2019 02 - alllight.hu · 02 2019 02 Culture Nick Turpin Candid Public Photography Demetrio Sonaglioni Digital technologies for illuminating past masterpieces Florence Lam Future Fit

022019

02Culture

Nick TurpinCandid Public Photography

Demetrio Sonaglioni Digital technologies for illuminating past masterpieces

Florence LamFuture Fit Museums Create a Better Future

10InterviewDigital technologies for illuminating past masterpieces Demetrio Sonaglioni

04Photo EssayCandid Public PhotographyNick Turpin

Projects

136Smart lighting expands the experience

Products

162CorporateVia Brera 5The Light GateAlfonso Femia

146ConversationsHomo FaberAlberto Cavalli Alessandro PedronJean Blanchaert

170ResearchFiat Lux: biological light efectsMassimo BracciMaria Fiorella Tartaglione

Knowledge

98VisionFuture Fit Museums Create a Better FutureFlorence Lam

20Cultural heritage projects

106International projects

Adolfo GuzziniEditorial

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Editorial office: Centro Studi e Ricerca iGuzzini; Fr.ne Sambucheto, 44/a: 62019 Recanati MC; tel. +39.071.7588250; fax +39.071.7588295; iGuzzini illuminazione spa; 62019 Recanati, Italy; via Mariano Guzzini, 37; tel. +39.071.75881; fax +39.071.7588295; [email protected]; www.iguzzini.com; 071-7588453 video Graphic project: Daniele Ledda; xycomm (Milan) Layout: xycomm (Milan) Publisher: iGuzzini illuminazione spa Cover photograph: Archivio iGuzzini Printed: February 2019; Tecnostampa - Pigini group Printing division; Loreto - Trevi

LighthinkingInternational magazine of light culture

year XX, 02

The editorial office is not responsible for inaccuracies or missing information in the list of credits for the projects and supplied by collaborators. Any integrations or corrections will be included in the next issue.

156Meetings“Arcipelago Italia” atthe International Architecture ExhibitionMario Cucinella

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Editorial

Dear readers, It is my great pleasure to present the second edition of Lighthinking that focuses on cultural heritage from various perspectives. The fact that this magazine features so many of our latest projects is a great personal satisfaction. iGuzzini has been committed to cultural heritage for over twenty years, because it is an ideal sector for applying the concept of light as an instrument for social innovation that can improve quality of life for both people and the environment. This is evidenced by the company’s historic Beaubourg and Ermitage projects, but the projects you will find in this magazine are extremely recent. 2018 was a year full of satisfaction and excitement. We worked on masterpieces that are universal works of art, like Michelangelo’s Pietà and Tintoretto’s paintings in the Scuola Grande di San Rocco. The year before, we had the honour of working on Giotto’s splendid frescoes in the Scrovegni Chapel. In these projects the company always participates as a technical sponsor, and therefore the equipment and human resources are provided completely free. The results achieved depend on constant work based on research and the sharing of knowledge between the various skilled professions involved in cultural heritage. I am not talking just about historians, art critics or restoration and conservation experts, but about the physicians, engineers and lighting, ventilation and purification plant installers that allow artworks to be displayed to the highest number of people without damaging them.

Our contribution is also involved in this difficult balance between exhibiting works and preserving them, and every project we complete helps to increase our practical and technological expertise in this precious context. This edition includes projects we have completed on Italian monuments, in archaeological areas and in sacred places as well as ones where we have worked together with important institutions, like the Royal Academy. We have even gone as far afield as Nepal, to celebrate with lighting the resurrection of the Boudhnath stupa, a UNESCO World

Heritage Site, from the ruins of the 2015 earthquake. Lighting is our element and we want to achieve social innovation through it. Light, innovation and cultural heritage are the three elements analysed in the article by Florence Lam - the Arup Global Lighting Design Leader, who thanks to her international experience, tells us about how the role of museums

will develop in the context of a continuously evolving social panorama. In the magazine there is a specific article dedicated to the digitalisation of artificial lighting instruments, and a number of the projects featured include application examples of these new digital technologies. The opening of Lighthinking is graced with the ironic and entertaining images of Nick Turpin, who captures people’s relationships to the environment they exist in, with an exceptional level of observation. As people are the real focus of all our work. Lighting innovation for people.

Adolfo Guzzini

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Photo Essay

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themselves and the art, it’s a connection that I make when I ‘curate’ the elements in my frame to imply an interaction or humour that isn’t really there. Sometimes I can’t help smiling or laughing when I’m pushing the button.Most galleries have security guards who sit for hours in one room, the public come and go, drifting in and out but I and the security guard remain, each of us there doing our different jobs all day. Sometimes the security guard makes it into one of my picture. In recent years my work has been exhibited internationally and I go to the opening of the exhibitions but instead of taking photographs, I stand with a glass of wine just close enough to my pictures to hear what people are saying about them, what they like, what they don’t like, how they interpret what I have shown them•

button with which I choose the moment. I believe that in a good photograph both those decisions are made well. This kind of photography is very time consuming, I will spend days walking the same few rooms seeing how people interact with the art works and which pieces of art have the potential for a good picture eventually. Sometimes I will not get a picture all day and then I’ll walk through a doorway and be presented with a perfect ready made scene and the picture virtually takes itself. People bring art alive, when they walk into a room there is suddenly a relationship between them and the sculpture or painting, a dialogue between their form and that of the artwork in the space. I just hover on the periphery with my camera trying not to ‘bruise’ the scene. In many of the pictures the subjects are not actually aware of the visual connection between

I am primarily known as a Street Photographer but that name doesn’t really describe my photography very accurately, I prefer the phrase Candid Public Photography. This is partly because I like to make pictures, not just in the street, but wherever the public come and go freely like parks, shopping developments and of course museums and galleries. I first started taking pictures in art galleries 25 years ago after seeing the work of the Americanphotographer Elliot Erwitt, I loved the simplicity of his humorous juxtapositions and the way that the clean and sparse environment of the gallery allowed for clean and graphic compositions. This work is about looking and observing, the camera and lens are very small and simple, the only tools I have are the rectangle I throw around the scene when I frame it and the shutter

Nick Turpin

Nick Turpin is a London based Street Photographer, in 2000 he was the founder of the in-publicstreet photographers group which played a significant role in the modern resurgence of interest

in Street Photography as an approach.Nick is the Art Director of STREET LONDON and creator of the the #canpubphoto initiative

to identify candid public photography online. Nick is also an experienced advertising, design and editorial photographer with major campaigns under his belt for brands such as IBM,Toyota,Barclays Bank and Jaguar. His recent book On The Night Bus explores the lives of London Bus

commuters travelling home in the winter months. Nick has taught Street Photography for The Tate Gallery, Sony World Photography Organisation and Apple.

Candid Public PhotographyNick Turpin

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Nick Turpin

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Nick Turpin

Detail of The Doge visiting the Church and Scuola di San Rocco, by Antonio Canal, also known as Canaletto, about 1735, London, National Gallery.

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Interview

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Interview Lighthinking meets Demetrio Sonaglioni, Rector of the Scuola Grande di San Rocco. A conversation that focuses on how lighting contributes to the complexity of an art heritage project.

You are the Rector of the Scuola Grande di San Rocco Can you tell us the history and organisation of this confraternity? What responsibilities do you have? And what is your personal view of this role?

DS The Scuola di San Rocco is one of the six confraternities that have boasted the title Scuola Grande or Grand School from as far back as 1500. The institution was founded when Venice was hit by a severe outbreak of the plague in 1478 and a group of Saint Roch’s devotees became popular with local people by flogging themselves during processions and charitably burying victims’ bodies. In fact, the confraternity's first official statute (known as a Mariegola in Venice) dates back to 1478. Since then, the School has continued to offer its charity to confraternity members and the city’s poor and homeless in line with Venice’s welfare policies. The confraternity has

also only closed once and even then, for a very short time, during Napoleon’s occupation of the city in 1806.The Statute currently in force dates back to 1913. This stipulates that the School should be governed by a General Assembly (Convocato) through a Chancellery (Cancelleria) made up of 15 members chosen from the confraternity itself. The Chancellery is headed by the “Guardian Grando” (Grand Guardian or President) who is assisted by a Rector who stands in when necessary. The Chancellery is therefore a sort of board of directors that makes decisions regarding what the institution does, and refers any important or delicate situations to the next General Assembly.In the Chancellery itself, there is no specific division of responsibilities. Instead, certain tasks are assigned to individual members according to their professional skills and experience. Current activities are organised

personally on a day-to-day basis by the Grand Guardian, Rector and a Chancellor who helps the Chancellery and as “head of office” takes responsibility along with the Directors for carrying out the orders given. As far as my own role as Rector is concerned, in addition to standing in for the Grand Guardian, when absent, I also supervise our 13 employees, organise and set the dates for events regarding the direct or indirect use of the School’s halls and the church attached to it. I also take care of communications, advertising and relations with national and international companies and institutions. What I am basically trying to do, is to play an innovative role in order to attract new generations to this ancient institution by opening its doors to modernity and new technologies and communication media, as these are the instruments that most young people use these days.

Digital technologies for illuminating past masterpieces

Demetrio Sonaglioni

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Axonometric section of the building.

This edition of the Lighthinking magazine is dedicated to the culture sector and everything that entails. So how do you think visitors’ approach to and experience of culture has changed?

DS In recent years the public’s approach to art heritage has changed considerably. Interest in culture has also become widespread amongst the social classes that previously weren’t involved in it at all. Websites and, above all, social media now play an enormous role in influencing people’s choices as visitors want more information and have certainly become more demanding.Once they have decided to visit an art venue, they want to enjoy the very best experience of it.They must be given an impeccable welcome by both ticket and security

staff. The artworks must be properly displayed and the information provided (leaflets, audio or video guides etc.) must be as precise, easy-to-understand and comprehensive as possible.We also clearly have to talk about the “visibility” of what we are displaying.Visitors’ eyes play a fundamental role, so everything that is on display should be illuminated in a way that allows it to be enjoyed properly.Since I was made rector, I have laid the greatest possible emphasis on this issue.The Scuola Grande can be divided into three main environments: the entrance hall on the ground floor, which includes an impressive staircase that leads up to the Sala dell’Albergo and the larger Sala Capitolare (Chapter Hall). The staircase and all three halls feature grandiose renaissance architecture

that acts as an ideal backdrop to over 60 paintings by Jacopo Tintoretto and other masters.Up until 2011, the lighting system used was the one designed by Mariano Fortuny in 1937 when electric light was installed for the first time here. Fortuny’s “standard lamp” design was very effective for that period, but since then it has become necessary to adapt and integrate it with the options offered by new technology. We therefore decided to renovate the entire lighting system, starting from the Sala Terrena, on the ground floor, in 2011.In 2014 the important Sala dell’Albergo was renovated by inserting new LED spotlights in Fortuny’s “standard lamps” as they are now of historic interest too. And now it is the turn of the grand Sala Capitolare!

Interview

“The staircase and all three halls feature grandiose renaissance architecture that acts as an ideal backdrop to over 60 paintings by Jacopo Tintoretto and other masters.”

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Demetsrio Sonaglioni

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“Fortuny’s “standard lamp” design was very effective for that period, but since then it has become necessary to adapt and integrate it with the options offered by new technology. ”

Mid section of the Sala Capitolare and details of Fortuny’s lights and standard lamps.

With the sponsorship of iGuzzini and the cooperation of the Heritage Authorities we are currently renewing the entire main lighting system using the experience we gained from the similar but much smaller Sala dell’Albergo.

In your opinion, how does changing a lighting system alter the perception, not just of a work of an art work, but of an entire museum context? What contribution does the customer make to the lighting design?

DS To fully enjoy any work of art in a closed environment, a particular focus is required that can concentrate the viewer’s attention completely.In the Scuola Grande both the paintings and the sculptures are fixed permanently in their environments, which is not

only rare, but unique. Today, all the works are effectively in the same positions the artists created them for (Tintoretto for the paintings, F. Pianta and G. Marchiori for the wood carvings, etc.).This means that designing a new lighting system requires exceptional attention and care from the customer too, in order to highlight the individual works without sidelining the beauty of the renaissance stonework in the various environments.

In the Sala dell’Albergo you also tested the possibilities offered by the Internet of Things. Can you give us a brief summary of the results and tell us how you think that IoT applications can be developed in this sector?

DS Yes, it’s true. In the Sala dell’Albergo, where a new lighting system was installed in 2014, we conducted an interesting experiment using new digital technologies.I’m talking about what is known as a “dynamic lighting set-up” designed to highlight an individual painting or even a mere detail of it, via a remote control that allows various spotlights in the system to be turned on selectively. In this way, for guided tours, special “light scenarios” highlighting only certain things, can be set up that allow guides to attract visitors’ attention to certain details.Mapping the hall using high definition photographs also allowed us to take another step forward and experiment with ways of showing members of guided tours, certain curious,

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Demetrio Sonaglioni

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Adam and Eve

Moses Strikes Water from the Rock

God Appears to Moses

The Pillar of Fire

Jonah leaves the Whale's Belly

Miracle of the Bronze Serpent

The Vision of the Prophet Ezekiel

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The Fall of Manna in the Desert

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Demetrio Sonaglioni

A graduate in Electronic Engineering at the University of Padua, Sonaglioni gained experience at various companies in the sector of applied scientific research, before joining the RAI

in search of a stimulating and wide-ranging job. At RAI Radio Television he began coordinating the technical part (filming and transmission)

by collaborating with the journalistic and programming sector. Then, as a top executive in Rome, he worked in the sector of radio broadcasting by coordinating the management

and operation of all the transmission systems in Italy. After his experience at the RAI, he focused on teaching university students studying

complicated physics, mathematics and telecommunication engineering exams. For several years now, with great enthusiasm and passion, he has acted as Rector of the

Scuola Grande di San Rocco that allows him to have relations with Art and the World.

Interview

but minute and less obvious details of the paintings.In this experiment, each participant is given a tablet linked to a master tablet carried by the guide. The master tablet allows the guide to both control light scenarios and display images on the tablets given to the visitors. In this way, the guide’s commentary can be followed more closely by each member of the group. This project which received an honorary mention at this year’s ADI Compasso d’Oro awards, integrates lighting, domotics and multimedia communication in a single platform to create a latest

generation museum experience.The system, designed and created by a group of young professionals headed by the architect Alberto Pasetti, allows different lighting combinations to be selected in order to explore even the tiniest details of a particular artwork. More in general, in terms of improving the visitor’s experience, how do you think the management of art heritage will develop in the future and what role do you think light will play in it?

DS I think I have already emphasized in previous answers, what I think is required to optimise lighting systems in museum environments and how

necessary it is, today, to offer young people the option of an artistic vision, whether virtual or in some form of augmented reality, by exploiting the vast potential of modern technological systems.When light is carefully designed and calibrated, it always succeeds in giving a magical touch even to the poorest work of art. So, if the works in question are historical masterpieces, as is the case at the Scuola Grande di San Rocco, I believe that it is ourduty to seek to develop any option that will lead to the visitor saying: “I have seen something unique, my eyes are sated with beauty!”•

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Demetrio Sonaglioni

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Projects

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106The Palais de Justice Paris \ France

112The Block – D3 Creek ParkDubai \ UAE

20Lighting revives Tintoretto’s artVenice \ Italy

28Restoring the perception of the frescoesin the Scrovegni Chapel Padua \ Italy

36The Ancient Theatre of TaorminaTaormina \ Italy

40Alternative light scenarios for Michelangelo’s PietàVatican City

48Moonlight for the Colle dell'InfinitoRecanati \ Italy

54Rome Metro C Line – San Giovanni Station Rome \ Italy

60The Museum of the Dancing SatyrMazara del Vallo \ Italy

68Lighting for the Arch of Janus inspired by the Roman gods Rome \ Italy

7216· International Architecture Exhibition Venice \ Italy

78The new Victoria & Albert Museum Dundee \ Scotland, United Kingdom

82Royal Academy of Arts London, United Kingdom

116Soft lighting for Changi Airport Singapore \ Singapore

120Lighting the stunning Blue Lagoon Grindavík \ Iceland

128Station F, the biggest startup campus in the worldParis \ France

86Boudhnath StupaKathmandu \ Nepal

90Yakushiji Temple Jikido HallNara \ Japan

92The Louvre Museum in TehranTehran \ Iran

95The Zeitz Museum of Contemporary Art Africa - Zeitz MOCAACape Town \ South Africa

98Future Fit Museums Create a Better FutureFlorence Lam

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Alberto Pasetti Bombardella illustrates the project designed for the Sala Capitolare at the Scuola Grande di San Rocco.

The main objectives involved in the project for enhancing the Sala Capitolare through a new artificial lighting system were the conservation of the artworks and the creation of an innovative visiting experience offering new benefits including an overall view of the room. At the same time, the perception of the most important details of the individual works would be restored thanks to a livelier quality of light with a richer spectral composition. To achieve this, the project was divided into two macro spheres of enhancement: Tintoretto’s great paintings plus the wooden and stone artworks, on one hand, and the hall’s architecture and decorations on the other. The new system therefore has three main installation areas. Two of these

already existed - the interiors of Mariano Fortuny’s historic floor lamps and the floor next to the altar railing - plus a new linear and longitudinal position above the ridged wooden panels for lighting the large, vertical paintings, the stone mullioned windows and the wooden allegories. All the new technical elements of the lighting system were designed to minimise their spatial invasiveness and ensure they blended into the hall’s architecture and decorative elements. The lighting solutions combine the photometric characteristics of light beams suited to the size of these great paintings with high quality, spectral characteristics that bring out all the chromatic and figurative beauty of Tintoretto’s highlights and brushstrokes. This goal has been achieved with

flows that uplight the works to avoid uncomfortable reflection effects and consequent matt haloes. The decision to install miniaturised electrified tracks on both the longitudinal sides of the hall has allowed new luminaires to be installed and concealed at an intermediate height just under the large Tintoretto canvases depicting scenes from the life of Christ. These extruded aluminium luminaires have been engineered by iGuzzini to satisfy strict, precise project requirements by using elliptical optics and relative accessories to distribute the light flow over the entire pictorial surface with a semi-grazing effect. On the other hand, with regard to the 13 paintings with biblical themes on the ceiling, the lighting has been reinforced on the three

Lighting revives Tintoretto’s art Venice \ Italy

2018 – Venice \ Italy

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Projects

Scuola Grande di San Rocco

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main ones in order to guarantee an increase in visual perception thanks to projectors positioned in the historic standard lamps. In fact, rectangular and round View projectors, fitted with Optilinear optics, have been inserted to provide indirect ceiling lighting with the former and precise accent effects thanks to 16°, 28° and 46° optics with the latter. Francesco Pianta’s 23 refined wooden allegorical sculptures also required precise and delicately balanced light flows with criss-crossed focuses that enhance the expressive, three-dimensional nature of the figures represented. To achieve this effect,

the previous incandescent lighting system was replaced by accent lighting that uses very small Palco projectors mounted on a Low Voltage track. The track is supported by brackets that detach it by about 45 cm from the walls and criss-crossed beams are used to emphasise the plasticity of the sculpted wood.The cabinets on either side of the altar are lit by a floor-mounted double light flow system. On one hand, Palco projectors with 42° optics beam a diffuse veil of light over the entire vertical surface, while, on the other, an accent effect is created on certain specific areas

by Palco Framer shaper spotlights, also mounted on the Low Voltage track, to enhance Giovanni Marchiori’s bas reliefs on the doors. Lastly, the lighting of the mullioned windows, the wooden, pedestal-mounted statues and the architectural details on the altar is the result of a careful analysis of the form and contoured relief of the elements and the width and aiming of the light beam. The historic lanterns that hang around the perimeter of the room are another characteristic feature of the architectural context . In this case, customised circular lamps featuring an opal screen and RGBW technology were inserted in them

The previous lighting system.

“All the new technical elements of the lighting system have been designed to minimise their spatial invasiveness and ensure they blend into the hall’s architecture and decorative elements.”

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The new lighting system.

to replace the previous lamps that had only limited energy efficiency. The white light emitted has a warm, 2500 K colour temperature that evokes the bygone incandescence of candles. The coloured light effect of these luminaires is used only during special events or ceremonies. To light the artworks in the rest of the room, two main colour temperatures are used with a colour rendering index of over Ra 90. In fact, to enhance Tintoretto’s paintings and the golden ceiling, the colour temperature of 3000 K, officially recommended by the Ministry of Cultural Heritage and Activities, has been used.

