II. 200818 English version

Editorial

Dear Readers,

“Architecture is enjoying rude health” might be the comment that comes to mind while browsing this number of Incontroluce, packed with news of quality projects from around the world. A much broader and more authoritative reflection on the general state ofarchitecture was provided by the International Union of Architects WorldCongress, held in Turin last July. Here, the topic was addressed not only from the standpoint of designers, but from that of all components making up the economic, political and social system that dictates how buildings are erected, and more generally, how landscapes are transformed. In effect, the quality of architecture derives from the synergy between acombination of factors and players, as expressed succinctly as long ago as 1962 by Giulio Carlo Argan, on the occasion of the first In/Arch awardsoffered in Italy by the National Institute of Architecture: “In addition toidentifying those architects who have succeeded in synthesising and ultimatelyresolving all the energy components that contribute to a work of art, thein/arch awards are meant to reward political figures, officials of organisations,producers, art critics, institutes and enterprises, in other words the full sphere of activities and interests surrounding the artistic outcome. It is therefore very important that awards given to buildings should recognise not only the architect and creator, but also the client and the builder.”The same complex picture underpins the quality of lighting design. This is why in our advertising campaign “Partners for better light”, we present theinstallation, and all of the professionals who contribute to the creation of thelighting scheme: the architect, the client, the lighting designer, the installationcontractor and obviously the iGuzzini company and its engineers. Happy reading!

Adolfo Guzzini

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Summary

II. 2008

Editorial

The MarchesContemporary architecture in the Marches

DesignEnergy in light.The Naistenlahti power plant

ProjectsLight on the Herculaneum excavations

The Vulcano Buono Centre

Monza’s glittering treasure. The Gaiani Museum

The Venaria Reale

NEWurbanFACE

The Thompson Pump House

Code Computer Love headquarters

Stations on the LGV Est Européenne line

Bancaja Foundation

The Hyatt on the Bund hotel

Montesanto rail station

Spotlight on Italy: new floodlighting for the Italian Embassy

Bjørvika. A new space for the city

1500 new lighting fixtures for Bucherer

“Design Cities”

Harvey Nichols

Artempo “Where Time becomes Art”

A lighting scheme for the Cité de l’Architecture

Corporate cultureSplashes of colour on the city

New iGuzzini illuminazione UK in Guildford

iGuzzini in St Petersburg

Designers Days ’08Italian Design Gold

Design CitiesiGuzzini Partner For Better Light Workshop - worldwide

iGuzzini reinforces environmental credentials.Certification to ISO 14001:2004

LumiVillePizzaKobra Tour hits ZurichArchitectural Society of Shanghai China (ASSC) visits iGuzzini China

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Contemporary architecture in the Marches

Ancona, Mole Vanvitelliana, 12 July - 24 August 2008

The Marches

The first exhibition of contemporary architecture to be held in the Marches is a composite event,split into four sections: a census documentingworks of quality from 1945 to the present day; an exploration of more recent projects; a selection of works published over ten years of activity by“Progetti Ancona” magazine; and a search throughthe archives of architects from The Marches. This exhibition - the first overview of its kindpresented in the region - originates from a surveyconducted in recent years on Italy's post-wararchitecture by PARC, the office of the Ministry for Cultural Assets and Activities (MiBAC)concerned with Protection and Quality of theLandscape, Contemporary Architecture and Art.The survey is conducted region by region. There are several objectives. First and foremost, topromote contemporary Italian architecture; also,to identify a more select category of works perhapsworthy of protection in some form (intellectualproperty rights, etc.), and finally, more than twenty years since the most recent wide-ranginghistorical surveys, to generate interest in a firsthistoriographical review. In 2005 the survey wasextended to The Marches, and conducted there bya research team from the PROCAM (environmentaldesign and construction) department of the AscoliPiceno Faculty of Architecture. The findings of thefaculty researchers, which take up two sections of the exhibition (PARC 1945-2000; PARC 2000-2008), offer an absorbing and in some wayssurprising picture of the activity carried out by designers in a region considered to favourcautious resistance where innovation andcontemporary creativity are concerned, at least in the field of architecture and town planning.With regards to the section dedicated to theselection of “Progetti Ancona” publications, thislends dependable and reassuring credence to thePARC surveys. In effect, ten years of reporting andfeatures in the magazine reveal a wealth of topquality designers and projects, affording evidence

General design by Cristiana Colli and Pippo Ciorra

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Photos: By kind permission of the exhibition organisers

1. Urbino, Arts Faculty by Giancarlo De Carlo

2. Camerino, new Department of Molecular Biology premises by Pippo Ciorra and Massimo Periccioli

3. Sketch for Marches Regional Headquarters building by Gregotti Associati International

Contributors:Faculty of Architecture, Ascoli PicenoPolytechnic University of the Marches,Municipality of Ancona, Progetti Ancona magazine,Inarch Marche,

of the architectural innovation that has indeedpenetrated the region, highlighting relations withthe local industrial fabric, and giving exposure tothe initiatives of local institutions and universities.The archive research, entrusted to the DARDUS(architecture and town planning) department ofAncona University - working in collaboration withthe Regional Archive Council and offices of theMinistry for Cultural Assets and Activities - seeksto provide an extra knowledge resource deemedessential for anyone looking to explore the subjectof contemporary architecture in the Marches andthe vicissitudes of the more important figures

involved. Here too, the researchers uncovered interweave facts and events far more extensiveand complex than imagined hitherto, characterisedby people strongly associated with the economicand cultural history of the region but at the sametime in regular contact and discourse with theleading figures and national centres of thisparticular culture. The design of the exhibition, setup in the splendid ground floor rooms of the Mole,tends toward a homogeneous composition of thefour sections, offering a general overview of thecontemporary architectural landscape of the region,highlighting its consistency, variety and richness.

Marches Regional Archive Council, iGuzzini Illuminazione, Ermanno Casoli Foundation,GagliardiniJoint Committee of Marches Savings Banks Foundations.

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Energy in light. The Naistenlahti power plant

Tampere, Finlandwritten by Roope Siiroinen

Design

This huge building, occupying a lakeside location in a recreational area near the city of Tampere,offered the ideal opportunity for a dynamiclighting design that would completely transformthe image of the industrial architecture throughthe medium of illumination, turning it into asignificant modern element of the city and of its nocturnal lakeland landscape. The idea behindthe lighting design is to enhance the graphic formof the building and accentuate its principalelements through the use of colour. The lighting,fully programmable and with multiple nuances of

colour, generates a sense of dynamic energythrough the architecture of the building and thesurrounding area. The main aim of the client wasto transform the message sent out by the buildingthrough the medium of the lighting system, insuch a way that after dark, an architectural entityhaving little in common with the surroundingenvironment would take on the appearance of a modern structure embedded harmoniously in a 21st century landscape. The building was a pieceof industrial architecture, with simple lines andgeometrical forms, devoid of decorative details.

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ClientTampere Power Plant (Tampereen Sähkölaitos)

Planning consultantArch. Jalo Virkki, City of TampereArchitectural design for renovation of the façadeArkkitehdit Von Bagh – Tavilampi Oy

Photos: Antti Hiltunen/VALOA design OyBy kind permission of Valoa Design

1. Façade of the building

2. The power plant and its urban setting

The main challenge facing the designer was howto change the multi-dimensional and dynamicdaytime image of the building into an attractive,smart and informal dusk-to-dawn image with theaid of a solid lighting design concept. Graphic lines and forms have been picked out andhighlighted chromatically in the glow of colournotes propagated by triangular prisms. With thissolution, the image that meets the eye is one of harmony, free of unsettling elements. The anonymous grey edifice provided an idealscenario for our colour-based lighting project.

Lighting design:VALOA design LtdRoope Siiroinen, MA, PLDAArto Heiskanen, BA , PLDAHeini Ylijoki, BA, PLDA

Electrical system designPöyry Engineering Oy

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Colours, graphic elements and three-dimensionalforms merge to give the building a special aura -a soul, almost.This dynamic solution fits in perfectly with thesurrounding environment, where all the buildingsare well-integrated into the extensive recreationalarea they occupy. In reality, this novel designchallenges the neighbouring buildings to go for a lighting concept with stronger elements ofcharacterization. The Naistenlahti power plantoffers a practical example of how the image of abuilding can be transfigured, given a unique and

exclusive look, through the medium of lighting.The design was among the winning entries in2007 for the GE Edison Awards, a programme set up in 1983 by General Electrics. Launched to promote the use of GE lightsources, the Edison Awards scheme hasbecome an international competition thatrewards particularly creative and expressivedesigns, employing both traditional andinnovative technologies. The awards ceremony was held in Las Vegas on 27th May 2008.

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3. Use of colour on the façade

4. Map of Oslo. Project area shown in blue

5. GE Edison Award Ceremony

Design Energy in light. The Naistenlahti power plant

Biography

Roope Siiroinen was born 22 December 1967in Helsinki, Finland. Taking a degree course in Lighting and SoundDesign at the Finnish Theatre Academy, hegraduated in 1995 with a thesis on “TheAesthetics of Exterior Lighting”, of which theartistic and design part dealt with the lighting ofan experimental residential area (EnvironmentalStructure Award, 1996). As a post-graduate, helectured in Lighting Design at the TamperePolytechnic, and proceeded to set up his ownpractice: Valoa Architectural Lighting Design.Winner of the “Lighting Project 1999” award,

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he was also short-listed for the European “LightPremiere 2002” award. In 2000 he begandeveloping Valoa Ltd as a full time designer andcompany director. He has delivered over 150major lighting projects for exteriors and interiors.Other awards have followed, includinghonourable mentions for “Lighting Project2003” and the Nordic Luminaire DesignCompetition “Luminord 2003”. In 2004 he won the prestigious “Cultural Act of 2003”award offered by the Kalle Kaihari Foundation.Roope Siiroinen is a member of the EuropeanLighting Designers’ Association (ELDA).

