24100444 lighting handbook incontroluce 12

8/11/2019 24100444 Lighting Handbook Incontroluce 12

1/52

12 II. 2005


2/52II

Editorial

Dear Readers,

Issue twelve of incontroluce bears out the

message of our current advertising

campaign, iGuzzini, Partners for Better

light. This issue presents some of the

recent projects by major international

architects, in which iGuzzini has been

involved as lighting consultant and on-site

partner of architects, engineers and lighting

designers. We have also worked closely with

master architect Steven Holl, who hasalways paid close attention to the constant

variation of light and the changing

appearance of colour in his work.

We acted as consultants on his behalf for

the exhibition in which he took an in-depth

look at the interaction between light and the

porosity of materials. As for the inauguration

of our new headquarters in Paris - which is

intended to be a meeting point between the

needs of architects and designers and the

technological know-how and experience of

our technicians, built up through years of

collaboration with the world of design and

architecture it bears further witness to ourcommitment to being dependable partners

in constructing the quality of the

environment in which we live.

Adolfo Guzzini


3/52

II

2

4

8

12

16

20

24

26

28

30

32

38

40

42

4344

45

46

47

48

Editorial

Le Marche

Giuseppe Sacconi.Architect of the typical eclecticism of Le Marche(1845 1905)

Design

I dont know how to talk about light...words cant express certain feelings

Projects

The Pero Exhibition Centre

Light for the Sanctuaryof Saint Pius of Pietrelcina

An innovative luminaire forthe GOGGS

An orchid of light forPaul Andreus Oriental Ar t Centre

Harajuku.A little corner of Japan in Valencia

A new churchdedicated to Saint Franois De Molitor

The Mosque of Sultan Hassan

The Moby Dick House

Zentrum Paul Klee

Corporate culture

An interview with Steven Holl

Party for the launch ofiGuzzinis new Paris premises

A show of lights and colours

Invisible Hotel5+5=5 Massimiliano Fuksas5 years 5 projects

MINI Design Week 2005

iGuzzini lights the Churchof our Saviour on the Spilled Bloodin St. Petersburg

Collaboration between Pool of LondonPartnership and iGuzzini lighting

John Kirwan and leadership

The Augusto Morello INTEL Design Award 2005

iGuzzini for public safetyThe Landscape of ExcellenceAssociation and Museum

Opinion

12Incontroluce

Contents

II. 2005


4/522

Giuseppe Sacconi.Architect of the typical eclecticism of Le Marche(1845 1905)

by Giancarlo Capici

Le Marche

During his time as Supervisory Director of the

Regional Department for the Preservation of

Monuments in Le Marche and Umbria,

Giuseppe Sacconi was an eclectic architect

and restorer. He was also a Member of

Parliament. Like most architects at the time,

his formal qualifications were few, but he had

a sound grounding in architecture and the

arts. The eclecticism of his training, however,

was undoubtedly complemented by his skill

as a master of several arts, his subjectivecapacity tempered by art, and highly

sensitive to beauty in all its forms and an

erudition constantly enriched by study and a

knowledge of the works of the ancients.

Another way of understanding Sacconi is to

examine the 700 or so books that made up

his private library, and which are currently

held in the Fondo Sacconi at Rome Central

Library. These give an insight into the

architects character and cultural interests.

During the course of his working life,

considerable importance was attributed to the

monument to Vittorio Emanuele II, but the

same relevance is also due to other aspects ofhis work, both as a designer of new buildings

and as a restorer of ancient monuments,

although the latter are not easy to quantify,

since almost all of the architects archives

have been lost. Since his premature death in

1905, the suffering, torment, doubt, anxiety

and dramatic dissatisfaction that accompanied

Sacconi throughout his career, has been

documented by a long chronology of

literature, organised into various studies and

publications. However, among the works of

Sacconi, the Complesso del Vittoriano

remains the highest example of his style and

architectural language. The purpose of thispublication is to assess certain historical

factors which form the basis of the original

rationale behind the work and are examined

within the political and social context of urban

development in the early years after Italian

unification. We therefore exclude any

discussion of the disputes and caustic

reactions generated by the critical misfortune

and notoriety of the Monument to Vittorio

23 September 2005 marks the centenary of thedeath of the architect Giuseppe Sacconi, from Le

Marche. The occasion saw the launch of a bookentitled Giuseppe Sacconi e il Vittoriano nella Terza

Roma by Giancarlo Capici, published by Pilaedit.

Emanuele II, which arose, despite the broad

consensus that prevailed until the monuments

inauguration, from a heated debate of Italys

cultural heritage and from an arid and

pragmatic assessment of urban and

archaeological reasoning. The monument

remains a great work, however, and is thefruit of a political commission for the capital

city of Rome, and the commitment and

professional skill of a host of designers,

architects, engineers, technicians, artists,

skilled tradesmen and contractors, over a

period of 27 years. The subsequent ridicule

of the work (which has been variously likened

to a type-writer, a wedding cake and a luxury

urinal) fuelled the negative connotations that


5/52

incontroluce12

3

Giancarlo Capici

Born in Macerata in 1934, Giancarlo Capici graduated

from the University of Rome, having followed courses

run by Ludovico Quaroni, Pierluigi Nervi and Leonardo

Benevolo. He lives in Rome, where he runs a firm

specialising in architecture, urban planning, consulting

and promotion, but he retains a strong bond with his

native Le Marche, partly through ongoing professional

activity in the region. He works with both the public

and private sectors, and his chief interest lies in

projects of cultural interest, for which he has obtained

a number of prestigious awards. He has worked with

companies such as iGuzzini, for which he designedone of the very first Harvey iGuzzini productions.

Since 1980, he has also been involved in publishing,

and set up the Pilaedit publishing house specialising

in the publication of historical and architectural texts.

Alongside his professional work, he now also

contributes to the promotion of events aimed at raising

the profile of the cultural heritage of Le Marche.

He was recently one of the main players in the setting

up of the National Institute of Architectures new

Le Marche division, of which he is Vice-Chairman.

In September, the National Institute of ArchitecturesLe Marche division promoted a number of eventsto celebrate the life of Giuseppe Sacconi.The events were held at the town hall of Montalto,the architects birthplace, and in Ascoli Piceno,and attracted the patronage of the President ofthe Republic, the Municipality and the Province,and a contribution from the Carisap Foundation.

were to pursue this monument. Its bad

reception by the people and intellectuals,

however, was not due to its aesthetic qualities

per se, but to the historical events that turned

people against the Teutonic spirit which

the monument does indeed emanate.

Today, the role of symbolic attraction playedby the Vittoriano in Piazza Venezia also has

a more recent function as a place of homage

and, as expressed by the architect in Peter

Greenaways film, the monument seems to

have entered contemporary history as the

stage of the entire city.


6/524


by Alessandro Grassia

Design

I can only talk about my work as a lighting

designer in relation to my own life history.

Im convinced that my works and my way of

perceiving this profession are the result of the

attraction that Ive always felt for lines,

volumes and design. It was this attraction that

first prompted me to prefer history of art over

all other subjects, and then to study

architecture, before specialising in restoration.

