II. 200716 English versionIncontroluce XVI / The Marches: Industry and Territory: support for schools and for youthsports / Design: The power of light / Projects: New Brembo Research and DevelopmentCentre / Palazzo Madama and the Civic Museum of Ancient Art in Turin / Nhow Hotel / BlueRoom. Memorial to the victims of the 11th March bombings / Avinguda de Meritxell / Trésorsenglouits d’Egypte / New illumination or Romsey Abbey / GN Store Nord / Lighting for fun.Sihlcity and Rüsterei / The right light for Bally stores / Augustinus Muziekcentrum /Melbourne Airport, international arrivals / Lighting plan for Old Havana / Ideapark / Corporate culture: “Praxiteles, connaitre la forme” / Ron Arad at Designer’s days / LessCO2ReLighting / “Renzo Piano Building Workshop. The Visible Cities” / iGuzzini at the Salone del Mobile / A show for iGuzzini Partners / Primavera italiana - arthouse film & Alinari photographs / Workshop on Lighting Plans / “More than Vision” presentation

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IncontroluceSix-monthly international magazine on the culture of light

year IX, 16

EditingCentro Studi e Ricerca iGuzziniFr.ne Sambucheto, 44/a62019 Recanati MC+39.071.7588250 tel.+39.071.7588295 faxemail: rc@iguzzini.it

iGuzzini illuminazione spa62019 Recanati, Italyvia Mariano Guzzini, 37+39.071.75881 tel.+39.071.7588295 faxemail: iguzzini@iguzzini.itwww.iguzzini.comvideo: 071-7588453

Graphic DesignStudio Cerri & Associati

PublisheriGuzzini illuminazione spa

Contributors to this issueiGuzzini illuminazione Benelux Bvba/SprliGuzzini illuminazione DanmarkiGuzzini illuminazione España S.A.iGuzzini illuminazione France S.A.iGuzzini illuminazione Schweiz AGiGuzzini illuminazione UKE.C.C. Lighting LTD, AustraliaPeyan Oy, Finlandia

Cover photoPietro Savorelli

Printed: October 2007Tecnostampa, Recanati

II. 200716 Incontroluce

The Editors are not responsible for inaccuracies and omissions in the list of credits relating to projects and supplied by contributors.Any additions or amendments will be included in the next issue.

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Editorial

Dear Readers,

the sixteenth issue of our journal is truly a bumper edition, packed withcontributions from our branches in Europe, but with items from distributorsaround the world as well. In this issue we present the project undertaken in collaboration with the Brembo company at Italy’s first Science andTechnology Park, as part of a master plan by Jean Nouvel.As ever, the topics covered are many and varied: the contemporaryarchitecture of Nouvel and the museum installation at Palazzo Madama in Turin, an English abbey and an exhibition at the Grand Palais, Paris, the headquarters of a Danish company, and a memorial to the victims of the 11th March terrorist bombings in Spain. Also presented in this issue is the second edition of “Conoscere la Forma”(Appreciating Form), the project launched by iGuzzini’s Study and ResearchCentre in collaboration with the Istituto Centrale per il Restauro (CentralRestoration Institute), which from March to June 2007 was hosted by the Louvre.

Adolfo Guzzini

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Summary

II. 2007

Editorial

The MarchesIndustry and Territory: support for schools and for youth sports

DesignThe power of light

ProjectsThe new Brembo Research and Development Centre

Palazzo Madama and the Civic Museum of Ancient Art in Turin

Nhow Hotel

Blue Room. Memorial to the victims of the 11th March bombings.

Avinguda de Meritxell

Trésors englouits d’Egypte

New illumination for Romsey Abbey

GN Store Nord

Lighting for fun.Sihlcity and Rüsterei

The right light for Bally stores

Augustinus Muziekcentrum

Melbourne Airport,international arrivals

Lighting plan for Old Havana

Ideapark

Corporate culture“Praxitele, connaitre la forme”

Ron Arad at Designer’s Days

Less CO2ReLighting

“Renzo Piano Building Workshop. The Visible Cities”

iGuzzini at the Salone del Mobile

A show for iGuzzini PartnersPrimavera italianaarthouse film & Alinari photographs

Workshop on Lighting Plans“More than Vision” presentation

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Industry and Territory: support for schools and for youth sports