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Light on the Herculaneum excavations

Herculaneum, Naples, Italywritten by Alessandro Grassia

Projects ClientPompei Archaeological Authority -Administrative Board

Lighting designAlessandro Grassia

It was in May 2003 that the AdministrativeBoard of the Pompei Archaeological Authoritygave the go-ahead to proceed with the design of a new lighting system for the archaeologicalpark of Herculaneum. Installation works began in September 2006 and were completed in September 2007.The intention was to provide lighting for an area of the archaeological site where organisedparties of visitors accompanied by specialist tour guides can view the excavations after dark.The tour of the floodlit area takes around one hour. Parties can be made up of between 20-25 persons, with a maximum of threeparties visiting the site at any one time.The new installation employs a flexible switchingsystem by which utilisation of the artificial lightcan be modulated according to different needs.Some 420 luminaires were installed, fitted withdifferent types of optical assemblies and lamps,but all rigorously compact and of low wattage, in accordance with the wishes of the Authority,whose main concern was to limit the dimensions of the fixtures as far as possible within thearchitectural and structural profiles of the exhibits.The products selected were Platea and Woodyspots; recessed Linealuce, Light Up-Walk andLight Up-Balisage, plus iRolls for certain partsof the interiors.The fixtures are wired into 62 switching circuitsthat can be used to make up different lightsettings; these can be created both from acentral location (control panel and programmingstation) and locally (inside the variousarchitectural discoveries).The power and control cables are all routedappropriately along paths established with theapproval of the engineering and archaeological

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Photos: Giuseppe Saluzzi

1. House of the Wooden partition, frescoed walls of thecourtyard with impluvium

2. Light cast through the windows and doorways of rooms onto the street (cardo)

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Projects Light on the Herculaneum excavations

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3. The Sannitic House, with false loggia and courtyard roof

4. House of Neptune and Amphitrite, mosaic viewed from the courtyard

5. House of the Stags

managers in charge of the excavatioUnder normal operating conditions, as envisaged for guided tours, the lights are switched on in two stages. The first stage brings on the streetlighting, which remains alight for the entireduration of the night tours. The street lightingcovers: the Cardi; the Decumani; the Gate of theMajor Decuman; the Palaestra; and all the “basic”floodlit areas inside the discoveries, allowingvisitors to enter and exit in safety. The permanentlighting also takes account of the need for safetyand identification of the guided tour routes.

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The second stage in lighting up the variousarchitectural, archaeological and artisticdiscoveries is controlled by the tour guides asthey lead the groups of visitors from one site to the next. Looking down on the excavations atHerculaneum from the ridge above the site, thetown plan can be picked out clearly from thepermanent lighting along the east-west (cardi)and north-south (decumani) streets; with lightsbeing switched on and off by the tour guides asthey move around the various locations, theimpression is one of a city still alive today.

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The Vulcano Buono Centre

Nola, Italy

Projects ClientInterporto Campano La Rinascente,Vulcano spa (Cis Shopping,Auchan e Simon Property)

December 2007 saw the opening of the VulcanoBuono Centre at Nola, near Naples, a project byRenzo Piano who drew inspiration for the designfrom that most iconic Neapolitan icon of themall: Mount Vesuvius. An artificial moundstanding 40 metres high and measuring 170metres in diameter is the site of a developmentoffering not only the usual retail stores, but alsoshopping galleries and hotels, restaurants with a view, conference halls, multiplex cinemas,exhibition rooms, as well as interport businessoffices and, most importantly, a huge openspace at the heart of the complex. This project by Renzo Piano, in effect, is notintended simply as somewhere to shop - thekind of “non-place” envisaged by Marc Augé - but as the designer himself says, “aninterpretation of cooperation in the modernsense. We are not looking to build another

dreary shopping centre, but rather, an openspace where space itself is the element thatbrings people together”. The design of theVulcano Buono is also strongly eco-oriented: the ‘crater’ will be surrounded by a largeexpanse of green, with more than 2000 trees.Given the complexity of the environment, thelighting - designed by the architect - is similarlycomplex and elaborate, utilising various types of product. Outdoor areas (car parks, forecourtsand the big central piazza) are lit by pole-mounted fixtures, in this instance Platea withstreet lighting optical assemblies and 150 Wmetal halide light sources, colour temperature4200 K, and Platea with fluorescent lightsources (2x26W TC-T), colour temperature4000K, also Light Up Walk Professional unitswith wall washer optical assembly and metalhalide light source rated 150 W, colour

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Photos: Copyright © Studio Maggi/Moreno Maggi

1. The Vulcano Buono and the Nola landscape

2. The main piazza

Architectural designRPBW Renzo PianoBuilding WorkshopTeam membersGiorgio Grandi, Domenico Magnano, Michael Palmore

Systems designFiat Engineering

Structural designFavero & Milan Ingegneria

Building contractorVESUVIO S.c.a.r.l.

temperature 4200 K, and a special version of Le Perroquet with 150 W lamp, which has already been used by Renzo Piano at the High Museum of Art in Atlanta. Interior lighting features recessed fixturesincluding The Reflex, with metal halide lampsrated 70 W and 150 W, colour temperature3000 K, and Sistema Easy, in this case withcompact fluorescent lamps rated 18W, colourtemperature 4000 K. Other fixtures are used to integrate andcomplement the downlighting provided byrecessed units. These include Berlino pendantswith 250 W lamp, colour temperature 6000 K,Lingotto spots with 150 W lamp, colourtemperature 3000 K, Woody discharge 70W HIT Spot, 3000 K and Full overhead fixtures with fluorescent light sources, colourtemperature 4000 K.

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Monza’s glittering treasure. The Gaiani Museum

Monza, Italy

Projects ClientsTitti and Franco Gaiani

Architectural designCini Boeri

Visual DesignPierluigi Cerri

Since November 2007, the Museum and Treasuryof Monza Cathedral has had a new premises and anew and evocative underground layout at the backof the cathedral, an imposing Gothic structureevolving from the basilica erected originally at thewish of the Lombard Queen Theodolinda in the 6th

century. The museum, a 10-year project supportedvigorously by local benefactors Titti and FrancoGaiani, presents visitors for the first time withan organically conceived exhibition not only ofthe famous Treasury, but of all the cathedral’smasterpieces collected over fifteen hundred years. It is a flexible and multipurpose structure that willalso be able to host temporary exhibitions, musicalevents, conferences and meetings. The museum is accessible without passing throughthe cathedral. It is laid out on two levels and hasno less than 1200 m² of floor space. The mostfamous item in the Cathedrals collection is withoutdoubt the legendary Iron Crown, a religious andpolitical symbol of Western culture that featuredin the coronations of emperors includingCharlemagne, Frederick I Barbarossa andNapoleon Bonaparte. The crown kept in themuseum is a copy. The history of the MonzaCathedral Treasury has always been associatedwith legend. The magnificent gold and silverobjects donated by Queen Theodolinda to mark the foundation of the Lombard church were keptand protected from theft by the cathedral.Thereafter, the collection grew ever richer down the years, thanks to donations from nobility and from ecclesiastics, and were shown asmuseum pieces for the first time in 1963. The initial core collection has now become the first section of a broader and more spectaculartour, in which the items are displayed as twohistorical core elements divided notionally into pre- and post-1300, the year when the Viscontifamily decided to rebuild the church first erectedby Theodolinda. The first part of the tour showsworks originating from the first basilica, whereasthe second part traces the history of the Cathedral and the Treasury from the 14th century to thepresent day, in four main sections. To underscorethe connection with the present, plenty of spacehas been given both to contemporary art and torecent donations. Among works by contemporaryartists are a Crucifixion by Lucio Fontana, a ChristResurrected by Luciano Minguzzi and cartoons by

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Photos: Piero Pozzi by kind permission of the MonzaCathedral Museum and Treasury

1.2.3. Interior views

Sandro Chia for stained glass windows in honourof St Ambrose and St Charles Borromeo, to beinstalled in the Cathedral in the near future. The lighting design by Consuline is based on theconcept of the museum as a place where thatwhich can be learned is much more than thatwhich effectively meets the eye: looking at a workof art, the viewer can see into an epoque.According to Francesco Iannone and Serena Tellini,the technical side of lighting is only a small tool inthe Lighting Design process - a means to an end,certainly not an end in itself.

Here, the design process involved a search for the very latest lighting technologies, offered byiGuzzini and by other manufacturers. From theiGuzzini catalogue, the designers selected Tecnicaspots in small and medium sizes. The entireartificial lighting scheme for the museum wasbased on principles of perception throughemotions. Accordingly, halogen light sources areequipped with semi transparent and transparentcolour filters, and led sources are dimmable,hence they are able to operate at colourtemperatures different to traditional sources.

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Lighting designConsuline - Francesco Iannone and Serena Tellini

Lighting fixturesAltis RC Lighting

Certain motorised fixtures can be programmed to highlight details in a 1-2-3 sequence, such asparts of paintings, small areas and facets of thegoldsmith’s art. In practice, there is no “conventionalwhite light” in the entire museum. All of thesolutions adopted are designed to function on the perceptive level. There is a significantemphasis on comparative vision. The Museum isalso an experimental laboratory exploring the verylatest applied technologies: in effect, work is inprogress on movable and temporary structures for the “surgical” lighting of exhibits.

Light sourcesOsram

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The Venaria Reale

Turin, Italy

Projects Coordinator of the Venaria RealeProject and Flexible Structure,Piedmont Region Alberto Vanelli

Patrimonio e Tecnico (heritage department),Piedmont RegionMaria Grazia Ferreri

The renovation programme under way currently at Venaria Reale is extensive and complex, as work is not limited to a single monument, howeverimportant, but to an entire area, which is bothwide and diversified. In practice, this includes the old village of Venaria, the Reggia, the historicgardens and the Mandria park: 80 hectares ofgardens, 150,000 square metres of buildings, an inestimable wealth of wonderful landscapes,architecture, plasterwork, frescoes, works of artand archaeological finds. The history of VenariaReale and its Reggia is briefly this: in 1660 theDuke of Savoy, Carlo Emanuele II, instructed hiscourt architect Amedeo di Castellamonte to erect a lodge in this idyllic area, abounding in woodsand water courses; it would be a retreat where he could both relax, and indulge his passion for stag hunting. During the years that followed, the building was enlarged and made grander. The Dukedom of Savoy, in the meantime, hadbecome a Kingdom. It was a period whenarchitects working on the Venaria complex drew inspiration from the palaces of NorthernEurope, and of France in particular.

The architect Michelangelo Garove built the twoeast and west towers and a large connecting wing,so as to create the three-sided layout typical ofgreat European houses, while also enhancing theReggia with the addition of a spacious innercourtyard. The extension works were resumed in1716 under Filippo Juvarra (who completed theGreat Gallery - referred to incorrectly in recenttimes as the “Gallery of Diana” - and the Chapel of St Hubert, the patron saint of hunters, also the Orangery and the Great Stables) and carriedforward by other architects through to the secondhalf of the 18th century. When the Frenchoccupied Piedmont in 1798, the entire Venariaestate was forced into a slow and unstoppabledecline. After many years of neglect and decay, the limbo into which the Reggia of Venaria haddrifted was finally ended in the late 1990s. The project driving the entire renovationprogramme, which is still the biggest of its kindcurrently in Europe, revolves around two keyobjectives: the first is to carry through a restorationplan whereby historic and artistic assets areproperly and meticulously protected.