Whereas on the dark wood details, where there is no gold leaf or light colours, a temperature of 2700 K was chosen to emphasise the plasticity of the sculpted wood. The light scenarios for the hall are managed and controlled by a DALI protocol digital system that allows a flexible level of light intensity to be created by both the individual light points and the luminaires that are grouped together for homogeneous areas. This means that the artworks and decorations can now be viewed and interpreted in new ways thanks to differentiated power ups•

Year 2018 \ Customer Confraternita della Scuola Grande di San Rocco \ Lighting design Studio Pasetti lighting - Arch. Alberto Pasetti Bombardella \ Photos Archivio iGuzzini

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Alberto Pasetti Bombardella

Having graduated with distinction in Architecture in 1990, at the IUAV in Venice, Pasetti spent a number of years gaining experience in museography and exhibition lighting in the United States at the Paul Getty Conservation Institute. In this period, he published numerous specialised articles

on the issue of exhibition lighting as well as working as lecturer in the Faculty of Arts and Design Lighting Course at the IUAV in Venice, between 2001 and 2012. Since 1995, at his own “STUDIO PASETTI lighting”

firm, he has worked as a professional lighting designer for Heritage Authorities, Museums and Foundations, combining research and experimentation, focused on new forms of visual communication

via lighting design. The enhancement of cultural heritage is one of his most important tasks and has allowed him to develop an in-depth knowledge of how light quality can be used to optimise the emotional

and functional value of the visual experience.


Accent lighting for Francesco Pianta’s allegories and a detail.

Projects

“Precise and delicately balanced light flows with criss-crossed focuses enhance Francesco Pianta’s exquisite wooden allegories.”

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Restoring the perception of the frescoes

in the Scrovegni Chapel Padua \ Italy

The Scrovegni Chapel in Padua is an absolute masterpiece of medieval art. Currently being considered as an UNESCO World Heritage site, the chapel hosts Giotto’s most complete series of frescoes. Painted at the peak of his artistic career, these frescoes are, without doubt, his greatest works.iGuzzini committed to adopting this masterpiece in an agreement signed with the Interdisciplinary Scientific Commission for the Conservation and Management of the Scrovegni Chapel. Since September 2017 the rich colours, beauty and remarkable details of Giotto’s masterpiece have been enhanced by a new lighting system, featuring IoT technology that allows artificial light to be controlled and integrated with natural light to ensure the frescoes can be viewed properly throughout the day. The chapel is dominated by a star-spangled vault, divided into perfectly equal halves, both with a painting of the Queen and Virgin Mother Mary and a Blessing Christ Child in the centre.

The dominant position of the Virgin immediately indicates Her leading role in the chapel’s fresco cycle, as She is the intermediary between Her Son and mankind and, therefore, the path to Salvation. The central role of the Virgin Mary is further reinforced by the depiction of the Annunciation on the triumphal arch. Here, the episode of the “Mission”, that is to say, the moment in which God entrusts the Archangel Gabriel with the task of telling the Virgin Mary the news (which is painted on the lunette of the triumphal arch), is unusually large and very rare.The depiction of the Last Judgement on the front wall instantly conveys the relationship between the beginning and the end of the main event in the experience of every good Christian, namely salvation. The agreement between iGuzzini and the Municipality of Padua regarding the technological adaptation of the lighting system at the Scrovegni Chapel in Padua was signed on 5 July 2016. The previous system,

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installed in 2002, consisted of bespoke fluorescent and metal halide luminaires, in line with the most advanced technology available at the time. The new project was developed by combining Tunable White LED and IoT technologies in a solution that integrates artificial light with the natural light that enters the chapel through the large windows in the south wall and the three-mullioned window in the façade. The requests and goals set by the Municipality of Padua were: to improve the microclimate conditions so as to facilitate the conservation of the frescoes; improve colour perception; to reduce the glare created by the windows on the south wall; and to lower energy consumption. An improvement in energy consumption was registered immediately, as the new system achieves energy savings of approximately 60% compared to the energy consumed by the previous system. One of the project’s constraints was the need to maintain the position of the floor-based lighting

In the Scrovegni Chapel Tunable White LEDs have been combined with IoT to create a solution that integrates artificial light with natural light.

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system by replacing the old luminaires while keeping the metal profiles that covered the luminaires in the old system, even if the compact size of the 15-cell Laser Blade luminaires used in the new system would have reduced its visual impact considerably. Palco projectors were used to illuminate certain specific areas, like the triumphal arch, the fresco of the Last Judgement and the apse.Using Tunable White LEDs, controlled by a system that constantly regulates the mixture of the continuous spectra of the individual LEDs, allows an optimal emission spectrum to be defined on site both by measuring the variation in colour purity and by directly comparing the visual experience of the artwork. The artificial light extends the chromatic perception of red tones from 690nm (the

limit in the previous system) to over 740 nm, thereby improving sensitivity in this colour range to a correct level that can be perceived by the human eye. The discharge luminaires used in the 2002 system included a UV component that has been significantly reduced in the new system, so optimal conservation conditions are guaranteed for both the pigments in the frescoes and the products used to restore them. The Scrovegni Chapel is open to the public 10 hours a day for 363 days a year, which amounts to an estimated 3500 hours of illumination required to light the frescoes so they can be seen by visitors. The average illumination value on both walls is 87 lux, equivalent to a value of 304,500 lux/hours/year produced by the artificial light alone. This is about 50% of the value

permitted by current standards. The really innovative aspect of this project is its use of IoT protocols and the creation of a communication network including sensors. This network of inter-connected elements means a number of options can be used to improve the visitor’s vision of the frescoes. These include differentiating the lighting of walls with windows from the walls that receive direct sunlight in order to compensate for and reduce the glare produced by the windows. At the same time, the risk of over-lighting due to the natural light on the opposite wall is reduced and the colour temperature of the artificial light sources is matched to that of the natural light. The sensing unit developed by WiSense for the Scrovegni Chapel is incorporated into each node

2017 – Padua \ ItalyProjects

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Scrovegni Chapel

2017 – Padua \ Italy

The 2002 lighting system.

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Projects

Scrovegni Chapel

The new lighting system.

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of the IoT Wireless Sensor Network (WSN) which is based on an IPv6 (Internet Protocol version 6) structure of sensor nodes designed to measure the illuminance and colour temperature. The core of this solution is a WSNode, which is a technological hub that allows any object to connect to the Internet by associating a globally unique IP address to it. Each sensor node is the constitutive unit of a mesh network that self-configures and auto-installs without the intervention of specialised staff and can host a range of sensing and function activation units In the Chapel, the sensors detect both the intensity and the spectral characteristics of the light based on the data acquired. Then the lighting system automatically varies the quantity and quality of artificial light to be integrated

with the natural light in order to achieve the pre-defined values. The contribution of artificial light is therefore adjusted in real time according to the sensor measurements and related information sent by the control system control unit. The lighting system is connected to the Wireless Sensor Network Border Router (collector node) and transmits data to the control unit, which is programmed to adjust the luminous intensity and correlated colour temperature of each individual luminaire.A detailed report of the monitoring system entitled “The Scrovegni Chapel Moves into the Future: an Innovative Internet of Things Solution Brings New Light to Giotto’s Masterpiece” was published by the IEEE Sensors Journal in September 2018•

Year 2017 \ Customer Municipality of Padua \ Lighting design Central Institute for Conservation and Restoration (ISCR) - Fabio Aramini, Head of the Photometry Division, with the technical assistance of iGuzzini, Antonio Stevan \ Scientific committee Interdisciplinary Scientific Commission for the Conservation and Management of the Scrovegni Chapel \ Photography iGuzzini Archive

The really innovative aspect of this project is its use of a network of inter-connected elements.

2017 – Padua \ Italy

Colour purity variation between the previous and LED lighting system, Christ’s baptism.

Colour purity variation between the previous and LED lighting system, Crucifixion.

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Scrovegni Chapel

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The Ancient Theatre of TaorminaTaormina \ Italy

Here, the lighting underlines certain architectural and archaeological features, like the ruins surrounding the summa cavea (upper auditorium), so they appear as site highlights, combining historical education and emotion.

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The lighting design for the ancient theatre of Taormina was commissioned by the Department of Cultural Heritage and Sicilian Identity in order to extend visiting hours at the site into the evening Operating in collaboration with the Energy Service Company Metaenergia (ESCo), with whom an agreement was signed for the provision of electrical energy and services from 2013 to 2017, this Department opted to use iGuzzini technology for the new project. The project had two general aims: on one hand, to use light to enhance the site's splendid classical architecture, and, on the other, to allows visitors to access the theatre in perfect safety

even at night. An increased number of visits and lower management costs were also considered in the project plan, as resources to help define the simple and programmed maintenance of the archaeological site and as ways of bringing other benefits to the area. Replacing all the existing lighting units with new DALI LED elements resulted in an 80% reduction in energy consumption. The project designed by Engineer Roberto Sannasardo from the Department of Cultural Heritage and Sicilian Identity involved updating the existing lighting system (installed in 1999 by the French studio Roland Jeol) with new technological solutions that

were not available at the time. A specific request was made to use compact and hidden luminaires, wherever possible, and to reutilise the existing installation system to avoid attaching more brackets to the ancient walls. The overall aim to create a realistic effect that would reproduce the atmosphere of dusk inevitably led to a choice of warm colour temperatures (2900-3000 K) as when they are combined with optimal colour rendering (a CRI of 90) the perfect saturation of the site’s various materials with the required range of colours is guaranteed. To ensure that the theatre and archaeological area can be visited in perfect safety at night, the exit

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Projects 2017 – Taormina \ Italy

The overall aim to create a realistic effect that would reproduce the atmosphere of dusk inevitably led to a choice of warm colour temperatures.

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Year 2017 \ Customer Siciliana Metaenergia ESCo.\ Lighting design Roberto Sannasardo \ Photos Mario Tordini

routes are lit with linear lighting created by Underscore InOut luminaires recessed in the handrails and by homogeneous, diffuse lighting produced by Woody series projectors that also mark out the theatre entrance. The Woody series is used widely at the site because it offers formal continuity and a wide variety of installation systems and uses, which range from highlighting details to landscaping. The site's viewing platform also boasts a rhythmic procession of pole-mounted iTeka luminaires. Woody downlights illuminate both the vaulted portico and the open portico, emphasizing the structure of the steps. From there,

Underscore InOut Side Bend luminaires installed in the handrail guide visitors towards the orchestra and light becomes a pure, geometrical sign. Underscore InOut luminaires, chosen for their reliability, guarantee constant, long-lasting, high performance even in extreme weather conditions and are therefore perfectly suited to the site's climate. Continuing up to the orchestra, the cavea (auditorium) and paraskenia (side wings) are lit with wide beam Maxiwoody luminaires, while Woody luminaires guide visitors towards the skene (backstage) where the proskenion (area in front of the skene)

is highlighted by the Miniwoody spot optics and the skene is illuminated evenly by Maxiwoody projectors with Wide Flood optics•

The Ancient Theatre of Taormina

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Michelangelo’s Pietà is one of the most famous works of art in the world, achieving the same level of popularity that perhaps only The Last Supper and the Mona Lisa enjoy. The Fabric of Saint Peter estimates that the sculpture is visited by between 40,000 and 50,000 people every day. Following the restoration of perception projects completed for The Last Supper and the Scrovegni Chapel, iGuzzini has met the wishes of the Fabric of Saint Peter, represented by Cardinal Angelo Comastri, who expressed a desire for a new, more refined and immersive lighting system to allow its thousands of visitors to fully appreciate the work, and for exceptional scenarios to be created for special occasions and visitors. The work, made of Carrara marble, has remarkable dimensions: a height of 174 cm, a width of 195 cm and a depth of 69 cm. Because of its limited depth, some art historians believe that it was originally designed to be located inside a niche. Completed in1499, the sculpture was one of Michelangelo’s first commissions at the court of Pope Alexander VI.And even if the artist was extremely young - just 24 years old - and this was one of his very first sculptures, he still made choices that ran against

the tide, the obvious one being his decision to portray the Virgin Mary as a young woman. Christ’s mother holds the body of her dead son in her arms. She looks much younger than Christ because the sculptor took his inspiration from Dante Alighieri and St. Bernard’s prayer in the last canto of the Paradiso: “Vergine Madre figlia del tuo figlio, termine ultimo di eterno consiglio, tu sei colei che l'umana natura, nobilitasti si, che il suo fattore non disdegnò di farsi sua fattura.” (O Virgin Mother, daughter of your Son, fixed aim and goal of the eternal plan, You are the one who lifted human nature to such nobility that its own Maker did not disdain to be made of its making.) So Christ’s mother is his mother, but also the daughter of God, the Creator. In Christian tradition, the theme of Compassion was usually represented by an image of the Virgin Mary sitting upright with the body of Christ portrayed as rigid and unmoving. In Michelangelo’s Pietà, Mary wears a dress with many folds and her head is covered by a draped veil. She holds Christ’s head with her right hand, her fingers squeezing the ribs under his right shoulder and protects his body with a flap of her cloak. Conversely, her left hand is turned palm upwards at the height of Christ’s knee, a gesture that

has been interpreted in various ways. Christ’s head has fallen backwards and his right arm has dropped by his side. Michelangelo’s portrayal of the two protagonists and of Mary’s feelings is profoundly humanised. According to the words of Cardinal Comastri, Michelangelo’s portrayal of the Virgin’s face succeeds in merging two feelings that seem irreconcilable: pain and serenity. This absolute masterpiece is also the only work signed by Michelangelo. The band that runs around the Virgin Mary’s bust, bears the following engraving: Michel.A [N] Gelvs Bonarotvs Florent [Invs] Faciebat (Made by the Florentine Michelangelo Buonarroti), which uses the imperfect in accordance with Pliny the Elder who wrote that a work is never perfect but always perfectible. The sculpture is currently housed in the first chapel of the right hand side nave of the immense St. Peter’s Basilica, but it has not always been located there. It was really designed for the Chapel of Saint Petronilla, the French church next to the transept of the old St. Peter’s Basilica. Then, according to Vasari, it was moved to the Church of Santa Maria della Febbre, again in St. Peter’s, and was only moved to its current position in the 18th century.

Alternative light scenarios for Michelangelo’s Pietà

Vatican City

A new, more refined and immersive lighting system for one of the most famous artworks in the world.

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The design studio’s main aim was to create a consistent overall vision that would allow visitors to see and enjoy the expressive intensity of every detail in this masterpiece.

2018 – Vatican City

The sculpture is protected by a thick, shatterproof glass screen following the lengthy restoration required as a result of an attack by a mentally disturbed individual in 1972.As such, the large number of visitors can only view the sculpture from a fixed distance and well-defined positions. Since October 2018 the Pietà has had a new lighting design created by the Rossi Bianchi Lighting Design studio. This was revised and implemented through constant and constructive collaboration between all the parties and professionals involved, who were extremely conscious of the enormous responsibility undertaken by working on such an invaluable work of art.The design studio’s main aim was to create a consistent overall vision that would allow visitors to see and enjoy the expressive intensity of every detail in this masterpiece. This required a measured and composed lighting design that would illuminate the contours of the sculpture and the glow of the marble.

The project, which involved completely removing the previous lighting installation, features four different lighting scenarios that can accommodate different activities and visual requirements.The individual scenarios were defined according to the general criteria and requirements that determined the choice and layout of the new luminaires. The installation consists of latest generation LED sources with a warm white tone (3000 K colour temperature), high colour rendering, a long life span and low energy consumption. They are extremely compact and are either totally concealed or have a minimal visual impact. High efficiency projectors with focused emissions and carefully controlled opening beams illuminate both the marble sculpture and the chapel. Track lighting was also installed vertically on either side of the pilasters in front of the sculpture to allow the projectors to be positioned at ideal heights for aiming the beams and controlling the luminance.

No extra masonry work or feeding points were required and maximum visual comfort was achieved when viewing the sculpture through the safety glass, either from inside the chapel or from a distance. The light intensity of the individual luminaires is also adjustable which is an indispensable requirement when it comes to defining and choosing between the different scenarios. The lighting system was designed not only for the sculpture, but also for the entire context of the Crucifix Chapel. The luminaires used are Palco projectors with 12° and 26° optics and the Palco Framer profiler all installed on low voltage tracks. Underscore linear lighting illuminates the vaults. The luminaires, all DALI-controlled, are divided into groups, each with its own power unit, so that the levels of light intensity emitted can be calibrated in order to create different lighting scenarios in line with a range of visual requirements and tasks. Everything is managed by a single control system.

Designers Nicoletta Rossi and Guido Bianchi illustrate the project to Pietro Zander, Director of the Vatican Necropolis and Classical Antiquities Department.

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The project defines a series of alternative lighting situations named after the four cardinal points: ‘North scenario - sculpture focus’; ‘East scenario - light blade‘; ‘South scenario - full light’ and ‘West scenario - daily’, in order to clarify their different display effects.

The North scenario - sculpture focus uses track-mounted Palco projectors installed either side of the pilasters. There is no overriding directionality and the balance of the chiaroscuro effects enhances the sculpture’s plasticity. Visitors can appreciate every individual detail while also enjoying a sense of overall harmony. The central vault, featuring frescoes by Giovanni Lanfranco, is also evenly lit with values that gradually decrease towards the capitals. The arches and lateral barrel vaults are illuminated homogeneously with less intense light. The Crucifix is illuminated diagonally by a projector mounted on the cornice, at a considerable distance.

The East scenario - light blade emits a narrow light beam that illuminates

the sculpture with a blade of light effect coming from a projector mounted on the lateral capital on the east side of the sculpture. The incidence angle is clear and there is a sharp contrast with the surrounding shadow. The recumbent face of the Virgin Mary is also illuminated by a soft upward streak of light. The subdued lighting of the vaults and backdrop creates a frame around the sculpture and vibrant reflections enhance the shine of the marble to create a powerful visual effect with a strong emotional impact.

The South scenario - full light is designed for special events and activities which require higher lighting values that allow clear visibility of the sculpture from the central nave of the Basilica. Compared to previous scenarios, the lighting of the central vault, arches and lateral vaults is more sustained. Frontal projectors also enhance the light grazing effect. The altar is bathed in soft light. The Crucifix is highlighted from above by a Palco projector with 26° optics.

The West scenario - daily uses track-mounted projectors with 12° optics mounted on either side of the pilasters. Their beams crisscross at symmetrical angles to highlight the sculpture’s plasticity. The background, illuminated from the bottom up, balances the contrasts. The central vault is evenly illuminated with values that gradually decrease towards the capitals. The side arches and barrel vaults are homogeneously illuminated with less intense light. The Crucifix is highlighted by a projector located at a distance to reduce shadow effects. The chiaroscuro accents create a consistent and unitary overall perception of the sculpture with values that allow it to be viewed close up, from inside the chapel, as well as from a greater distance through the safety glass•

The new lighting design helps the viewer to better appreciate the masterpiece, while also highlighting its theological elements and devotional character so it can be fully understood.

Projects 2018 – Vatican City

Year 2018 \ Customer Fabric of Saint Peter \ Lighting design Rossi Bianchi Lighting Design \ Photos iGuzzini Archive

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Dante Ferretti has created an emotional experience in which artificial light is used to evoke a nocturnal landscape in line with the site’s Leopardian spirit.

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“This lonely hill was always dear to me, and this hedgerow, which cuts off the view of so much of the far horizon” is the first verse of Giacomo Leopardi’s most famous poem “The Infinite”. The young poet wrote it at the age of 21, when he left his home, crossed the Clarisse monastery vegetable garden and sat in front of a hedge that he envisaged as a limit beyond which his imagination could stretch and create “endless spaces, superhuman silences and depthless calm”. After a chequered history, the monastery was sold to the Municipality of Recanati, who set up a Worldwide Centre of Poetry and Culture there, in 1998, to celebrate the bicentennial of Leopardi’s death. The Centre is still located in the former monastery. The Hill, also known as

Mount Tabor, has always been a focus of local identity for the citizens of Recanati and in 2018, with the aim of revitalising the park on the hill, the municipal authorities promoted a project financed with MiBACT funds that included new plants and trees and a new lighting system. The botanical reorganisation and regeneration initiative was entrusted to C.Re.Ha. nature, a spin-off from the Marches Polytechnic University, led by Prof. Eduardo Biondi (Department of Environmental Science and Vegetable Production) and supervised by the FAI-appointed landscape architect Paolo Pejrone. The project involved planting new trees, flowers and bushes with a particular focus on local species and regenerating the plants already present.