This background pervades all of my work,

which translates first and foremost into 2

showing the language and musicality of

architecture, quite literally, in its best light.Its as though light didnt exist without the

purpose of revealing the identity of the

illuminated object. When I finished my degree

in architecture, I had no idea that my work

and ideas would go onto find expression in

lamps, optics and light sources; not least

because at university in the 1980s, when I

gained my specific knowledge, very little was

said about artificial light. When fate decreed

that I take up the task of lighting historic

buildings and monuments, my biggest

challenge was re-learning and developing my

technical knowledge of lighting: the rest just

happened on its own. When I say this I dont

mean to undervalue the role of technical and

technological knowledge of lighting, quite the

reverse: you could say that such knowledge

constitutes the tools of the lighting designers

trade, like a writers pen or a painters

brushes. The lighting designer needs to be

fully conversant with his work tools, needs to

know how to handle them with ease, needs

to understand the mechanical aspects of the

job (I maintain that a lighting designer must

be capable of taking apart the equipment he

uses in his designs and putting it back

together again), and also has to keep up to

date with the new technologies that emerge

from research and industry. But although

necessary, this is not enough on its own.I still firmly believe that an artistic lighting

design can only be defined as complete when

the technical tools are used to express a

particular vision or interpretation of historical

knowledge. A good example of this is the

project I undertook for Enel Sole in Piazza

Duomo in Catania. The design of the Baroque

architecture that defines the urban space

leaves no margin for interpretation: the

rhythm of solids and voids, the alternation

of pilaster strips and mirror images, the

dimensions of the bases and the form of the

cornices interact with each other with such

rigour, that all you can do is follow their lead.By following the teaching of J. Summerson,

who attributed musical tempos to the spaces

that punctuate classical columns (presto,

allegro, andante, adagio, largo), you can see

how the beams of light in Piazza Duomo beat

the rhythm of the architecture as though it

was a musical score. If you manage to get in

tune with the architecture, youre unlikely to

produce an indifferent design. The same

applies to how you lay out light sources,

especially if theyre fixed to the building itself.

You must never overlook the fact that a

lighting system is also visible during the day,

so even the layout of the visible equipment

cant be taken out of its architectural context.

And let it not be said that this vision of

lighting impinges on the creative freedom of

1


7/52

incontroluce12

5

Photos supplied by Alessandro Grassia

1. Piazza Duomo, Catania

2. Cattedrale di Pisa

3. Tempietto di San Pietro in Montorio, Rome

3


8/526

Design

the lighting designer, because you can stillplay around with levels of illuminance, colour

temperature, the direction of the beams, you

name it. You just need to know the rules of

the game and you can do practically

anything. An example that comes to mind is

the way the Baroque architects displayed their

talent through virtuoso shapes and

spectacular effects based on the compression

and expansion of material: all apparently

deviating from the rigour of the language of

classical architecture, but all totally in

harmony with its shapes and proportions.

So you can break the rules, but only once you

fully understand how they govern the way anitem is made. The same applies to modern

architecture. The Magliana viaduct over the

motorway connecting Rome to Fiumicino

airport, built by Riccardo Morandi in the early

1960s, is an example of modern architecture,

for which I recently produced a lighting design

on behalf of ANAS, together with Professors

Pepe Barbieri and Rosario Pavia.


5

On the Morandi Viaduct, the light helps youread the structural function of the component

parts of the work: slim and streamlined

because of the taut stays, and solid and

imposing because of the compressed portal.

Given that the structure was completely unlit

before, just making it visible would have been

an improvement; but a lighting design has to

do more than that. You have to read the

structure, analyse it, get hold of the original

architects drawings, understand the static

mechanisms, and compare it with other

works by the same architect. Then and only

then can you attempt to come up with a

design concept. To sum up, its not enoughjust to use the latest, sophisticated

techniques. Lighting designs should be the

incarnation of a guiding idea inspired by the

character and spirit of the structure to be lit.

Seeing a monument by night thus evokes a

new feeling, but what it evokes must not

contradict the formal message originally

intended by the architect.

4


9/52

incontroluce12

7

6

4. Altare della Patria, Rome

5. Viadotto Morandi, Rome

6. Villa Madama, Rome

Alessandro GrassiaAlessandro Grassia graduated in architecture in Rome,

where he still lives and works. His initial training focused

on classical architecture and the restoration of historic

buildings and monuments; only later did he specialise

in the science and techniques of lighting. In 1993, he

started work as a lighting designer, specialising in artistic

and monumental lighting installations. He has worked

with public bodies, municipal authorities and advisory

and inspection services. In little over ten years, he has

undertaken the artistic lighting of some of Italys

best-known monuments and archaeological sites,

including the archaeological excavations of Pompeii and

Herculaneum, the Altare della Patria and the Pantheon

in Rome, the cathedral in Pisa, Raphaels Villa Madama

and the Tempietto di Bramante, also in Rome, and the

Cascata delle Marmore, in Umbria. He also produces

lighting plans, such as those executed for the Municipality

of Frascati and for Upper Bergamo. He is a lighting

consultant for the Co-operation and Development

Department of the Ministry of Foreign Affairs, with whom

he was involved in the design of certain installations at

the Museum of Shanxi a Xi-Han (Peoples Republic of

China) and the National Museum of Damascus (Syria).

In his capacity as a lighting designer, he works with

various firms of architects and civil engineers. He

lectures on post-graduate lighting courses in the faculties

of architecture at the universities of Rome and Venice.


10/52


11/52

incontroluce12

PhotosFabio Emilio Simion, Maretti Srl

1.2. Pictures of the roof the trade fair complex(mountains and craters)

2

Service centre logo

Structural designerSchlaich Bergermann und Partner

Curtain wallsPermasteelisa spa

Steel structureIcom Engineering, Ask Romein,Carpentieri dItalia

RoofingBemo Systems

Designer and art directorDoriana O. Mandrelli

Architectural projectsupervisorsGiorgio Martocchia, Ralf Bock

3DFabio Cibinel

Design GroupAngelo Agostani, Fabrizio Arrigoni,Chiara Baccarini, Giulio Baiocco,Daniele Biondi, Giuseppe Blengini,

Laura Buonfrate, Sofia Cattinari, IreneCiampi, Chiara Costanzelli, Alberto Greti,Kentaro Kimizuca, Roberto Laurenti, DavideMarchetti, Luca Maugeri, DominiqueRaptis, Cesare Rivera, Adele Savino, TasjaTesche, Toyohiko Yamaguchi

Executive drawings of the pavilionsStudio Altieri

Structural engineers for central axis,service centreStudio Marzullo

9


12/5210

The lighting project covered the various

pavilions, the central area, the large road axis

covered by the steel and glass structure that

characterises the complex and several outer

zones of the Services Centre, so as to create

uniformity in the visual impact of the

installations. The pavilions are lit by a direct

and indirect system to meet the requirement

for an average of 300 Lux on the ground and

to create uniformity for the considerable

height of the buildings. The pavilions vary inheight from 10-12 metres, and 7 metres per

storey in the two-storey pavilions.

The position of the light sources was defined

by a mesh with rectangular modules. To

achieve the necessary level of lighting, Lavinia

units with street optics and 400 W iodide

light sources were used for the direct lighting,

while 250 W light sources provide the indirect

lighting. The project focused particularly on

lighting the walkways inside the pavilions,

because the stands themselves are equipped

with their own lighting during exhibitions.

The lightweight, transparent sail, which isover a kilometre long and undulates to form

mountains and craters varying in height

between 10 and 12 metres and ground level,

was lit by a variation of the Lavinia system

with a double arm anchored to the metal

structure and arranged lengthways in relation

to the transit route. In order to soften the

visual impact, the same colour as used for the

roof was chosen. In this case, the lighting is

provided by asymmetrical flood optics with a

250 W metal-halide light source. Under the

roof are escalators and transit ways, with

offices and shops at the side. The general

lighting of the Service Centre and the outerpart of the auditorium is based on 250 W

Platea projectors with asymmetric optics.