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Head of Architectural Heritage andLandscape Department, Piedmont Francesco Pernice

Head of Artistic andDemoanthropological AssetsDepartment, PiedmontCarla Enrica Spantigati

Photos: iGuzzini archive

1. Façade

2.3.4. Interior views

The second is to create not merely a museum, but a dynamic space in which to accommodatepermanent activities linked to the world ofarchitecture, arts and crafts, as in the case of the Restoration School, and recurrent activitiesfocusing on culture and on quality entertainmentsuch as exhibitions, concerts, conferences andshows. By way of example, one of the mostinteresting and innovative sections of the currentmuseum tour, centred on the history of the Savoy dynasty, is a series of film pieces puttogether by movie director Peter Greenaway, which accompany visitors on their way through the rooms of the palace. As in the decision-making on restoration criteria and on thefunctional reinstatement of spaces, there wasnaturally a good deal of thought given to thequestion of lighting, not only for the Reggia butfor the Gardens too. The main problems to beaddressed were those connected with the need to ensure compliance with regulations in publicaccess areas. An absolutely key element in therevival of interiors and works of art, light mustshine everywhere, but always sympathetically tothe architecture and the restorations in progress.The solution proposed by architect Gae Aulentiwas to use luminaires that would remain totallydetached from the structures of the palace andtherefore serve more than one function, whilealso keeping the walls of the building free fromcumbersome and awkward fixtures. The fixture selected to fulfil this role was theCestello, mounted on twin column stands risingto four metres high and anchored by way ofstrategically located floor boxes. The stands arealso equippable with a number of technologicaldevices including, for example, CCTV surveillancecameras, public address speakers, humiditysensors, safety signage, luminous pictograms and fire extinguisher brackets.

Director of Venaria Gardens restoration worksMirella Macera

Coordinator of Back Office operations and head of design for the Reggia and gardens restoration programme Carlo Fucini

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experimenting with the use of light. The need was to draw a contrast between themagnificence of the green spaces either restored or reconstructed to the original design, and the rest and refreshment areas set aside for visitors.Here, as in the Reggia, new spaces and theiressential structures have been created withfunctional needs and current preferences in mind,with a measured use of contemporary design. The Garden House: a white timber entrancepavilion nestling among the yew trees, with anopen air courtyard, for which a lighting design

Projects The Venaria Reale

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Massimo and Lella Vignelli - along with architectsCarlo and Aurora Fucini who created the layoutand interiors for these areas - to diversify thelighting system, using a specially produced non-standard version of the Downtown wall-mountedfixture: more precisly, the lamp is coated with asatin ivory finish faithfully replicating the colour of the lime plaster so that the light blends moreharmoniously with the interior. June 2008 saw a substantial proportion of the gardens opened to the public: 25 hectares of the total eighty. The gardens also afforded scope for

In many instances, the base of the standincorporates power sockets and data connectionports, providing additional flexibility when changes are made to exhibition layouts. The stands themselves are finished in a specialgold colour complementing the friezes in thecornice bas-relief decoration that features inmany rooms of the palace. In the less statelyrooms of the Reggia, typically reception areasincluding ticket offices, cloakroom, info point,cafeteria, bookshop and merchandising spaces, a decision was taken by international designers

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5.6. Garden House

was developed adopting a wide range offixtures: Woody and Miniwoody spots and floods in the courtyard, ultrawhite Downtownfixtures along the internal walls, with clusters of Le Perroquet pendants over the bar and theticket desk; fluorescent Linealuce recessed intothe iroko floor and uplighting the evergreensplanted around the building.The Music Theatre: a small theatre, housed in a white timber shell of lightweight constructionwith a translucent PVC dome, illuminate like amagic lantern in the middle of the garden by

twelve powerful Light Up Walk fixtures recessedinto the floor. Pergolas in the entertainment area:the area given over to summer shows issurrounded by some 300 metres of chestnutpergola finished in grey-blue. The walkway isilluminated by Woody floods concealed betweenthe timber members, and given added visualimpact by a string of coloured Ledplus RGBmarker lights at ground level. Light-emittingdiodes continue to be a prime area of interest in the search for new ways ofexploiting the latest technologies.

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NEWurbanFACE

Milan, Italy

Projects Promoted byDepartment for Tourism, Fashion and General Affairs, Milan Province

In collaboration withMilano Metropoli Development Agency – Antonio Oliverio

Architectural design Simone Micheli

The Tourist Information and Reception Office (IAT -Informazione e Accoglienza Turistica) in Milan’sPiazza del Duomo is located in the formerAlbergo Diurno, an underground facility designedand built in 1924 by Cleopatro Cobianchi, anengineer from Bologna, between the main squareand the Galleria Vittorio Emanuele. It is an areaof 1,500 square metres, where evocative Romanremains from the Imperial age are also preserved.The office underwent its first renovation in 2003,when part of the original Liberty and Art Decoarchitecture was preserved. This is a place visitedby hundreds of locals and tourists every day,looking for information of all kinds regarding the city of Milan and its hinterland. The renovation project directed by SimoneMicheli has given another dimension toCobianchi’s creation: part of the old Diurnoretains its period character and continues toserve as the public information desk. Themodern part, on the other hand, is a new place

likely to become symbolic of 21st century Milan: a place able to improve reception and promotetourist activity, through the media of dedicatedspaces, private views and conferences, andexploiting multiple information channels fromtraditional print-on-paper to audiovisualpresentations on 12 monitors, audio guidesdownloadable direct to a mobile phone via Blue Tooth, and virtual tour guides. It is also a place that will allow tour operators in Italy (Regional, Provincial and Municipalauthorities, etc.) to parade their excellence atorganising events, exhibitions, presentations and meetings. The Cobianchi development,designed by architect Simone Micheli andpresented to the public during April this year at the 2008 Salone del Mobile, has had thebacking of top Italian companies both as aconcept and as a commercial venture.In effect, the aim of the project was to make a permanent mark, rather than show one of

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Photos: Jürgen Eheim

1.The fluid columns

2. Reception

3.4. Colour effects

those eye-catching but soon-forgotten installationson which many top companies expend resourcesand energy during the Milan furniture week. The creator seeks to draw the lines of a uniqueand extraordinary spatial environment in which to tell a story linked to the future and present -an interplay of architecture, fashion, design, cultureand human relations. As with all projects that haveMicheli as their architect, the revamp has beenbrought about by generating a communicativedissonance with what went before. The space -highly functional, flexible, and exciting - is an“opus” through which visitors are able to perceiveanother possible tomorrow; a multiple-use facilitywhere they can find information, make discoveries,and communicate. The features defining thespace are few in number, and of big visual impact:the silver-hued floor, the clean curvilinear lines of the dividing walls, the white fluid columns, the giant yellow surround that serves as cateringand reception counter, the large and improbableexpanses of wall clad in screenprinted mirrorhousing macro videos, the glass and steel floorthrough which the Roman remains can be seen…the stone-like yellow seats combining with othermovable furnishing items of simple geometry, andwith endless circular mirrors scattered around themeeting rooms, to make up the interior design ofthe place. The big fabric chandeliers with colour-changing Led light sources were made specially by iGuzzini, one of the companies sponsoring the project. In addition to these fixtures, a numberof Frame recessed units were used.

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The Thompson Pump House

Belfast, Northern Ireland

Projects Architectural designRobinson Mcllwaine Architects

Engineering designDelap and Waller Consulting Engineers

Partners AssistanceChroma LightingiGuzzini illuminazione UK

In times past, Belfast was world-famous as aship-building city: the Titanic was just one ofmany famous vessels launched into the waters of Belfast Lough. Prospering alongside theenormous shipyards were several ancillaryactivities, such as rope-making and sail-making, all of which combined to make Belfast a rich city.As air transport began to boom mid-way throughthe 20th century, the fortunes of the shipyards and allied trades declined. Then came TheTroubles, a thirty year period of sectarian violence that worsened the plight of the city still further. But now, with the Peace Process of 2007 advancing, Belfast is enjoying somethingof a renaissance driven by hi-tech sectors likeAerospace and Information Technology. Much of the new development taking place inBelfast revolves around the “Titanic Quarter”,

an upmarket waterfront complex being built on reclaimed land with the old Alexandra and Thompson Graving Docks at its centre. The sales and works management offices for thesite are located in the former Harland and Wolffengineering department, where the Titanic wasdesigned. The redevelopment design for this partof the site was entrusted to Robinson McllwaineArchitects and to Delap and Waller ConsultingEngineers, who selected Cestello fixtures to createa lighting scheme that would blend successfullywith the architecture of the offices. Given that the building has large windows, every effort has been made to maximise energy-saving byintegrating artificial and natural lighting andmanaging the entire installation by means ofsuitable control systems. In addition to this project, the Carbon Trust,

which has its offices in the Innovation Centrenext door, invited Guzzini (through local partnerChroma Lighting Ltd) to submit lighting designproposals for the Thompson Dock and theadjacent Pump House. The Thompson Dock,completed in 1911, was at that time the biggestdry dock in the world, and the first two ships to use it were the RMS Olympic and the Titanic.The Pump House was a triumph of engineering,with its capacity to empty more than 500 thousand litres of water per minute from the basin. Now the building will become a tourattraction, with museum and restaurant. In collaboration with the Society of Light and Lighting (SLL), Chroma Lighting (an active member of SLL) and iGuzzini a temporary lightingsystem was designed to provide a backdrop for a seminar on lighting held by Stephen Judge

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Photos: Chroma Lighting

1. The docks area

2.3. Coloured light on exteriors and interiors

of iGuzzini UK. The Pump House was lit insideand out by a combination of flood and spotfixtures including Maxiwoody, Radius and Platea.Miniwoodys were used to create a special effectdown inside the pump well, a large tiled pitbelow ground level in which the pumpingmachinery is installed. At the same time, iGuzziniand Chroma provided illumination for the cruiserHMS Caroline, the Royal Navy’s second oldestship, using a combination of floods mounted on the vessel itself and along the wharf. As in the Pump House, various colour filters were used to enhance the effect of the lighting. The HMS Caroline is moored in the adjacentAlexandra Dock.

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The Code Computer Love headquarters

Manchester, United Kingdom

Projects ClientCode Computer Love

Architectural designAndrew Wallace Architects

Tecnici M&EBeverley Clifton Morris

Code Computer Love is a company with a highprofile in the field of digital communication andmarketing. Following work on the new companyheadquarters in Manchester, a semi-basementpremises in a quite plain and nondescriptresidential area has been transformed into anenvironment that reflects the concepts andorganisational structures adopted by the companyin servicing its clients. Code Computer Loveeschews a traditional top-down hierarchy,preferring equality, transparency, informality,

communicativeness and enjoyment in itsapproach to corporate structure and work ethos.The architects have translated the organisationalsetup of the company into a spatial figure that fitscomfortably into the empty space of the singlefloors, entrances, horizontal flow and exit routes.According to Andrew Wallace Architects: "The fitout of the basement shell originates from Code'sorganisational concepts and structures. Themanifestation expressed itself physically as aninterior landscape that rejects the typical grid

uniform pattern of the more traditional officeenvironment in favour of extended linear groupgradient fields." The curvaceous interior andfluidity allow for a spatial flow that enhancescooperation, communication, creativity and visualstimulus within the company and its differentdepartments. The gradient fields create workstations that begin by evolving into a dynamicand enveloping architectural form, contrastingwith static elements on the inside that serve to fill up the space.