The Marches

A business is strong when it can count on humanresources with a good cultural education and anappetite for innovation. To ensure that people can be found locally with these attributes, iGuzzinihas created a number of bonds and relationshipswith the surrounding territory, ranging fromschemes run with local schools to the creation ofcultural opportunities. The creation of relationshipswith local schools and with establishments locatedfarther afield in Italy that have links with thecompany's particular activity, making available itsfacilities and offering space and opportunity forcloser interaction between education and theworkplace, is an action of considerable importancein corporate terms. On the one hand, the companyprovides support to pupils and their families, in the form of training schemes relevant to the jobopportunities typically available in the territory. On the other, the school benefits from the chance to widen its curriculum offering. The activitiescarried on by the company range from work-experience schemes, through collaboration ontheses (over a period of some 20 years, we havecontributed to around 70 theses), to involvement in the teaching process, with lectures and specialistinput to courses, and the actual adoption of aschool, as happened in 2001, when iGuzzini (inconjunction with Fratelli Guzzini, Teuco Guzzini, themunicipality of Recanati and the Education Agencyof Macerata) adopted the “Enrico Mattei” secondaryschool in Recanati. Interestingly, this was one of thefirst schools in Italy to organize courses wherebystudents could obtain a motorcycle driving licence.

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Photos: The “Enrico Mattei” School

1.2. Scenes of school life

3. The “ITIS in moto” project, developed in collaboration with the Campetella company, designer and maker of industrial robots, injection systems and electric vehicles.

4. Meeting with Carlo Campetella

The adoption procedure involves the offer offinancial resources to help design specificteaching courses, and purchase equipment. The role of the company is to offer new teachingopportunities: for example, visits to industrialdesign centres like the Mercedes Design Centre,and corporate museums like that of the Ducaticompany, with which iGuzzini has collaborated.Also in 2001, iGuzzini helped to put together twoI.F.T.S. courses (Istruzione e Formazione TecnicaSuperiore - Higher Technical Instruction andTraining) targeted at training design engineers to specialise in the lighting, conservation anddevelopment of artistic and cultural assets, andan Object Design course (“Progettazione e Designdell’oggetto”). Attendance levels on this type ofcourse are high, with a tough selection process:an initial list of 120 candidates is pared down to 25, the maximum number admitted. 80% ofparticipants found jobs at the end of the course,whilst a further 15% elected to continue studying.The “Enrico Mattei” school is by now well

established: December 2006 marked forty yearssince it was opened, and the occasion was dulycelebrated with a ceremony held at the TeatroPersiani in Recanati, with Italy’s Minister forYouth and Sport Giovanna Melandri attending. The vitality of the school is reflected in theincreased numbers of enrolments and speciali-sations in recent times: in 2004, an IT coursewas created, and in 2005 a professionalelectronics engineering course, in response to theever-increasing demand from local companies for qualifications in these fields. Another speciali-sation in great demand from local enterprise is that of mechanical engineering. Here too, the courses have been upgraded. During thisceremony, the minister also presented an award tothe footballers of the “US Recanatese”, a sportsclub that can boast a winning team for 2006 at provincial level in the “bantams” section, and a team sponsored by the Enrico Mattei ITIS*,conscious of the fact that education and trainingextend far beyond the classroom desk.

