iGuzzini - Commercial spaces

Commercial Spaces

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Loro Piana

Fila Sport

Porsche Centre

Gum Superstores

Max Mara

Dunhill

Delitto e Castigo Boutique

Maserati showroom

Reorganization of Studio Wella

EZ Neue Mitte

Phönix shopping centre

Ortona Center

Barker & Stonehouse

Emporio Armani

Daimler Chrysler AG Mercedes-Benz Center

Fendi Boutique

Y’s point of sale

External lighting of commercial spaces

Light Campus

Summary

Commercial Spaces

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Clients:

Adolfo DominiguezAlessi Waterstone‘sAntonio PernasArgosArmaniAudiB&B ItaliaBarker & StonehouseBay Trading CoBenettonBlancoBMWBoffiBricoferBuffettiBulgari – cornerBulthaupBurger KingC&ACalvin KleinCamperCarameloCartierCeramiche RagnoClub VacanzeCoopCo-OperativeCornelianiCoronel TapiocaCortefielCusto BarcelonaDaimler Chrysler StuttgartDerothyDesigualDeutsche BankDeutsche PostDixonsDouglasDufrital R. GinoriDunhillEduscho

El Corte InglesEmmanuel SchuiliEscadaEuro Trade FlughafenFendiFerrariFila SportFratelli Rossetti SpaGas NaturalGaumontGruppo IntercrestGucciH&MHarrodsHaspaHettlageHiltonHipovereinsbankHMVHugo BossInditexKarstadi Hertie HalifaxKartell SpaLa PerlaLes CopainsLevi’sLior TerranovaLladróLoro PianaMaseratiMandarina DuckMangoMarina RinaldiMarks & SpencerMax MaraMax&CoMayoralMcDonaldMolteniMoss BrossMurphy & Nye

Natwest GroupNikePans & CompanyPathéPerkinsPodiumPorcelanosaPorschePrinciplesPronoviasRCS Rizzoli LibrerieReebokSafewaySainsbury’sSaller GewerbebauSavaSchmidt BankSelfridges & CoSferaSixtySportmaxSuit CompanySwatchTelecomTescoThe Body ShopThe Disney StoreTie Rack - GucciToomanTopshopTrussardiTSBValturVenini SpaVersace Company StoreW’SWarner VillageWeitnauerWella SwissWormlandYohji Yamamoto

This monograph issue of incontroluce appears as aspecial selection of the international lighting journallaunched in 1999 and edited by iGuzziniilluminazione; a publication designed to enhance theimage of a company already known to many, andreveal its identity more fully to others less familiar withthe name. From the way the journal is conceived andpresented, there will be little doubt as to the kind ofmarket it serves, and to the nature of the companybehind its publication. incontroluce profiles some ofthe most important and interesting designscommissioned around the world, in various sectors.This issue presents lighting designs commissioned forcommercial spaces.

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Introduction

The lighting of showrooms and retail spaces is a field of application that presents a considerable number of design problems. The type of store and its target clientele, the size and location of the premises, the way merchandise is displayed and themessage the vendor wants to send out to customers... these are just some of the factorscombining to dictate lighting design criteria. Nonetheless, it is possible to focus oncertain factors common to almost all commercial premises, and to identify theoverriding objectives of the lighting design:

to render the visual composition of spaces appropriately;to create an atmosphere conducive to trading, highlighting the focal points of the retailenvironment; to enhance the quality of the merchandise on display;to control the negative effects of radiated light on merchandise.

The common requirement that all lighting systems must fulfill is that of high flexibility - a key attribute ensuring adaptation to continual changes in store layout.

The evolving philosophy of displayIn any store or showroom, lights have a role of primary importance in establishing theoverall image of the surroundings. One can look perhaps for connections between styles of shopfitting and lighting, but it must be appreciated that there have been significantchanges over recent decades in the way goods are displayed.In the early 1950s, the display of merchandise was based on the simple presentation ofproducts in a setting where design played no part. This was a period characterized by lowexpectations: huge satisfaction came simply from the novelty element and the symbolicimportance of the items on display. The product spoke for itself. Communication strategieswere unnecessary.The art of displaying merchandise began to evolve in the boom years (1960s to mid-1970s). The intrinsic value of the object was transcribed into a parallel language -shopfitting - which took on an importance, in terms of design, complementary to theactual product. It was the ambient and architectural context that distinguished the product on display, making it unique and attractive compared to other offerings.This marketing technique seemed to meet the need for a way of leading and influencingthe unprecedented willingness to spend that typified the period. In fact, the marketingpractically created the need.Through the 1980s to the early 1990s, furnishing and décor began actually to supplantthe merchandise in terms of importance, with the result that the product almostdisappeared or in any event became marginal, smothered by the force of communication,style and “look”. The sale of goods was stimulated and sustained merely by symbolicimagery, by the most flimsy of advertising messages, quite unrelated to the real needs ofthe consumer. This past decade has seen the emergence of a new philosophy in designingretail spaces: the style and image of the furnishing and décor become the identity of thestore and of the company offering the product. Shopfitting is minimal and elegant again,as if reflecting a quest for conceptual clarity. Products are selected and displayed with skilland flair, underlining the centrality of the service offered.