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Photos: Shaw+Shaw

1.2. Organization of space

Quantity SurveyorsIQS - Independent Quantity Surveyors

ContractorTTS Interiors

Partners AssistanceiGuzzini illuminazione UK Ltd.

These elements, which rise to the ceiling level,provide the conduit that carries power and dataservices to each of the work stations and at thesame time creates a visual tension directedtoward the glass façade, where it forms a signbearing the company logo, investing an otherwisecharacterless frontage with intensity and energy.The façade is given added vibrancy by largeexpanses of window glass that establish a visual link between the external and internalenvironments. The curvilinear forms of the

meeting room constitute the focal point of theoffice, where ideas and information areexchanged and discussed. The transparent roomextends from the floor up to the ceiling, addingincreased visual tension and at the same timepermanently reflecting the company's transparentapproach to professional ethics. Red is the maincolour used in the design. The architects considered it a bold colour withseductive connotations, in keeping with the name of the company - Code Computer Love’.

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Stations on the LGV Est Européenne line

France

Projects Strasbourg Station Multimodal Hub

ClientCommunauté urbaine de Strasbourg,SNCF, RFF, Compagnie des TramwaysStrasbourgeois

The 300 kilometres of high speed rail lineknown as the LGV (Grand Vitesse) EstEuropéenne, connecting Vaires-sur-Marne and Baudrecourt, was 3 years in preparation and took 5 years to build. It is one of thebiggest single French rail projects to becompleted in current times. According toprojections, 11 million people will travelannually on the new line. Along with theinstallation of the new high speed track, the project included the modernization of 17 existing stations along the route, and the construction of three new interchanges(Champagne-Ardenne TGV, Meuse TGV and Lorraine TGV). The line will cut journey times considerably and provide high-speed rail links between Parisand the main cities of eastern France, as well as direct links between Germany, Luxembourg,Switzerland and France and direct high-speed rail links between the North, West and South-West of France and the Champagne-Ardenne,Lorraine and Alsace regions (via the new stations and Strasbourg). The LGV line will also bring economic benefits to the cities of thedepartments through which it passes, not least by improving communications between Europeancountries, given that this is a line extending some1,500 km, that will connect Paris and Budapest. The involvement of iGuzzini in this project relatesto the lighting for a number of stations on theline, and for Strasbourg station in particular. The recurrent feature of the lighting schemes for all these stations was the iRav luminaire, a fixture created especially for these projectsdesigner Jean-Marie Duthilleul, which is installed in the stations of Reims, Bezannes “Champagne-Ardenne TGV”, Nancy, Meuse and Strasbourgalong the LGV Est line.

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Photos: Didier Boy de La Tour

1.3. The glass roof of Strasbourg station Viewed by day and by night

2. The iRav pendant fixtures

4. The steel ribs of the station roof

Garden at Strasbourg station

ClientCommunauté Urbaine de Strasbourg

Direction of worksSNCF (Agence des gares) and AREP

Direction of works

Architectural designSNCF (Agence des gares)and AREP

Engineering RFR, COTEBA, OTE, AREP

Landscape designersMichel Desvigne et Ingénieurs et Paysages

EngineeringSERUE Pierre Muller and Henri Gonnot

Strasbourg Station

Strasbourg rail station has been redeveloped andenlarged recently to accommodate an expectedincrease in passenger traffic from 35,000 up to 60,000 per day. The historic façade of thebuilding, erected in 1881, is now enclosedtogether with the forecourt in a transparent domeoverlooking the four-hectare square, which in itsturn has been garden-landscaped with avenueslined by more than 300 trees. The material usedfor the outer structure produces changing lighteffects, according to the time of day and theseason. Floodlighting at night - focused mainly on the pink sandstone façade of the station - isprovided by Lingotto fixtures and a number ofLight Up Walk professional units. The glass dome houses the various transportlinks, organised on different levels (rail platforms,tram terminus, taxis and car parks), so as tooptimise traffic flows and safety.The general lighting system inside the stationbuilding utilises a specially-designed iRav pendantfixture, with Le Perroquet spots providing accentsfor selected architectural features.

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Projects Stations on the LGV Est Européenne line

Gare Champagne Ardenne TGV Reims Bezannes

ClientSNCF (Direction des gares et de l’escale), RFF

Direction of worksSNCF (Agence des gares) and AREP

Gare Champagne Ardenne TGV Reims Bezannes

Located 5 km from Reims, at Bezannes, this isone of the three new stations built especially forthe LGV Est line. The passenger concourseconsists of a rectangular volume 50 m long and14 m wide, with a masonry wall to the north and a glass façade facing south. SNCF business activities and services are locatedalong the North wall. In the middle, an atriumdivides the SNCF sales area from shops and aninternal arcade that also takes in the waitingrooms and restaurant areas. On the ground floor,the building is surrounded by a balcony andwalkway. General lighting inside the stationbuilding is provided by iRav pendant fixtures. The outer porch provides an access wayextending the full length of the south front,parallel to the northern platform. A galvanisedsteel structure supported by columns matched to the general style of the building, the porchprovides shelter for passengers proceeding to or from the northbound platform and throws a shadow onto the glass frontage, givingprotection from the sun.

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5. Nancy rail station

6. Bezanne TGV station

7. Meuse rail station. Detail of tower

8. Exterior of Meuse rail station

EngineeringAREP, COREDIA, INGEROP

Assistance on direction of worksMéthodes & Pilotage

Gare de Meuse TGV

ClientSNCF (Direction des gares et de l’escale), Conseil Général de la Meuse

Direction of worksSNCF (Agence des gares), AREP

Meuse TGV rail station

This new station, which has a floor area of 320 m², comprises a main block for Paris-bound departures, two platform shelters and a subway passing beneath the tracks, withvertical ventilation systems, lifts and fixedstaircases. The building is timber-clad (larch) and surmounted by a 16-metre tower built of oak, which channels natural light into theentrance hall during the daytime.

At night, artificial lighting is provided by Le Perroquet fixtures, some of which are installed in the tower.The iRav pendant fixtures are also used in the redeveloped stations of Reims and Nancy; indeed these luminaires are a common feature of many stations along the LGV Est line.

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Engineering OTH Est, TEC BOIS, AREP

Partners AssistanceiGuzzini illuminazione France SA

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Bancaja Foundation

Valencia, Spain

Projects ClientFundación Bancaja Patxi Guerrero Carot

Architectural designPablo Martínez MontesaJosé Ricardo Martínez MontesaJose Alberto Jordá Albiñana

The Bancaja Cultural Centre in Valencia issituated in an area lying between the two oldestparts of the city, one mapped by Antonio Mancelli(1608), and the other by Tomas Vicente Tosca(1704); in short, a large expanse of land that has been part of the city since the Middle Ages.The Cultural Centre occupies two buildings thatwere completely renovated and refurbished duringthe course of 2007; one of these, designed byLucas García Cardena, dates from the late 19thcentury, and the other, by Antonio Gómez Davo,

from the 1930s. Together they represent asignificant reference point for the architecture of Valencia. The result of the redevelopment,commissioned from architects Pablo MartínezMontesa, José Ricardo Martínez Montesa and JoseAlberto Jordá Albiñana, has been to create a singleunit while endeavouring to ensure that the visitor is not aware of the different storey levels. On theoutside, the two façades have been preserved,undergoing purely restoration work to repair themarks left on the fabric by time and the elements.

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Photos: Zig-Zag

1.2. Bancaja Cultural Centre - the terrace

The lighting scheme for this monumentalcomplex was designed with great care.Predominantly linear architectural elements are lit by recessed Linealuce fixtures with T16fluorescent lamps, whereas those of a largervolume and having a more spectacular impactare highlighted using Platea spots with metalhalide lamps. Redevelopment of the interiors has included the upper floor rooms and officeswhere administrative and cultural activities of theBancaja Foundation are carried out. The variousdepartments occupy a substantial part of thefour-storey Gómez Davo building. The open and dynamic nature of the work done by theFoundation is given impetus by a lighting systemthat combines soft and indirect light, affording anoverall and uniform vision of the interior, with acontrolled and comfortable direct output. This isprovided by pendant Y Light luminaires equippedwith TC-L 55W fluorescent lamps. A sense of transparency is created throughout theadministrative office space by assembliespresenting slightly curved surfaces, 62 mm thick,with a microprismatic shield of thermoplasticmaterial and lightweight pendant drops, whereasservice and transit areas are lit by recesseddownlighters with compact fluorescent lamps. Areas furnished for meetings and receptionpurposes are given a special treatment by using a combination of pendant luminaires with low-luxoptical assemblies, and recessed units with eithercompact fluorescent or halogen bulbs, according to the task requirement.

Lighting consultantsTecniluz - Jose Luis Colomer

Partners AssistanceiGuzzini illuminazione España SA

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Projects Bancaja Foundation

The terrace has been designed as a place wherepeople can meet and pass the time, enjoying a unique panoramic view of the city that can also provide a superb backdrop after dark, forpresentations, opening ceremonies and othersuch events. With this in mind, the designersadopted a lighting system that could be adapted to a variety of needs and uses. The general lighting system, designed for usewith large public attendances, makes use ofiRoad fixtures located in the niches and aroundthe parapet of the atrium, creating an island of street-lighting, with oblique-beam Comfort fixtures installed around the perimeter. Theexhibition rooms are a prominent feature of the Cultural Centre. Designed to host artexhibitions of every kind - sculpture, painting,ancient and contemporary art - they must be able to meet the needs typical of such events, as well as satisfying the criteria imposed bycurators and organisers on a case by case basis.With exhibition spaces partitionable and eachroom adaptable to suit a particular displaysrequirements, and a need for light output to becontrolled according to the nature of single works,the designers decided on tracks as being thesolution to cover all eventualities.

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3. Offices

4. Meeting room

5. Exhibition space

6. Some of the works by Sorolla on display for the opening

For the opening of the Foundation, the Centrestaged an exhibition entitled “Sorolla - Vision ofSpain”, which also served as a trial run to testthe possibilities of the venue. In this instance, the exhibits included fourteen large panelscommissioned from Sorolla by the Hispanicscholar and collector Milton Huntington todecorate the main hall of the Hispanic Society in New York. Given the dimensions of the works in relation to those of the room, their grandiosenature, colours and proportions, the decision was taken to use Parallel spots with linearhalogen lamps and wall washer optical assembly,complemented by Le Perroquet spots with QT12halogen lamps as accent lights to show up thevivacity of the colours, which can now beappreciated in their full splendour followingextensive restoration work ordered and fundedjointly by Bancaja and the Hispanic Society. The same criteria has been applied for thelighting in the main entrance hall, which provides exhibition space for items of the artcollection owned by the Foundation.