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The power of light

An opinion piece by Jonathan Speirs

Design

It’s all about passion - or at least that is my humble opinion! I believe that only people who love the magical potential of light can work itspowers, and with practice and experience create wondrous spaces and environments for people to enjoy. There are obviously many other aspects that come into play, and again this is a somewhat biased opinion, but I believe that to be a giftedarchitectural lighting designer it is essential to be able to visualize in threedimensions, to love and appreciate all aspects of architecture, to have the ability to self-criticise (by maintaining the creative process until the idea is absolutely the right one), and to enjoy playing tennis! What I mean by this sporting analogy is when you, as the lighting designer, are sitting with the architect or interiordesigner and one of you serves an idea across the table, sometimes that idea comes back enhanced with a bit of spin, which then, with a mental stretch, you do a beautiful lob back in a way that makes the other person sprint and ifperforming well they return the idea back with an even better stroke or idea. Eventually the creative solution or idea is formed and the point is won by mutualconsensus. In real tennis, when you see a great rally between two players, at the end one player hits the final winning stroke but the public applauds the rally. In other words, it shouldn’t matter who has the final idea as long as it is absolutelythe best one for the project - the project wins! I love to play tennis, and I love theprocess of bouncing ideas back and forth which is necessary for an outstandingcreative solution. It makes me a little concerned when I hear some lighting designerssay that they prefer working on projects where there is no architect or interior designer.Lighting Design as a profession has come a long way in the last 25 years. This is the length of time I have been in practice; when I decided that the mediumof light provided greater design opportunities and enjoyment than mainstreamarchitecture. Since making this decision I have had incredible opportunities to workwith and learn from some of the best architects in the world. This continuouslearning process has given me an insight into different architectural philosophiesand ethos, and allows me to intelligently converse and meaningfully engage witharchitecture on both a practical and a theoretical level. My original interest inlighting began with the discovery of our school theatre when I was 12 years old,which developed into a significant interest in performance; theatrical as well asmusical. I was always interested as much in the production side of the events as in the music. While studying architecture I worked with local rock bands doinglighting and sound, and even had great fun making pyrotechnics! My degree thesis was entitled “Architecture Using Theatrical Lighting Techniques and Technology to Create Atmosphere in Buildings” - a long title, but one that sums up my interest at the time and since. All of these influences and experiences gave me a much broader outlook in terms of design as I began this fascinating career path. Co-founding Lighting Design Partnership in Edinburgh, Scotland in 1983 as theUK’s first independent purely lighting design practice was a major step and throughsheer enthusiasm, creativity and hard work developed a reputation for deliveringlighting design for buildings in a way which had never been seen before in aEuropean context. You will, I hope, appreciate that in the late ‘70s and early ‘80s there was no recognizable career as an architectural lighting designer:

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Photos: Gabriele Basilico, Adam Mork, Sophie Milligan

1. Special luminaire made for GOGGS - Government Offices at Great George Street

GOGGS, London, United KingdomArchitect: Foster + Partners

As part of our work on the redevelopment of Government Offices at Whitehall in London we were asked to develop a solution for a grand listed staircase and developed a concept of a suspended element that relied on reflected light to illuminate the space. This chandelier evolved into a series of suspendedacrylic rings hanging below a narrow beamdownlight located in the cupola of the dome. The object’s simplicity belies the amount of workthat was required to maintain its clean appearance.In a way, the object form and size was dictatedby light and its characteristics and not necessarilyby us as designers.

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The power of lightDesign

it was the domain of the electrical engineer, who primarily took the science route as opposed to the artistic aesthetic option when designing lighting for buildings.Leaving LDP in 1992 to set up Jonathan Speirs and Associates gave me anopportunity for re-invention in that it allowed me to run a practice in a way that I had been unable to do previously. Around this time I was able to re-kindle myfriendship and working relationship with Mark Major, who had worked with me at LDP for a number of years in the mid-‘80s. This then led to the formation of Speirs and Major in London and in 2003 themerging of the two studios to become Speirs and Major Associates (SaMA). It was at the time of the merger when Mark and I decided to embark on an internaleducation project that eventually grew beyond the practice and became known as “Made of Light”. We are not trying to say that this is the only way to design with or consider light - rather, it is one way that works for us when approaching a project. Even the journey of developing this project has proved educational for all those involved. For the future of lighting design and our emerging profession we have great optimism, albeit tinged with a few concerns, which we will look at in the next issue.

Made of Light

This was an opportunity to analytically considerthe process of lighting design - how we thinkabout light and architecture at Major and Speirs - and to identify what inspires us. We convened a weekend gathering of our two studio teams in our London office for a brainstorming sessionfocusing on “inspiration”. “Made of Light” hasessentially four outputs: the book of the samename, published by Birkhauser, now at its thirdreprint; an exhibition, which so far has appearedat the Royal Institute of British Architects and the ARC 06 show, both in London, the SwissInstitute of Architects Biennale conference inBerne, PALME INSTALL in Dubai, and mostrecently at an event in Graz, Austria (planning is currently under way for the exhibition to tourScandinavia later this year, and hopefully it willappear in Germany and Italy in 2008); a lecturethat has been presented in Frankfurt, Las Vegas,New York, Dubai and Graz, and finally thewebsite www.madeoflight.com. The website, stillat an early stage of development, is intended tobecome a repository of stimulating and inspiringmaterial: all of the above research and outputdesign has been funded by SaMA, not as a self-promotion vehicle but with the intention, it is hoped, of educating and inspiring designersto explore the wonderful medium of light. Funds to sponsor the exhibition were gatheredfrom companies having an intellectual orpractical interest in the project, and with theseresources it was possible to buy the equipmentneeded for the organization of a touring show. As to the book, it contains written contributionsand illustrative material from many colleagueswithin the practice, but from other professionalson the outside too. Publication would not havebeen possible without the input and editorialsupport of Anthony Tischauser.

