of the top national

agencies in this sector, the Nanotechnology

Research Group of the Physics Department

at Lecce University. This is an example of

how centres of excellence in the area of

scientific research can offer an important

resource to operators in industry, for whom

innovation is a key factor in achievingsuccess on international markets. In effect,

a virtuous circle is created, whereby the

countrys basic scientific research effort

can be sustained financially, and the

enterprise system is given the intellectual

help it needs to compete successfully in

the global market.

Giannunzio Guzzini

Opinion


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III

IncontroluceSix-monthly international journalon the culture of light

Editorial officeiGuzzini Study and Research CentreFr.ne Sambucheto, 44/a62019 Recanati MC+39.071.7588250 tel.+39.071.7588295 faxemail: [email protected]

iGuzzini illuminazione spa

62019 Recanati, Italyvia Mariano Guzzini, 37+39.071.75881 tel.+39.071.7588295 faxemail: [email protected]: 071-7588453

Graphic designStudio Cerri & Associati

PublisheriGuzzini illuminazione spa

Contributors to this issueiGuzzini illuminazione Deutschland GmbHiGuzzini illuminazione DK

iGuzzini illuminazione Espaa S.A.iGuzzini illuminazione France S.A.iGuzzini illuminazione UK LTDOOO iGuzzini illuminazione RUSSIAPeyan Oy, Finland

Cover photoGabriele Basilico

Printed: March 2006Tecnostampa, Recanati

The Editorial staff is not responsible for inaccuraciesand omissions in the list of credits relatingto projects and provided by colleagues.Completions or corrections will be included in thenext issue.

13Incontroluce I. 2006


56/56

Incontroluce XIII / The Marches: The universities and the territory Design: The lighting designers

toolbar 2005 Projects: Memoria e Luce. World Trade Center Memorial / Reflections in stone Egyptilluminated by Dante Ferretti / Extension of the High Museum of Art in Atlanta / A Roman historymuseum / Illumination of the Victoria & Albert Museum garden / The Town Hall of Sant Antoni dePortmany / Melbourne Arts Centre / Shigeru Ban and the Beaubourg / Zaha Hadid and the Ordrup-gaard museum / Sign of light for the Cathedral of the Resurrection / New light on the Nevsky

Prospect Corporate culture: Second edition of the competition Pasajes arquitectura y crtica -

iGuzzini illuminazione / iGuzzini Travelling Award 2005 / The Snow Show. Turin 2006 WinterOlympics / iGuzzini illuminazione creates a new showroom concept / Lightcampus: new laborato-ries / Turin 2006 Winter Olympics / iGuzzini hosts ELDA and IALD / Light Conference / Intelligent

Lighting Design / iGuzzini lights up the Toti submarine

24099033 lighting handbook incontroluce 13

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