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The Hyatt on the Bund hotel

Shanghai, China

Projects ClientShimao Group

Architectural designAndrew Yip

Partner AssistanceiGuzzini illuminazione China Ltd.

The Hyatt on the Bund hotel is located strategicallyon the banks of China’s Huang Pu river, at thenorthern end of the Shanghai Bund. Situated indowntown Shanghai, this hotel offers magnificentviews both over the Bund, a riverfront areatypified by European colonial buildings, andacross the new districts of the city (Pudong); it lies within easy reach of the main Shanghaiairports and the city centre. The hotel was built by Shimao and is run byHyatt. To do justice to the unique characteristicsof this waterfront hotel, the team of architects led by Andrew Yip, inspired by famous wordswritten way back in 1044, created speciallighting applications for the building. The wordsin question mention the reflections of moonlighton the water, describing them as a dance. “The light dances on the tranquil waters of the

lake, sparkling with gold” - this was the guidingconcept for the illumination of the hotel exterior. The main difficulty confronting the designersderived from a difference of opinion betweenShimao and Hyatt: Shimao wanted light to beused as a means of emphasising the grandeurand individuality of the building - which wouldmean strong illumination. Hyatt, conversely,wanted its guests to experience a sense of peaceand comfort, created not least by a soft style of illumination. To avoid an accumulation of light on the externalsurfaces of the façade, while at the same timeshowing off the particular features of the Hyatt on the Bund, iGuzzini was asked to design anddevelop a special product and an illuminationsystem comprising three main elements: the first is a fixture, the iGuzzini Glim Cube, whichcreates light “links” and uses four 1 Watt Leds.

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Photos: iGuzzini archive

1. 2. Different stages of illumination

3. Detail of the lighting effect

A special illumination version of this fixture wascreated, incorporating a smooth transparent glasspanel at the front. The lighting designer is PieroCastiglioni. The second element is a controlsystem, also created by iGuzzini especially forthis project. Supplied as a turnkey package, it is a control system designed in response to the needs of this particular client. More exactly, the system is designed to switchthe Glim Cube fixtures on and off and control

their output individually, in such a way thatdynamic illumination effects can be generated on the exterior of the building. The third element is a tube. Installed in front of each Glim Cubeunit is a tube of polycarbonate having a satinfinish, which serves to capture the light fromeach Led and gather it into a beam. Four tubesset at right angles directly in front of the GlimCube fixtures inject a breath of life into theluminous crosses on the exterior of the building.

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Montesanto rail station

Naples, Italy by Silvio d’Ascia

Projects ClientExtraordinary Government Commission,pursuant to article 11, Law 887/1984President of the Campania RegionalCouncil, Hon. Bassolino; RegionalTransport Councillor, Prof. Ing. E. Cascetta;S.E.P.S.A., President Avv. Bianco;Director Ing. Allagrande

ArchitectureArch. Silvio d’ASCIA

The remodernization and completion of theMontesanto rail station, an important item on the Regional Transport Plan and hub of the futureRegional Metro system, has been undertakenwith an ambitious dual objective in view. On theone hand, to transform and render the historicstation functional as a modern intermodaltransport hub serving regional and metrosystems, in keeping with the general Europeanrevolution taking place currently in transportation,with the old-style “non-place” rail station beingreinvented as a modern interchange on urban,regional and territorial scale. On the other, toinitiate a wider urban redevelopment process thatwill take in the surrounding area of the historictown centre, turning the old station building into a modern “beacon" for the quarter, and thebridgehead to a potential upland chain of culturalassets featuring rare architectural andenvironmental quality (Trinità delle Monache,Certosa di San Martino and Castel Sant’Elmo).In pursuit of this dual aim - aside from theensuring the obligatory functional compliancewith new operating and safety regulations - the project involved a number of major works.First of all, numerous additions and extensionsbuilt onto various parts of the station during the20th century had to be demolished, so as to

reinstate and restore the old core of the buildingto its original appearance as erected in 1882: the central portico surmounted by the loggia, and two side towers. The two existing stations, Sepsa and FunicolareANM, have been integrated both physically andfunctionally into a single spatial and volumetricentity, with the old fabric enhanced further by the creation of a new outer shell for the funicularrailway on the north front, fashioned from steeland self-cleaning glass louvres. The two lateralwings of the entrance portico, predating the mainfaçade, have been opened up as originallyintended, so as to achieve maximum functionaland visual amenity between the station buildingand the reordered Montesanto piazza, now partlya pedestrian precinct; passenger traffic into andout of the station has been separated andrationalised.There is now a spacious glass-walled hall on theplatform level, a single waiting area created byerecting a steel and glass structure to form threelongitudinal bays, each replicating the newlyrestored Liberty-style loggia, which provides apublic balcony overlooking the piazza. To give the location a still firmer identity as an interchangein the cultural sense, a glass roof of some 1000m² has been erected over the platform area;

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Photos: Barbara Jodice

1.2. View by day and by night

3. Steel and glass roof structures

the walls of this sheltered space are decoratedwith splendid photographs by Mimmo Jodice,depicting the various archaeological andlandscape sites lying along the route of theCumana railway. These spaces have also beengiven a commercial boost, with the introductionof services on the different levels of the buildingfor the benefit of travellers and residents: bar,tobacconist, newsagent, info-point and bookstoreon the ground level; multipurpose area, internetpoint, bar and viewing terrace on the upper level.Circulation has been revolutionised by theinstallation of mechanised systems connectingthe Piazzetta Montesanto with the Largo delParadiso, guaranteeing a direct link to theconvent of the Santissima Trinità delle Monache,

formerly a Military Hospital, and the provision of an additional subway serving as a safety exit.This project is testament to the feasibility ofintegrating the old and the new in the heart ofNaples, restoring the station to full functionalefficiency while also transforming the building into a modern urban facility, benefiting the local community, and providing the historic city centre with a new tourist shop window for the Phlegraean Fields.The lighting is designed to pick out and accent the columns in the structure, using Woodydischarge fixtures with 70 W lamps positionedalternately up and down on the columns. The fixtures trained upwards are spots, and those directed downwards are floods.

EngineeringTECNOSISTEM Spa (Ing. Rionero)Design teamG.Paone, M.Damonte ed E.Franco

ContractorA.T.I. Contractor – “Ferrosud 2 Scarl”temporary association of companies:COSTRUIRE SpA (Team leader Ing.Fiore), IGC Costruzioni SpA

Direction of worksIng. Campobasso for S.E.P.S.A.

Team membersM.Boenders, R.Camarda, A.Cossin,D.Dorell, A.Rocca (images),T.Raynaud (video), A. Cornuau,F.Levêque, M.Roggwiller, E.MacorRosa, J.Edwards-Ibarra, V.Benini,A.Dubouz, E.Seif, C. de Sainte Marie

ConsultantsF.Cavuoto with Falconio (special structural steel consultant)Nuzzolo - Transport and flow modelling studies

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Spotlight on Italy: new illuminationfor the Italian embassy

Berlin, Germany

Projects ClientMinistry for Foreign Affairs

Architectural design for renovation, and lighting designMaurizio Nieri

Technical sponsor iGuzzini illuminazione Deutschland

The Italian Embassy in Berlin is a building thathas a special place in the architectural history of a city so pulsating with life as the reunifiedGerman capital, and indeed a building that evenItalians consider to be the only true “Palazzo”beyond their national frontiers. This is a four-storey building with two wings, occupying some 10,000 square metres. Notwithstanding its imposing proportions, the Embassy is aquintessential example of the beauty andelegance of architecture inspired by the ItalianRenaissance. The history and the design of thePalazzo date back to 1938 and are relateddirectly to a new town planning scheme adopted

and columns, halls and state rooms decoratedwith marble, silk and fine Italian oak panels, plusworks of art from Italy, Greece and all around theMediterranean, also from France and Flanders -in the ownership of Roman museums. Thespacious corridors and landings of the palazzoare lit with recessed Pixel Plus downlighters, asolution designed not only to provide backgroundlighting but also - thanks to the considerableflexibility of light management afforded by thesystem - to show off the numerous paintings,tapestries and other works of art adorning theentire Embassy building. The Sandia lamp throws light onto the walls indirectly.

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for Berlin at the time, intended in particular toraise the prestige of the diplomatic quarter alongthe Tiergartenstraße. For Italy, as part of theseplans, a monumental building was erected under the direction of architect Friedrich Hetzelt,adopting the style of the Italian Rinascimento and clad in Roman travertine marble, of whichthe façade presents a central breakfront with sixcolumns and a portico with four sets of pairedcolumns, now illuminated by Woody dischargefloods with 70 W lamps. The building unites themajestic proportions of triumphal Roman architecturewith the elegance and beauty of the Renaissance: abright yet solemn façade embellished with marble

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Photos: Max Schulz

1.2. Exterior illumination

3. Detail of interior

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In contrast to the accent lighting used in thecorridors, the designers also continue to use a discreet, diffused light produced by the Halolamp. For the inner courtyard of the Embassy,Kriss fixtures are used to create atmosphericlighting effects on the façade.

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Bjørvika. A new space for the city

Oslo, Norway

Projects ClientMunicipality of Oslo

Architectural designSLA A/S and Gehl Architects

Lighting designSLA A/S and Gehl Architects in collaboration with ÅF-Hansen & Henneberg.