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Loro Piana

Milan, Italy

Lighting designerPiero Castiglioni

PhotoGiuseppe Saluzzi

Light ShedThe lighting system best able to show up the consistency and elegance of fabrics is one ensuring a soft and uniform distribution of luminous flux.Light Shed is a recessed luminaire createdespecially for Loro Piana stores, using low voltage halogen light sources ordered in rowsof no fewer than three and no more than six.Equipped with symmetric and asymmetricoptical assemblies.

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Loro Piana

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Fila Sport

Milan, Italy

Layout designMatteo ThunMarco Rossi

PhotoEmilio Simion

FrameCertain architectural spaces require luminairesthat will have a minimum visual impact wheninstalled. Frame fixtures are recessed unitsutilizing ultra low voltage halogen light sourcesthat can be installed in combination withcompact fluorescent lamps. The halogen lampsare adjustable for direction independently andoffer the advantage of being deployable asaccent lights where required.

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Porsche Centre

Stuttgart-Zuffenhausen, Germania

Architectural designWerkgemeinschaftCEPEZED B.V., Delft(Netherlands)and Kilian + Hagmann,Stuttgart

Electronic designAXYZ AG, Zurich (Switzerland)

Electronic designRaible Engineering,Ditzinger

PhotoStudio Anker

TrimmerIn stores and showrooms where frequentchanges of layout are necessary, it is goodpolicy to specify an adaptable luminaire thatwill provide both general background andaccent lighting. Trimmer is a modular recessedunit housing spots that are fully extendableand adjustable for direction. Can be used witha wide range of light sources.

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Porsche Centre

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Gum Superstores

Moscow, Russia


FrameCertain architectural spaces requireluminaires that will have a minimumvisual impact when installed. Framefixtures are recessed units utilizing ultralow voltage halogen light sources that canbe used in combination with compactfluorescent lamps. The halogen lamps areadjustable for direction independently andoffer the advantage of being deployable as accent lights where required.

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Gum Superstores

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Max Mara

Milan and Moscow

Layout designDuccio Grassi Architects

PhotoEnrico Lattanzi

Pixel PlusMaximum flexibility in terms of beam directioncombined with minimum intrusiveness: this iswhat can be expected from a lighting systemfor stores subject to frequent changes in layout.Pixel Plus is a recessed unit with an opticalassembly that tilts both inwards and outwardsand swivels on its axis. Uses a wide range oflight sources.

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Dunhill

London, UK

Architectural designRPA, Architects

Lighting designLight on Line,Martyn Cresswell

PhotoAlfred Dunhill archive

Sivra CompactIn certain surroundings, importantly, thegeneral level of comfort offered goes beyondvisual comfort pure and simple. The SivraCompact fixture was developed from a researchproject initiated in 1988 jointly with the ItalianCNR - National Research Council - and theLighting Research Center of the RensselaerPolytechnic Institute of Troy, New York. Theaim was to design a lighting system thatwould reproduce the characteristics of naturalsunlight, featuring variable and automaticallycontrolled output (acronym SIVRA). The SivraCompact can vary colour, temperature andintensity according to scientificallypredetermined programs.

The system is composed of: modules containing fluorescent lampsan electronic control unita set of electronic power adapters

The operation of the system is managed by acomputerized system able to read smart cardsprogrammed with specially calibrated lightingcycles tailored to suit the latitude, longitudeand other geographical data of the locationwhere the system is installed.