The lighting system, on the other hand, was donated by iGuzzini illuminazione and designed by Dante Ferretti. For this project, the famous set designer and three-time Oscar winner used light to create a concept based on an emotional experience that enhances the natural beauty of the location and the evocative heritage of Leopardi’s poetry. The artificial light is used to create a nocturnal landscape in line with the site’s Leopardian spirit. This light does not destroy the mystery of darkness and can be softened, when necessary, to emphasize the emotion of moonlight. The new lighting design for the Colle dell'Infinito Park, which was created in 1937 by the architect Dossart to mark the centenary of the poet’s death,

Moonlight for the Colle dell'Infinito

Recanati \ Italy

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enhances the location by limiting the visual impact of the luminaires and hiding them - wherever possible - amongst the greenery. The system also features variable lighting regimes and a single warm colour temperature of 3000 K. The only exception to this is the avenue that accesses the park, as this is the area in which the moonlight effect is staged. This lighting scenario is activated at different time spans according to the season and for special events in the town. To create the moonlight effect, cold lighting tones were chosen Woody luminaires using WGB ( White/Green/Blue) technology, combining a temperature of 4000 K with a small percentage of blue and green, project

their light on the foliage of the trees creating a shadow effect on the avenue as the lighting levels of the functional luminaires are lowered. This extraordinary light effect is combined with music and a recording of “The Infinite” read by Vittorio Gassman.The lighting scenario is accompanied by other systems designed to highlight a range of significant spots in the Park, while visitors’ safety is guaranteed by pole-mounted Fiamma luminaires that mark out the park entrances and by pole-mounted Twilight luminaires that guarantee even lighting on the park’s horizontal surfaces. 610 and 250 mm iWay bollards illuminate the path that skirts the western walls of Saint

Stephen’s Convent and the secondary panoramic paths. The silhouette of the convent wall and cenotaph is outlined with a combination of high level visual comfort, sharply defined light beams and the luminous power of Opti Beam technology optics and Palco InOut projector systems. Light Up Earth luminaires fitted with adjustable Medium optics illuminate the foliage of the evergreens from below, whereas luminaires with Wall Washer optics evenly illuminate the exedra in Via Monte Tabor. Woody and MaxiWoody projectors are used to light the Colle dell'Infinito and the well-known inscription dedicated to Leopardi’s “solitary hill”. These luminaires are aimed in a way that casts shadows

Projects 2018 – Recanati \ Italy

“What I wanted to emphasize is the romantic contrast between moonlight and artificial light, both of which simultaneously illuminate the town and its alleyways, squares, monuments and streets, all the way up to the Colle dell'Infinito. We have tried to create a poetic light that I hope can enhance the beauty of these Leopardian settings.” Dante Ferretti

One of the meetings between Dante Ferretti, the Recanati town council and iGuzzini to discuss the project.

Moonlight for Colle dell’Infinito

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onto the branches of the trees, creating a sense of vagueness that Leopardi associated with the idea of pleasure.The use of DALI protocol allows the light intensity emitted by each individual luminaire to be dimmed immediately. The system has also been designed to implement IoL - Intelligence of Light - technologies, so every light point becomes a “smart node” in a system that monitors the surrounding environment and sends signals that can both adjust the light when necessary and communicate information to enhance

Year 2018 \ Customer Municipality of Recanati \ Lighting concept Dante Ferretti \ System DEA S.p.A (Distribuzione Elettrica Adriatica S.p.A.) \ Photos Giuseppe Saluzzi, Studio Buschi

Projects 2018 – Recanati \ Italy

the experience of this space These technologies can be integrated with safety accessory functions, Wi-Fi connectivity and power points for mobile devices and can be installed in the lighting devices to offer services and information to visitors, citizens and tourists. Specific environment and vegetation monitoring systems can also be installed to sustain the conservation and development of the animal and vegetable species present in the park.To respect and enhance the vision of the starlit sky that Leopardi often evokes in his works, all the luminaires installed

use optics and accessories that control parasitic light that is responsible for light pollution, a phenomenon iGuzzini has been fighting since the 1990s•

On the right, the avenue that accesses the park with the lighting effect reminiscent of the moonlight that filters through the branches of the trees.

Every light point becomes a “smart node” in a system that monitors the surrounding environment.

Moonlight for Colle dell’Infinito

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The main hall with the large ring of light and the first showcases.

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Metro C Line – San Giovanni Station

Rome \ Italy

This station demonstrates how past and present can live together and help create a sense of continuity and belonging to the history of a community.

Italy’s vast artistic and historic heritage is unique and a great financial resource in terms of tourism, for both foreign and Italian travellers. It is everywhere and often excavation and restoration works bring to light objects from the past that the various Heritage Authorities are called on to evaluate. Often the need to protect and conserve these finds clashes with the requirements of other projects, and have, in some cases, caused delays, interruptions and even complete stoppages.There are some examples, however, in which the remains of the past have been harmoniously integrated into contemporary projects, like the escalators in the Rocca Paolina, which carry visitors into the heart of Perugia through a sixteenth century castle. Another example is the Naples subway, whose Municipio station is designed by the two Pritzker Prize winners, Álvaro Siza and Eduardo Souto de Moura, while the Duomo station is designed by Massimiliano Fuksas,

even if the architect has recently called into question his own participation.In these two stations in Naples, in accordance with the Heritage Authorities, whatever was discovered during the excavation of the site was incorporated in the structure’s design. These exhibits are conserved in the best possible way and displayed as treasures that subway users can enjoy every day.Following its success, this idea was then used in Rome at the San Giovanni station, a major hub in the newly constructed C Line and the first interchange node with the existing Line A. At San Giovanni all the elements required in a building production line worked seamlessly together, including the customer, the constructor, the designer, the suppliers, and the Heritage Authority. This integrated approach to managing a project was so successful that it was even awarded an Inarch prize in the RomArchitettura 6 category that promotes contemporary architecture in the Lazio region.

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San Giovanni is Rome’s first “museum station”, where everything that was found during excavation is exhibited in a stratigraphic format. As you descend physically on one of the escalators, you also travel back in time, passing from one floor to the next with a rhythm dictated by both human inactivity and the timeline of history that transports you from the present day back to prehistoric times.This experience begins with today’s world in the large hall and then delves into the past in almost 30 metres of stratigraphy that trace the history of the site all the way back to when it was a prehistoric swamp. A team of architects from La Sapienza University, headed by Andrea Grimaldi and Filippo Lambertucci, has covered all the walls

in the station with glass panels on which various stories are narrated. These feature a series of different colour codes that compare the history of the site with the changing fortunes of “The Eternal City”. Great care has also been taken over the lighting that has to meet safety criteria and standard subway specifications as well as providing the quality an exhibition space requires. At ground level, in the large hall, a number of modern ceramics dating from the sixteenth century onwards are displayed. These artefacts once belonged to the San Giovanni Hospital but were subsequently thrown away in the hospital dump. In this area a spectacular ring of light has been created with Underscore InOut luminaires fitted with a special low smoke emission screen

to meet the technical requirements for this kind of environment The spectacular design of this light circle helps to give this space, which both welcomes and orientates travellers, a distinctive character by creating general lighting integrated with Reflex recessed luminaires. As you move down through the structure, the first level you come to is the ‘correspondence floor’ where in the first century AD there was a farm. The exhibits here include a series of drainage amphorae and piping as well as a large basin that was originally used to store and redistribute water. These large exhibits are displayed in spacious showcases lit by high colour rendering Underscore light lines installed along black parallelepiped bases on which the amphorae are positioned.

2017 – Rome \ Italy

Great care has been taken over the lighting that has to meet safety criteria and standard subway specifications as well as providing the quality an exhibition space requires.

Particular care was taken over the sign graphics.

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San Giovanni Station

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Year 2017 \ Customer Metro C scpa \ Scientific Project The Special Department for the Colosseum and Central Archaeological Area in Rome - Rossella Rea with Irene Baroni, Anna De Santis, Francesca Montella, Simona Morretta. Archaeology Cooperative - Anna Giulia Fabiani \ Museum exhibition design and assistance with interior desigin Metro C SCpA: coordinamento Eliano Romani Responsabile Progettazione; Dipartimento Diap, laboratorio Re-lab della Sapienza, Università di Roma: Andrea Grimaldi, Filippo Lambertucci con Livio Carriero, Amanzio Farris, Valerio Ottavino, Leo Viola, Samuel Quagliotto \ Works construction Metro C SCpA \ Photos Luca Pietrucci \ Thanks to Atac for its kind collaboration

Recessed Laser luminaires provide further lighting from above. Rings, coins and gems are displayed in smaller showcases, which are also lit by recessed Laser luminaires, whose light emission in certain cases is integrated by Underscore Ledstrips cut to the size of the showcases. The bottom floor, where the trains pass, is at a depth of 30 metres. Here the walls are decorated with vegetation typical of the swamps that were here in the Pleistocene period. For the platforms in this area, iGuzzini has produced special recessed fluorescent lamps with low smoke emission levels and dimensions that tally exactly with the sizes of the wall cladding panels. In addition to the illumination that

highlights the unearthed exhibits and enhances the exhibition project, functional lighting has also been installed. For both the escalators and platform areas, this is created by iN60 pendant luminaires. The handrail on the stairs next to the escalators is highlighted with an Underscore light line that lightens the impact of the feature in the same way that light is used as a graphic element in the explanatory panels, particularly those that narrate the story of the site’s stratigraphy. The result is a station that demonstrates how past and present can live together and help create a sense of continuity and belonging to the history of a community•

As you move downwards to reach the train platforms, you also travel back in time.

2017 – Rome \ Italy

The bottom floor, where the trains pass, is at a depth of 30 metres. Here the walls are decorated with vegetation typical of the swamps that were here in the Pleistocene period.

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San Giovanni Station

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The “Dancing Satyr” is a bronze sculpture found in the Strait of Sicily, between 1997 and 1998. It has been dated to between the 4th and 3rd centuries BCE and some archaeologists claim it is an original work by the great Praxiteles himself.

The Museum of the Dancing Satyr Mazara del Vallo \ Italy

In 2006, iGuzzini, in collaboration with the Central Restoration Institute and the Museo Omero, created the “Conoscere la Forma” (Experiencing Shape) project that was divided into two parts: “Shapes to be seen” and “Shapes to be touched”.The project was revolutionary in two ways. Firstly, it shifted the exhibition focus onto the interpretation of an art work, as varying the light makes a wide range of cognitive experiences possible. This means that artworks can find new meanings and lighting ceases to be a purely technical matter and becomes the result of a choice embracing freedom. Secondly, the project focused on ways of experiencing art other than those specifically dependent on sight. The interpretations offered in “Shapes to be seen” are made by people from the world of culture with expertise in specific areas other than the world of illumination. The project is based on research aimed at identifying ways of analysing and installing lighting systems to offer museum and exhibition curators a greater awareness of how three-dimensional artworks can be lit.“Shapes to be touched” involves allowing visually impaired visitors

to touch and experience a model of the sculpture that is an exact copy of the original. Giorgio Accardo, Director of the Central Restoration Institute Physics Laboratory had the idea of making copies of the sculpture. After the last edition of the “Experiencing Shape” project held in 2009, in 2018 iGuzzini was asked to light the original sculpture. The recent refurbishment of the Museum of the Dancing Satyr, located in the former Church of Sant'Egidio, a building of significant architectural interest, built in the sixteenth century, included a new lighting system featuring the various possibilities offered by LED technology. The museum conserves a number of finds recovered from the Strait of Sicily, including a fragment of a bronze elephant hoof from the Punic-Hellenistic period, a medieval bronze cauldron and a selection of amphorae from the archaic, classical, Hellenistic, Punic, Roman and medieval periods. In addition to the central exhibit of the “Dancing Satyr”, two iron cannons from Torretta Granitola are also on display, as well as a collection of Ionic and Corinthian capitals.

The project designed by iGuzzini illuminazione for the museum is extremely innovative, both in terms of the energy saved through the adoption of LED luminaires and from a management perspective, thanks to DALI technology that allows the luminaires to be operated by a Master Pro Evo KNX control system. This set-up means that a basic lighting scenario can be defined for simple museum visits and, more importantly, special lighting scenarios created by different people can be saved and recalled as required. Work inside the museum was severely limited due to the importance of the building, which is protected by the Heritage Authority, so no new plants can be installed in it. The new lighting concept was therefore designed to be versatile, unobtrusive and capable of improving the visiting experience of this small museum. The number of types of luminaire was also limited. Underscore 15/18, View (square version with Up emission) and Palco projectors mounted on standard and Low Voltage tracks. The museum ceilings feature wooden beams that are lit in the entrance area by Underscore 15/18 luminaires

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positioned above the structure that houses the air conditioning system. In this area various exhibits are displayed inside showcases in which Underscore 15/18 luminaires have been inserted that improve the colour rendering offered by the previous system. Scaled-down versions of the Satyr sculpture have also been positioned in the long niches in the walls to allow visually impaired visitors to experience the work through touch. There are also a number of amphorae and other finds recovered from the Mediterranean Sea. All the niches are illuminated by track-mounted Palco projectors, some of which have been fitted with Wall Washer optics to ensure that the captions positioned on the back wall of the niche can be read properly.The showcases located in the centre of the first room are lit by Palco projectors (Ø 37) mounted with rods on Low Voltage tracks fixed to a higher structure that acts as a partition that divides the area, creating space for

other showcases. One of the museum’s most extraordinary exhibits, the fragment of a bronze elephant hoof from the Punic-Hellenistic period, is also housed in a showcase lit by Palco Ø 37 luminaires mounted on LV tracks, which are inserted along the edges of the showcase, thanks to the miniaturization of the luminaires. The exhibition path inside the museum culminates in the room dedicated entirely to the Dancing Satyr, which is currently mounted on an earthquake-resistant pedestal. At regular intervals, the Satyr is bathed in a video projection that recalls the sea bed and reconstructs the various steps in the sculpture’s rescue. The lighting design for the sculpture is an example of how a control system can be used. It includes various lighting scenarios created by three visually impaired designers and a Regional Councillor, Sebastiano Tusa. These have all been saved and they can be activated by visitors using

a special device.The different light scenarios are created by a series of projectors with integrated performances. To offer the utmost versatility, two tracks - one standard and one LV - have been installed in the four corners of the room with Palco projectors mounted on them. These are fitted with a range of spot and profiler optics, in two different colour temperatures: 3000 K and 4000 K. The back wall is lit evenly by Linealuce Compact RGBW luminaires that are also positioned inside the central niche. Lighting this wall helps certain visually impaired visitors enjoy a better sense of the statue. In past experiences, in fact, certain visually impaired visitors described how they gained a better perception of the sculpture by reading it as a dark silhouette that contrasted with a background that could also be coloured. The basic lighting scenario that is used before the visitors choose from the different interpretations, has a deliberately low intensity light that is

2018 – Mazara del Vallo \ ItalyProjects

All three visually impaired designers asked for intense, homogeneous, diffuse lighting with no shadows and therefore multi-directional. This made viewing the artwork easier.

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reinforced by the indirect emission of the wall-mounted View luminaire and is reminiscent of the Satyr’s immersion in the waters of the Mediterranean.

The interpretations Pietro Catalano, President of the Trapani Division of the Italian Union of the Blind and Partially Sighted, Angela Milazzo and Vincenzo Bologna, Council Members of the Trapani Division. The three visually impaired designers who took part in this project, Pietro Catalano, President of the Trapani Division of the Italian Union of the Blind and Partially Sighted, Angela Milazzo and Vincenzo Bologna, Council Members of the Trapani Division approached the question of lighting in similar ways but with very different effects depending on their type of visual impairment. All three asked for intense, homogeneous, diffuse lighting with no shadows and therefore multi-directional. This made viewing the artwork easier. Pietro Catalano and Vincenzo Bologna

wanted less intense lighting on the back wall, so it is was slightly dark, whereas Angela Milazzo’s vision improved with bright lighting on the back wall. During the tests carried out to achieve optimal solutions, it emerged that contrasting light was extremely detrimental.Sebastiano Tusa, Regional Councillor for the Department of Cultural Heritage and Sicilian Identity. Tusa created two different interpretations. In the first he adopted an archaeologist's approach with a scenario that evokes the sculpture’s original location. According to Paolo Moreno, the sculpture was created in Greece and displayed in the street of the Choreghi in Athens. In this location, during the day, it would doubtless have been bathed in dazzling sunlight.But at sundown or dawn the sculpture would have been viewed in greater comfort and with a higher level of shadow definition.Like Paolo Moreno, Sebastiano Tusa

also believes that this work was created by Praxiteles himself because it is clearly designed to be seen from different perspectives. It was, after all, Praxiteles who freed sculpture from immobility by introducing the idea that it could be enjoyed from more than one viewpoint. The sculpture was probably made in the period that marked the transition between late classicism and early Hellenism, i.e. towards the end of the 4th century BCE, when the canons of late classical rigidity had begun to shatter under the growing influence of Hellenistic art. In this period, sculpture ceased to seen as a highly static art form and, instead, viewers were encouraged to move around the work and view it from all sides as every detail was important. According to Tusa, the sculptor also captured in this work another transition: that of adolescence to adulthood, in which the human body combines the physical rotundity of adolescence with the greater muscle

The Museum of the Dancing Satyr

Adjustments made to the different lighting scenarios by Councillor Sebastiano Tusa (left), with Roberto Sannasardo and Pietro Catalano, President of the Trapani Division of the Italian Union of the Blind and Partially Sighted, Angela Milazzo and Vincenzo Bologna, Council Members of the Trapani Division (right).

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A view of the daily lighting of the Dancing Satyr from above; adjustments made to the lighting system by visually impaired designers; on the right, the scenario created by Councillor Tusa that evokes its display in a domus.

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definition of maturity. To evoke this initial phase in the sculpture’s life, the councillor asked for a high level of illumination with a soft, comfortable atmosphere. The architectural structure of the room in which the satyr is displayed contributes to this effect, as the dome channels and reflects downwards, both the upward emission from the View luminaires mounted on the side walls and the light created by the projectors that reflects off the walls. In this way, the dome succeeds in softening the light cones from the various luminaires and making them more even. Starting from the position at the end of the museum path, where the viewer stands right in front of the sculpture, Sebastiano Tusa has based his lighting scenario on an all-round vision of the work. This allows the visitor to walk right around the sculpture and observe it from all sides. In this case, particular care

has been taken to avoid the risk of dazzling the viewer with light beams from the projectors. This problem has been avoided by locating the projectors in a high position and using flaps to screen the light flow.The level of illumination is slightly higher at the front of the sculpture than it is at the back, but the effect is still diffuse and extremely homogeneous. The second interpretation designed by Councillor Tusa is based on another theory. Tusa believes that after its initial life in Athens, the sculpture was taken back to Rome by a wealthy Roman, who displayed it in his villa, where it remained until the city was sacked in 455 AD by the Vandal king Genseric. Together with other loot, the Satyr was then loaded onto a ship bound for Africa, which sank in the Strait of Sicily.To recreate the sculpture’s location inside a Roman domus, the Councillor asked

for all the lights to be switched off in the room apart from the Palco LV projectors inserted in the pedestal that supports the entire sculpture, which is switched on at full power. In addition to these interpretations, there is a basic, neutral lighting scheme based on the use of diffuse, homogeneous light with illumination levels lower than those requested by the visually impaired participants, especially for the rear of the sculpture to avoid the risk of glare.In this scenario, the light arrives mainly from the right and strikes the chest, belly and sloping side of the Satyr’s face in order to create a sort of natural shadow on the other side. Particular case has been taken over the lighting for the satyr’s windblown hair which is one of the sculpture’s main features. All these different interpretations are recorded and saved on the interface which is available


Work inside the museum was limited due to the importance of the building, which is protected by the Heritage Authority, so no new plants can be installed in it. Despite this limit, the new lighting system offers greater flexibility, unobtrusive luminaires and energy savings guaranteed by LED lamps.