At a time marked by huge changes, Oslo is currentlyundertaking the most ambitious dockside renewalproject in its history, since a site of considerableproportions in the heart of the city becameavailable following the transfer of the oldcommercial port and the removal of someinordinately extensive road systems. The aim is to reconnect the city with the sea, and this vast and complex renewal andreconstruction project will free up an area ofapproximately 900,000 m² on which to developseven new urban centres. One of the spaces inquestion, Bjørvika, lies between the magnificentscenery of the Oslo fjord and the active citycentre and is the focus for one of the main partsof what has been dubbed “The Fjord City Plan”. The area is notable for several imposing historicalbuildings, including the Oslo stock exchange(Børsen), the central rail station (Østbanehallen),customs (Tollboden), and a huge convertedwarehouse, now modern offices (Havnelageret).Bjørvika also has remains from every period of Oslo’s history, including one of the mostimportant collections of artefacts from mediaevaltimes in Norway, housed today in a public park.The main attraction of Bjørvika is the NewNational Opera House, opened 12 April 2008.The building was designed by Snøhetta and has aspectacular sloping roof that seems to rise directly

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Photos: iGuzzini archive

1. 2. Front of the Pricewaterhouse Coopers building. View by night and by day

3. Street lighting in the area around the Opera House

Partners AssistanceiGuzzini illuminazione Norway

from the waters of the Oslofjord. The main conceptof the new street lighting for Bjørvika was specifiedin a call for tenders, won ultimately by SLA A/Sand Gehl Architects in 2004. The lighting scheme was developed for BjørvikaInfrastruktur by SLA A/S and Gehl Architects incollaboration with lighting designer ÅF-Hansen & Henneberg. The specifications in question weresomewhat stringent, given the complex nature ofthe traffic scenario, which includes trams, buses,trains, cars, pedestrians and even watercraft. Inaddition, the developer had stated the importanceof creating harmony between the street lighting andthe general lighting, avoiding light pollution andindicating a preference for energy-economic, lowmaintenance systems. The first space to be lit byiGuzzini in this project was the Operagaten, a road

running alongside the rear of the Opera House. The solution adopted here was one using Laviniafixtures in a dual purpose configuration, with one arm throwing light on the pavement and the other on the carriageway. From the earliest stages of working with thedeveloper, it was suggested that a collection of specially designed systems should be created in order to offer the visitor a uniquelighting experience. With this aim in mind, the area along thefrontage of the Pricewaterhouse Coopers building was lit with six positionable orange poles, designed especially for the site, carryingdifferent combinations of MaxiWoody fixtures.iGuzzini is contracted to supply outdoor fixtures for Bjørvika through to the end of 2011.

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1500 new lighting fixtures for Bucherer

Lucerne, Switzerland

Projects ClientBucherer AG

Architectural designCreative Circle GmbHPatrick Schaffer and Kosta Stathakis

Direction of worksDenis Obrist Associates, directorHans Walker

At the end of November 2007, the exclusivewatch and jewellery retailer Bucherer fullyreopened its doors in the Schwanenplatz, Lucerne,after a renovation lasting around 12 months. The Bucherer store is a four-storey building with1280 square metres of retail space in a primelocation, where patrons can find the finest piecesmade by premier jewellers and watchmakers.Bucherer employs some 1200 people and runs a network of branches, with 14 points of sale in Switzerland and 6 in Germany. Other companies belonging to the Bucherer Groupare the famous specialist watchmaker AndreasHuber of Monaco, and the jeweller Haban ofVienna. The Bucherer store in Lucerne has alwaysattracted tourists, in particular, who come not onlyfor the famous watches and jewellery, but also forsouvenirs such as pocket knives. There is parking space in front of the store forfour touring coaches, which means there is nolack of visitors… as many as 4000 or 5000 perday in the high season. With a staff of around180 drawn from 15 countries, customers can be served in 26 different languages. Because the parent company wanted to create a uniqueflagship store, the design and decor are notreplicated in other branches of the organisation.The architecture of the Lucerne store is modelled on the grandeur displayed by hotels typical of thelate 19th early 20th century, and the interiorsfollow this pattern. A competition announced by Bucherer for the architectural design was won by Patrick Schaffer and Kosta Stathakis ofCreative Circle. This is one of the first permanentinstallations by Creative Circle, better knownas a designer of exhibition stands and settings for special occasions, but also with specificexperience in the clocks and watches sector. The two architects were supported by DenisObrist Associates, with Hans Walker responsiblefor the executive design, and by electronicsengineers of the Herzog Kull Group Aarau. A team of some 150 building experts undertook

the renovation work in four stages. Retail businesswas carried on throughout the renovation, whichmeant, for example, that all four escalators had to be replaced in a single weekend. A spaciousground floor sales area ensures that customersfind a relaxed atmosphere. Superior materialsimmediately catch the eye: the solid walnut of the counters, complemented by champagnecoloured chrome on steel, brown naturalLabrador stone and elegant embroidered silk.Collections of watches and jewels are displayedin twenty showcases and numerous cabinets. iGuzzini became involved with the work alreadywell advanced, during the renovation of the firstfloor, to assist with the lighting of the rooms,showcases and cabinets. In effect, the generallighting concept was found to be in need of certain corrective adjustments. In addition to arevision of the lighting for the first and third floors,iGuzzini installed the lights on the ground floor. The basic lighting scheme for the retail areas is based on a system with fixtures installed in the ceiling coves. The light from these sourcescreates a soft glow around the perimeter of theceiling, in clear contrast to the transit areas and the merchandise, which are lit directly. The lightdirected onto merchandise is produced at anintensity of around 4000 Lux and using numeroussingle accents, resulting in appreciable brightness. Transit ways are lit at a lower intensity, forexample between 200 and 400 Lux. With theexception of the first floor, natural lighting is notused in the sales areas. The windows areobscured on the inside, with just a sliver ofdaylight penetrating through a gap along thebottom edge. More than 1500 new fixtures areused to create effects of light and shade, and to provide targeted accents. Using a combination of halogen and metal halide lamps, electricalpower consumption stays relatively low andminimal heat is generated; nonetheless, all of the showcases and cabinets needed cooling to ensure there would be no damage to the

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Photos: Günther Laznia

1. Exterior

2. Showroom

Electrical system designHerzog Kull Group, Aarau

Partners Assistance iGuzzini illuminazione Schweiz

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Projects 1500 new lighting fixtures for Bucherer

items, or the marginally lighter edges. In additionto the watches, jewellery and souvenirs, theBucherer store now offers another singularattraction: the biggest “rolling ball clock” on Earth,already an entry in the Guinness Book of Records. The idea came from architect Patrick Schaffer, whowas invited by Bucherer to create an attractionthat would catch the attention of tourists at firstglance. The installation was created by famouskinetic artists Hanns-Martin Wagner (Swiss) and Mark Bischof (German). The spectacular kinetic sculpture, dubbed Aion -

merchandise on display. Recessed Pixel Plusfixtures were used in the showcases, whereasin the sales counter areas, a special version ofThe Reflex with cut-off optical assembly wasadopted to guarantee high visual comfort. Colour temperature is 3000 K, and the fixturesalso have other optical assemblies: wall-washers to lighten up vertical surfaces, downlighters toilluminate work areas, and a mixture of floods and spots trained on the display cabinets. In practice, visitors do not notice the highintensity of light directed onto single display

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3. Retail area

4. Detail of the rolling ball clock

the Greek term for Age, or Epoque - is almost 12 metres high, occupying all four levels of thestore. At the heart of the ball run sits a hugeclock, around which glass marbles roll constantlyto indicate the seconds, minutes, quarter-hoursand hours. The marbles travel at high speedalong the roller-coaster to reach the four-metreminute ring. A single marble joins the ring everyminute, until sixty make up the hour. A polaropposite to this perpetual motion is a giantcrystal ball on the ground floor, swinging backand forth once every fifteen minutes.

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“Design Cities”

Museum of Contemporary Art, Istanbul23 April 2008 - 10 August 2008

Projects Permanent Collections

SponsorTürk Telekom

CuratorsDavid Elliott

The exhibition space offered by the IstanbulModern is divided into two main areas. In the topfloor galleries, visitors can admire the permanentcollection kept by the museum. The spacious gallery on the lower floor hoststhree or four temporary exhibitions every year,including a retrospective, a review of Turkishmodern art, and an exhibition of globalcontemporary art. The museum also puts oncultural programmes accompanying both thepermanent and temporary exhibitions. As each new exhibition is staged, not only theseactivities change, but also the associated cinema,coffee shop, museum shop and mobile museumfacilities. The Istanbul Modern offers these variedprogrammes in order to ensure that, besidesseeing the favourite works they already know,people coming back to the museum will alsodiscover other new and interesting works of art.Since April 2003 the museum has been showingthe “Design Cities” exhibition, organised by the 1

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Photos: Gabriele Basilico

1. Exterior of the museum

2.3. “Design Cities” exhibition layout

“Design Cities” exhibition

SponsorVitrA and Intercity

CuratorsDeyan Sudjic - Design Museum Director

Layout Ben Kelly Design

Partners Assistance and technical sponsor Tepta Aydinlatma

After the Second World War the mantle passed to Los Angeles, where Charles Eames set up his ultra elegant studio and home. The city became the symbol of the AmericanAge. In the 1960s, Milan was the centre ofcontemporary design. Then in the 1980s camesomething of a shift, as Tokyo emerged to make its presence felt, destabilising the moral certainty of European industrial design with a more light-hearted approach. Today, London is once again the main design centre of the world, with RonArad and Ross Lovegrove, Jasper Morrison andmany other important contemporary designersamong its denizens. iGuzzini products are used in the lighting for the exhibition, with Metro spotshighlighting the items on display and creating ascheme that exploits strong contrasts. In addition,the PizzaKobra - the most recent lamp designed by Ron Arad for iGuzzini - is also among theexhibits on display.

London Design Museum and curated by theDesign Museum’s director, Deyan Sudjic. This exhibition brings together works by some of the world's leading designers, which reflect the history of design from the mid-19th centuryto the present day. The exhibition presents awhole series of exhibits, from fashion fabrics toindustrial items and furniture, as well as printsand drawings, all illustrating the key elements of design-driven custom or mass production, also covering high technology and innovativematerials. The exhibits include 109 works by 64 designers and 12 products representing 7 brands. There are six "Design Cities”: Vienna,shortly before the Great War, when the languageof modernism began to take shape, then Dessau,the small German town that spawned theBauhaus, the world’s most famous design school. In the 1930s it was Paris that became the capitalof visual culture, with Picasso and Le Corbusieramong its most celebrated residents.

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Harvey Nichols

Istanbul, Turkey

Projects ClientUnitim

Interior DesignFour IV Design Consultants

iGuzzini Partner Assistance Tepta Aydinlatma

The general lighting for the store uses iGuzziniluminaires that generate minimal visual impact.Only where decorative elements were requireddid the designers utilise cold cathode, opticalfibre and fluorescent backlighting products madeby other manufacturers. General lighting on the three floors is provided by HUB modules, with Pixel Plus fixtures usingboth halogen and metal halide lamps, andrecessed Pixel Plus units. HUB modules withPixel Plus units are used along the four sides of the outside windows, with Reflex halogen

The luxury store Harvey Nichols is one of thebiggest retail premises in the Kanyon shoppingcentre. The sheer size of the store - occupying8500 m² distributed over 3 floors - means that it accounts for around 1/3 of the Kanyondevelopment. The interior of the store wasdesigned by the British company Four IV DesignConsultants under the direction of designer Chris Dewar Dixon. The work done on this prestigious store won Four IV Desıgn the ‘Best international retailinterior’ award for 2007.

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Photos: Engin Gerçek

1. Perfumery and cosmetics

2. Gilt Restaurant

spots trained on ceilings of the window enclosures.The interior showcases of the store are lit bytrack-mounted Shuttle spots. Positionablerecessed downlighters are also used in manyareas of totally different character, showing justhow versatile this type of product can be. DeepFrame (single and double) fixtures are used tolight the food hall and Gilt restaurant, andMicroframe spots light the boxes of the cosmeticsdepartment, whilst the Polo Ralph Lauren section is fitted out with Minimal downlighters.