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Dunhill

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Madrid, Spain

Architectural design Teresa Sapey

PhotoClaus Breitfeld

CestelloIt may be necessary to change the layout of aretail store from time to time, and this dictatesthe need for a system that will provide bothbackground and accent lighting with a limitednumber of fixtures. Designed for displayapplications, Cestello is an extremely flexiblelighting system incorporating different lightsources in a single luminaire. Each source is adjustable for direction independently of the other.

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Maserati showroom

Modena, Italy

Architectural design Ron Arad AssociatesRon Arad, Asa Bruno

Project teamGeoff Crowther, Egon HansenPaul Gibbons

Consultants:Direction of worksPierandrei Associati Electrical systemsElectrical consultancy

PhotoMaserati archive

TrimmerSpot and discharge lights can combine to good effect in certain spaces. The Trimmermodular recessed unit has single spots thatare fully extendable and adjustable for direction,and can be used with a wide range of lightsources, which means they can provide bothgeneral background and accent lighting.

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Reorganization of Studio Wella

Zurich, Switzerland

CreditsContractorMc Connel by Kuhn Zürich

DesignersWelonda AG, Allschwil, Daniel Huber, architetto d’interni

Sistema EasyCertain spaces need luminaires that will offer long service life, ease of maintenanceand high light emitting efficiency whilecreating minimum visual impact. The Sistema Easy features recessed units ofround and square outline that can utilizefluorescent, halogen and metal halide lightsources.

Electrical systemsElektro Winter, Jona

PhotoMarcel Schläfle

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EZ Neue Mitte

Jena, Germania

Architectural designH.+ P. – Bad Berka

Lighting designH.+ P. – Bad Berka

PhotoM+M Video-Fotowerbung

MinimalCertain architectural spaces requireluminaires that will have a minimum visualimpact when installed. Minimal fixtures arerecessed units in which the light sources areset back slightly from the surface of theceiling. They take ultra low voltage halogenlamps that can be combined with compactfluorescent lamps. The halogen light sourcesare adjustable for direction independentlyand offer the advantage of being deployableas accent lights where required.

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Hamburg, Germany

Architectural designECE Projektmanagement GmbH

Lighting designLuna Lichtarchitektur Matthias Friedrich

PhotoMM-Video Fotostudio

Pixel PlusThe Pixel Plus has a hinged optical assemblythat can tilt both inwards (up) and outwards(down).This ensures the luminaire has minimalimpact visually, while on the practical sideoffering flexibility, reliability and ease ofmaintenance - important advantages in storesand showrooms where the lights typically arekept on for prolonged periods of time.

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Ortona Center

Ortona, Italy

Architectural designGiuseppe Margiotti


Le PerroquetIt may be necessary to change the layout of aretail store from time to time, and this dictatesthe need for a system that will provide bothbackground and accent lighting with a limitednumber of fixtures. Designed for displayapplications, Le Perroquet can be suspendedpendant style, track-mounted or surface-mounted, and offers a choice of light sources.

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Ortona Center

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Barker & Stonehouse

Gateshead, Newcastle, UK

Design concept Andrew Durham

Photo Sasa Savic

BerlinoBarker & Stonehouse is a major chain of storesselling furniture and accessories for the home.This kind of showroom must be lit with visualcomfort in mind, reproducing a typical homeatmosphere but ensuring that the effect of thelamps used for the display lighting will not becancelled out. Berlino luminaires combine thetraditional look of the pendant lamp withoptimum light emitting efficiency. Reflectors areoffered in three versions - metal, satinated glassor aluminium and glass - so that direct ordirect/indirect lighting solutions can be adopted.The version selected for Barker & Stonehouseis the aluminium and glass combination, whichgives a wider distribution of the luminous fluxand therefore a softer effect.

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Barker & Stonehouse

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Emporio Armani

Hong Kong

Architectural designMassimiliano and Doriana FuksasProject Leader:Davide Stolfi

Design Team:Iain WadhamDefne Dilber Motohiro TakadaModel Makers:Gianluca BrancaleoneNicola Cabiati Andrea Marazzi