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for visitors’ use and includes one of the interpretations from the previous edition of “Experiencing Shape” held in Milan. In this interpretation by Gillo Dorfles, the light is focused on the parts of the sculpture that are intact, and therefore the chest and face, plus an especially bright beam on the calf of the left leg to emphasize its sense of movement•

“Experiencing Shape”

Concept iGuzzini Research and Study Centre -Central Restoration Institute \ Special thanks to Trapani Heritage Authority for its kind permission to use a copy of the Dancing Satyr. Louvre Museum \ Scientific consultingMuseo Tattile Statale Omero

Publications

“Conoscere la Forma”, Partner Assistance iGuzzini, Milano, 23 May – 30 June 2006. Authors Vincenzo Cerami, writer and screenwriter – Gillo Dorfles, Art and Design critic and historian – Angelo Mombelli, expert in matters relating to the visual difficulties of the blind or partially sighted – Paolo Moreno – archaeologist. Moreno has studied the sculpture since it was found.

“Praxiteles, connaitre la forme”, Louvre Museum. Paris, 23 March – 18 June 2007.Authors Alain Pasquier, Director of the Department of Greek, Etruscan and Latin antiquities at the Louvre – Jean Luc Martinez, Curator at the Department of Greek, Etruscan and Latin antiquities at the Louvre – Agnes Robert, impaired opera singer. The curator of the educational sector of the

Louvre, Cyrille Gouyette, asked iGuzzini to work on a special section next to the exhibition dedicated to the Praxiteles exhibition because it considered the interactive nature of this project to be extremely interesting from an educational point of view.

“Umano Divino-Conoscere la Forma”, Institute of Italian Culture in Prague, 20 November 2008 – 31 January 2009.Authors Vaclav Hudecek, violinist – Jiri Kacer, Sculptor – Ivan Neumann, art critic and historian – Ludvik Grym, architect – Josep Cera and Maria Kunkova, visually impaired architects.

Year 2018 \ Client Department for Cultural Heritage and Sicilian Identity, Polo Museale dellaprovincia di Trapani \ Coordination Roberto Sannasardo \ Foto Archivio iGuzzini

Images of the opening of the new lighting system.


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Vittorio and Francesca Storaro designed the lighting for the Arch of Janus donated by Alda Fendi to the City of Rome. Luminaires provided by iGuzzini.

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Lighting for the Arch of Janus inspired by the Roman gods

Rome \ Italy

The Alda Fendi Foundation – Experiments Department commissioned Vittorio and Francesca Storaro to create a permanent lighting design for the Arch of Janus located near Palazzo Rhinoceros.The two artists’ lighting concept is inspired by the symbolism of the Roman god, Janus.In ancient times, "The Things of the Gods" gave the human world in terms of both space and time. Black is the cosmic darkness that contains everything, protects everything and from which everything is born.Then, the light of sunrise breaks across the sky the God of dawn appears, the JANUS of the beginning of life.As the heat of the sun increases, the God of the morning, Quirinus, the founder of Rome, asserts his ancient power over the cityAnd then, with his rays of sunlight,

the God of DAY arrives: Jupiter, who most of all represents light, reaffirms his position among the Gods of the Origins.Over the centuries, the range of colours created during the morning and evening have always been regarded as having a divine origin. Magic and religion have always astrologically connected natural colours to the planets as well as to the "Gods" and the celestial spheres through which their unique influence is channelled.As the god of beginnings, Quirinus gives his name to the first month of the year: ianuarius, Janus: January. Janus is therefore the God of "transition" from the old to the new year, from the past to the future and from the stasis of peace to the dynamics of war.As the god of beginnings, Janus is one of the oldest divinities in the sphere of Roman, Latin and Italian religion. Thanks to his two faces, he looks

forward to the future and back to the past and as the God of the door, he can also see inside and out.For the Romans, Janus acted as a pater divorum. He has always been immanent, right from the beginning of everything. In his "Fasti", Ovid recounts that he was present when the four elements separated to give shape to everything. Janus was the god of doors (ianuae), passages (iani) and bridges. He guarded entrances and exits and carried the ianitores, a key and a stick, while his two faces looked in two directions, indoors and out.As he was also the "God of Events", the doors of his temple were thrown open in times of war and closed in times of peace. Probably the first two-faced statue of the god stood at the Porta Ianualis gate, with one face looking East and the other looking West.

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Year 2018 \ Lighting concept Vittorio Storaro, Francesca Storaro \ Lighting design Francesca Storaro \ Rhinoceros At Saepta installation Raffaele Curi \ Photos Francesca Storaro

The second was a four-faced Janus (with a face looking North, South, East and West) located in the Forum of Domitian and then an entire arch was dedicated to him in the Forum Boarium, where he is holding his key and stick.In this Arch, in the Velabrum area, the keystones of the four arches are decorated with the figures of: Rome-Juno-Minerva-Ceres. The lighting system consists entirely of iGuzzini LED architectural lights and is controlled by a DALI management system. It all starts here, at the centre of the world, in the central area inside the quadrifons arch... With the dawn of time. A bright shade of orange appears as if from the earth itself and moves up the inner walls of the arches, symbolising the

Janus of every beginning.As it rises, just like the god Quirinus who rises every morning to light the city, this colour first fades into ochre and then as it reaches towards the sky, it intensifies into a splendid, bright yellow, the colour of Jove, the God of daylight.The interiors of the four arches, therefore, symbolically perform the cycle of the early morning sun.The outer façades, on the other hand, with their symbolic doors that are opened or closed to indicate a time of peace or war, follow the light sequence of daytime with cold or warm tones depending on whether they face East/West or South/North.The first white/warm tone cycle imitates the movement of the sun towards

sunset, while the second with its white/cold tones mimics the rise of the moon. Opposite the Arch of Janus, stands the “Rhinoceros at Saepta”, a white rhinoceros installation created by Raffaele Curi for the Alda Fendi Foundation. The work is illuminated by a symbol of the sun at dusk with an "Aurea" LED projector from "The Muses of Light" series by Storaro & De Sisti•

Vittorio Storaro

In 1960 he graduated in Cinematography at the Experimental Centre of Cinematography.He received 4 Honoris Causa degrees from the Universities of Lodz, Urbino, New York and Palermo and 4 Accademico Honoris Causa degrees from the Art Academies of Macerata, Brera, Frosinone and Rome. He has made 60 international films with directors such as Bernardo Bertolucci, Francis Ford Coppola, Warren Beatty, Carlos Saura and Woody Allen. He has written a first trilogy of books “Writing with Light; Colours; Elements”, and then a second, entitled: Le muses, I visionaries, I prophets. He used the ENR system created by Technicolor in Rome in all his films from 1980 to 2010.

He created the Vs collection colour gels for Rosco. He applies his studies in Philosophy, Physiology, Light and Colour Drama to the psychological content of his films. With his daughter Francesca he works on permanent lighting designs

for architecture as well as creating a new series of LED lighting The Muses of Light produced by De Sisti Lighting. He has received numerous international awards including three Oscars from the Academy in Los Angeles,

for the films Apocalypse Now by Francis Coppola, Reds by Warren Beatty and The Last Emperor by Bernardo Bertolucci. He taught Writing with Light at the Accademia dell’Immagine in Aquila from 1995 to 2004.

He gives seminars at Academies, Institutes and Universities all over the world. His aspiration is for copyright status to be legally recognised for film makers all around the world.

Francesca Storaro

In 1996 she graduated at the faculty of Architecture in Rome, with full marks. She has been enrolled in the Register of Architects in Rome since 1998.

She completed an advanced masters course in Illumination Science at the Faculty of Mathematical, Physical and Natural Sciences in the University of Florence on May 9, 2000. Since 2007 she has been a lecturer at the Academy of Light (Accademia della Luce) . Since 2007 she has been a member of the AILD (Italian Association of Lighting Designers),

PLDA (Professional Lighting Designer Association) and IALD (International Association of Lighting Designers). In March 2009 she was awarded a teaching post for the FSE 2nd level masters course for architectural and artistic

lighting engineers at the Faculty of Architecture, Venice.In 2009, the international architectural lighting magazine Mondo Arc, on the occasion of its 50th issue, included

Francesca Storaro’s firm in the top 50 Lighting Design studios in the world.In August 2015 she was awarded CLD (Certified Lighting Designer) accreditation, the first international, evidence-based certification for professional lighting designers. Her projects have been discussed on television and radio and in major

worldwide Lighting Design books and magazines in Europe, India, Turkey and China.Her main projects in Italy include: Piazza del Campidoglio in Rome, Palazzo D’Arnolfo in San Giovanni (Ar),

Correggio’s Domes (Cathedral and Church of St John) in Parma, Angiolo Mazzoni’s Former Post Office in Sabaudia (LT), Marcellus Exhibition in the Augustus Room, National Roman Museum in Rome, Basilica of San Bernardino

in Aquila, Great Hall of the Cuirassiers in the Quirinale Palace in Rome, the Imperial Fora and the Arch of Janus in Rome.International projects: Four C Building in Beijing, UBPA Pavilion for the Shanghai Expo 2010 in China,

Piazza Sant’Antonio, Visconti Castle and Madonna del Sasso Sanctuary in Locarno, Switzerland.

Projects 2018 – Rome \ Italy

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Arch of Janus

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Presentation of the design project by Sauerbruch Hutton Architekten for the M9 Museum.

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"A society grows great when old men plant trees whose shade they know they will never sit in". Greek proverb

The sixteenth edition of the Venice Biennale of Architecture was curated by architects Yvonne Farrell and Shelley McNamara of Grafton Architects, who chose “FREESPACE” as the guiding theme. The concept illustrates the idea of “free and spatial gifts” mentioned in their Manifesto of June 2017. Several passages in the Manifesto are particularly in tune with the iGuzzini vision of “Social innovation through Lighting”: “FREESPACE encourages reviewing ways of thinking, new ways of seeing the world, of inventing solutions where architecture provides for the well-being and dignity of each citizen of this fragile planet [...] We see the earth as Client. This brings with it long-lasting responsibilities. Architecture is the play of light, sun, shade, moon, air,

wind, gravity in ways that reveal the mysteries of the world. All of these resources are free.” This shared intent is at the heart of iGuzzini’s technical sponsorship of two installations in the Arsenale and its collaboration with the Italian, Irish and Mexican Pavilions. The most exciting – and most familiar – collaboration was with Arcipelago Italia, the exhibition curated by Mario Cucinella in the Italian Pavilion at the Arsenale. Arcipelago Italia. Projects for the Future of The Country's Interior Territories is a reflection on themes of current interest. These include the outskirts of cities, abandoned areas, railway yards, mobility and above all, the aftermath of the earthquake. Among the five strategic areas dealt

with we have the Seismic Crater and the town of Camerino in the area of Central Italy hit by the 2016 earthquake. The aim is to help define the opportunities available through architecture to these territories and to outline a future vision for the country as a whole. The pavilion is divided into two areas. On display in the first section are eight large photography books on eight national itineraries. The second section presents five wooden tables featuring project proposals for possible future outlooks. This design involved a highly creative use of iPlan Easy luminaires positioned beneath the large round cedar table at the centre of the hall. Thus, the lighting reinforces the idea of buoyancy, as the table looks as if it were floating.Our involvement in the Irish Pavilion

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Venice \ Italy

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“The Exhibition is designed to reveal the qualities of the Corderie and of the Central Pavilion. The heroic dimension of the Corderie with its repeated brick structure and its moody light contrasts with the luminous quality of the zenithal light in the Central Pavilion.” Yvonne Farrel e Shelley McNamara

Projects 2018 – Venice \ Italy

On the right-hand page, the Mexico Pavilion.

saw us working on a space that investigated the potential of the marketplace as a “free space” in rural Irish towns. Once the economic and social heart of rural Ireland, market towns have undergone significant changes. An economy that is increasingly global and online, technological developments and the pervasive use of the car have contributed to the marketplace losing its former status. Free Market brings together observations on the long history and the distinctive features of these spaces and puts forward possible solutions for reinventing them as venues for interaction and community life. This Pavilion, curated by Miriam Delaney, Jo Anne Butler, Laurence Lord, Tara Kennedy, Orla Murphy and Jeffrey Bolhuis, used several types of luminaires: Front Light and iPro spotlights, Laser Blade recessed luminaires and the Underscore 15 lines of light. The Mexico Pavilion with the

“Echoes of a Land” exhibition curated by Gabriela Etchegaray presents a way of creating architecture that is an aesthetic portrayal of the land of Mexico. A vision in which nature is extremely powerful. Nature dictates the destiny of Mexicans, giving character and meaning to social, political and financial structures, but also shaping all actions, from the most ordinary to the most complex. The murals exhibited in Echoes of Land provide examples of a vulnerable and conflicting reality, in a country that has to find solutions: in poverty and in education, as well as in the know-how and transgressions of quality architecture. The lighting for this space used spotlights from the Palco series, both in the mains and the low-voltage track versions.Lifescapes Beyond Bigness is the exhibition in the United Arab Emirates Pavilion curated by Khaled Alawadi. The aim of the exhibition is to explore the features of landscapes. It also looks

at the different physical aspects, the behavioural rhythms and the design traditions that have moulded these oft-neglected aspects in the mega-development of the United Arab Emirates. The space was lit using Palco mains-powered spotlights. iGuzzini provided the Palco spotlights for the installation by Sauerbruch Hutton Architekten, presented by the firm as the design project for the M9 Museum in Mestre, which returns to the city a military area to which the public has not had access for decades. Platea Pro spotlights illuminated the installation by Niall McLaughlin Architects, creating uniform lighting for the six large-scale models positioned on a rotating table. The RGBW spotlights were calibrated and adjusted to recreate the variations in intensity and colour temperature of natural daylight, from dawn to dusk. The variation in angle was achieved by the movement of the table•

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Projects 2018 – Venice \ Italy

Top left, the Irish Pavilion; right, the United Arab Emirates Pavilion; right-hand page, installation by Niall McLaughlin Architects for FreeSpace.

“We believe that the practice of architecture is about contributing, engaging and refreshing the continuity of architectural culture. We need to tend to culture, like tending to a garden.” Yvonne Farrel e Shelley McNamara

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The new Victoria & Albert Museum

Dundee \ Scotland, United Kingdom

A new museum designed by an acclaimed architect to revitalise and draw tourists to Dundee’s waterfront.

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The building designed by Kengo Kuma looks out over the River Tay, which flows through Dundee.

Projects

Since mid September, the magnificent space created by Japanese architect Kengo Kuma for the Scottish satellite of London's Victoria & Albert Museum has been open to the public.According to current architectural opinion, a new museum usually meets two demands. On one hand, it should act as a kind of powerful talisman for the place in which it is built, by attracting visitors and investments, and strengthening the image of the host city. For this, it needs a design that stand out, backed by a narrative of how it was inspired by the location itself. On the other hand, it should have certain functional aspects in line with a specific model: a large foyer with a café; a large, flexible open space that can be used for temporary exhibitions,

designed to suit similar spaces all over the world; educational spaces, an auditorium, offices and shops. This new building, likened by some to a two decks of playing cards turned on their sides and then joined together, was a technological challenge because of its use of reinforced concrete. The external cement walls measuring 18 m in height slope outwards at a series of unlikely angles, and each bears a weight of three tonnes from the 2,400 prefabricated concrete elements placed on top of them. Designed by acclaimed Japanese architect Kengo Kuma, this extraordinary building looks like a ship about to set sail into the Firth of Tay, on whose shore it stands. However, different perspectives suggest alternative images, like sails, a shell or the typical rock formations

of Scotland which originally inspired Kuma. The original proposal by Arup included walls of up to 600 mm thick with enormous steel rods inside them. But after conducting tests using 3D models, the design team managed to cut the wall thickness in half and significantly reduce the amount of reinforcement needed. This was necessary not only to save weight and concrete, but also because the facades are dotted with around sixty windows. If the external wall had been too thick, too little natural light would have made its way into the spaces of the interior gallery. According to Lesley Knox, chairman of the board of V&A Dundee, who is seeking to make Dundee a tourist destination, it is “one of Europe’s most interesting buildings”.

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The V&A Dundee hosts a selection of permanent exhibitions dedicated to Scottish design and a calendar of temporary events with international breadth, including initiatives dedicated to emerging design talents. The Scottish Design Galleries exhibit 300 artefacts from the collections of the V&A and from private collections. To light these areas, Arup designed a solution that combines more than 600 Palco spotlights with IN30 luminaires and the Underscore light lines. All the luminaires have DALI technology and can be controlled via Bluetooth or smartphone. This concept of applying user-friendly technology is based on the example also designed by Arup for the Royal Academy in London.

Thanks to the types of luminaires employed and their smart management different combinations of general and accent lighting can be produced to suit different display requirements.iGuzzini also created a number of bespoke Palco luminaires with dual dimmer feature, as the client had asked for a luminaire that could be dimmed directly while being aimed, but which could then be controlled remotely, including by smartphone. The centrepiece of the Scottish Design Galleries, to which entry is free of charge, is the restoration of the Ingram Street Tea Rooms designed by Charles Rennie Mackintosh•

Year 2018 \ Customer Dundee City Council \ Architectural design Kengo Kuma & Associates \ Executive architect James F. Stephen Architects \ Lighting design Arup (Natural and architectural lighting, Lighting for the permanent exhibition) Studio ZNA (Mostra “Ocean Liners: speed and style”) \ Structural engineering Arup \ M & E Consulting Arup \ Photos © Hufton + Crow

Projects 2018 – Dundee \ Scotland, United Kingdom

The customer asked for a luminaire that could be dimmed directly while being aimed, but which could then be controlled remotely, including by smartphone.

Scottish Design Galleries.

Victoria & Albert Museum

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Summer Exhibition 2018, Sackler Galleries.

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Royal Academy of Arts London \ UK

The project for the Royal Academy was the first example of iGuzzini’s Intelligence of Light project to be implemented in the museum sector.

The Royal Academy of Arts was founded in 1768 by King George III to promote the art of design through education and exhibition. Based in Burlington House, in the heart of the English capital, the institution continues to be one of the world’s leading visual arts centres. In 2016, the Academy commissioned the engineering studio Arup to design a refurbishment project that would save energy and guarantee installation versatility, while also reducing maintenance to a minimum. The new lighting system was unveiled on 23 September 2017 for the Jasper Johns exhibition, Something Resembling Truth. This was the first comprehensive survey of the American artist’s work to be held in the UK in forty years. The project included the installation of 1500 LED Palco iGuzzini spotlights with diameters of 122 mm and 142 mm and patented Opti Beam Lens technology. Arup chose the luminaire for its uniform beam and

the absence of chromatic aberrations, an aspect that was particularly important for a museum space. Another key feature is that individual Palco components can be replaced (such as the adapter, drive, accessories, Bluetooth module and LED chip). This facilitates maintenance and the continuous upgrading of the technology used in the luminaires, ensuring the system is fully future-proofed. Palco luminaires with Flood optics and elliptical lenses are used for the general and accent illumination of the exhibition itinerary and large-scale works as they light surfaces evenly. On the other hand, Palco spotlights with Spot 10° and SuperSpot 5° optics were adopted for the accent lighting on small and medium-sized works. The Palco Spot 10° optic spotlights are fitted with optical and photometric accessories specifically designed for the Royal Academy to ensure complete customer satisfaction.

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2017 – London \ UKProjects

These include a narrow beam that is particularly soft around the edges, used to light medium-sized paintings and ensure total visual comfort.Palco Super Spot 5° spotlights produce light cones that are extremely concentrated and have clean borders with no double ring effect. Each of these spotlights illuminates the smaller paintings with surgical precision and without catching the other works around them. The selected luminaires have a colour temperature of 2700 K that blends with the halogen lamps still present in

certain areas of Burlington House, and a high colour rendering index (CRI 97) even for critical tones like red (R9>90). Together, these features enhance the colours and nuances of the works on display and improve the conservation conditions in the Academy by zeroing UV and IR rays emissions. The LEDs used also have a Mac Adam 2 index that guarantees long-term colour uniformity between the various luminaires installed. All the products have been specially painted to blend with the colours of the exhibition halls and create

a sense of aesthetic consistency. They have also been installed with adapters on pre-existing tracks to facilitate frequent scene changes, especially in the temporary exhibition areas. The system is simple enough to manage via Bluetooth app, which can be used, say, for dimmer control, a fact that is much appreciated. It also features “beacon” technology that sends information directly to visitors’ electronic devices when they are standing within the area covered by the beacon•

The project involved future-proofing for the upgrade of individual products or the entire system.