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Artempo“Where Time becomes Art”

Palazzo Fortuny, Venice9 June - 5 November 2007

Projects Client Axel Vervoordt

InstallationDaniela Ferretti, Nico Goethals with Francesca Boni

The art and antiquities collector Axel Vervoordt of Antwerp celebrated his sixtieth birthday inunparalleled style, by staging the Artempoexhibition in Venice. The Artempo project cameabout through an initiative launched jointly in2007 by Axel Vervoordt and Musei CiviciVeneziani (the Venice Museums Authority) at thefamous Palazzo Fortuny, a gem of late VenetianGothic architecture. In its halcyon days, thispalazzo was the atelier of the celebrated stylistMariano Fortuny, whose creations includedgowns, costumes and textile designs. The walls of the palazzo are still hang full height with his

luxurious and original fabrics. The Artempoexhibition consists essentially of the privatecollection owned by Axel Vervoordt, augmentedby other works from various museums andprivate collections. Axel Vervoordt first becameinterested in antiquities afterwards incontemporary art. He always refused to see thetwo worlds as distinct and in contrast; rather, he has sought to establish a dialogue and findharmonies between these very different art forms.The approach of Axel Vervoordt is to “take thingsas they are". This explains his preference forunrestored furniture, serendipitously found

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Photos: Jean Pierre Gabriel

1.2. Views of the exhibition

Lighting designRobert Carsen, with Roy Sax (Kurve Lichttechniek) and Peter Van Praet

Partners assistanceiGuzzini illuminazione Benelux

objects and even crumbling walls. The choice of a Venetian palazzo was almost obligatory for the Flemish collector, his intention being tostage the Artempo exhibition within the envelope of a contemporary art event, in this instance the prestigious Biennale di Venezia.The lighting design was entrusted to KurveLichttechniek (Roy Sax), the supplier used on all exhibition lighting projects by AxelVervoordt since 1985. In searching for thesolution best suited to this exhibition, theimperative requirement was that each of the 100 W fixtures should be individually dimmable.The Tecnica spot was the fixture selected. These spots are still installed at the PalazzoFortuny, on permanent loan from the Vervoordtorganisation.

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A lighting scheme for the Citéde l’Architecture

Paris, France

Projects ClientMinistry of culture and communication, architecture and heritage department

Project mandateÉMOC, Etablissement public de maîtrised’ouvrage des travaux culturels

The Cité de l’Architecture et du Patrimoine (City of Architecture and Heritage) in Paris,opened in September 2007, occupies the East wing of the Palais de Chaillot and takes in part of the Palais du Trocadéro. Total floorspace is approximately 21,000 m².The Cité de l’Architecture et du Patrimoine is a decidedly original institution: it incorporates an important museum (of French monuments), a professional school dedicated to art heritage(l’Ecole de Chaillot), and a centre specialising in the promotion of contemporary architecture(Institut Français d’Architecture). With this newbuilding, the Cité is looking to attract the widerpublic and cultivate interest in contemporaryarchitecture. The renewal project was entrustedto architect Jean-François Bodin, who hasrestored the French monuments museum to its full period splendour, faithfully preservingthe original architecture of Gabriel Davioud and Jacques Carlu. Changes that have beenmade, like the new staircase by Bodin, succeedin maintaining and enhancing the galleries, which follow the curved contours of the building. The 19th century iron and glass roof of the main gallery has been restored. A new vertical route has also been created through the museum, a sort of internal highwaylooking out over Paris, using the central axis of the edifice and leading to the galleries used for temporary exhibitions.The new monuments museum (MMF - Musée de Monuments Français) houses architecturaltreasures spanning eight centuries, from the 12th

to the 21st, occupying 8,000 m² of floor spacespread across three galleries: moulages(mouldings and models), peintures (murals and stained glass), modern and contemporaryarchitecture. Ordered chronologically and

thematically, the route through each gallery is specifically signposted and accompanied by informative material. The Galerie desmoulages occupies around 4,000 m² and is situated on the ground floor; it is the most spectacular setting of the museum. The collection, which includes around 350full-scale plaster mouldings and 60 models of architectural and structural interest, from earlyMediaeval Romanesque to the 18th century, isdivided between the Davioud and Carlu galleries.The Davioud gallery has a glass roof admittingnatural light to the interior. The necessaryartificial lighting in this section is provided by Le Perroquet fixtures, attached to the decorative iron roof trusses. The Carlu gallery, next insequence, has high windows also letting

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Photos: Didier Boy De La Tour

1. Davioud Gallery

2. Exhibition of plans

3. Reproduction of chapel with Romanesque murals

in natural light and affording a view of the Eiffeltower. Artificial lighting is provided by recessedPixel Plus fixtures. In the Galerie des peintures,the display solution adopted for the murals,designed by Jean-François Bodin, seeks to createan adventure trail through a veritable labyrinth ofsurprises, provided by life size copies of frescoespainted on canvas and straddling two levels. These copies trace the evolution of mural paintingfrom the 12th to the 16th century. On the secondfloor, 30 chapels have been reconstructed with a number of particularly representative FrenchRomanesque paintings. Lighting in the variousrooms is provided by positionable recessed LePerroquet, Linealuce, Glim Cube and Pixel Plusfixtures. The modern and contemporaryarchitecture gallery is located on the second

floor of the Palais de Chaillot. Exhibits occupyingan area of 1,200 m² provide an architecturaltimeline from 1850 to 2001 that takes the visitorfrom the city of the 19th century to the city oftoday, illustrating the aspects of fragmentationand continuity. At the end of the gallery borderingthe Seine, a space is set aside for temporaryshows. Every year, a different architect is invited to stage an exhibition. The lighting in this area does not involveiGuzzini. The primary focus of the IFA - FrenchInstitute of Architecture - is to promote debateand research in the field of contemporaryarchitecture, while also encouraging the spread of architectural knowledge generally. The message is conveyed through monographic,thematic and retrospective exhibitions on major

Architectural designJean-François Bodin

Design teamDirection of worksHamid Boughab, architect

EngineeringGEC Ingénierie

Designer of the Modern andContemporary galleryJean-François Bodin

in collaboration with GAO IDEES I PROJECTES SLAUXITEC Bâtiments: B.E.T fluide

CostingACE Consultants Economiste

Designer of façades and roof systems:closed and coveredJean-François Lagneauhistorical monuments architect.

Partners Assistance and technicalsponsoriGuzzini illuminazione France SA

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figures in the world of architecture, as wellas conferences, debates and publications.The lighting for temporary exhibitions is provided by Le Perroquet spots, whereas the offices andhall of the IFA are equipped with Opticadownlights. The Ecole de Chaillot, founded in1887, is the training establishment of the Cité. It was set up in response to one of the chiefmissions espoused by the Cité, namely to pass on knowledge acquired through professionalexperience and research. The Ecole de Chaillotcontinues to pursue and develop its originalmission, which is to spread knowledge andawareness of France's architectural heritage. There are also spaces shared by the threedepartments of the Cité: hospitality areas,temporary exhibition galleries (extending under the spectacular stone arches of the old Trocadéropalace), news and current affairs gallery,auditorium and teaching workshops. The Cité also plays host to other temporary exhibitions in its galleries. It is perhaps inevitable thatiGuzzini should have been involved with aninstitution such as the Cité de l’Architecture et duPatrimoine, an organisation that exists to promoteawareness of architectural quality and safeguardenvironmental quality. And it was natural for us to contribute to the design and installation of thelighting system. Accordingly, on 15 May 2008at the offices of the Cité d’Architecture et duPatrimoine, a collaboration agreement betweeniGuzzini and the Cité was signed by AdolfoGuzzini and by François de Mazières, president of the Cité.

4. Carlu Gallery

5. Signing of collaboration agreement.Left, François de Mazières, right, Adolfo Guzzini

6. Temporary exhibition dedicated to contemporary architecture

Projects A lighting scheme for the Citéde l’Architecture

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During the 2008 edition of Light & Building, the German branch of iGuzzini illuminated partsof the city of Frankfurt using coloured light toproduce spectacular effects on buildings datingfrom different periods, and with differingarchitectural features and functions. The Welle(“wave” in German) is a group of six buildingsthat includes a curvilinear office block and a historic building. For the duration of

Splashes of colour on the city

Luminale 2008, Frankfurt

Corporate culture

Light & Building, the complex was transformedby spectacular lighting effects, the work oflighting designers Andrea Nusser and JohannesHenn, that combined the use of coloured lightwith reflections in water. The lighting designcreated by Christian Uitz for the church of theThree Kings highlighted the late Gothicarchitecture, accentuating structural elements byway of strong colour contrasts. The Bayer Haus,

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Photos: iGuzzini archive

1. The Welle complex

2. Church of the Three Kings

3. The line of coloured light along the cablecar route

built in 1952, has a distinctive elevated roofwith a “floating” quality that was picked out and given emphasis with amber coloured Ledlighting. On the outskirts of Frankfurt, theRüdesheim was illuminated. Andrea Nusser and Torsten Braun took the line of theillumination from Brömserburg Castle along the cablecar route and across the valley.

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Corporate culture

New iGuzzini illuminazione UK headquarters in Guildford

At the time of this publication going to press,work was being concluded on the constructionof the company’s new UK branch premises inGuildford.The design by Pierluigi Copat, who was alsoresponsible for the iGuzzini building in Paris,features a number of functional and technicalenergy-saving solutions, as a result of whichthe new offices achieve an optimum 71% onthe BREEAM scale, the Building ResearchEstablishment Environmental AssessmentMethod applicable to both new and existingbuildings. The showroom will remain at theBusiness Design Centre in London.

iGuzzini illuminazione UK LtdAstolat Business ParkAstolat WayOff Old Portsmouth RoadGuildfordSurreyGU3 1NEinfo@iguzzini.co.uk

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Corporate culture

iGuzzini in St Petersburg

In May 2008, the new iGuzzini PartnersAssistance became active in St Petersburg. iGuzzini maintains a presence in Russia thatbrought the company a commission to illuminatethe Cathedral of the Resurrection (St Saviour onSpilled Blood), with Piero Castiglioni as lightingdesigner, also the Nevsky Prospect and theAdmiralty building, as well as a number ofindividual projects within the world-famousHermitage museum. Like every other iGuzzinibranch around the world, this new office in St Petersburg seeks to become a meeting placewhere the solutions our company is able to offercan be matched to the needs and requests ofarchitects and designers. The aim is that theshowroom, besides providing a shop-window for iGuzzini products created by leading designersand architects - Renzo Piano, Norman Foster,Ron Arad… - should also be a place of discussion,planning and training. Our engineers offerconsultancy on lighting to architects anddesigners when the lighting scheme is beingdeveloped, as well as assistance during and after installation.