PhotoRamon Prat

The arrival of Emporio Armani in Hong Kongreflects an awareness that the milieu of globalculture affords a proving ground for numerousidentities. In this instance, a meeting of twocreative forces, and a meeting of two differentoutlooks on the world. Architecture and fashionboth mirror our reality; they belong to the samecultural universe. It would seem that architecturelasts, and fashions pass, but with the pace oflife in our modern society, the two are bound tocompete and to overlap. In designing theinteriors of the Hong Kong Armani store, everytraditional formalism of architecture has beenrejected: the emphasis is on space more thansubstance. Flows, not décor, are the trueinspiration. Invisible layouts are the onlypossible reference. Three spaces are establishedby curved glass walls etched with an abstractpattern: internal, external and interstitial. Thereare no luminaires in sight, and the geometry ofthe light sources is unseen. Floors areneutralized and oppressive suspended ceilingsbecome intangible. Glass components have acurvature, characterized by complexgeometries, which becomes a light source. All this makes for a fluid space - a seamlesspassage between clothes, restaurant, bookshop,flowers, coffee shop, Armani cosmetics… The images are multiplied by the resin floor,redoubled to infinity. The walls are thrustbeyond the confines of the masonry shell.The interior furnishings of steel, coated with asoft and translucent material, are unexpectedlycomfortable.

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Emporio Armani

Load-bearing structures vanish, flooded withlight. In the restaurant, simple functions arecomplemented by an exhilarating “red ribbon”(moulded from fibreglass) that spirals towardthe hall. The ribbon suggests resonances andtensions. A simple line, almost an automaticsignpost, serving to create spaces (lounge, bar,restaurant, foyer). With the visual eradicationof floor, ceiling, walls and other structures, thevisitor becomes a “personality”. These aretimes when everyone can claim their fifteenminutes of fame.

The Emporio Armani in Hong Kong is aplace where individuals can feel they arethe centre of attention, in a space designedespecially for them, and everything theyencounter will be bathed in magical light.The strength and colour of the light willchange through the day and the evening.The “shop window” on Chater Road mirrorsthe rhythms and images of Hong Kong withcontinuously changing illuminated signs.

(Massimiliano and Doriana Fuksas)

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Emporio Armani

Lighting solution The architectural design produced byMassimiliano Fuksas is more about spacesthan solid structures. Light becomes a guide. A pathway. The display area itself is flanked by backlit walls.The luminaires, designed especially for thisparticular project, are carefully concealed fromview. Downlight in the books, flowers andhairdressing departments is provided by PixelPlus 35W CDM-T fixtures with the rim colourmatched to that of the ceiling. Units used in the window are Le Perroquet(Piano Design) 70W HIT.In the restaurant and flower shop, dynamicand coloured lighting comes from the walls.This is a solution that creates the kind ofweightless and transparent atmosphereenvisaged and requested by the client.

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Emporio Armani

Reverse angle lightingThis kind of effect is obtained by projectinglight from behind the object, so as to create asense of depth, throwing the illuminated objectinto relief by detaching it from the backgroundand accentuating the silhouette. With thistechnique, objects appear moulded by the light and bathed in a luminous glow.Reverse angle lighting can also be used inconjunction with surface or front lighting.

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Daimler Chrysler AG - Mercedes-Benz Centre

Munich, Germany

Architectural designStudio LAI - Munich

Lighting designStudio KBP - Hallbergmoos,Andreas HeilandAG-Licht, Klaus Adolf

PhotoFotostudio Anker

Measuring 150 metres in length and with75,000 square metres of floor space on eachlevel, this building offers room for all kinds ofuses: glass-walled workshop, parts store, display, new and used car sales, distribution,administration and a multi-storey car park with350 places. Also housed in the building arean AMG/Design Center, a section showing therange of Mercedes motor cars, a MaybachCentre, an Italian restaurant, a number of artexhibitions and multimedia systems providinginformation to visitors. Given the glass architecture, with its transparentshell, and the intended use of the building, thetask facing engineers concerned with technicalaspects of the structure was not an easy one.The main challenge of the technical designcentred on how to go about tackling thechangeable daylight, and the gloom created by rain or by snow. The tower block and itselliptical contours are given prominence bydirecting light onto the underside of deflectorslocated in the ventilation cavity of the glassfaçade.

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Lighting solutionThe products used are Linealuce (Jean Michel Wilmotte), Pixel Plus and Le Perroquet(Piano Design).Using these luminaires in combination, thedesigners were able to provide both backgroundand accent lighting while counteracting thereflections from the bodywork of the vehicles.Recessed Pixel Plus units are fitted with spillrings and lamped with metal halide sourcesfor high colour rendering. Le Perroquetluminaires with spot type optical assembliesare used to light the central atrium. Thesefixtures were selected for their extremeversatility, given that the space would besubject to changes of layout and is also usedfor staging concerts or presentations. The design of the west frontage on theDonnesberger Bridge, which functions also asa huge shop window, is based on the cells ofa hive. The individual vehicles are illuminatedby spots equipped with reeded lenses allowingthe light cone to be widened. The structure ofthe tower is highlighted using Linealuce units,positioned in the ventilation cavity of the glassfaçade so as to give a particularly uniform andwell-diffused light that will show off theelliptical geometry. The overall lighting can be activated in such a way as to create the particular effect desired,and controlled according to requirements.Each set of luminaires can be switched andcontrolled independently of the time of dayand the level of daylight outside.