Exhibition Charles I: King and Collector (27 January to 15 April 2018).

Summer Exhibition 2018 - Collection Gallery at Burlington Gardens.

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Year 2017 \ Customer Royal Academy of Arts \ Lighting design ARUP \ Photos James Newton

Royal Academy of Arts

Palco spotlights provide uniform surface lighting and accent lighting for small and medium-sized works of art.

Royal Academy - The Collection Gallery.

Boudhanath StupaKathmandu \ Nepal

The great Boudhanath Stupa lights up the Kathmandu landscape once again after the 2015 earthquake.

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The great Boudhanath Stupa lights up the Kathmandu landscape once again after the 2015 earthquake Boudhanath is one of the main stupas in Nepal and indeed the whole of South Asia and, since 1979, has been a UN World Heritage Site. There are several legends surrounding its origins, but the first historical mention of the Boudha stupa date back to the fifth century AD.In April 2015, a 7.8 magnitude earthquake hit Nepal, destroying the stupa. Following the appeal launched by guru Gong Qiao to rebuild it, the disciples of the Guru Banma Charity Foundation took on the task of providing lighting for the complex.From above, Boudhanath looks like an enormous mandala, the geometric figure containing numerous other geometric figures that is one of the main symbols of Vedic culture.

As in all Tibetan mandalas, four Dhyāna-Buddhas (constructions with Buddha eyes) mark the four cardinal points. The fifth Buddha, Vairocana, is placed in the centre, on the dome’s white hemisphere.All the numbers found in this stupa have symbolic significance. Each Buddha is the embodiment of one of the five elements – earth, water, fire, air and either. The nine levels represent the mythical Mount Meru, the centre of the cosmos in Hindu and Buddhist mythology. The thirteen rings from the base to the pinnacle symbolise the path to enlightenment, or “Bodhi”, the term which gives the stupa its name. At the bottom, the two circular plinths supporting the hemisphere of the stupa symbolise water. The goal of the project was to provide uniform lighting so the building would stand out on the landscape without creating

light pollution. This was achieved with MaxiWoody spotlights installed on poles on all four sides of the building. The spotlights’ 12° optics fitted with cylindrical anti-glare screens are aimed at different heights so that they illuminate the dome and the square tower topped by a 13-step pyramid symbolising the ‘stairway’ to enlightenment. Lastly, the golden canopy representing air and the spire representing ether are lit at a colour temperature of 3000 K. All present, worshippers and tourists alike, were deeply moved when the new system was switched on for the first time•

Year 2018 \ Customer Guru Banma Charity Foundation Limited \ Photos Wei Shen

Projects 2018 – Kathmandu \ Nepal

The goal of the project was to provide uniform lighting so the building would stand out on the landscape without creating light pollution.

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Boudhanath Stupa

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Yakushiji temple was built by Emperor Tenmu at the end of the seventh century as an offering for the recovery of his wife. It is one of Japan’s oldest temples and has a strictly symmetrical layout, with the main hall standing in the centre flanked by two pagodas.The main hall was rebuilt in the 1970s after being destroyed by fire, and houses a Yakushi trinity, a masterpiece of Japanese Buddhist art. The Japanese architect Toyo Ito was tasked with redesigning the interior of the temple’s Jikido dining hall and work was carried out between October 2013 and May 2017. Toyo Ito chose to install ceiling panels inspired by the illustration of the Pure Land of Amida in the middle of the room, representing clouds moving in the sky. The bright gold-dip anodised panels were laser-cut then fitted together seamlessly. Lighting designer Hiroyasu

Shoji installed Laser Blade recessed luminaires above these panels, with light cones emerging from the openings between the clouds. They are camouflaged perfectly and their minimalist dimensions give the impression of sunlight filtering through the clouds•

Year 2017 \ Customer Yakushiji Temple \ Reconstruction project Japan Cultural Heritage Consultancy \ Interior Design Toyo Ito & Associates, Architects \ Lighting Lightdesign Inc - Hiroyasu Shoji \ Photos Toshio Kaneko

Yakushiji Temple. Jikido Hall

Nara \ Japan

Toyo Ito’s designs for one of Japan’s oldest temples.

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The Louvre Museum in Tehran Tehran \ Iran

First ever large-scale exhibition of Western art opened in Iran with over fifty works lent by the Louvre.

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On 5 March 2018, the National Museum of Iran opened the first ever large-scale exhibition by a major Western museum in the country with over fifty artworks lent by the Louvre. This forty-day exhibition (from 5 March to 30 July 2018) was organised to celebrate the Iranian museum’s eightieth anniversary, and the collection of works on display included a 2,400-year-old Egyptian sphinx, a bust of Roman emperor Marcus Aurelius, drawings by Rembrandt and Delacroix and a number of Greek vases and bas-reliefs.The exhibition was a huge success and was visited by over 250,000 people from all over the country.

One of the masterpieces on display was an ancient Iranian bas-relief depicting Mithras sacrificing a bull, which dates back to the period between the second and fourth century AD. Unearthed in what is now known as Libya, the work also portrays the sun and moon, and the twelve signs of the Zodiac, as it was designed to be a symbol of both the rebirth of nature and the cyclical nature of time.To further emphasise the close bond between the Louvre and Tehran, an exhibition of a vast collection of artefacts from the Qajar dynasty (1785-1925) was simultaneously displayed at Louvre-Lens from 28

Year 2018 \ Customer Museo Nazionale dell’Iran \ Lighting designer Horshaar Design \ Photos Masoud Ghadiri Far

March to 22 July 2018, under the title of “The Rose Garden: Masterpieces of Persian Art from the 19th Century”.The lighting for the exhibition at the National Museum of Iran was centred around Palco spotlights, which satisfied the need to illuminate a diverse range of exhibits with perfect effects thanks to a wide variety of optics and accessories•

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Seen from above the atrium. The sculpture is by Nicholas Hlobo.

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The Zeitz Museum of Contemporary Art Africa (Zeitz MOCAA) is a contemporary art museum housed in what was formerly a distinctive grain storage silo built on the Victoria & Alfred Waterfront in the 1920s. After it was decommissioned in the 1990s, in 2015 the owners considered adapting the building into a site for a major cultural institution. This coincided with the Zeitz Foundation’s search for a permanent home for its collection of contemporary art from Africa and its diaspora. The greatest challenge was how to convert these immense concrete tubes into spaces suitable for exhibiting art while retaining the building’s industrial character. The answer was to carve out an atrium. Literally scooped

from the centre of the building, this area provides access to the floors organised around it.Implementing this concept was technically challenging. The roundness of the space was reduced and the insides of the concrete tubes were lined with sleeves of reinforced concrete. The cut edges were then polished to create a mirrored finish that contrasts with the building’s rough concrete aggregate. During the day, natural light floods into the atrium from the top of the tubes through facets of glass that recall El Loko’s artwork “Cosmic Alphabet”. MaxiWoody spotlights are installed inside the silos to emphasise the texture of the material, and especially the height and remarkable size of the tubes at night•

Thomas Heatherwick’s designs win the Architizer A+ Jury Award in the Museum category.

Year 2017 \ Customer Zeitz Foundation \ Developer V&A Waterfront Holdings (Pty) Ltd \ Contractor WBHO \ Heritage Consultant Nicolas Baumann \ Architectural design Thomas Heatherwick \ Local architects Van der Merwe Miszewski Architects (VDMMA), Jacobs Parkers Architects, Rick Brown + Associates \ Engineering Arup, Sutherland \ Photos Wianélle Photography

The Zeitz Museum of Contemporary Art Africa - Zeitz MOCAACape Town \ South Africa

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“When we design a new place, light is a fundamental element that brings life and soul. Our project in Cape Town, Zeitz MOCAA, was formerly an industrial silo used to store grain. When transforming it into its new use as a museum, we carved an atrium that revealed the inside of the tubes for the first time. The lighting is essential to breathing life into these tubular arteries by adding warmth, depth and atmosphere to the dramatic new space.”Thomas Heatherwick

Projects 2017 – Cape Town \ South Africa

The panes at the top of the cylinders show letters from El Loko’s artwork “Cosmic Alphabet”.

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Zeitz MOCAA

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Acropolis Museum, Athens, Greece.

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Vision In the paradigm shift that has affected the role of museums,passed from collecting and conservating to be experience driven, ubiquitous digital technologies play a significant role for the creation of more dynamic museums.

Future Fit Museums Create a Better Future

Florence Lam

Art, culture and heritage are vital to the identity and enrichment of individuals, community and society. They play an important role in promoting social and economic goals through local regeneration, attracting tourists, developing talent and innovation, improving health and wellbeing, and contributing to the delivery of public services.A museum is an institution comprised of a collection of objects with artistic, cultural, historical and scientific importance. In the broadest sense, they include art galleries, historic sites and other cultural facilities for exhibitions. Over the last few decades, there is a paradigm shift in the role of museums, from simply collecting and conserving to becoming experience driven. Amidst this shift, the expansion of ubiquitous digital technologies is playing a significant part in creating more dynamic museums1. Some of these even experiments to

operate outside of standard museum spaces, projecting its work outdoors, from the V&A Exhibition Road in London to the recently opened MORI Building Digital Art Museum in Tokyo.Since the turn of the millennium, there has been an increased manifestation of the visions and values of museums, in the shaping of urban spaces, communities and culture. This trend is also spreading from the West to the East. Museums now need to cater for increasingly disparate visitor groups, from an ageing population and the FAMGA generation, as well as an expanding global middle class that will give rise to a mass cultural boom. To be fit for the future and stay relevant, museums are taking on new levels of responsibility and outreach efforts to link cultural, economic, social and political aspects of our global society. The UN Sustainable Development Goals2 (SDGs) are a universally adopted set of challenges to end

poverty, protect the planet and ensure prosperity for all. Among these, culture plays an explicit part. For the first time, museums and other cultural organisations have been assigned global responsibility for sustainable development. Specifically, SDG target 11.4 encourages everyone to safeguard the world’s cultural and natural heritage. It is an individual’s responsibility, as humans and professionals, to dedicate our time, energy, and creativity to making the SDGs a reality. With light being vital in the human dimension of sustainability, from securing safety and resilience, enabling equality to facilitating social interaction and achieving prosperity, embracing daylight and adopting an integrated daylight/ electric lighting approach has been pivotal in shaping sustainable museums since the turn of the last century. The use of daylight is a ‘social solution’, not just an

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Vision

A clever balance of natural and electric light can have dramatic effects and can ensure the right degree of nuance for important exhibitions.

environmental or economic one. A skilful balance of daylight and electric light can create drama without sacrificing the sensitivity required in lighting valuable exhibits. The variability of daylight can also be an asset. Not only does it subtly enhance the ambience of gallery interiors during the day, providing a visual link to the outside world, generous daylight flow in orientation spaces between galleries also provides visitors with a chance to relax and rest their eyes before moving on. New lighting and digital technologies leading to the convergence of light, media and connectivity are also opening up a realm of fresh opportunities supporting the dynamic nature of future museums. The recent Bluetooth-enabled LED

lighting upgrade at the Royal Academy of Arts is a good example of this.

In the future, how will the role of museums evolve in the context of our ever-changing social landscape? Will museums continue to evolve from capturing cultures of the past to co-creating the present, from elitism to a participatory co-curation approach, from private spaces to public spaces? Where can museums make a difference in tomorrow’s world? A glimpse of the future can be seen, through the new lens of the SDGs, from a number of international world-class museums completed in the 21st century.

SDG 4 (quality education) is an important one for museums.

The Acropolis in Athens is a great example where target 4.7 stands out, offering valuable opportunities for archaeological and history education outside of the classroom: “appreciation of cultural diversity and of culture’s contribution to sustainable development.”

The Acropolis Museum is built on an archaeological site in the centre of the residential Mariyanni district in Athens, at the foot of the Acropolis Hill. It was designed to accommodate the architectural sculptures from the Parthenon, as well as ancient artefacts from the Archaic period to the Roman Empire. The building concept was experience-driven, ahead of its time in prioritising visitors’ interaction, not only with the collection inside

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Acropolis Museum, Athens, Greece.

and the archaeological ruins underneath, but the visual connection made with the cityscape of the past to the present. Designing from the inside out, daylight adds a fourth dimension to the ancient collection as well as to the architecture.

Choreographing the play of light and shadow with both daylight and electric light, the form of each exhibit is beautifully revealed, shaping a lasting memorable experience for its visitors. The ambience throughout the museum is filled with daylight, re-creating a sense of the outdoor conditions in which its sculptures were originally viewed. As dusk falls, the dramatic, punctual, and carefully manipulated electric lighting becomes a key narrative element of the set. It gives the ancient

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A number of high powered spotlights are installed between circular skylights beneath the living roof, joining forces with the natural daylight to provide the right amount of light for bioscience exhibitions.

Vision

collection a distinct presence at night and transforms the museum’s exterior into a giant ‘display case of jewels’.

The California Academy of Sciences in San Francisco goes further and has a considerable role to play in SDG 15 (Life on land) and SDG 14 (Life below water). As the largest double LEED platinum-rated building and the greenest museum in the world, the Academy is a masterpiece of sustainable design. Its sculptural Living Roof serves as a habitat for millions of plants and variety of birds.

Porthole skylights are created in the roof structure to permeate daylight over the rainforest and the aquarium exhibits. The rainforest exhibit features a 90-foot diameter glazed

dome and a series of winding ramps which lead visitors through various rainforest habitats. The aquarium tanks contain some of the world’s rarest coral reefs. High power projectors are installed underneath the living roof between skylights to supplement daylight in delivering the light dosage required by the life science exhibits. At night, skylights serve as glowing beacons for the San Francisco skyline and the rooftop viewing deck.

Museums such as Tai Kwun (the Centre for Heritage and Arts) built under a vision of revitalisation are not about refurbishing or modernising a piece of industrial or cultural heritage, but the creation of a new purpose for urban structures that are capable

of culture making. Tai Kwun is Hong Kong’s largest ever historic building revitalisation project, transforming the city’s former Central Police Station compound, with its 170 years of history, into a new arts and cultural centre. Standing in sharp contrast to the surrounding commercial towers, Tai Kwun provides a rare ‘courtyard’ in the middle of one of the densest cities in the world. This allows the public to enjoy a bit of scenery, tranquillity and the city’s heritage. The mission of this new Centre addresses SDG target 8.2 in terms of diversification of the economy, including stimulating the creative industries, something museums have proven to be good at. Inspiring creativity and innovation, the lighting

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Left, California Academy of Sciences, San Francisco, USA.On this page, Tai Kwun, Hong Kong.

Florence Lam

for Tai Kwun plays a role in supporting target 8.3, with a key principle set to intrinsically integrate with the architecture in weaving together the various forms and spaces.

The lighting design at Tai Kwun helped to merge the old with the new in unique and subtle ways. For the JC Contemporary extension, the daylight design makes full use of the aluminium bricks to express the texture of the facade. On the roof, the aluminium ‘fifth’ facade takes on a further functional form, morphing into a solar shading grid designed specifically for the site to protect the top-floor gallery from direct sunlight.

Inside the gallery space, the ceiling is characterised by a stretched diffuse

membrane to filter the incoming daylight and create a serene ambient light for the exhibitions within, keeping daylight levels to a controlled range and addressing art conservation concerns. At night, electric lighting above the membrane takes over, maintaining the ceiling glow in place of daylight.

At th e urban planning scale, the arrival of new museums is often anticipated as a catalyst for regeneration, pivotal in turning neglected waterfront neighbourhoods into tourist destination overnight and having the ‘Bilbao effect’ in promoting economic growth.

There is no different for the newly opened V&A Museum of Design in Scotland. It may be a completely new building and Scotland’s first

design gallery, but it maintains a great relationship with the environment and shipbuilding history of the city. The vision for this project is to create ‘a living room for the city’ on the Dundee waterfront. This plays an important role in SDG target 11.7, which aims to provide universally accessible, safe, inclusive, green and public spaces. Museums and others in the cultural sector often provide shared social spaces for the public, a role that is vital for a healthy social landscape.

A key aspect of the lighting strategy for this museum is to consider sustainability and reduce reliance on electric lighting in the public spaces by providing daylight to spaces without introducing glare from direct sunlight.

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Victoria & Albert Museum, Dundee, Scotland.

Vision

The facade openings are formed to ‘frame’ views out to the water and the city of Dundee, providing good levels of daylight at the edges of the space. Deeper into the space, daylight is provided by a series of large diameter sola-tubes, which sit just above the perforated ceiling delivering high levels of daylight to the restaurant and the main hall. The lighting in the galleries is sensitively integrated to provide comfortably lit spaces that enhance the architecture. Track mounted projectors, equipped with high colour rendering LED, are carefully aimed and focussed to model and reveal the treasures of the Scottish Design Galleries. The Charles Rennie Mackintosh’s Oak Room (CRMOR) is designed as a truly immersive space in the centre of the Scottish Design Galleries,

where the light quality of the original space has been reproduced using original glass fittings and concealed high quality LED light sources.After sunset, an array of small windows built into the linear facade, allow the interior lighting to glow out, giving these windows the appearance of small lanterns that reflect in the water around the building. Narrow beam uplights mounted in the reflecting pools that surround the building ‘graze’ the exterior revealing the complex forms and unique texture of the facade, which represents a Scottish rock-face.

As museums increasingly assume new levels of responsibility to meet increased expectations from the individual and society, they will be a fulcrum where cultural, economic, social and political aspects

of our global society are merged. For which light plays a prominent role in achieving a delicate balance between individual fulfilment, preservation, cost efficiency, and sustainability, allowing museums to serve as beacons for the Sustainable Development Goals, and reinforcing the role of museums in creating a better tomorrow•

Notes:

1 Museums in the Digital Age, Arup, October 2013

2 https://www.un.org/sustainabledevelopment/

All the materials have been installedfrom Florence Lam.

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Florence Lam

Florence is an Arup Fellow and leads Arup’s global lighting design practice. Her particular expertise in daylight, visual perception and holistic lighting approach play a key role in many of her projects,

from museums to airports, bridges to city precincts all over the world. She was responsible for delivering a range of lighting projects for the London Olympic Games 2012. Florence has a strong interest in visual

light art as a lighting designer and has collaborated with a number of artists and architects on public realm projects including Anish Kapoor’s ArcelorMittal Orbit in London and the World’s Largest

Timepiece along Bahnhofstrasse in Zurich.Her museum projects of significance include the V&A Design Museum Dundee, the British Museum World

Conservation Centre and The Hepworth in the UK; Tai Kwun Centre of Heritage and Arts in Hong Kong and Dongdaemun World Design Park in Seoul; The Acropolis in Athens, California Academy of Sciences

in San Francisco, the Nasher Sculpture Center in Dallas and the Royal Ontario Museum in Toronto.

Florence was named the Lighting Designer of the Year at the UK Lighting Design Awards in 2013. She is also the recipient of the Lighting Award from the Society of Light and Lighting in 2014.

The openings on the facade were created to “frame” the views over the water and the city of Dundee, while bringing good levels of natural daylight to the spaces inside.

Florence Lam

Projects

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View from above the Grand Foyer.

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The new Palais de Justice designed by RPBW serves several functions under one roof and is the starting point for the regeneration of the Porte de Clichy area.