Projects The Pero Exhibition Centre

4

3

3. Interior of one of the pavilions in the trade fair complex

4. Picture from the advertising campaignPartners for better light

5. The road at level 6


13/52

incontroluce12

11

5


14/5212

The new church dedicated to Saint Pius in

San Giovanni Rotondo, designed by Renzo

Piano, took ten years to build. By combining

the exterior and interior space, the work was

designed to accommodate the growing

number of pilgrims who visit San Giovanni

Rotondo. Pianos building will be able to

accommodate 6,500 people, while a large

open space communicating with the nave will

enable a further 30,000 people to attend

religious ceremonies. The extensive complexcontains works by contemporary artists such

as Domenico Palladino, who created the

bronze entrance door to the nave; Giuliano

Vangi, who designed the pulpit, and Arnaldo

Pomodoro, who produced the gilt bronze cross

hung over the altar and lit by a cone of

natural light, which filters through an aperture

in the roof. The lighting emphasises the

connection between interior and exterior

environments. To ensure a uniform look for

the vast complex, the indoor areas were fitted

with various versions of Le Perroquet

projectors, while the outdoor areas are lit by

Nuvola units, together with Light Up,

Light for the Sanctuaryof Saint Pius of Pietrelcina

San Giovanni Rotondo, Italy

Projects PrincipalReligious province of SantAngelo ePadre Pio Order of Capuchin Friars Minor

Architectural projectRenzo Piano Building Workshop

MaxiWoody and Berlino in suspended and

post-mounted versions. The nave is shaped

like an Archimedes spiral and covers an area

of 5,700 m2. It features an inner and an outer

rank of arches in Apricena stone

(for a total of 22 arches), aligned on a single

geometrical centre. Next to this is a raised

area with steps leading up to the altar by the

sculptor Arnaldo Pomodoro. The feet of the

outer arches delineate the perimeter of the

nave. Various versions of Le Perroquet wereconsidered the most appropriate light fittings

for the various requirements of the nave, and

a stylistic link was maintained throughout the

complex. The lighting design is the result

of a compromise between the needs of the

Capuchin friars, whose priority is the reception

and safety of visitors and who hence require

high levels of lighting, and the concept of

Renzo Piano, which was based upon much

lower levels. From the churchyard you can

see the main arch of the church in all its

glory. It is the largest stone arch in the world,

with a width of 45.8 m and a maximum

internal height of 15.7 m.

1


15/52

incontroluce12

13

2

Photos: Giuseppe Saluzzi

1. Bronze entrance door to the nave,by Domenico Palladino

2. Main altar with the cross by Arnaldo Pomodoroand the aperture which lets in natural light

Liturgical consultantMons. Crispino Valenziano

Execution of workSociet consortilea responsabilit limitataFabbrica della Chiesa

Director of WorksGiuseppe Muciaccia


16/5214

3


17/52

incontroluce12

15

information centre, a pilgrims hall and toilet

facilities. Inside this area there are three

auditoria for meetings, debates and the

projection of films etc., equipped with two

seating areas (stalls and circle), with seating

capacities of 249, 292 and 366 respectively.

The area is lit with suspended Le Perroquet

luminaires produced specifically for this

project, because they are double and some are

equipped with loudspeakers. The units use

150 and 250 W halogen light sources.

It is closed with a large glass panel,

consisting of over 100 windows, which make

up two bearing structures. The full load of the

church and crypt is discharged through a

single central pilaster, on which all the stone

arches converge. Access to the church is via a

straight pedestrian avenue eight metres wide,

lined by two rows of cypresses, beside which

there are terraced areas of greenery, where

pilgrims can stop and rest. At the end of this

avenue stands a large cross in Apricenastone, made up of 70 ashlars. The avenue is

lit by Nuvola units. The churchyard is

triangular in shape and slopes towards the

interior of the nave. It covers an area of 8000

m2, which is enough to accommodate some

40,000 worshippers. It connects with the

historic churchyard of the Sanctuary of Santa

Maria delle Grazie. The enormous expanse of

white is broken up by 21 olive trees lit with

Light Up units. People heading for the

churchyard can walk along beneath the

colonnade immediately to the right of the

large cross. The first nine columns are higher

than the others so as to form a support for theeight bronze bells, each of which sounds a

different note, cast at the Papal Foundry of

Marinelli di Agnone. On each of these nine

columns stands an eagle sculpted by Mario

Rossello. The portico is lit by MaxiWoody

luminaires, with directional deflectors to

illuminate the columns, and by suspended

Berlino luminaires, which pick up on the

post-mounted Berlino units in the outer part

of the portico. Beyond the threshold is the

reception area for pilgrims, equipped with lifts

to provide sick and disabled people with

access to the level of the church.

The reception area also accommodates an

3. The large glazed area which closesthe worlds largest stone arch

4. Access avenue

Projects Light for the Sanctuaryof Saint Pius of Pietrelcina

4


18/5216

An innovative luminaire for the G.O.G.G.S.(Governement Offices ad Great George Street)

London, England

Projects

The British Government Offices in Great

George Street occupy a prominent position

next to the Houses of Parliament in central

London. Foster and Partners were assigned

the task of joining the buildings in the

complex, designed in 1898 by John

McKean Brydon and built in the early

1900s, into a single working unit.

After completing the plans for the west

wing, Spencer de Grey, the partner directing

the Treasury project for Foster and Partners,explained that: In this project, the

challenge lay in transforming the 100 year

old building, with its deep planimetry

punctuated by sources of light and inner

courtyards, into a modern, energy-efficient

working environment. As the reconstruction

of the west wing was classified as

excellent and the east wing as very good

under BREEAM (Building Research

Establishment Environmental Assessment

Method) criteria, the architects clearly rose

to the challenge. The main entrance to the

east wing, which is 20 m high and

dominated by a large marble staircase,was felt to be the ideal environment

in which to bring historical and

contemporary elements together

in a coherent manner.

1

2

This aim gave rise to the proposal by the

lighting consultants, Speirs and Major

Associates, to create an elegant, contemporary

central luminaire and locate it in a

neoclassical environment. The client and

the other members of the design team,

including the restorers and urban planners,

were in favour of the idea, and at the end of

2003, iGuzzini was appointed to design andconstruct a modern luminaire. The concept

of Speirs and Major Associates revolved

around the idea of a progressive flow of light

towards a series of reflective rings suspended

below a number of light sources, so as to

allow part of the light to filter through, and

the rest to be reflected onto the walls and

domed ceiling. From this starting point, an

analysis was made of the various issues

relating to photometric performance,

aesthetics, materials and maintenance.


19/52

incontroluce12

Photos: Jonathan Syer

1.3. The hall of the British Government Officesin Great George Street with the suspensioncreated by iGuzzini

2. Exterior of the building

17

3

CustomerStanhope and Bovis Lend Lease,Matthew Lusty

Architectural projectFoster and Partners,Philipp Eichstadt

Lighting projectSpeirs and Major Associates,Jonathan Speirs,Philip Rose,Claudia Clements

Having already made an approximate

calculation of the total light flow needed to

provide the desired levels of illumination, it

was then necessary ascertain whether this

result could be obtained from a single source.