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Accent lightingCavernous spaces like car showrooms require light sources of high rated output and luminous efficiency that will guarantee a notably high level of illuminance (greater than 500 lux) on the vehicles, with highcolour rendering and a neutral colourtemperature (around 4,200 K), so as to show up chrome-plated metal parts to best advantage.

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Fendi Boutique

London, Paris, Rome

ConceptSilvia Venturini Fendi Fendi creative director

Lazzarini Pickering Architetti

Lighting designLazzarini Pickering Architetti

PhotoMatteo Piazza Giuseppe Saluzzi

The new international image of Fendiboutiques is dark, architectural and luxurious.All elements of the interior (shelves, hangersystems, tables, etc.) are consideredarchitectural elements and proportioned to thesurrounding space. They are long and sculpturalitems (some shelving extends up to ten metresin length) designed to interact with the spacethree-dimensionally. The panel systemincorporates all the technology (a.c. powersupply, socket outlets, lighting), and runningbetween the panels is a track to which all thedisplay accessories are fixed, leaving thepanels completely free. The stores are dark.The wall panels are black or dark brown; thefloor and the display fittings fashioned fromraw steel that gives off bluish reflections. The notion of a ’shop window’ is dispensedwith. The entire store is exposed to view, withshopfitting components passing through theglass walls.

Customers moving around the store becomeitems themselves, placed in full view of thoselooking in. The customers in their turn see theworld outside through the window, as if viewingan exhibition. The clothes are hung or placedinformally, but sculpturally. The ‘apparent’disorder encourages customers to touch thesumptuous materials and try out themerchandise. The concept of the store interiorhas received careful attention too: the generally dark atmosphere provides abackground against which to create chiaroscuroeffects underscoring the desirability of theitems on display; furnishing materials appearlow-key by contrast. The store has sufficientflexibility to allow changes in the display whileat the same time maintaining the functionalefficiency of all essential services (lighting,power and DT cables).

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Fendi Boutique

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Fendi Boutique

The lighting solutionIt was decided to use Minimal and Frameluminaires (G. Aulenti - P. Castiglioni) as these respond to three different needs. First, the unfussy nature of the interior design called for lighting fixtures that wouldguarantee minimal visual intrusiveness; second,any change in layout of the store would bedependent on a degree of flexibility in thelighting system; and third, the quality of thefabrics and furs, and of the materials utilized,needed to be accentuated and highlighted.The facility of adjusting single lamp assembliesfor direction independently makes the designan extremely flexible one, whilst the use ofhalogen lamps ensures optimum colour rendering.

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The shop windowThrough the transparent front, the entire storebecomes a big shop window with everythingon display: merchandise, interior design, staffand customers. In this situation, the lightingselected for the window must be coordinatedwith that of the interior, and settings blendedwith the level of illumination needed to runthe retailing operation smoothly.

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Y’s point of sale

Roppongi Hills, Tokyo, Japan

Early in 2003, Yohji Yamamoto Inc. engagedthe services of Ron Arad Associates (RAA) todesign “Y’s”, the new single brand Prêt-a-Porteroutlet planned for the prestigious RoppongiHills complex in downtown Tokyo: 570 m2 offloor space, punctuated more or less centrallyby 3 massive load-bearing columns. From thevery start of the design process, RAA decidedthese columns should be concealed so as tocreate an impression of lightness and movementin space. Inspired by the turntable systems ofmulti-storey car parks, found typically inTokyo, the designers elected to embed 4 suchtables in the floor (creating a fourth dummycolumn), so that the focal elements of thedesign could be set in rotation, and thesurrounding space transformed continuously.The result is that the ceiling and floor of thestore seem to be separated one from anotherby four constantly evolving sculptural elements.Each one of these rotating “sculptures” appearsas a stack of 34 tubular hoops ensheathingthe steel columns, serving also as hanger railsfor Y’s garments and, thanks to special couplingpieces, as capacious storage units. Each hoopis rotatable through 360°, and thus infinitelyadjustable for position in space.