The Palais de Justice Paris \ France

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Ever since Medieval times, justice in Paris has been associated with the building that surrounds the Sainte-Chapelle chapel on the Île de la Cité. Over the centuries, however, the building’s responsibilities have outgrown the space available and many offices have been moved to different locations around the city. In 2010, a competition was launched for the design of “a new courthouse in Paris”, in the Porte de Clichy district. This new complex would bring together courtrooms and judicial offices in a single place, while leaving prestigious roles such as the Court of Assizes, the Court of Appeal and the Court of Cassation at the historic Palais de Justice on the Île de la Cité.Work began in May 2015 on the new Palais de Justice in the Clichy-

Bartignolles district between Montmartre and La Défense. Designed by Renzo Piano, the new building and its ecological approach to architecture is part of the Grand Paris project.After winning the competition for the new Palais de Justice, Renzo Piano Building Workshop put forward a different solution to the proposed brief of the French government which specified the need for two separate buildings: one for public purposes, such as courtrooms, and the second for offices. The key idea in the Renzo Piano Building Workshop design was to combine these spaces in a large, single tower that would, on account of its size and status, become a distinctive landmark and starting point for the regeneration of the Porte de Clichy area.

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2018 – Paris \ FranceProjects

The skyscraper is located on an L-shaped lot of land between the city ring road and Martin Luther King park. It stands 160 metres high, has approximately 110,000 sq. m of floor space and an access capacity of 8,800 people a day. The tower consists of a mainly horizontal pedestal base rising from which are three parallelepipeds that sit on top of each other and decrease in size as the structure rises, thereby creating a stepped profile. The facades are all entirely glazed. Entry to the new Palais de Justice is via a roofed walkway which begins from the plaza where the French flag can be seen flying and leads to the public lobby where visitors are welcomed and shown where to go.The 28-metre high Grand Foyer is flooded with natural light which streams in through the glazed facade and the skylights which Piano calls the “Marilyins”. The reference is the iconic scene from Billy Wilder’s film “The Seven Year Itch”, in which Marilyn Monroe’s dress blows upwards as she stands

above a subway grating. Similarly, the skylights let in light and, on occasions, air to evacuate smoke and fumes.In the evening the foyer is lit by pendant luminaires specifically designed for this project, which deliver a remarkable amount of light to this large space. These luminaires feature two die-cast aluminium optical compartments with a plastic screen that diffuses light both up and down to minimise glare. The compartments are held together by three rigid rods that are also fitted with a plastic disc featuring a laser-engraved design which evenly diffuses the light created by an Underscore Ledstrip located in the centre. The spectacular design of these distinctive luminaires thus stands out by day and by night. The sensation of a space filled with light is enhanced by the choice of interior fittings, which are all made of light-coloured wood or feature neutral tones. The hall provides access to all the building’s public spaces, which include a conference room, a café,

Entry to the new Palais de Justice is via a roofed walkway which begins from the plaza where the French flag can be seen flying and leads to the public lobby where visitors are welcomed and shown where to go.

One of the courtrooms used for hearings.

The Palais de Justice

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public information services and ninety courtrooms. Fitted with parquet flooring and vaporised beech wood wall panels, nearly all the courtrooms benefit from natural light during the day thanks to the glass facades. The concept of uniform, diffused, pervasive light is also achieved in the courtrooms by the merging of the light cones from Frontlight spotlights and Reflex recessed luminaires.The outdoor spaces, located on different levels, have also been carefully designed. On the eighth floor there is a 7,000 sq. m garden terrace with a staff restaurant. This area has been specially designed for people who work in the building to take a break, enjoy a walk and meet people. On the nineteenth and twenty-ninth floors are two hanging gardens which also present a harmonious marriage of greenery and architecture. At night, the building’s exterior spaces are lit by MaxiWoody spotlights and iWay bollards which are responsible

for ensuring the safety of all paths.The building’s overall energy performance levels comply with the targets set out in the Paris Climate Plan, as well as the requirements stipulated in the 2012 thermal standards. HQE certification (the French advanced environmental quality standard) is also underway. Energy is produced in the tower by horizontal and vertical solar panels that cover the east and west facades and give the tower its own special light vibration•

Year 2018 \ Customer Établissement Public du Palais de Justice de Paris + Bouygues Bâtiment \ Architectural design Renzo Piano Building Workshop, architects \ Lighting design Cosil Peutz \ Photos Michel Denancé

The 28-metre high Grand Foyer is full of natural light that floods in through the facade and the skylights which Piano calls the “Marilyins”.

Projects 2018 – Paris \ France

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The Palais de Justice

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Artificial light helps recreate – even at night – that sense of relaxation and congeniality that inhabitants of Dubai can now enjoy out of doors.

The Block – D3 Creek ParkDubai \ UAE

The space with walls equipped for climbing.

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Dubai Creek was the first settlement area in Dubai and today features a canal connecting the land to the sea that is dotted with small, traditional businesses which blend in with Dubai’s modern jetties, cafés and restaurants. The area is part of the Dubai Design District development, a global project that seeks to offer a creative, open urban ecosystem to a community of young design-oriented creatives. Conceived as part of the 2021 Dubai Plan, D3 is founded on Smart City principles and offers a range of services to attract innovation-focused businesses, such as high-speed internet, reception facilities, 24/7 access to buildings, free use of meeting rooms for ten hours a month and other amenities. This development specifically seeks to promote Dubai as a major international destination for design, art and contemporary culture. The Dubai Design District is thus a place where people can live, work and have fun. To add to the Creek’s leisure facilities, an urban park called “The Block” has recently been completed. The park offers several children’s playgrounds, an outdoor gym, sports facilities, and food and drink outlets.

Designed by Desert Ink, the main feature of the space is the reuse of 800 concrete blocks weighing 30 tonnes each left over from the construction of the canal. The recycling of materials and objects is the theme that guided the entire project. The planks in the street benches and the poles used in the gym and parkour circuits come from the original scaffolding. The metal structure used to build the refreshment area is reminiscent of industrial warehouses where containers are stored and old car tyres have been recycled as fitness equipment. Desert Ink chose these elements because they are easy to uninstall and reuse. The structure is lit by Platea Pro luminaires which provide homogeneous general lighting and illuminate the containers. Great attention to detail was placed in the design of the green areas. For example, date palms feature alongside Leptadenia, a common desert plant that does not normally grow in the urban contexts of the Gulf. The plants are so important that they are given specific lighting from Woody spotlights attached to the trunks of the palm trees. The general background

lighting in the park is provided by pole-mounted MultiPro spotlights, integrated with other luminaires to meet the specific requirements of the different areas. Along the paths, Twilight Joburg luminaires with elliptical optics offer safety and comfort without causing light pollution. The climbing area features some very evocative lighting effects. Here, special sockets have been installed in the recovered blocks to turn them into climbing walls. The Trick 360° light blade luminaires create a spectacular luminous choreography of routes that guide the climbers. Thus, artificial light helps recreate – even at night – that sense of relaxation and congeniality that this new space sets out to offer the inhabitants of Dubai•

Projects

Year 2018 \ Customer Tamdeen \ Architectural design Desert Ink \ Photos James Newton

Designed by Desert Ink, the main feature of the space is the reuse of 800 concrete blocks weighing 30 tonnes each left over from the construction of the canal.

One of the walking routes you can take inside The Block with Burj Khalifa in the background.

2018 – Dubai \ UAE

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The Block

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Soft lighting for Changi AirportSingapore \ Singapore

Terminal 4 opened in 2017 at Changi airport in Singapore, voted by air travellers the world's best airport for the sixth year running in March 2018.

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Changi is Singapore's main airport and one of the most important in South East Asia. In March 2018, air travellers voted it the world's best airport for the sixth year running. Terminal 4 was opened in 2017. It was designed by SAA Architects, one of South East Asia’s most important architectural groups, and international design group Benoy. The goal of the two design firms was to make airport traffic fast, comfortable and safe. The theme of nature informed the design of the spaces, forms and patterns in the large, open interior, as seen in the petal-shaped skylights and ceiling lights, the garden relaxation areas, the tree-lined lounges and green walls. The new terminal is designed to ensure that, however brief, visitors’ transit through the airport is a lasting experience of Singapore’s charm. The skylights and the indoor garden are a reminder that Singapore is a “City in a Garden”. Benoy’s interior design celebrates soft forms and

ambient lighting, with open spaces, natural light and unambiguous wayfinding featured both inside the building and airside.The focal point of the terminal is the Central Galleria, a glazed, open space separating the airside and the building structure. The design features an integrated retail concept in which, once they have gone through the security processes, travellers are greeted with double height shop fronts which create an exciting atmosphere. The amount of natural daylight that enters these spaces is extraordinary. iGuzzini provided night lighting for much of the terminal: check-in, passport control, arrivals hall, baggage claim, gate waiting lounges, toilets. Reflex COB Super Comfort recessed lamps are used in all of these areas, with two different diameters – 212 and 144 mm – and a colour temperature of 3500 K, specially prepared for this project.

Thus, the airport offers an atmosphere of well-being at night, too, with no risk of glare for travellers and soft, well-diffused comfort. The decision to use recessed lamps minimises their impact and helps make Changi the comfortable airport that travellers really appreciate•

Projects 2018 – Singapore \ Singapore

Year 2017 \ Customer Changi Airport Group \ Contractor Takenaka \ Architectural design SAA Architects – Architect & Design Consortium \ Concept and interior design Benoy Limited \ Lighting design Lichtvision + WSP \ Photos Marc Tey photography

The amount of natural daylight is extraordinary. At night, artificial lighting originates from luminaires with Super Comfort optics and a special colour of 3500 K.

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Changi Airport

Lighting the stunning Blue Lagoon Grindavík \ Iceland

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Low-impact lighting for interiors and exteriors alike at “The Retreat”, the new space at the Blue Lagoon.

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Projects 2018 – Grindavík \ Iceland

Some of the products used were chosen because of their Comfort and Super Comfort optics and special Warm Dimming features that allow light intensity to be reduced while simultaneously warming the colour temperature.

In 2018, the stunning Blue Lagoon spa resort opened a new space that welcomes guests looking for relaxation and the benefits of the mineral-rich geothermal seawater that collects in this world-famous UNESCO Global Geopark.Over the years, the original Blue Lagoon Spa, the subsequent Silica hotel and other extensions of the Blue Lagoon facilities, starting with the first public bathing facilities in 1987, have been designed by Sigríður Sigþórsdóttir, founding partner of Basalt Architects. For the Retreat at Blue Lagoon, on which construction began in 2014, the architect worked with Sigurður Þorsteinsson and Design Group Italia. The design of “The Retreat” seeks to offer guests

all the natural beauty of the lagoon, while minimising the building's impact on its surroundings. The layout is based on an in-depth geomorphological study of the cracks and fissures that make up this volcanic landscape and the construction materials were chosen to complement the colours and textures of the landscape. The exposed concrete is treated to create walls with different textures and tones that evoke white silica or grey lava. The lighting concept developed by Guðjón L. Sigurðsson is based on concentrated cones of light and an intimate atmosphere. The lighting levels are carefully controlled and many of the products used were chosen for their Comfort and Super Comfort optics

and special Warm Dimming features that allow light intensity to be reduced while simultaneously warming the colour temperature. All this was done to create “Human Centric Light”: lighting for the well-being of humans. The lighting designer worked closely with Basalt and Design Group Italia, who formulated the interior solutions. The result was the incorporation of most luminaires into the architecture of the building or into the interiors. One really important aspect of the mood of the new Blue Lagoon space is that rooms have direct, reserved access to small natural pools. The atmosphere in the spa area is intimate, with low general lighting and accent effects in certain areas.

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Blue Lagoon

The entrance corridor is given the highly evocative lighting of a Linealuce Compact RGB luminaire, set to amber-red tones that filter through the porous material of the walls to create the effect of incandescent lava. The colour temperatures used inside the spa range between 2400 and 3000 K. The same concept of intimate light also informs the hotel's common areas. The zigzag corridor, which mirrors the pattern employed to preserve the privacy of the windowed side of rooms overlooking the lagoon, is lit by Underscore 2700 K light lines placed vertically in wall recesses. Tracks in a set-back position are installed in the reception and restaurant areas,

with Laser Blade and Tecnica Pro spotlights mounted on them to offer, where necessary, slightly more homogeneous lighting, albeit at very low levels, and subtle accent touches to highlight certain interior design details, like vases or paintings. The vertical surfaces, most of which are in untreated concrete, are illuminated from above by grazing light from Underscore Grazer luminaires recessed in the architectural gullies. Outdoors, artificial lighting is carefully controlled and consists of small signs and light lines. iWay and iTeka bollards are installed along the access walkways. Special use is also made of Trick luminaires with a 180° light blade: mounted under room windows,

they project a horizontal line of light that illuminates the seam of minerals deposited along the lava rocks, creating the same “whitening” effect at night that is seen during the day. In certain transit areas between the interior and exterior spaces, Underscore light lines, dimmed to a minimum, are used, while recessed Laser Blade InOut luminaires have been mounted on the verandas. Particular care has been taken over the way artificial lighting is used and controlled in the bedrooms. There are very few light sources and even the function lights on electrical devices have been removed to increase the depth of darkness. The rooms are modular. The entrance door is exactly opposite

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The “wow effect” is created for guests by the SoleLuna luminaire specifically designed for this project.

the floor-to-ceiling windows overlooking the lagoon to wow arriving guests, who unexpectedly find themselves right in the heart of nature, communing with the world on the other side of the panes. Artificial light must not interrupt this communication. This is why there is no homogeneous lighting diffused throughout the room, only small light sources where they are needed. These include a recessed Laser (Ø 75mm) luminaire with warm dimming above the bath, which is in the bedroom itself, and 2700 K Underscore light lines, one installed in the bedhead as a reading light and another inserted in the foot of the bed and activated by a motion sensor as a courtesy light at night.

A specific lighting system has also been designed for the coat area, consisting of an extruded sheet with three hooks, a recessed Ø 17 mm Laser luminaire and a small Underscore 15 section. Inside the room, the second “wow effect” is created by the SoleLuna luminaire specifically designed for this project. The lighting designer asked iGuzzini to create a totally natural effect on the ceiling, as if there were a real sun and moon in the room. Guðjón L. Sigurðsson wanted people to look at the luminaire and see the same faint halo that is created around the sun and moon by the earth’s atmosphere. In other words, a highly natural light effect that would blur the perimeter

and the area on the ceiling around it. The solution involved developing numerous parts, including: a 1.2 m diameter ceiling-mounted luminaire, fixing plates with LED circuits and a range of colour temperatures combining a 2100 K, 85 CRI amber, a 4000 K, 90 CRI white and a 6000 K, 90 CRI white (the latter values are particularly significant as it is extremely difficult to create such high colour rendering indexes with very cold colour temperatures); cables for adjusting the height of the luminaire; a Clipso acoustic ceiling covering which creates the blurred effect envisaged by Guðjón L. Sigurðsson.In order to be completely user-friendly, different light atmospheres are

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Year 2018 \ Customer Blue Lagoon \ General contractor Jáverk \ Architectural design Basalt Architects \ Lighting design Liska - Guðjón L. Sigurðsson \ Interior design Basalt Architects e Design Group \ Photos Gunnar Sverrisson photographer

extremely easy to conjure up and control from the 4-button panel in the bedhead: Relaxing, with low lighting levels of approximately 50 Lux and a warm colour temperature; Energizing which raises the lighting levels to 350 Lux without the amber component; Day with lighting levels of approximately 120 Lux and Night where only the 4000 and 6000 K LEDs are operated and a number of circuits are switched off to reproduce the dark spots on the moon’s surface. An extremely subtle wake-up call can be added to this variable light system, which has to be booked at reception. At the time indicated by the guest, a five-minute dynamic light cycle is activated, which shifts the light intensity

from 0% to 90% and the colour temperature from amber to 5600K, to wake guests gently and gradually, by light rather than sound. All this has been designed to achieve the highest level of relaxation and comfort for the hotel’s guests•

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Station F, the biggest start-up campus in the worldParis \ France

The building designed by engineer Eugène Freyssinet between 1927 and 1929 has been an incubator for innovation since the end of 2017.

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Formally opened in 2017, Station F, Paris, is the biggest start-up campus in the world. It is the brainchild of the internet and mobile phone entrepreneur Xavier Niel who has always been interested in the world of start-ups. Niel has succeeded in attracting investments from a number of corporate giants, such as Facebook, who invested in the “Startup Garage” programme for data handling companies, Microsoft, who runs the artificial intelligence sector and Vente Privée, the French e-commerce colossus.The facility is housed in the former Austerlitz Station rail freight depot, built between 1927 and 1929 by the engineer Eugène Freyssinet. Covering 34,000 square metres, Halle Freyssinet, as it was originally known, is a splendid building constructed of pre-compressed

concrete with an extraordinarily light load-bearing structure based on an innovative technique later patented by Freyssinet, who developed it. Thanks to this highly original characteristic, in 2012 Halle Freyssinet was officially named a historical monument.310 metres long and 58 metres wide, Station F consists of three parallel naves with slim pre-compressed concrete arches, each of which has a specific function. The refurbishment plan designed by Wilmotte & Associés is simple and effective. It eliminates any superfluous decoration to reveal the elegance of the structure and enhance the refined proportions of the main and secondary pre-compressed reinforced concrete elements. The new window frames

which complete the building are made of flat iron and create a comfortable environment while also matching the structure’s original style.The building basically consists of a main central space under a vast barrel vault with a large skylight in the middle of it, and a series of individual start-up boxes, created from iron structures, which run down either side and are completely separate from the original concrete walls. The small rooms located on the ground and first floors have glass fronts overlooking the shared central space, while the top floor hosts a series of cantilevered container boxes. The building includes a “Share Area” – a large open space for meeting and sharing skills and digital technologies – as well as a “Fab Lab” that is equipped with freely accessible 3D printers

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Halle Freyssinet, as the station was originally known, is a splendid building constructed of pre-compressed concrete based on an innovative technique patented by Freyssinet. Thanks to this highly original characteristic, in 2012 the building was officially named a historical monument.

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and a 370-seat auditorium.The real heart of the facility, though, is the “Create Zone”, a creative space where all the functional start-up structures are located in the form of twenty-four “villages” (eight on each floor). Each village is unique and houses various amenities (kitchens, Skype boxes, meeting rooms and so on). The shared work spaces all have an open design and are equipped with modular, connected tables. Last of all, is the “Chill Zone”, a relaxation area with a restaurant and a south-facing gallery offering a view over a multi-level garden that is open to outsiders as well as those who work at Station F.The building’s new interior layout called for a lighting design split between general lighting for the large spaces and low luminance, more adaptable

lighting for the work spaces. For the general lighting, Jean Michel Wilmotte used the Platea Pro floodlight, created for exterior applications and therefore perfect for the lighting effects required for the structure’s considerable height. Two different optics were used – a Wide Flood and an asymmetric street optic – and to install the luminaires, a special metal bracket was designed that straddles the beams running the entire length of the hall and create a measured cadence along the “Share Area”. In the locker area, where the people who work at Station F store their personal belongings, recessed Ledplus luminaires fitted with a Floor Washer optic were used as they create a soft homogeneous atmosphere. The main entrance is illuminated with Laser Blade InOut luminaires protected by a special case•

Year 2017 \ Customer SDECN - Xavier Niel \ Architects for historic buildings 2B2M \ Architectural and lighting design Wilmotte & Associés \ Structural engineering MIZRAHI \ Facades ARCORA \ Sustainability engineeringTRANSSOLAR \ Photos Didier Boy De la Tour

Each village is unique and houses various amenities (kitchens, Skype boxes, meeting rooms and so on). The shared work spaces all have an open design and are equipped with modular, connected tables.

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Design So many aspects of our everyday lives have been digitised. Smart interaction in the artificial lighting sector has created a light that is increasingly responsive and delivers better visual well-being and energy savings.