RO - iGuzzini illuminazione St. PetersburgItalianskaya ul. 12Office 3191023 St. Petersburginfo@iguzzini.ru

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Corporate culture

Italian Design GoldThe Great Stables, Reggia of Venaria, Turin23 April - 31 August 2008

For the first time in its history, the Compassod’Oro has left Milan for Turin, World DesignCapital for 2008.The exhibition entitled L’Oro del Design Italiano,staged in the Reggia of Venaria Reale, is in effect a combination of two exhibitions: the one,a historical look at the Compasso d’Oro Award, with a collection of items reflecting Italian designfrom 1954 to 2004; the other designed to markthe 21st edition of the award, showing 150 newobjects of the present that anticipate andinfluence the future. The winner of the Compassod’Oro Award was named at a ceremony held on 26 June. iGuzzini was lighting partner to the ADIFoundation, and supplied Cestello fixtures mounted on floor stands.

Designers Days ’08Apparence Trompeuse, iGuzzini Partners Assistance, Paris, 12 - 16 th June 2008

The 2008 edition of Designer’s Days wasdedicated entirely to the theme of illusion. The “Apparence trompeuse” installation reflectsthe interpretation given to the theme by textiledesigner Luc Druez and set designer MichèleChauvel, with the help of our branch. Hangingfabrics are illuminate by invisible lightingappliances, hidden behind other black fabrics.Variations of colour temperature or colouredlight appear to alter the consistency of thematerials, rendering knowledge illusory andmomentary. “Apparence trompeuse” was litusing Tecnica and Le Perroquet spots, recessedLineup units (RGB version) and Led Linealucefixtures. Set designs are managed using theScene Equalizer control system.

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Corporate culture

iGuzzini Partner For Better LightWorkshop - worldwide

Training plays a fundamental role in the strategiesfor growth pursued by iGuzzini illuminazione.From as early as the mid-1970s, when the focus of iGuzzini’s manufacturing activity shifted fromlamps for the furnishing sector to technical lighting,the company has taken upon itself the task ofschooling its employees, its trading partners and its customers in the culture of lighting engineering.iGuzzini has been a promoter of cultural eventssince 1977, organising meetings and conventionson the culture of light with leading Europeanexperts in the field of lighting engineering: LuigiManzoni, Van Malotki, Louis Clair. There were nocourses at that time designed specifically to teachLighting Design as a profession, and things arestill much the same today. Teaching relies heavilyon practical experience accumulated in the fieldby a few lighting engineers, whereas there are nouniversity courses or specialist training courses for aspiring professional Lighting Designers, eitherin Italy or in any other country.

Recognising the need to create specific trainingopportunities for the sector, accordingly, iGuzziniorganises workshops and seminars held bylighting engineering experts like Piero Castiglioniand Tino Kwan, with architects and designers.There is a specific structure within the companydedicated to Lighting Training. Now, the experience gained over many years willbe made available to Chinese designers andarchitects through courses to be held inShanghai at our Partners Assistance venue,starting from July 2008.In April 2008, our representative in Argentinareceived a request from the Architecture Faculty of Tucumán University to give a lecture on lighting technologies.

Design CitiesMuseum of Contemporary Art, Istanbul23 April 2008 - 10 August 2008

Tepta Aydinlatma, our distributor in Turkey,sponsored the exhibition curated by DejanSudjic that relates the story of contemporarydesign through seven main cities, illustrating the key role played by each one in the processthrough which design has developed: focusing on the way that particular moments in thehistory of these cities have affected the waydesign evolves, the exhibition shows how designhas shaped contemporary culture. The PizzaKobra,the lamp designed most recently by Ron Arad foriGuzzini, is included in the exhibition as anexample of London design.

Corporate culture

iGuzzini reinforces its environmentalcredentials with certification to ISO 14001:2004

With effect from February 2008 iGuzzini became a company certified by CISQ (Italian Quality Systems Certification) as being committed to pollution prevention and environmental protection through theimplementation of a structured approach that takes account of all applicable organisational,technical, economic and legal implications.The corporate policy of iGuzzini in these matters is stated in the following document, which can also be found on the company's website www.iguzzini.com

General Policies and Objectives regarding the Environment

The prevention of pollution and protection of the environment are addressed by the company through a structured approach that takes account of all applicableorganisational, technical, economic and legal implications. The Company isconscious of a responsibility to care for the environment. In addressing thisresponsibility, efforts are made continually to improve environmental protection. By building and maintaining an environment-oriented organisational structure, and deploying the necessary technical expertise, the company looks continually to optimise existing systems and technologies in such a way as will save naturalresources while reducing energy consumption and environmental impact, alwayscompatibly with an economically sustainable application of the best availablemethods and procedures. When deciding on new technologies and processes, care is taken to ensure that the aspect of environmental protection has been given full consideration. Protection of the environment as a corporate objective is possibleonly if all co-workers on every level are aware of the commitment. Which is whythe company seeks to promote environmental awareness among its staff, through a process of information and instruction. All company activities impacting on theenvironment are constantly documented and monitored. The consequences ofpossible environmental accidents represent an important concern for the company.Accordingly, a risk management system is adopted in order to reduce the likelihood of such events occurring, as far as possible. Clients, vendors, responsiblebusinesses and indeed any interested parties are informed regularly by thecompany of all environmental protection measures adopted and implemented. The company pursues the dialogue opened with neighbours and seeks, wherepossible, to entertain and satisfy their desires and requests in plans for the future.iGuzzini’s purchasing policy is aimed at conserving resources, limiting the numberand quantity of hazardous substances procured, and reducing the amount ofpackaging utilised, with preference given to recyclable materials.

Legal liability represents a serious constraint both for the company and for partiesidentifiable under the law or in the light of directives as being responsible for anyinfringement of environmental regulations and for such damage as may be caused.

The company does not restrict itself to mere compliance with rules and regulationshowever, but seeks a continual improvement of its organisational and engineeringcapabilities in order to reduce risk and actively safeguard the environment, withincreasing effectiveness and efficiency. The goals targeted in this respect are identified periodically by top management in annual Quality and Environment plans.

In short, the company seeks - within reasonable cost constraints - to comply with the growing ethical, social and legislative responsibilities imposed by environmentalawareness, anticipating developments where possible, by appropriate planning ofactivities and initiatives in this field.

Prevention of environmental risks and protection of the environment require theinvolvement and participation of everyone. To enable involvement and participation,there must be knowledge of the problems affecting the environment and of thetechnical and organis ational disciplines needed to address them. This in turn requiresconstant raising of awareness and information. Finally, it is the responsibility of topmanagement to review the effectiveness of environmental policy at least once a year.The company also undertakes to ensure that employees, vendors and otherstakeholders are kept regularly informed of its Environmental Policy.

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LumiVilleFrance Eurexpo, Parc des Expositions de Lyon,Lyon, 27 - 29 May 2008

LumiVille is an exhibition dedicated entirely tostreet and outdoor lighting, staged concomitantlywith “InLight Expo”, the international show thatfocuses on interior lighting.During the course of this event, two meetingswere organised at the iGuzzini stand with twolighting designers, namely Piero Castiglioni, andEmmanuel Clair of Light Cibles, a practice run by Clair with his father, Luis Clair.

PizzaKobra Tour hits ZurichiiGuzzini Partners Assistance SchweizZurich, 30 May 2008,

The PizzaKobra Tour visits yet another iGuzzinioutpost in Europe. In May 2008, Ron Aradpresented his “lamp of many faces” to everyoneand anyone in Switzerland with an interest in the world of light and lighting.

Corporate culture

The Architectural Society of ShanghaiChina (ASSC) visits iGuzzini China

A seminar on outdoor lighting held 22 July2008, at our branch in Shanghai, was attendedby thirty members of the Architectural Society of Shanghai China (ASSC), a group includingarchitects, lighting designers and engineers, and many town planning managers. During the course of the visit, Professor Wu Zhiguang,president of the Society, presented MassimilianoGuzzini with a certificate of honorary ASSCmembership.

Photo, top The ASSC group at iGuzzini China

Photo, bottomleft to right: Wu Zhiguang, president of the ASSC, Xiang Zuquan, consultant to the society, Massimiliano Guzzini, General Manager of iGuzzini China

IncontroluceSix-monthly international magazine on the culture of light

year X, 18

EditingiGuzzini Study and Research CentreFr.ne Sambucheto, 44/a62019 Recanati MC+39.071.7588250 tel.+39.071.7588295 faxrc@iguzzini.itiGuzzini illuminazione spa62019 Recanati, ItalyVia Mariano Guzzini, 37+39.071.75881 tel.+39.071.7588295 faxiguzzini@iguzzini.itwww.iguzzini.com071-7588453 video

Graphic DesignStudio Cerri & Associati

PublisheriGuzzini illuminazione spa

Contributors to this issueiGuzzini illuminazione Benelux Bvba/sprliGuzzini illuminazione China Ltd.iGuzzini illuminazione Deutschland GmbHiGuzzini illuminazione España S.A.iGuzzini illuminazione France S.A.iGuzzini illuminazione Schweiz AGiGuzzini illuminazione Norge A.S.iGuzzini illuminazione UKTepta Aydınlatma, Turkey

Cover photoiGuzzini archive

Printed: October 2008Tecnostampa, Recanati

II. 200818 Incontroluce

Errata Corrige Incontroluce 16

Augustinus MuziekcentrumLighting DesignBOTEC nv

The Editorial staff is not responsible for inaccuracies and omissions in the list of credits relating to projects and provided by colleagues.Any additions or amendments will be included in the next issue

Incontroluce XVIII / The Marches: Contemporary architecture in the Marches / Design: Energyin light. The Naistenlahti power station / Projects: Light on the Herculaneum excavations / The Vulcano Buono Centre / Monza’s glittering treasure. The Gaiani Museum / The VenariaReale / NEWurbanFACE / The Thompson Pump House / Code Computer Love headquarters /Stations on the LGV Est Européenne line / Bancaja Foundation / The Hyatt on the Bund hotel /Montesanto rail station / Spotlight on Italy: new illumination for the Italian embassy / Bjørvika.A new space for the city / 1500 new lighting fixtures for Bucherer / “Design Cities” / HarveyNichols / Artempo “Where Time becomes Art” / A lighting scheme for the Cité de l’Architecture /Corporate culture: Splashes of colour on the city / New iGuzzini illuminazione UK headquartersat Guilford / iGuzzini in St Petersburg/ Designers Days ’08/ Italian Design Gold / Design Cities /iGuzzini Partner For Better Light / Workshop - worldwide / iGuzzini reinforces environmentalcredentials. Certification to ISO 14001:2004 / LumiVille / PizzaKobra Tour hits Zurich / The Architectural Society of Shanghai China (ASSC) visits iGuzzini China

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