Architectural designRon Arad Associates

Chief designer:Ron Arad

Design architect:Asa Bruno

Team:James Foster, Paul Gibbons

Executive architecture(Tokyo): Studio Mebius,Shiro NakadaSatoru Ishihara

Contractor:Build Co. Ltd. (Japan),Minoru Kawamura

Hoops:Marzorati-Ronchetti, ItaliaRoberto Travaglia

Floors:ABC Flooring, Japan

PhotoYuki TangoMamoru MiyazawaNakasa & Partners

Ron Arad

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Y’s point of sale

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The lighting solutionTwo luminaires are used for this interior: Spin (Arnold Chang) and Linealuce (Jean Michel Wilmotte).Spin is a recessed unit housing up to 4 singlelight sources adjustable independently fordirection. The advantage here is that notableflexibility in control of the lighting system canbe obtained with a fixture of minimal visualimpact. In this instance, Spin was also selectedto give strong accent lighting. Linealuce on theother hand was seen as the best fixture forhighlighting the particular vertical surface ofthe counter where the tills are located.

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1. Spin2. Linealuce

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Accent lightingAccent lighting is achieved by creating strong luminance contrasts between objectand background, projecting high luminousintensities and very narrow light cones.Directional and concentrated light generatesshadows on objects, showing up parts in relief,rough or grainy patches, surface treatments,revealing volumes and contours.

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When selecting lighting systems for commercialspaces, the designer cannot ignore their interplaywith the surrounding environment - the urbancontext in which the business operates -indeed the main purpose of external lighting isto attract the consumer’s attention. This hasbeen achieved in recent projects with dynamicand coloured light of the kind produced by theColourWoody. Another issue to address is the safety of peoplewho make use of these spaces.For the illumination of frontages, for example,a good solution is Light Up Walk, an ingroundluminaire guaranteeing surface temperatureslower than 75°C thanks to the thickness of the protective glass.


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1. Galleria Vittorio Emanuele, Milan, Italy

2. Bleichenhof Passage shopping arcade, Hamburg, Germany

Photo1. Emilio Simion2. MMVideo - Foto Werbung3. Zig Zag4. Monica Rossello5. Giuseppe Saluzzi6. M + M Video - Foto Werbung

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3. Mercado de Colon, Valencia, Spain

4. Tres Aguas shopping centre, Madrid, Spain

5. Esselunga supermarket, Lipomo, Como, Italy

6. Neue Mitte, Jena, Germany

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The Light Campus section of the iguzzini.com site is dedicated to the culture of lightand lighting engineering, and is open to anyone wishing to explore these subjects. The pages of this section allow visitors to engage in a learning process, on theirown, selecting the study topics according to individual needs and preferences. The service is intended both as an aid to staff training within the company and as a facility available completely free of charge to outside users. Light Campus is aCompetence Based Corporate Training Center oriented toward Life Long Learning in matters of Lighting Design.

Light Campus Projectwww.iguzzini.com

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Light Campus provides teaching materialdesigned on the basis of the most recentmethods applied in distance learning.Learning with Light Campus is quite simple.Students utilizing Light Campus select theirown training programmes by enrolling for thecourses or the competences available, and the programmes are added to their personalportfolios. The system then activates thestudent’s personal competence profile, whichwill be the guide throughout the entire LightCampus training process. Students can utilizethe teaching material according to the naturalorder of the content, or at their own discretion.The system tracks the studies undertaken andupdates the competence profile of the studentstep by step. An encyclopaedia containingdefinitions of the main concepts is available to

the student during the study period. A seriesof multiple choice questions and exercises atthe end of each chapter enables the studentto make a self-assessment of progress madein learning and digesting the main conceptsencountered. Light Campus gives access to aforum where students can share their learningexperiences with others, and where they canalso communicate with tutors. Light Campusalso offers a series of specific courses onlighting for different environmental situations.May 2004 saw the inclusion in the LightCampus section of a new course dedicated tothe lighting of commercial spaces. The newcourse runs alongside the basic course, thecourse on lighting for exhibition and museumspaces and the course dedicated to theillumination of monuments.