With 1,000 W, 80,000 lm, average life of

9,000 hours and a class 1A colour rendition

index, the Osram Powerstar metal-halide lamp

met these requirements. Ground glass was

initially identified as the ideal material for the

reflective rings. We then generated acomputer model of the space and the

luminaire, with 15 rings below one light

source housed in the skylight.


20/5218

4


21/52

incontroluce12

19

4. Dome of the building with the luminaire

5. Drawing of one of the proposals for the product

6. Section of the building's hall

Projects An innovative luminaire forthe GOGGS

5

6

During the prototyping phase, problems

emerged due to the difficulty of obtaining

glass rings of the necessary size and the need

to limit the weight of the object. To overcome

these hurdles, we decided to use acrylic.

Working on the prototype enabled us to

determine the optimum size of the piece and

eliminate any shadow effects caused by the

overlapping of the rings. The finished result

produces 300 lux on the ground and 100 on

the walls. Special spill rings were then

developed to avoid any kind of glare

and construct a modern style of luminaire.


22/5220

An orchid of light for Paul AndreusOriental Art Centre

Shanghai, China

Projects Architectural projectADPI, Paul AndreuChinese Architecture Institute: ECADI

PrincipalConstruction Headquarterof Shanghai Oriental Arts CenterProperty Management

In the brand new Shanghai Oriental Arts

Centre in the citys Pu Dong district, which

was completed in December 2004, Parisian

architect Paul Andreu has created, in his own

words, a radiant and transparent building, as

if by magic. The orchid-shaped Shanghai

Oriental Arts Centre covers an area of some

23,350 m2. Surrounded by a large park, it is

one of the largest and best known projects

built in Shanghai, if not in the whole of Asia,

in the past two years. It is a public culturalbuilding funded by the City of Shanghai.

The complex accommodates three auditoria:

1

a 1,979-seat concert hall, a theatre with

seating for 1,054 people and an auditorium

for chamber music, with a capacity of 330.

It also accommodates annexed public

structures such as an exhibition hall, music

shops, a restaurant, an art library and a

multimedia and training centre. Paul Andreu

wanted this melting pot of music and theatre

to have strong visual impact, especially in the

evening, when the audiences are inside.

He also wanted to convey a sense of mystery,without constructing something enclosed,

stifling or heavy.


23/52

incontroluce12

21

Photos: Hans Schlupp

1. Rendering

2. The Oriental Arts Centre by night

2


24/5222

3


25/52

incontroluce12

23

3. Collective area corridor

4. Entrance hallProjects An orchid of light for Paul Andreus

Oriental Arts Centre

4

He explains that when he first started thinking

about the Shanghai Oriental Arts Centre, he

immediately saw it as a resplendent building

in the dark. In fact, one of the prominent

aspects of the design is the faade, built using

an advanced construction technique based on

layered glass, which thus transmits all theinterior light outwards. At night, the building

becomes radiant and transparent. From

outside, you can see all the visitors to the

Centre as they go in, move around, climb the

stairs and disperse in every direction around

three interior volumes whose contrasting

colours blend gradually into the colour of the

ceiling. Rising from the base in which they

appear to have taken root, the three interior

volumes, which become progressively lighter

in colour as they approach the ceiling,

enclose the three concert halls as though

they were protecting something preciousand fragile. The surrounding collective space,

conceived as an interplay of curves and

transparencies, comprises an entrance hall,

foyer, corridors and exhibition areas.

In both functional and visual terms, this space

connects the theatres with the city, which is

visible everywhere, and with the surrounding

landscape, trees and the sky above. iGuzzini

assisted the architect in verifying the quantity

and distribution of light with its lighting

calculation software (Photos 2000) and by

3D rendering. To create this sense of light,

Paul Andreu used Gem luminaires in all thecollective areas (entrance, shopping areas,

side corridors) that can be seen from the

outside. In order to install the Gem units at a

variety of levels, the length of the suspension

cables was modified.


26/5224

Harajuku.A little corner of Japan in Valencia

Valencia, Spain

Projects

In homage to the famous district of Tokyo

renowned for its shops, restaurants and

internationally trend-setting clubs, Harajuku

is the name chosen for a top level Japanese

restaurant, which combines the excellence

of Japanese cuisine with the best of

Mediterranean dining. The building that

houses the restaurant, designed by Francisco

Vzquez, Director of Suite 347 Interior

Design, belongs to Arturo Blanch and Chino

Roca. It is situated in the heart of Barrio delCarmen, the district with the highest

concentration of innovative clubs and

restaurants in the whole of Valencia.

The quintessence of Japanese cuisine finds

expression in three of its variants: sushi,

teppanyaki and elaborate dishes.

Guests can watch their food being prepared

live by a skilled chef behind the bar.

Harajuku represents a new concept of venue:

as well as a restaurant, it provides multi-

media projections, audio and lighting, which

turn it into a refined lounge bar where guests

can relax over a drink after dinner.

The large number of different areas and theuse to which they are put determined the

philosophy behind the lighting design:

general diffused light in the reception area,

restaurant and thoroughfares, combined with

light directed towards the various bars.

Interior DesignFrancisco Vzquez

1


27/52

incontroluce12

25

Photos: Zig-Zag

1.2. Various areas of the restaurant.

The lights used for the general diffused

lighting play a leading role in the

setting. The suspended Gem luminaires,

made up of two shells of transparent

polycarbonate, whose surfaces have been

made opalescent by photoengraving to aid

diffusion, use fluorescent lamps with anadjustable electronic device with DALI

system (Digitable Addressable Lighting

Interface). This electronic system switches

the unit on and off, and controls light

intensity and use of colour via a common

standard, even for different lighting devices.

In the restaurant, it controls light intensity

very simply, adapting it to the lighting

requirements of different times of day

(lunch, dinner and after dinner).

2

The two bars where diners watch their food

being prepared, before eating it hot from the

hob, were fitted out with directional lighting

to focus attention on a specific point using

Le Perroquet suspensions with low-voltage

halogen lamps, whose light emission is

toned down by the back-lighting of the wallsdecorated with large photographs, which set

the tone of the dcor in this area. The upper

part of the windows in the corridor, which

look out over the street, serves as a screen

for multimedia projections. For this reason,

Woody projectors with halogen lamps were

fitted on the outside, which also made it

possible to have a single exterior lighting

system integrated with the faade.


28/5226

A new Churchdedicated to Saint Franois De Molitor

Paris, France

Projects Architectural projectCorinne Callies and Jean-MarieDuthilleul AREP

Director of worksAssociation Diocsaine de Paris

the place of worship. Around the altar, thefloor slopes downwards like the bottom of a

boat or a pair of cupped hands gathering

water from a spring. Two curved walls made of

the golden coloured stone typical of Parisian

architecture circumscribe the congregation.

The colour of the marble blends with the

neighbouring houses, while emphasising the

sacred nature of the place through its precious

refinement. Two features of this large structure

indicate the presence of the church: the three

monumental wooden doors, which provide

access to the portico, and the bell-tower which

flanks the western side of the building. As you

enter the church, you catch sight of the gardenin front of you, through a milky glass panel.

Here, Japanese maples and beds of grasses

are reflected in a pond. In front of the glass

panel, the large cross forms the final part of

the entrance axis. In front of the cross, on the

same axis, stands the pulpit, from which the

holy scriptures are read. The large baptismal

font, by contrast, stands on the opposite side,

near the entrance. Two side galleries extend

the enveloping movement of the congregation

upwards around the altar.