Smart lighting expands experience

Smart lighting expands its experience beyond the function of illuminating. Whether it is indoors or outdoors, LED luminaires can be regulated and managed by control systems which, in addition to creating pre-set atmospheres, can also adjust luminous flux to suit the requirements of a specific application. They can also provide adaptive light, which automatically adjusts in real-time to specific visual tasks, depending on the conditions detected in that particular space. What separates “smart” lighting systems from “traditional” ones is that all components within a smart system can communicate with each other automatically and continuously. This takes place through an infrastructure that monitors and controls all hardware elements, such as sensors, actuators, controllers, communication interfaces, buses and software applications that allow integrated communication, management and control of all elements in the system, even via smart phone (Smart Light Control). This smart interaction produces a light that is more responsive and delivers better visual well-being and energy savings.The strategically located sensors inside a smart system gather all sorts of data, such as the amount of natural light and / or artificial light, the colour temperature, the presence of humans. These data are sent to a control unit which uses predefined algorithms to make adjustments in the flux, colour temperature, spectral distribution and direction of the artificial light. The “smart” feature is actually the algorithm, which is merely the translation in mathematical terms of a study carried out by experts in the particular field and incorporated into a design by the lighting designer.The 2017 design for the Scrovegni Chapel by iGuzzini was carried out in partnership with the city of Padua, under the supervision of the Interdisciplinary Scientific Commission

for the Conservation and Management of the Scrovegni Chapel and in close collaboration with ISCR (Instituto Superiore per la Conservazione ed il Restauro). It is the first smart lighting system in the cultural heritage sector and provides a more emotional, truthful and evocative experience of the chromatic magic of Giotto. The sensors monitor the general lighting and interact constantly with the system which, in turn, depending on the input received, controls the emission of light and the colour temperature of the luminaires. The use of Tunable White technology enables the dynamic adjustment of the tone of white light according to variations in natural light, thus ensuring the best view of the frescoes at all times of day. Networked autonomy.Adapting artificial light to the cycle of natural daylight or, in the absence of daylight, faithfully reproducing the dynamics of it, means developing a light that varies in intensity and colour temperature. Discoveries made in photobiology and chronobiology confirm that the human body functions according to circadian rhythms, which adjust to levels of light and darkness and determine every individual's sleep-wake cycle. Sensors can be used intelligently to detect environmental conditions by communicating with the lighting system and therefore with the luminaire to create human-friendly lighting. This is achieved by reproducing the light stimulations to which the biological clock responds, which, in addition to visual well-being, promotes all-round psychological and physical welfare (Human Centric Lighting).The dynamic management of lighting also means more emphasis can be placed on details and routes in order to create surprising depth and background. It is a showcase for designing and building environments with a wealth of multiple personalities.

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Smart Light ControlFrom intelligent lighting to intelligent control. DALI technology has opened the way for the digital control of lighting. An individual luminaire is part of a networked system that controls lighting levels, switching on, dimming levels, colour temperature and switching off. Using a Bluetooth-DALI interface, it is now possible to manage a system through the Bluetooth Low Energy (BLE) protocol, a standard and irreplaceable feature of all smart phones. This makes it easy to program and manage the system at close range. Thus, the world of light control (DALI) and light management come together through any smartphone (BLE). Any luminaire or groups of luminaires or scenes can be controlled from a smartphone app via Bluetooth. They can also be controlled remotely via interfaces with IP or Wi-Fi protocols, again using a smartphone or directly online. From small systems to large systems, from close distances to networks, all it takes is access to a smartphone.

In September 2018 the Victoria & Albert Museum Dundee, designed by Japanese architect Kengo Kuma, was opened in Scotland. The smart lighting system incorporated into the design can be managed via smartphone through the Bluetooth-DALI interface. The same concept of user-friendly technology was also applied by Arup in its designs for the Royal Academy in London. Thanks to the types of luminaires employed and their smart management, different combinations of general lighting and accent lighting can be produced to suit different display requirements. They can be adapted to the dimensions and types of the displayed works, visitor flows and changes in exhibition design.

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Royal Academy.

An individual luminaire is part of a networked system that controls lighting levels, switching on, dimming levels, colour temperature and switching off.

Automatic sensor control

Connects directly to the individual luminaire via BLE technology (without DALI)

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BLE technology enables close-range control of the system

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Smart ServicesArtificial light becomes the focus of new smart services based on the speed of data transmission. Digital information can be received on a smartphone thanks to the BLE protocol and other technologies like Li-Fi and VLC and beacons (Bluetooth devices that transmit and receive brief messages over short distances). As we know, all digital devices need a power supply. This makes lighting systems a great opportunity for the “data world”. Light fittings are joined together in networks, which automatically turns them into a technological infrastructure that is ideal for linking to sensors and beacons.Beacon technology is a strategic aspect of the Internet of Things (IoT). Based on Bluetooth Low Energy, beacons allow devices to dialogue with smartphones by conveying personalised content according to the exact position of the user. For example, beacons that are networked into the lighting system of a retail outlet can communicate with customers via an app on their smartphones. This allows the store to determine the customer’s position, say, so it can send a welcome message, instructions on how to get the most out of the service, a discount voucher or information (in writing, videos or reviews) about the products on the shelves near their location.

This is a highly effective form of proximity marketing. This digital infrastructure is becoming so important because the use of smartphones for IoT purposes is growing rapidly. The number of IoT connections from smartphones is set to reach 3.5 billion in 2023, at an annual growth rate of 30%.There are now more SIM cards in the world than people. Figures in June 2018 showed 7.9 billion “mobile subscriptions”, of which 60% were associated with a smartphone capable of managing services beyond the basic functionalities of a mobile phone. In terms of sales, smartphones now account for 85% of total sales of mobile devices. However, 2018 is likely to be a historic year for being the start of an even bigger social evolution. 5G and the ito promise new functionalities and uses destined to have an impact not only on consumer services, but also on many industries involved in the digital transformation of such services. Push notifications – which appear on a device's home screen even if the app is not open – provide the user with up-to-the-minute information about the type of product on display or the area they are walking through, to offer a richer, more engaging experience.

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Each product can send different information.

Beacons that are networked into the lighting system of a retail outlet can communicate with customers via an app on their smartphones.

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Indoor positioning provides a 3D map of a product’s shelf position or simply a particular destination, by literally guiding the user within the space and providing all the necessary information and directions. Sensors can be networked within the lighting system to improve the efficiency of the system as a whole and assist in the collection and transmission of data. For example, they can provide real-time video surveillance information on urban traffic and parking, or help detect occupancy flows in the workplace, where space has become vital. Lastly, in the retail sector, they can assist in the collection of data on purchasing behaviours. Thus, smart services have a two-fold purpose. First, they aid communication, and second, they transform communication into value, including financial value.

In the park in the town of Recanati that is home to the “solitary hill” in Leopardi’s “L’Infinito”, smart technology is applied in an open-air cultural context to recreate the moonlit atmosphere that inspired the poet’s famous idylls, and along various scenic and botanical itineraries. The entire lighting setup is managed via a DALI control system. In addition to making the park more accessible, light is a vehicle for the transmission of data. Each luminaire is a “smart hub” capable of transmitting useful information about using the space through BLE-networked beacons•

In the park that is home to the “solitary hill” in Leopardi’s “L’Infinito”, smart technology guides visitors along itineraries and through the moonlight effects recreated by Ferretti, who was inspired by one of the poet’s main sources of inspiration: the Moon.

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146Homo FaberAlberto Cavalli Alessandro Pedron Jean Blanchaert Venezia \ Italia

15616. International Architecture Exhibition Arcipelago Italia Mario Cucinella

162The Light GateAlfonso Femia

170Fiat Lux: the biological effects of lightMassimo BracciMaria Fiorella Tartaglione

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Venetian Way © Alessandra Chemollo / Michelangelo Foundation for Creativity and Craftsmanship.

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Conversations Homo Faber, a major exhibition organised by the Michelangelo Foundation, in the words of a promotor, a curator and an exhibition designer.

a number of cultural, scientific and educational programmes. Homo Faber was attended by 62,500 visitors and 410 master craftsmen and designers. It was intended as a journey of discovery of the wealth of expertise and creativity of the best craftsmen and designers in Europe. A journey conceived as a thematic route with sixteen stages, each brought to life by a different curator. Twelve of these stages were illuminated by iGuzzini. Each curator focused on the materials and techniques used in a range of crafts from the most traditional to the most innovative and contemporary. The various lighting set-ups designed for the occasion had a common goal: providing both functional and artistic lighting to enhance the rooms, objects, installations and technologies on display. The Palco family of LED spotlights, which is compatible with DALI technology and managed via a control unit, guaranteed formal continuity from one room to another. Visitors could choose which route to take rather than follow

Homo Faber is a major exhibition organised by the Michelangelo Foundation and hosted at the monumental complex of the Giorgio Cini Foundation on San Giorgio Island, Venice. Both foundations are strongly focused on training projects. The Michelangelo Foundation for Creativity and Craftsmanship was established with the purpose of preserving the valuable expertise of craftsmen, encouraging dialogue with designers, and promoting visibility to create new work opportunities. It was founded in Geneva by the South African businessman Johann Rupert and Franco Cologni, President of the Cologni Foundation for the Métiers d'Art, which in turn was founded in Milan in 1995 to support initiatives aimed at a “new Renaissance” for arts and crafts, especially for young people. Its initiatives are chiefly addressed to the next generations of artisans and saving the métiers d’art from the threat of extinction, through the promotion, support and organisation of

Alberto Cavalli Alessandro Pedron

Jean Blanchaert Homo Faber Venice \ Italy

the predefined itinerary. Within the Discovery and Rediscovery space (Sala Convitto), there was also an iGuzzini Lounge, built to a design by architect Alessandro Pedron. Here, visitors could admire one of the finest portraits of the Flemish master Van Dyck, Portrait of Marcello Durazzo. Various lighting scenes were designed for the newly restored painting to demonstrate how perceptions of a work can be changed. Dark colours were rendered outstandingly, thanks to the use of high colour definition luminaires such as Laser Blade and Palco. These products are capable of rendering black and brown modulations of the painting, while keeping light intensity below 50 lux, in accordance with conservation regulations. To emphasise the valuable silk lampas covering the background of the canvas made by Rubelli, an Italian expert in textiles, furniture and upholstery, the light source was chosen to enhance the warm ruby red, gold and bronze tones, together with an application that illuminates it evenly from top to bottom.

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Alberto CavalliExecutive Co-Director

of the Michelangelo Foundation

AC Homo Faber is an event organised by the Michelangelo Foundation for Creativity and Craftsmanship of Geneva together with the Cologni Foundation for the Métiers d’Art of Milan, La Triennale di Milano Design Museum, the Bettencourt-Schueller Foundation of Paris and the Giorgio Cini Foundation of Venice.The Michelangelo Foundation was created by Johann Rupert and Franco Cologni to promote and protect the métiers d’art and artisanship all over the world, and therefore to provide new visibility to these extraordinary creators of beauty and craftsmanship. Homo Faber Crafting a more Human Future is an important cultural event conceived and designed to provide visibility, recognition and new prospects for master craftsmanship.We live in an era marked by the dominance of technology and the challenges of artificial intelligence, but we believe that human hands will always have something more to offer that machine cannot. Homo Faber aims to be a detailed, poetic, inspired account of everything that human hands – and indeed human hearts, minds and eyes – will always be skilled at creating,

while setting hearts aflutter.The first edition of Homo Faber was hosted in Venice on the island of San Giorgio Maggiore. Venice has always welcomed and celebrated beauty and the artistically evolved. Every language in the world has been spoken in Venice. Since the Middle Ages, since the Renaissance, anything that was beautiful has passed through her port, brought here, exchanged and sold en route to the courts of all Europe. The greatest artists and the greatest patrons passed through Venice, a city that truly has her arms stretched wide in welcome and her hands stretched out for trade. This makes Venice the ideal place to talk about the excellence of contemporary master crafts. Because, while it is true that the city of Venice has close links to the extraordinary tradition of splendour, it is also true that, thanks to the wonderful work of the Biennale and other important institutions, Venice is open to the contemporary. And contemporary is precisely the message we want to deliver. The decision to hold Homo Faber on the island of San Giorgio Maggiore, and specifically, on the extraordinary premises of the Giorgio Cini Foundation, was made because the foundation is a living entity and not just a venue; it is a partner in this venture. It is a place

“We found iGuzzini to be an observant partner, who truly interpreted our thoughts. For us it was very important to work with partners who not only execute our wishes, but interpret them; people who could get on the same wavelength as us and help us achieve the best for each project.”

where the liturgies of culture, research, work and knowledge are celebrated every day. It is a place that lives and breathes the cultural life of Venice and we, too, wanted to synchronise our breath with it. Homo Faber is not the result of a rigid, immovable vision. We believe that variety and diversity are values, which is why we brought together a team of international curators who helped us explore different points of view. Homo Faber is eighteen exhibitions, each of which showcases a particular aspect of the master crafts: design crafts, curated by Michele De Lucchi, interior design crafts, curated by India Mahdavi, fashion crafts, curated by Judith Clark, Venice and Veneto, with images by Susanna Pozzoli, European excellence, curated by Jean Blanchaert and the space itself, designed by Stefano Boeri. Different points of view were considered, extraordinary works were admired, craftsmen were seen at their work, the lives and destinies of the makers of contemporary beauty were brought together through the talent and creativity of a new vision of handmade products. We tried to ensure that each work of art at Homo Faber — and we're talking about almost 900 works including artefacts, films, images and so on — could live and, I would say, could soar within an extremely

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Participants of the Lighthinking Event held in Recanati on 9 November 2018 on the experience of Homo Faber. From left to right: Massimiliano Guzzini; Stefano Karadjov, Director of designs and development Civita Tre Venezie; Francesca Merloni, UNESCO Goodwill Ambassador; Adolfo Guzzini; Alessandro Pedron, co-founder of APML Architects; Alberto Cavalli, Executive Co-Director of the Michelangelo Foundation; Andrea Sasso.

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DiscoveryAndRediscovery © TomasBertelsen / Michelangelo Foundation for Creativity and Craftsmanship.

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there is another aspect that I like to underline: happiness. The happiness of the public when they came to the spaces of the Giorgio Cini Foundation on the island of San Giorgio Maggiore and discovered a more human future, a world where talent and creativity are the means for discovering the more beautiful side of life. Hearing the comments of visitors taking the vaporetto after a 3 or 4-hour visit, chatting enthusiastically about the people they met, the objects they saw. For me the curator, this scenario, which was animated and lifted to its highest potential by the lighting, is truly the greatest satisfaction.

Alessandro PedronCo-founder of APML architecture firm

AP My collaboration in the design of the Homo Faber spaces began a couple of years ago, when Civita Tre Venezie, who had been awarded the entire project for 2018, called to ask me to join their production team. With my technical expertise I would oversee the development and management of the working plans and the works. Civita Tre Venezie contacted

“Inevitably, the thread running through all of this is lighting. The lighting of open spaces, not least the Cypress Cloister, where the light conditions change according to the time of day and the weather.”

sophisticated and observant cultural setting. I mean sophisticated in the noblest sense of the term; in other words, “culturally evolved”, because we wanted to place each work in an extremely authentic context. For each piece to have the right dignity and the right context lighting is fundamental. So we studied each scenario carefully, since all the rooms in the Giorgio Cini Foundation are so diverse in terms of their size, space, atmosphere and the sensations felt there. We had to design specific lighting for each space, or rather, general lighting for the space as a whole and specific lighting for the object of focus. We found iGuzzini to be an observant partner, who truly interpreted our thoughts. For us it was very important to work with partners who not only execute our wishes, but interpret them; people who could get on the same wavelength as us and help us achieve the best for each project. Homo Faber went beyond our expectations, with very high numbers. We had an average of 2000 to 2500 visitors a day, with extraordinary peaks during the weekend.However, although the numbers were the main reason for the international community’s interest in Homo Faber,

me because I had worked with them for several years on a number of exhibitions and particularly on “Casa dei Tre Oci”, a place near here on the island of Giudecca.The most interesting, loveliest and most curious thing about this project is the fact that every space within the Cini Foundation is very different from the others. Also, the themes and content chosen by all the curators were completely heterogeneous. It was a wonderful experience because it meant I could put to use my fifteen years of experience in organising exhibitions, not only professionally but also for academic and university purposes. There before me were spaces that were closed, dark, long, high, narrow, more open, less open, with a diverse range of content: from cars to helicopters right down to works of art from museums. There was also a multimedia space, with large monitors and even a section dedicated to virtual reality. And finally, a fact that has more to do with retail than with exhibitions, there was a space for the entire event’s bookshop.Inevitably, the thread running through all of this is lighting. The lighting of open spaces, not least the Cypress Cloister, where the light conditions

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Centuries of Shape © Alessandra Chemollo / Michelangelo Foundation for Creativity and Craftsmanship.

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change according to the time of day and the weather. It is clear that the lighting of objects in such a heterogeneous exhibition is the most important thing. It is the connecting thread and many visitors notice the quality of the light; so it’s not just us, who are, in some way, responsible for creating this exhibition. Thus, first the lighting was designed, because obviously even lighting has to be designed, very carefully. Then it was installed with great care and great skill by those who led this operation, with the technicians and products of iGuzzini. Thanks to the fact that they could be changed, calibrated and optimised for every situation, we were able to create lighting that was almost “made-to-measure”, as distinct from the lighting for the general theme of the exhibition.As far as I'm concerned, it was a fantastic professional, human experience. A team of people who didn't know each other at all beforehand, which began as a small cluster of five people two years ago at the very start of this journey, and grew to include eleven employees who joined in the last two months and were responsible for running the work site and the event. Because obviously, over such a short

amount of time, an event has to be monitored and taken care of. And the team also dealt with dismantling the exhibition. It is something I won't forget easily. In fact, it will be one of the inspirations for my activities over the coming years.To conclude, I’d like to stress the fact that great results like the ones we had with this event do not come out of thin air. It takes a significant group effort, which is based on mutual understanding and a specific, great idea. In our case, this was thanks to the Michelangelo Foundation, Alberto Cavalli, who was a skilful director, Fabien Lupo, who project managed the entire event, Civita Tre Venezie, who called me, and Stefano Karadjov, who wasa great interpreter and captain of it all. No one ever crossed or tried to take over the work of others. Everyone shared the final objective, and, given the extremely positive response of the public, it would seem that it all went very well. Part of the event’s success is certainly down to the venue. A magical place, a Benedictine monastery founded in the tenth century and still here today, for us and with us, imparting this wonderful beauty which, when all’s said, held everything.

“The most difficult thing was finding the last forty artisans; those who work hidden away, concealed, without email, sometimes without a phone, or if they do have a phone, they often let it ring without answering.”

The place has definitely contributed to the success of the event.A magical place, a Benedictine monastery, founded in 900 AD, which is still here for us and with us to give us this great beauty .

Jean BlanchaertGallerist, Curator, Journalist, Artist

JB I am the curator of the Best of Europe room at the Homo Faber exhibition, which took place at the Cini Foundation on San Giorgio Island in Venice. My task was to bring together Europe's 150 best artist-artisans. We are gallerists and we have long been involved with this theme. Although a distinction is often made between artisanship and art, at Homo Faber we focused on the borderland between craftsmanship and art. In other words, we looked at art that today is still created using artisanal skills that are sometimes extremely ancient, or craftsmanship that is so beautiful that it is unequivocally art. When selecting participants, I first went to about forty names of artisans that I had already known for a long time. I came to another

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BestofEurope © Alessandra Chemollo / Michelangelo Foundation for Creativity and Craftsmanship.

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thirty or so names with the help of my collaborator Irina Eskenazi, who went exploring online to discover them. About forty more were supplied by the Michelangelo and the Cologni Foundations and craft councils in different countries. The most difficult thing was finding the last forty artisans; those who work hidden away, concealed, without email, sometimes without a phone, or if they do have a phone, they often let it ring without answering. In the digital world, artisanship can be a wonderful alternative activity, because it can be a way of having a different life from the world defined by computers, but it can have financial benefits, too. Here's an example. In the 1960s, 70s and 80s, parents encouraged their children to get jobs in banks or to go to the first computer schools. Today, many parents encourage their children to go to their uncle's workshop, or to their grandfather, an acquaintance, their third cousin twice removed.

That area of artisanship that has weathered the storm is a bit like the monk seal: protected by a few, now it has come back to life. It’s a non-confrontational alternative to computers. These hands, which humans have used for a hundred million years and we no longer use for writing...Perhaps it’s worth using them again, maybe to start writing again with pen and ink. Stefano Boeri is an architect who pays a lot of attention to others. If you look at this room, he's not here; you can't see him and that's what so great about his project “Fiume Europa”. We see 400 objects arranged one next to another; they talk to each other; they are made of all sorts of materials; they could come from any country and yet at the same time they are the absolute stars of the show. Stefano Boeri managed to disappear; he made this table, knowing that it would be covered. That’s a wonderful service to artisan. Working with him was enlightening.