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Subsidiaries

BeneluxiGuzzini illuminazioneBenelux Bvba/SprlResidentie “Het Museum II”Museumstraat 11, BUS AB-2000 ANTWERPEN+32 (0)3 241 14 00 tel+32 (0)3 248 66 48 [email protected]

DenmarkiGuzzini illuminazioneDanmarkFilial af iGuzzini illuminazioneSpa, ItalienKalvebod HusBernstorffsgade 351577 KØBENHAVN33 17 95 95 tel33 17 95 96 fax [email protected]

FranceiGuzzini illuminazione France S.A.10, boulevard de la Bastille75012 PARIS01 40528181 tel01 40528182 [email protected]

GermanyiGuzzini illuminazioneDeutschland GmbHBunsenstrasse 5D-82152 PLANEGG089 8569880 tel089 85698833 [email protected]

Hong KongiGuzzini illuminazione Asia Ltd.Suite 401-2, Lincoln House,Taikoo Place979 King’s Road, Quarry Bay,HONG KONG852 2516 6504 tel852 2856 2981 [email protected]

NorwayiGuzzini illuminazione Norge A.S.Brynsveien 50667 OSLO23067850 tel22648737 [email protected]

RussiaMeyerhold CentreNovoslobodsdkaya, 237 FloorMOSCOW, 127055

SpainiGuzzini illuminazioneEspaña S.A.Poligono Industrial Can JardiCalle Strauss s.n°08191 RUBI - BARCELONA93 5880034 tel 93 6999974 [email protected]

SwitzerlandiGuzzini illuminazioneSchweiz AGUetlibergstrasse 1948045 ZÜRICH044 465 46 46 tel044 465 46 47 [email protected]

United KingdomiGuzzini illuminazioneUK LTDUnit 3 Mitcham Industrial Estate85 Streatham RoadMITCHAM SURREY CR4 2AP0208 646 4141 tel0208 640 6910 [email protected]

Show Rooms

MilanoVia S.Damiano, 320122 MILANO02 7621161 tel02 76211641 fax

RomaVia Panama, 5200198 ROMA06 85354792 tel06 8411790 [email protected]

Paris10, boulevard de la Bastille75012 PARIS01 40528181 tel01 40528182 fax

MünchenBunsenstrasse 582152 PLANEGG089 8569880 tel089 85698833 fax

DüsseldorfMoerser Straße 72c40667 MEERBUSCH02132 961464/5 tel02132 961472 fax

HamburgRugenbarg 65-6722848 NORDERSTEDT040 52876812 tel040 52876813 fax

MadridDoctor Esquerdo, 15028007 MADRID914 345 970 tel915 017 947 [email protected]

BarcelonaCalle Provença,356, ppal. 1a

08037 BARCELONA932 081 700 tel932 081 701 [email protected]

LondonSuite 310 - 311Business Design Centre52, Upper StreetLONDON N1 OQH020 7288 6025 tel020 7288 6057 fax

Glasgow4 Berkeley StreetGLASGOW, ScotlandG3 7DW0141 229 1322 tel0141 248 5301 fax

OsloBrynsveien 50667 OSLO23067850 tel22648737 [email protected]

ZürichUetlibergstrasse 1948045 ZÜRICH044 465 46 46 tel044 465 46 47 [email protected]

KøbenhavnKalvebod husBernstorffsgade 351577 KØBENHAVN V33 17 95 95 tel33 17 95 96 [email protected]

AntwerpenResidentie “Het Museum II”Museumstraat 11, BUS AB-2000 ANTWERPEN+32 (0)3 241 14 00 tel+32 (0)3 248 66 48 [email protected]

Representative Offices

ChinaiGuzzini illuminazione BeijingRepresentative OfficeSuite I, 22nd Floor Oriental Kenzo48 Dongzhi Men Wai,Dongcheng DistrictBEIJING, 100027, P.R.C.86 10 8447 6770 tel86 10 8447 6771 [email protected]

IncontroluceInternational magazine on the culture of light

EditingCentro Studi e Ricerca iGuzziniFr.ne Sambucheto, 44/a62019 Recanati MC+39.071.7588250 tel.+39.071.7588295 faxemail: [email protected]

iGuzzini illuminazione spa62019 Recanati, ItalyVia Mariano Guzzini, 37+39.071.75881 tel.+39.071.7588295 faxemail: [email protected]: +39.071.7588453

Graphic DesignStudio Cerri & Associati

PublisheriGuzzini illuminazione spa

The Editors are not responsible for inaccuracies and omissions in the list of credits relating toprojects and supplied by contributors.

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