March 2005 saw the inauguration of a new

church on the site of the chapel built in 1941

at 44 Rue Molitor. Originally very small and

built with poor quality materials, the chapel

posed serious safety problems, which seemed

to be insurmountable. For this reason, various

studies and assessments had been conducted

since 1985 to come up with various solutions

for rectifying the problems and rebuilding.

It was eventually decided that the only feasible

solution was complete rebuilding. Standing inRue Molitor, the church of Saint-Franois

occupies a position between the city and a

garden, which call to mind the supreme sites

of biblical times, Eden and Jerusalem.

City and garden also represent two important

places in the life of Saint Francis. The entrance

faces south, towards the city, from which

visitors enter and towards which they go when

they leave the church. The church is situated

beyond a quiet, partially shaded portico,

which forms a transitional space between the

bustle of the street and the meditative calm of

1

2


29/52

incontroluce12

27

Project promoterSorif Investissement

Site DirectorPhilippe Talbot et Associs

Concrete structuresKephren Ingnierie

AcousticsAREP

PlumbingBETHAC

Landscape designerMichel Desvigne

Photos: Didier Boy de la Tour

1.3. The nave

2. The churchs faade

The church seats 420 people. The flat ceiling,

made with slight gaps between the boards,

allows a few rays of sunlight to filter through

and creates an atmosphere of concentration

and meditation. At night, artificial lighting

helps recreate the effect of daylight coming

from above, and is softened by the churchs

wooden ceiling. Linealuce units with xenon

lamps were used for this purpose.

3


30/5228

The Mosque of Sultan Hassan

Cairo, Egypt

Projects PrincipalThe Aga Khan Trust for Culture

Project directorChristophe Bouleau

Lighting projectSimon Simos Architecte- Eclaraigiste

From a stylistic point of view, the mosque ofSultan Hassan is the most compact and

homogeneous of Cairos monuments.

The structure was built in 1256 AD for

Sultan Hassan bin Mohammad bin Qalaoun

as a mosque and religious school (madrassa)

for all sects. The buildings most notable

features are its cornices, entrance and

monumental staircase. Many see the stone-

built Sultan Hassan mosque as the most

important Islamic monument in Egypt. With

no signs of architectural indulgence, the

building shows faith in its executive clarity

and moderation. In order to accommodate

the four major schools of Sunni Islam, themosque of Sultan Hassan is based on a

classical cruciform floor plan, so the

courtyard leads to an enormous vaulted area

(liwan) on each side, for each of the four

schools. Despite the fact the liwan pre-date

Mohammed, their cruciform layout isattributable to the Mamelukes who completed

the architecture by adding a domed

mausoleum. The outer structure of this

mosque is very imposing and stands out for

its majestic cornice and the ver tical

protrusions of the faade, despite the fact

that it stands in the shadow of the

massive Citadel. In Cairo, building space was

at a premium even at the time the mosque

was built. So although the outer walls are

somewhat oblique to adapt to the available

space, the architects found a very original

way of giving the impression of a uniform

volume inside. The mosques lighting,executed to a lighting design by the firm

Simon Simos, seeks to emphasise the

volumes and the heights of the building.

The desired lighting effects are achieved

using Woody and Maxiwoody projectors.

1


31/52

incontroluce12

29

Photo: Matjaz Kacicnik

1.2. The Sultan Hassan Mosqueagainst the urban backdrop of Cairo

2


32/5230

The Moby Dick House

Espoo, Finland

Projects Architectural projectJyrki Tasa

This biomorphic house sprouts out in the

street from behind a rocky outcrop. A stone-

built staircase and a steel bridge lead to the

main entrance on the first floor above ground

level. Access to the building is via an organic,

white outer wall. This floor accommodates a

living-room, library, master bedroom and two

balconies. The ground floor houses childrens

areas, a guest-room and a garage. Sauna

facilities, a fireplace and a gym are located in

the basement. The floors are connected by along staircase, lit by a skylight, and by a

two-storey winter garden. Three translucent

glass and steel bridges also connect these

areas. The staircase forms the spatial core of

the house and is lit by a large skylight.

The handrail consists of tubular steel and

the balustrade is made of steel wires.

The staircase affords a view of the house in

every direction either directly or through

various glass walls. The house faces

south-west, over the garden, through a set

of large windows. The structural framework

of the house consists of concrete-filled steel

pillars and concrete/steel composite slabs

combined with steel/wood roof construction.

The faades are mostly clad with plywood,

together with pine slats and boards.

The undulating first-floor ceiling consists of

overlapping birch veneer plates. The fireplacein the living-room is a steel construction clad

with brushed aluminium plates. The exterior

lighting is provided by Woody luminaires,

while the winter garden inside the house is

lit by Berlino fixtures.

2

1


33/52


34/5232

Zentrum Paul Klee

Bern, Switzerland

CustomerMaurice E. and Martha MllerFoundation

Architectural projectRenzo Piano Building WorkshopB.Plattner, senior partner appointedin conjunction with ARB architects(Bern)

Projects

The Paul Klee Centre in Bern, inaugurated on

20 June 2005, houses the worlds largestcollection of works by the Swiss painter,

in a landscape building designed by the

Genoese architect Renzo Piano. Paul Klee

(1879-1940) was a generous artist: he left

some 10,000 works, of which 4,000 are

kept in this new building which, according

to Piano, plays hide-and-seek with nature.

The centre stands in open countryside a few

kilometres from the centre of Bern.

Three glass and steel hills give form to

an architectural design that reproduces

the movement of the sea, in harmony with

the surrounding mountainous landscape and

inspired by the idea of capturing the senseof light and lightness and the precious

relationship with nature that characterise

Klees work. At the entrance, a section open

to the public houses an auditorium. As you

proceed into the hills you approach the

heart of the structure, which accommodates

the research and study centre dedicated to

Klees work. Paul Klees oeuvre is illustrated

by 200 works from the collection and,

on the lower floor, by an exhibition entitled

Nulla dies sine linea (Never a day without

lines) of a further 180 water colours and

drawings produced in 1939.

1

2

3


35/52

incontroluce12

33

Photos: Gabriele Basilico

1.2. Details of the exterior of the Zentrum Paul Klee

3. The three waves designed by Renzo Piano

4. Brise-soleil left open during the night

5. Exterior by night

Design teamM. Busk-Petersen, O.Hempel(architects in charge) with A.Eris, M.Prini,L.Battaglia, J.Moolhuijzen (partner) andF.Carriba, L.Couton, S.Drouin, O.Foucher,H.Gsottbauer, F.Kohlbecker, J.Paik, D.Rat,A.Wollbrink; R.Aebi, O.Aubert, C.Colson,F.de Saint-Jouan, P.Furnemont,Y.Kyrkos (models)

ConsultantsOve Arup & Partners, B+SIngenieure AG (structural calculations);Ove Arup & Partners, Luco AG,Enerconom AG, Bering AG (services);Emmer Pfenninger Partner AG(faade design); Grolimund+PartnerAG (construction physics)Mller-BBM (acoustics);

Institut de scurit, Hgli AG(fire prevention); M.Volkart(additional services);Schweizerische Hochschule frLandwirtschaft, F.Vogel (landscapedesign); Coande (signposting)

4

5


36/5234

Projects Zentrum Paul Klee

The historical journey leads visitors through

the rooms on the main floor, where Renzo

Piano shrewdly solved potential display

problems by dropping the walls down from

above and suspending them a few

centimetres above the ground. A number

of exercises from Klees youth are displayed

in this area, such as the five panels bearing

views of the countryside around Bern and

chefs doeuvre such as Insula Dulcamara

and the renowned still life from 1940, inwhich the artist reviewed his approach in

the light of cubist and metaphysical

experimentation. Unlike traditional museums,

the exhibition areas of the Paul Klee Centre

are not lit by natural light. The techniques

used by Klee often involving water-colours

or even oil on paper make his works

particularly fragile. It would therefore be

dangerous, explains Piano, to expose them

to natural light. Artificial light is much easier

to control. The lighting design involves

a judicious mix of direct and indirect light

provided by suspended and track-mounted

Le Perroquet luminaires, for lighting the workswith degrees of brightness ranging from 50

to 100 lux. The indirect Le Perroquet

luminaires use 70 W metal-halide lamps with

colour temperature of 4200 K and 3000 K.