Alberto Cavalli

In 1998 he graduates from the Catholic University of the Sacred Heart with a degree in International Political Science; he attends a postgraduate course in communications and begins working for a Milanese agency specialising in public relations and fashion-related events. From 2001 to 2007, he is Press Office Manager at Dolce & Gabbana. In 2007, he becomes Lifestyle and Luxury Goods Correspondent for the

Russian-language financial daily Vedomosti and its supplement, How to Spend It – Russia. In the same year, he begins working for the Cologni Foundation for the Métiers d’Art on institutional relations

and cultural projects. A few years later he is appointed the Foundation’s General Director. Between 2009 and 2014 he is editor of three volumes published by Marsilio Editori.

Since 2010 he has been visiting professor at the Creative Academy in Milan, and since 2014 he is a lecturer at the Polytechnic University of Milan. In 2016 he becomes Executive Co-Director of the Michelangelo

Foundation for Creativity and Craftsmanship, in which role he curates the event “Homo Faber: Crafting a more human future” in 2018. He is a member of the Centre du Luxe et de la Création and the jury of the Bettencourt-Schueller Foundation (Paris), the Cultural Committee of the Haute Horlogerie (Geneva)

and Vice Chairman of the Noema Association for the Study and Promotion of Musical Culture (Milan).

Alessandro Pedron

The architectural firm APML is set up in Venice in 2009 by Alessandro Pedron and Maria La Tegola as the culmination of their experience in the profession since 1996. Alessandro Pedron and Maria La Tegola graduate from IUAV University of Venice with degrees in architecture. They begin their professional activity

in Venice. The uniqueness of the city allows them to focus more and more on history and context, and initially to strengthen their skills and experience by working on restoration projects for historic buildings.

The firm’s professional journey and its continuous research into architecture as an organism has taken them through a range of design and training experiences, including restoration, design from scratch, exhibition

design, interior architecture, design, modular systems for numerous sectors.

Jean Blanchaert

Gallerist, art critic and curator, for more than thirty years, Jean Blanchaert has worked with contemporary materials. Galleria Blanchaert, founded in 1957 by his mother Silvia, has countless exhibitions

to its credit in Italy and abroad, presenting the works of some of the world’s best artisan-artists. Blanchaert has also curated dozens of exhibitions in institutional settings, most recently in the fields

of glass, ceramics, iron and marble. He has also curated art and photography exhibitions. Since 2008, he is a regular contributor to the monthly “Art e Dossier” (Giunti Editore) directed by Philippe Daverio.

In 2017, as part of the first Venice Glass Week festival, Jean Blanchaert is co-curator, with Noah Khoshbin, of the Robert Wilson in Glass exhibition, organised by the Fondazione Berengo. In September 2018

he curates the Best of Europe room at Homo Faber, at the Cini Foundation, Venice. He is currently co-curator, alongside Adriano Berengo, of exhibition Memphis-Plastic Field at Palazzo Franchetti, Venice.

The role of lightThe role of light in an installation of this kind is important. Because if we look around, especially in such a crowded installation, each of these objects has been brought to life and then circumscribed, so that onlooking visitors can concentrate all their attention, for just a few seconds, for a few minutes, on the piece they are looking at. There’s no confusion and some of these objects were truly hard to identify. This was mainly because, although the room was 500 sq. m, there was rather a lot in it. So we brought in iGuzzini, who had already done a lot of work with Stefano Boeri, to take care of the exhibition's lighting, actually, right up to the very last minute. This first Homo Faber was a dream and came about because the originators, the organisers the curators all put in their best efforts and believed in this project. I think it is quite remarkable to see 6500 people, according to the latest figures,come here to San Giorgio every day•

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Giancarlo Basili \ Maurici GinésCavalli \ Peron \ Blanchaert

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Creativity and Craftsmanship© Alessandra Chemollo / Michelangelo Foundation for Creativity and Craftsmanship.

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Meetings Arcipelago Italia is a manifesto which aims to present the possible routes that can be taken to highlight the value and importance of architecture. The purpose of this Pavilion is to help people discover the more invisible, wounded side of this country; but also its wealth of potential and beauty.

“A space where, unlike the metropolises, there is a different relationship between the urban dimension and the territory, and where, even the remotest rural communities are represented. A polycentric settlement model, covering more than 60% of the territory, made up of small towns and villages a long way from large cities. A territory where the traditional North-South divide vanishes in the face of what we can define as Arcipelago Italia.”

The curatorial proposal for the Italian Pavilion at the 16th International Architecture Exhibition of the Venice Biennale interpreted the FreeSpace theme by drawing attention to the territorial archipelago that is made up of urban and rural settlements and the landscape that connects them. Within these cells, which defy the logic of aggregation that reigns in metropolitan systems, the line between public and private space is vague. In recent years, contemporary architecture has focused on large metropolitan areas, thus

following the geography laid out with the advent of modernity. In Italy, this has led to the exclusion of 60% of the territory and more than 400 municipalities which account for 25% of the population. Thus, we have lost the expressive biodiversity that prefers things done to the right degree, than through grandiose gestures. Thus, we decided to give voice to that rich, prolific world of empathic architecture, found in those small actions where the focus is on improvement and dialogue. Actions that can bring together the yet-to-be-resolved relationship between history, the contemporary world and the landscape. The aim is to return the role of social responsibility to the work of architects. Arcipelago Italia is a manifesto which aims to present the possible routes that can be taken to highlight the value and importance of architecture. The purpose of this Pavilion is to help people discover the more invisible, wounded side of this country; but also its wealth of potential and beauty.

Journey through Arcipelago Italia

The project to design the layout of Arcipelago Italia became a journey in which architecture itself became the instrument for discovering places, landscapes and communities. The aim was to convey the soul of these territories to visitors, and engage them in an evocative and inclusive story; a journey through time leading to an investigation into future prospects.A documentary film presents the story of these places at the start of the itinerary: my journey along a few symbolic stages of Arcipelago Italia.In the same section you find yourself surrounded by eight giant books. These are a paper guide presenting even more itineraries along which visitors can discover the contemporary architecture projects that were discovered thanks to our call for submissions. The purpose was to find concrete examples of contemporary architecture’s potential to regain a central role in the dialogue around

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the issues of society’s new needs, historical stratification and the landscape. A journey with a hundred and three stages in which contemporary architecture projects mingle with historic towns, walks, landscapes and many other important initiatives. At the end of this section you come to the “future” space, the result of research carried out by a group of experts on the themes of transport, demographics and climate change. They studied the state of things, then came up with future prospects for two different scenarios: the first for if the current dynamics continue and the second for if architecture were to be incorporated into the process as an instrument. The second section is a space that is left free and can be used as a whole. In it stands a large table which reproduces Arcipelago Italia, displaying five experimental projects. This is the result of an experimental,

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multidisciplinary, multiplayer and inclusive project coordinated by me and my staff, in which we tried to represent in concrete terms the idea of relaunching Italian territories through architecture, by experimenting a “hybrid building”. The idea stems from debates had during the course of researching Arcipelago Italia. One of the main drivers leading to the abandonment of and, hence, the lack of protection for a territory is that essential services are reduced. The provision of such services and the spaces needed to host them are an expense that the welfare system cannot deal with, owing to ever-decreasing population numbers. Sometimes, in certain virtuous contexts, communities get organised on their own and set up places that can serve several functions, for example as a social meeting place, for educational purposes, culture, healthcare and services.

Our aim with Arcipelago Italia was to give these “hybrid” spaces an aesthetic form with contemporary architecture that would add to the value of the cultural asset and its landscape. This would bring a quality that is expressed as empathy with the contexts, a sense of scale and feasibility, with the possibility of interpreting future opportunities and responding to the needs of communities. We identified five strategic areas around the archipelago. The five projects were developed by a multidisciplinary collective, made up of six emerging firms within Italian architecture, in partnership with local universities and numerous outstanding professionals. The areas involved were Tuscan-Emilian Apennines with the Casentinesi Forests National park, Camerino, Matera and the Basento Valley, the Barbagia region and Valle del Belice•

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Mario CucinellaHon FAIA, Int. Fellow RIBA

Mario Cucinella is the founder of Mario Cucinella Architects. In over 20 years of activity, MCA has gained considerable experience in architectural planning, with a particular focus on the issues of sustainability

and the environmental impact of buildings. In 2017, the American Institute of Architects (AIA) presented Mario Cucinella with the prestigious Honorary Fellowship Award. In 2016, the Royal Institute

of British Architects (RIBA) awarded him an International Fellowship.He is the curator of the Italian Pavilion at the 2018 Venice Biennale.

In 2012, he founded Building Green Futures, a non-profit organisation that promotes sustainable architecture and renewable energy for the improvement of living conditions and access

to resources in developing countries. In 2015, he founded SOS – the School of Sustainability – which trains new professions in sustainability.

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Via Brera 5The Light Gate Alfonso Femia

“The Light Gate”, iGuzzini’s new offices in Milan designed by Alfonso Femia Atelier(s), opened in January 2019. The new space strengthens the bond the company has with Milan as an international financial and cultural centre, particularly in terms of the culture of architecture and design. The city joins the ranks of Paris, London and Shanghai, where iGuzzini already has spaces in which it receives architects and designers. The relationship with the city of Milan first began in 1969 with the creation of Centro Forme. Directed by Luigi Massoni, the aim of this space was to spread a culture of light and to promote lighting solutions, and this led to collaborations between Milanese

designers and certain companies in the Marche region. The space at 5 Via Brera is more than just a showroom or headquarters. It is conceived as a place for the co-mingling, hybridisation and sharing of different disciplines. It will be the go-to destination, not only for contact with iGuzzini, but also for discovering more about the culture of light. It is a flexible, innovative space covering 970 sq. m over two floors. On the first floor you have offices, meeting rooms work rooms and communal areas. The basement has iGuzzini’s Light Experience, which unfolds in two stages. First, we have the area dedicated to examples of different lighting effects. This is a multisensory experience with

the addition of music, sounds and a guiding voice. Next, we get a more detailed sense of these effects applied to different contexts, and an interesting approach is used to illustrate them. When a curtain opens, guests are faced with a room that is apparently empty, with walls bearing slashes of light. These slashes of light are guides for iGuzzini technicians who, with magical skill, rotate, slide and lift parts of these walls. On the other side appear objects and materials organised into different sectors, such as retail, cultural heritage, hospitality & living and architecture.The retail wall, for example, can show the effects of light on fabrics. In addition to vertical and accent lighting,

Corporate iGuzzini’s new space at 5, Via Brera, Milan, is designed by Alfonso Femia.

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“Imagine a space as fluid as light.Imagine a space that can be mapped out through a continuous dialogue between different dimensions of light: natural, artificial, reflected, linear, focused. Containing and narrating light through space. Containing and narrating space through light.Space takes the form of a concatenation of spaces defined by light thresholds: gateways. They take us to different worlds; they define the potential for interacting with different types of space; they define the codes and the values of iGuzzini lighting; they show us that light is grammar, semantics, language.”Alfonso Femia

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Photos Stefano Anzini, courtesy Atelier(s) Alfonso Femia

Alfonso Femia Atelier(s) Alfonso Femia AF517

Born in Calabria, Alfonso Femia lives and works in Genoa from where he “tos and fros” with Milan and Paris.In 1992 he obtains his degree in Architecture from the University of Genoa. He has taught Architectural Design

at Kent State University, Florence, and at the Faculty of Architecture at the universities of Ferrara and Genoa. He founds 5+1 in 1995, creates 5+1AA in 2005 and 5+1AA Paris in 2007, which becomes Atelier(s)

Alfonso Femia in 2017. He has won numerous international competitions and has been published in several Italian and international magazines. His “research around matter” has led him to work on design

projects with international firms. With AF*design he has pursued themes related to ceramics, light, wood, glass, cardboard and biodynamic cement.

it is also possible to see the impact of different colour temperatures. In the Culture, Hospitality & Living sector, we have examples of how paintings can be lighted and the effects on, say, marble or mosaics, i.e. materials that are often used in interiors.

The wall dedicated to architectural lighting presents the different applications for luminaires and therefore the different lighting effects, as well as presenting examples of materials mainly used outdoors. All this in a matter of 15 sq. m•

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Photo of human keratinocytes (HaCaT) taken under a fluorescent light microscope. Staining with Phalloidin, a mycotoxin extracted from the Amanita phalloides, reveals the Actin microfilaments that form the cytoskeleton. Photo Dr Massimo Bracci – Marche Polytechnic University.

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Research iGuzzini and the Occupational Medicine Laboratory of Marche Polytechnic University are working together to investigate the effects of light on cells.

Human beings cannot live without light. But do we really know why that is? So far, scientific research has been unable to provide a complete answer to that question. This is why iGuzzini has teamed up with the Occupational Medicine Laboratory of Marche Polytechnic University (UNIVPM) to investigate the effects of light in humans and the interaction between light and health. In our “reality of the visible” there are two different types of light, namely sunlight and artificial light. A direct consequence of the Industrial Revolution, artificial light is a key factor in the evolution of humans, together with sunlight. Light is the main synchroniser and helps us set our circadian rhythms. The biological or circadian clock – from the Latin circa “around”, dies “day” – is a set of highly beneficial molecular-level mechanisms that help our bodies conserve energy by ensuring that certain physiological processes take place at specific times of day.

Circadian rhythms are regulated and coordinated by a main internal clock located between the two hemispheres of the brain in the suprachiasmatic nucleus of the anterior hypothalamus. The main internal clock receives information about light stimuli from the retinal cells, which have a specific photopigment called melanopsin that is particularly sensitive to blue light (i.e. at wavelengths of 460-480 nm). The main clock synchronises the peripheral clocks in every cell. Several scientific studies have shown that exposure to artificial light at night, particularly shorter wavelengths, can disturb circadian rhythms. The circadian rhythm is markedly desynchronised during night shifts, when workers are exposed to artificial light at the time they would normally be asleep. However, night workers are not the only ones to be affected by the desynchronisation of circadian cycles; it involves a significant portion of the

population. Its effects include ageing and it is believed that it is involved in the development of age-related disorders, such as depression, diabetes, hypertension, obesity and cancer, with increasing evidence of its implication in breast cancer. The joint research project led by iGuzzini and the Occupational Medicine Laboratory of Marche Polytechnic University includes a doctoral programme across three academic years and aims to study the biological effects of light. The goal is to get information to identify and test light sources that will have a lower impact on physiological circadian cycles to improve the quality of life. Indeed, today, it is still not clear what type of lighting should be used in home and work settings. In recent years, considerable scientific evidence has come to light suggesting that exposure to blue light disrupts circadian rhythms and damages retinal cells. According to the results of this research,

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we should be using light sources made up principally of red wavelengths. However, other research has shown that exposure to intense light with a blue component in the middle of the day benefits the physiological circadian rhythms and can help in the treatment of various diseases. Further scientific evidence is needed to establish what characteristics of artificial light sources are functional to human biology. To this end, the research project has already led to the creation of an experimental model that will allow us to evaluate the biological parameters

of human cells exposed to different intensities in different sections of the spectrum of light radiation emitted by LEDs. The tests involved in the doctoral programme will allow us to obtain a lot of information. Specifically, the study will evaluate the viability of cells, the effect of light exposure on individual protein molecules and the interaction between light and the biological clock through the analysis of the expression of specific genes (clock genes). Certain toxic agents will be added artificially to the light cells exposed to the light in order to test

whether light radiation can protect cells by activating enzymatic defence processes. The scientific evidence obtained from this study will then be tested on an animal model. If this produces interesting results, it will then be tested on humans. The study is of great importance for all areas of life, and particularly for workplace lighting (especially when night shifts are involved). We believe that lighting should not be chosen on the basis of aesthetics alone, and is increasingly becoming a challenge for medical and technological research•

Massimo Bracci

He holds a degree in medicine and surgery with merit and distinction and a specialty in occupational medicine with distinction from Marche Polytechnic University. He currently works at the SOSD

Department of Occupational Medicine at “Ospedali Riuniti” Hospital in Ancona and is a researcher in occupational medicine at Marche Polytechnic University, where he also teaches on several degree

and medical specialisation courses. He supervises the scientific research conducted by the doctoral student Maria Fiorella Tartaglione.

Maria Fiorella Tartaglione

With a degree in biological science from Marche Polytechnic University, she also obtained her Master’s degree in molecular and applied biology with distinction from the same university. She is currently a doctoral

student involved in the research project on the chronobiological effects of light radiation on human health, co-financed by iGuzzini Illuminazione S.p.A.

Correlation of time of day and certain physiological functions.

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Crystal violet (gentian violet) staining binds and highlights the DNA of the nucleus and nucleolus of the keratinocytes.

Photo of human keratinocytes (HaCaT) carried out under an inverted microscope kept in the dark or exposed to red or blue monochromatic light radiation.

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iGuzzini Icons Over the years, iGuzzini has collaborated with architects and designers, sharing the same language and transforming their ideas into reality. Established in 1959, iGuzzini originally manufactured lamps under the name Harvey Guzzini. Lamp production continued until the mid 1980s, alongside the development of luminaires, which began in the mid 1970s.

1968 Table lamp consisting of a polished or satin-finish base and sixteen “leaf-shaped” methacrylate elements radiating outwards from a light source. The light strikes the edge of each of the leaf inserts giving them a luminous frill.

Cespuglio. Homage to Gino Marotta

DesignEnnio Lucini

2018 The product has a square cross-section which houses the driver. Available in three different sizes – including the smallest with a 26 mm side – two heights and two optics with patented Opti Beam technology, which produces a well-defined beam, with no double-ring effect and provides extraordinary visual comfort. This version is the evolution of the Laser Blade XS, the smallest linear downlight, launched by the company in 2017.

Laser Blade XS Pendant

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28Restoring the perception

of the frescoesin the S

crovegni Chapel

Padua \ Italy

20Lighting revives Tintoretto’s art Venice \ Italy

7216· International A

rchitecture Exhibition

Venice \ Italy

40Alternative light scenarios

for Michelangelo’s P

ietàC

ittà del Vaticano

68Lighting for the Arch of Janus

inspired by the Rom

an gods R

ome \ Italy

54Rom

e Metro C

Line – S

an Giovanni S

tationR

ome \ Italy

36The Ancient Theatre of Taorm

inaTaorm

ina \ Italy

60The Museum

of the Dancing S

atyrM

azara del Vallo \ Italy

95The Zeitz M

useum of C

ontemporary

Art A

frica - Zeitz M

OC

AA

Cape Tow

n \ South A

frica

90Yakushiji Temple

Jikido Hall

Nara \ Japan

116S

oft lighting for Changi A

irport S

ingapore \ Singapore

128 p.

Station F, the biggest

startup campus in the w

orldP

aris \ France

120Lighting the stunning B

lue Lagoon G

rindavík \ Iceland

106The P

alais de Justice P

aris \ France

78The new Victoria &

Albert M

useum

Dundee \ S

cotland, United

82Royal A

cademy of A

rts London \ U

nited Kingdom

48Moonlight for the

Colle dell'Infinito

Recanati \ Italy

92The Louvre Museum

in TehranTehran \ Iran

86Boudhnath S

tupaK

athmandu \ N

epal

112The B

lock – D3 C

reek Park

Dubai \ U

AE

Pro

jects Overview

Studio Pasetti lighting \ Roberto Sannasardo \ Rossi Bianchi Lighting Design \ Dante Ferretti \ Vittorio Storaro - Francesca Storaro \ Kengo Kuma & Associates \ James F. Stephen Architects \ Arup \ Studio ZNA \ Toyo Ito & Associates, Architects \ Lightdesign Inc - Hiroyasu Shoji \ Horshaar Design \ Thomas Heatherwick \ Van der Merwe Miszewski Architects (VDMMA) \ Jacobs Parkers Architects \ Rick Brown + Associates \ Renzo Piano Building Workshop \ Cosil Peutz \ Desert Ink \ Lichtvision + WSP \ Basalt Architects \ Liska - Guðjón L. Sigurðsson \ Wilmotte & Associés

Nick Turp

in \ Dem

etrio S

onag

lioni \ Flo

rence Lam

English

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Documents

2019 02 - alllight.hu · 02 2019 02 Culture Nick Turpin Candid Public Photography Demetrio Sonaglioni Digital technologies for illuminating past masterpieces Florence Lam Future Fit