The others use 75 and 100 W low-voltage

halogen lamps. They are all special units,

insofar as they were adapted for installation

on the metal roof supports, which have

different heights and gradients to create the

wave effect that can be seen from the outside.

The areas of the building used for offices and

services, where the amount of natural light is

greater, were also fitted with Berlino

luminaires. The western elevation of themuseum is lit by natural light. From here, the

suns rays pour into the building and expand

into the various rooms through translucent

screens which filter and soften them. Next to

the structure is a stretch of motorway,

which looks as though it cuts the three

hills into sections.

6

7

6. Bookshop

7. Exhibition hall

8. Ticket office


37/52

incontroluce12

35

8


38/5236

9


39/52

incontroluce12

37

9. Detail

10. The complex by night

Even the roads and exterior areas were lit,

using Lingotto, Woody and Light Up Walk

luminaires, which use metal-halide lamps

with ratings of 150, 70 and 35 W.

Some of the Light Up units use 100 Wlow-voltage halogen lamps. As well as the

extensive exhibition space adjacent to the

lawn, the building houses an auditorium for

plays and concerts, a childrens museum,

a walkway connecting the various waves,

with installations set up along it, and a range

of rooms for national and international

conferences. The decision to build well

away from the city centre flies in the face of

tradition, which normally dictates that

museums occupy city centre locations

in order to capture urban attention.

The urban atmosphere is not entirely absent,

however, because the curved stretch ofmotorway that runs beneath the centres large

lawn influenced the parallel, curved layout

of the three arcades. According to the

architect, this solution ensures optimum

visitor density. Renzo Piano comments:

The motorway is the dominant topographical

element. The sacred and profane have always

co-existed, and a museum cant be

separated from life.

Projects Zentrum Paul Klee

10


40/5238

Interview with Steven HollCorporate culture

Could you explain the concept that lies

at the root of your contribution to the

exhibition Entrez lentement ?

I received an invitation from Pierluigi Nicolin

to create an access route to Alvar Aaltos Villa

Mairea, which I like very much.

I like the villas relationship with its context

and the way it dissolves into the landscape.

In a sense, its the opposite of Le Corbusiers

Villa Savoy, which gives more the impressionof an object placed in the landscape. Villa

Mairea is porous, it has a porosity which

intermingles with the landscape, and since

we had already used the notion of porosity in

other works, such as Safaristraat in

Amsterdam, made entirely of perforated green

copper, we decided to do an experiment. We

tried to create a series of rooms, objects and

spaces with maximum emphasis on the

concept of porosity. It shows how many ways

you can break something up. We also tried to

create a fully digital construction, so there are

no drawings for this project, it came directly

from the computer screen. The material

specifically developed for the project is a

completely new material produced by

Albeflex. This material is crucially important

because there is no structure, which meansthat the surfaces have to bend and inside it

there are fins, so the problem is that it has

to bend along these lines without breaking.

So inside this material there are various

layers: its a composite material but it doesnt

lose its strength when bent.

Could you explain what you mean by the

term porosity?

Porosity relates to my philosophy of

architecture, or to the phenomenological

dimension of architecture, in other words tosomething experienced by my body as it

moves through space. As for porosity, what

interests me most is urban porosity.

In the film, you can see a project for Beijing,

in which our chief idea is to enable urban life

to move throughout the complex. There are

eight towers, 750 apartments, a hotel and a

cinema, and in this project you can move

both horizontally and vertically. Thats why

the towers are connected by bridges, which

are open to the public. This is urban porosity,

and for me its very important. At a secondary

level, phenomenological porosity is what you

see when one layer is laid on top of another:the porosity of life, like when light shines

down through a tree and you see all the

leaves moving on the ground and you notice

a marvellous design. Its not raw light,

because the porosity of the tree somehow

gives the light another life.

1

2

ProjectSteven Holl ArchitectsSteven HollNick Gelpi, Project architect

With Alessandro Orsini


41/52

incontroluce12

39

For you, what role does light play

in architecture?

Light is very important too, because light isnt

an isolated thing, its not an object, in other

words you get a plane of light and a plane of

shade, then another plane of light, another

plane of shade and then a plane of light

again. And if the light is sufficiently powerful,

the structures that have been built are

transformed into something which and this

is the difficult part whatever it is, we move

through it, or it moves on the wall, so it

becomes part of the whole picture, although

at the moment the light is not quite right.

Sunlight is much better. Sunlight can producethese effects, because perfect artificial lighting

is beyond our reach.

So you intend to design on the basis of light,

using different tactics - one design for the day,

one for the night - by considering buildings

both night and day in an open way

For me, space doesnt exist without light, so

you need to think of night as well as day. In

the Helsinki project I produced in 1993, each

area has its own slice of natural light, but that

same slice is also the slice through which theartificial comes in. As the sun sets, theres a

gradual transition. Natural light is gradually

replaced by artificial light, and thanks to an

electronic control system, the colour tones

change automatically. The Beijing project is

more significant at night than it is during theday; a mirror of water reflects the entire

cinetheque and will have the same effect as

Times Square when its raining and the

pavements are wet. Youll be able to see all

the colours of the buildings, like a giant

water-colour on the street basically, the idea

behind the Beijing project is that nocturnal

light is captured in a large pool of water.

You have a very poetic vision. What do you

think we should do with the architecture of

this world, from a poetic point of view?

In order to find the poetic dimension right

from the start of the project, you need to

study the possible opportunities in depth.

For example in Beijing, theres this enormous

pool of water measuring 100 m x 50 m, and

in Beijing water is in short supply.

Theres a shortage of water, so we had to use

waste water. All apartments have two

plumbing systems. The waste water from

baths and showers first goes through a filter

system and then drains off into the pool of

water outside. This means that the pool will

always be full, because the drains are always

full of the water from peoples homes, to berecycled for this landscape. So what were

seeing is a fundamentally poetic idea,

but to put it into practice we have to be

very, very pragmatic.

In your experience, what is the meaning

of the term project? How do you go about

producing a project these days, when

thousands of other things are demanding

your attention?

Each project is an opportunity to give shape

to the highest degree of inspiration. Fun and

poetry come together in a place, and Ill never

say its not possible. You have to have clients

who agree with you, and in Beijing they did,

so Ive never produced such an imposingproject: 12 buildings, something like 800

apartments, a hotel and a cinetheque.

But if your client agrees with you, a project

like this is as easy to produce as a simple

house, because they agreed in taking these

poetic decisions, so it was an interesting

decision. I think architects are good when

they have good clients. They have to share

the same vision.

3

4

CollaboratorsGarrick Ambrose, Tim Bade,Makram El Kadi, Chris McVoy

Co-ordinationRuth Lo, Priscilla Fraser

Materials and Construction ConsultantsAlberto Martinuzzo, Albeflex srl

InterviewGiorgio Di Tullio

VideoMultivideo

Photos: iGuzzini archives

1. Porous monoliths

2.3. Details

4. Steven Holl


42/5240

Party for the launchof iGuzzinis new Paris premises

Paris, France

Corporate culture

"A meeting place and information source for

architects and other practitioners from the

sector, iGuzzini's new Paris premises at No. 10

Boulevard de la Bastille, in the heart of the

historic Bastille district, were inaugurated on 20

April." The buildings restoration was overseen

by the architect Pierluigi Copat. It occupies an

area of some 1,300 m2, in which light takes thelead role. On one side, the patio accommodates

an innovative vertical garden - a wall of leaves

and flowers designed by the famous botanist

Patrik Blanc - and the other is decorated with

designs in light. The showroom in the lower

ground floor is known as the camera oscura,

and unlike the camera chiara, has been

completely deprived of natural light so as to

focus attention on the artificial light. The

concept of camera oscura, designed by the

architect Maurizio Varratta, bears the same

hallmark as the other showrooms in Antwerp,

Oslo and London. The two upper floors house

open-plan offices and were designed to amplifythe influx of natural light as much as possible

and provide optimum lighting in the work area.

2

1

3


43/52

incontroluce12

41

Photos: Gabriele BasilicoDidier Boy De La Tour

1. View of the hall with the vertical garden on the right

2. Office area

3. Detail of the camera oscura

4.5.6.7.8.9. Pictures of the inauguration party. Among the guestswere: Pierluigi Copat, Paul Andreu, Massimiliano Fuksas,Doriana Mandrelli and Jean Michel Wilmotte.

4 8

7 9

6

5


44/5242

A show of lights and colours

Oberstdorf, Regensburg,Berching, Germany

Corporate culture

Light is a medium which can constantly

change our perception of architecture and

our environment, and iGuzzini Germany

has launched a series of initiatives which

exemplify this concept, with installations

in varying architectural contexts.

These include the lighting of the

Schattenberg ski-jump in Oberstdorf.

Four ColourWoody projectors for emitting

variable coloured light, three MaxiWoody

static projectors and professional Linealuceand Light Up Walk luminaires have

immersed the 45 m high ski-jump in a bath

of coloured light. Another demonstration of

the use of coloured light took place at the

last meeting of the Bayerischer Stdtetag in

Regensburg, chaired by the President of

Ministers, Edmund Stoiber.

During the political meeting, the inner

courtyard of the Historisches Museum,

where the evening events were held,

was lit with a flow of lights and colours by

ColourWoody projectors and Linealuce

lamps. On 17 and 18 June, the Akademie

Licht invited a number of high-profile

representatives of the international lighting

sector, famous lighting artists and renowned

universities to the first Berchinale des Lichts,

a two-day event dedicated to light in the

mediaeval city of Berching. Facades, bridges,streams, alleys, tree-lined avenues, defensive

towers, gates, the city walls and the church

that stands above the city were all lit with a

range of lighting systems.

The 35-metre bell-tower, which stands over

the city, was lit by four ColourWoody

projectors for emitting variable coloured light

and one MaxiWoody projector.1

2

4

3

Photos: Bernhard Mann

1. The Schattenberg ski-jump in Oberstdorf

2.3. The bell-tower in Berching

4. Lighting in Regensburg


45/52

incontroluce12

1.2.3. Project rendering Nikolas Travasaros

Invisible Hotel uses rendering and animation

to show us the future of the hotel sector, by

presenting ten projects by Greeces best young

architects. The initiative, in which we are

partners through Diathlasis, iGuzzinis Greek

distributor, is directed by the architect Memos

Philippidis and is divided into two exhibitions.

Hotel / Recreation is an exhibition held in the

600 m2 area of the Ex-Faema from 13 to 18

April. At this Milan-based event, the project by

Nikolas Travasaros, which was judged to be the

Invisible Hotel

Salone del Mobile,Milan, 13-18 April 2005DESTE Centre of Contemporary Art,Athens, 19 - 23 April 2005

1

most significant, was presented together with the

virtual hotels by Alessandro Mendini, Anna Gili,

Leonida de Filippi, Massimo Caiazzo and Zani

&Zani. The exhibition is produced by the architect

Sotirios Papadopoulos. The other exhibition is

Invisible Hotel/Athens, held from 19 to 23 April

at the DESTE Centre for Contemporary Art, the

exhibition venue inaugurated in 1998, following

the conversion of an old industrial warehouse,

under a renovation project by the American

architect Christian Hubert.

The architects whose projects are involved in

the initiative are: Andreas Angelidakis, Yiannis

Aisopos, Iro Bertaki+Christina Loukopoulou

+ Kostis Panigiris, Panos Dragonas + Varvara

Hristopoulou, Thanasis Hohlidakis, Eleana

Horiti, Eleni Kostika, Stella Merminga

+ Vangelis Ravanos, Panos Nikolaidis

+ Errica Protestou.

2

3

43


46/5244

5+5=5 Massimiliano Fuksas5 years 5 projects

Frascati, Scuderie Aldobrandini,

17 April 15 May 2005

Italys first monographic exhibition dedicated

to Massimiliano Fuksas was held in the

Scuderie Aldobrandini in Frascati, which the

architect from Rome helped restore to the

public in 2000, through his sensitive and

original restoration plan. The five years since

2000 have seen a transition in Fuksass

creativity from light Architecture, in which

slim, light forms predominated, to sculptural

architecture in which solid material and

sculpture play the key role. iGuzzinis

presence at this first monographic exhibitionin Italy is no coincidence. The exhibition,

which brings together the most important

projects of Massimiliano Fuksas, is one of a

string of events in which iGuzzini has acted

as technical partner for the Rome-based

architect and his firm. It follows the lighting

of the new trade fair complex in Milan, the

creation of the Lavinia luminaire (designed

by Doriana and Massimiliano Fuksas) and

the lighting of the exhibition Forma,

the modern city and its past, set up by

Doriana Mandrelli and Fuksas in 2004.

Corporate culture

MINI Design Week 2005

Milan, Triennial,

13-18 april 2005

The Salone del Mobile 2005 hosted the first

edition of the Mini Design Award, a triennialcompetition promoted by MINI and the

European Design Institute. The subject of

this years edition was The future of the city:

slow or fast? Light. 48 projects were

submitted to the jury, made up of Gillo

Dorfles, design historian, Piero Castiglioni,

architect and designer, Enrico Finzi, President

of the Astra and Demoskopea research

institutes, Elio Fiorucci, fashion designer,

Carlo Forcolini, President of ADI, Piergiovanni

Ceregioli, Director of iGuzzini Research Centre

and Alessandro Mendini, an architect and

designer. Awards were given to the projects

by Lucio Lazzara, Gone with the velcro,

Ely Rozemberg Chromatic garden and

Matteo Ragni, Do you light MINI?. Mini is

also the main Sponsor of the OpenAirDesign

exhibition, produced by Interni.

1 2

1. The winners of the Mini Design Award2. Abatjourban project


47/52

incontroluce12

45

Corporate culture

iGuzzini lights the Churchof our Saviour on the Spilled Bloodin Saint Petersburg

On 26 May 2005 a press conference was

held in Saint Petersburg to present the lighting

project for the Cathedral of our Saviour on the

Spilled Blood. The cathedral, also known as

the Church of the Resurrection, was built

between 1883 and 1907, on the site in

which Tsar Alexander II was mortally

wounded in 1881. The architect, A. Parland,

built the church according to the precepts

of Russian ornamental architecture, in a

Russian-Byzantine style. In fact the

resemblance between the Church of theResurrection and St. Basils Cathedral in

Moscow, dating back several centuries earlier,

is striking. The presentation was attended by

Piero Castiglioni and Chiara Baldacci, authors

of the lighting design and representatives of

iGuzzini illuminazione, the events technical

sponsor. The event was also attended by

Alexander Kuzyakin, Director of Lensvet,

Saint Petersburgs public lighting company

and Alexander Bobrov (Chairman of the

Committee of Energy and Engineering Supply

of the Administration of St. Petersburg).

1

2

3

The Pool of London Partnership (PLP),

a development agency set up in 1996 toimprove the physical, social and economic

environment of the high-profile area known

as the Pool of London, which runs from

London Bridge to beyond Tower Bridge on

both banks of the Thames, has joined forces

with iGuzzini illuminazione to promote the

use of better quality and more energy-efficient

lighting for Londons building exteriors and

public spaces. During a technical analysis

seminar held at the iGuzzini Light Studio in

the Business Design Centre in Islington last

week, the two companies presented several

projects showing that it is possible to create

safe, protected environments with much less

light (and energy) than currently required by

the relevant legislation.

Collaboration between the Poolof London Partnership andiGuzzini illuminazione:a call to reform lighting guidelines

The meeting was attended by specialists from

the sector, including participants in theurban redevelopment programmes Tower Hill

Square and More London Riverside, and Ian

Stanton, Sales and Marketing Director of

iGuzzini UK. Mr Stanton explained that the

wastage of over 30% of the light and energy

that we generate is unacceptable, and called

for the adoption of more rigorous standards

and the use of more efficient systems.

Linda Houston, Director of PLP, outlined the

importance of lighting in urban and economic

development, job creation and community

safety, and the role played by the Pool of

Londons award-winning general lighting

project in co-ordinating the investments

and projects of public bodies and private

owners of buildings.

1. Exterior of the Church of Our Saviour on the Spilled Blood2.3. Simulations of the lighting project


48/5246

Augusto Morello INTELDesign Award 2005Milan, World Light Show, 17-23 May 2005

In the innovation category, the jury for

the Augusto Morello INTEL Design Award

2005 selected the product iWay, one of the

new products presented at the World Light

Show and designed by Jean Michel

Wilmotte. iWay is an advanced system

of pathlights, with a cylindrical or

parallelepiped shape made of extruded

aluminium with polycarbonate screen.

The essential design, fully flush structure

and virtual absence of exposed screws give

the system an elegance that is clearly

expressed in both the square and round

versions. Thanks to the innovative patented

optics, iWay ensures a high degree of visual

comfort and excellent photometric

distribution.

Corporate culture

John Kirwan and leadershipRecanati, 9 June 2005

9 June 2005 saw the conclusion, with a

public meeting in the assembly room

of the Municipality of Recanati, of the

Masters in Sales & Operating Marketing

organised by iGuzzini illuminazione in

conjunction with Adecco Formazione.

The meeting provided an opportunity to

discuss and develop topics relating to

business leadership, involving a comparison

with the dynamics of the world of sport. The

speakers included two experts on the subject,

Andrea di Lenna, a human resources

management consultant and author of the

book La fabbrica dei campioni, and John

Kirwan, the former Italy rugby coach who

previously played wing for the All Blacks for

10 years. The meeting was attended by

participants in the Masters course, several

lecturers and students from the Industrial

Technical Institute of Recanati, the heads

of a number of local schools, the youth

division of U.S. Recanatese football club,

the Management of the Guzzini Group and

representatives of Confindustria, AIDP

Marche, AIF Marche and the Adecco Group.

The Masters course started on 6 April in

Recanati and involved 24 graduates, mostly

from technical and economic disciplines,

from various parts of Italy. The aim of the

course was to create a highly professional

profile, capable of operating in as specific

a commercial marketing area as that of the

application of artificial light to architecture.

In view of the brilliant results achieved by

the students, some were given work

placements at iGuzzini and Adecco.

1 2 1.2. John Kirwan during the meeting


49/52


50/5248

On 27 January 2003, the European

Parliament and the Council of the

European Union adopted two new

Directives: Directive 2002/96/EC on waste

electrical and electronic equipment

(WEEE) and Directive 2002/95/EC on the

restriction of the use of certain hazardous

substances in electrical and electronic

equipment (ROHS). These Directives

govern the end-of-life handling of lighting

equipment and ask manufacturers to takecharge of disposal. Once again, this puts

Italy in the difficult position of having to

take common decisions in a lighting

market which is extremely fragmented in

Italy, thus leading to the adoption of

radically different stances. To date, a

consortium known as Ecolight has been

set up, which includes about 50

manufacturers out of a total number of

lighting manufacturers in Italy of some

Opinion

3,500. From a manufacturing point of view,

complying with this Directive is not

particularly onerous for an organised and

structured company. From an organisational

point of view, by contrast, it means stamping

products with the end-of-life disposal symbol

and re-drafting instruction leaflets, for

example, or producing new leaflets for

recycling firms explaining how the product

is assembled, what its components parts are

and what materials they are made of.I believe that greater co-operation between

respective manufacturers and between the

consortium and legislators is absolutely

imperative if we are to establish a law that

provides an effective and practicable

solution to the problem of end-of-life

disposal of lighting products.

Giannunzio Guzzini


51/52III

IncontroluceInternational biannual magazineon the culture of light

EditorResearch Center iGuzziniFr.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

This issue was made possible thanksto the contributions of:iGuzzini illuminazione Asia Ltd

iGuzzini illuminazione Deutschland GmbHiGuzzini illuminazione Espaa S.A.iGuzzini illuminazione France S.A.iGuzzini illuminazione Schweiz AGiGuzzini illuminazione UK LTDArab Lighting Company, EgittoPeyan Oy, Finlandia

Cover photographZentrum Paul KleePhoto: Gabriele Basilico

Printed by Tecnostampa, RecanatiOctober 2005

The Editor accepts no responsibility for inaccuraciesor omissions in the list of credits relating to projectssupplied by collaborators.Any corrections or additional information will beprovided in the next issue.

12Incontroluce II. 2005


52/52

Incontroluce XII / Le Marche: Giuseppe Sacconi. Architect of the typical eclecticism of

Le Marche (18451905) Design: I dont know how to talk about light...words cant express

certain feelings Projects: The Pero Exhibition Centre / Light for the Sanctuary of

Saint Pius of Pietralcina / An innovative luminaire for the GOGGS / An orchid of light for Paul

Andreus Oriental Art Centre / Harajuku. A little corner of Japan in Valencia / A new church

dedicated to Saint Francis of Molitor / The Mosque of Sultan Hassan / The Moby Dick

House / Zentrum Paul Klee Corporate culture: An interview with Steven Holl / Party for the

launch of iGuzzinis new Paris premises / A show of lights and colours / Invisible Hotel /5+5=5 Massimiliano Fuksas 5 years 5 projects / MINI Design Week 2005 / iGuzzini lights

the Church of our Saviour on the Spilled Blood in St. Petersburg / Collaboration between

Pool of London Partnership and iGuzzini lighting / John Kirwan and leadership / The Augusto

Morello INTEL Design Award 2005 / iGuzzini for public safety / The Landscape of

Excellence Association and Museum

24100444 lighting handbook incontroluce 12

Documents