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2.3.4. “Made of Light” exhibition

5. Jonathan Speirs

6. The Copenhagen Opera House by night

Copenhagen Opera House, DenmarkArchitect: Henning Larsen Tegnestue

A gift from a generous and enlightened benefactorto the people of Denmark. This project requiredan intelligent use of lighting design, such aswould conceal the fixtures from view whileilluminating the architecture elegantly and tooptimum effect after dark. The external view was particularly important, given the waterfrontlocation of the building. The aim was to draw the gaze of the observer to the interior of the

building, as if looking into a “lantern”. Most ofthe foyer lighting is provided by a special covefeature that wraps around the openings in thefloor plates, to avoid puncturing the ceiling with a battery of downlights. The auditorium ‘conch’ is lit with fixtures recessed into the roof, utilizinglamps with two different colour temperatures:cold during the day, and warm in the evening. By day, the space is permeated with natural light,

whereas at night the foyer is bathed in a blueglow that contrasts satisfyingly with the orange of the wood panelling. Fibre optic lighting wasused for most of the seating area. Each of thefibre lens heads was focused and lockedpositionally onto a specific seat. The balconyfronts are fitted with a succession of linear white Led glowing slots. All the fibre heads and the Led arrays are individually addressable.

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The power of lightDesign

The Eden Project, Cornwall, United KingdomArchitect: Grimshaw

The lighting design brief for this project containedtwo strands: firstly, the provision of permanentand temporary lighting for the “Time of GiftsFestival”, and secondly, the implementation of a general lighting strategy for the site as a whole.These two objectives overlapped with the mainrequirement, namely to a provide lighting for the interiors of the Biomes (domes housingecosystems of animal and vegetable life formsinhabiting a given geographic environment orlocation). There were difficulties to overcome:budget constraints, limited time window - justfive months from brief to switch-on. Low voltagefixtures and metal halide type luminaires with a

variety of accessories were installed at strategicpoints around the biomes, with colour, orientationand exposure determined according to thevegetation, the sculptures and the architecturefeatured in each one. The illumination fromoverhead gantries creates patterns of texture and shadow on the ground. Externally, metalhalide floodlights were deployed to illuminate the pit-walls as a backdrop, to ground the biomesand reinforce the dynamic of the landscape in which The Eden Project is situated. Prominent pathways were illuminated in blueeither by filtering existing bollards or by blue Led festoon in the branches of trees.

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7. Eden Project

8. Special luminaire made for the HBOS headquarters

HBOS headquarters, Edinburgh, ScotlandArchitect: Malcolm Fraser Architects

This important refurbishment of a fine historicbuilding - with all the stringent architectural and lighting constraints imposed by its Grade I listing - presented the designers with a number of challenges. The primary object was to find a way of incorporating a contemporary lightingscheme sympathetically into a period building,treating the original character of the layout andfabric with respect, so as to strike a harmoniousbalance between old and new. Many of theceilings have intricate plasterwork: to retain theiraesthetic integrity, the designers had to avoidusing downlights. The lighting in the Great Hallhad to provide a measure of versatility ensuring it would be able to perform a range of functions,while complementing the period features of theinterior without disturbing the plasterworkoverhead. In the end, six lighting slots werecreated in the ceiling; these are exposed to view,but do not interfere with the design of the ornateplasterwork. The lights in question are accents,picking out works of art and architectural features.White and blue cold-cathode lighting wasconcealed at the cornice to illuminate the newlygilded ceiling. The final touch is provided by aspectacular chandelier of mirror-polished stainlesssteel and glass construction, 5 metres in height and 3 metres in diameter, custom-designed for the project.

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New Brembo Research and Development Centre

Stezzano - Bergamo, Italy

Projects Preliminary, definitive and executivedesign, art directionJean Nouvel

Consultant to Jean NouvelHubert Tonka

Project leader:Alessandro Carbone

The new Research and Development Centre ofthe Brembo company is the first building to becompleted as part of the new architectural complexenvisaged in Jean Nouvel’s Master Plan for theKilometro Rosso Science & Technology Park. The new R&D Centre includes managementoffices, as well as expanding the researchfacilities available to Brembo, the first company to move into the Kilometro Rosso. In effect, the only existing building in the Science &Technology Park area, designed by the renownedUS practice Skidmore Owings & Merrill (SOM)and built originally for Hewlett-Packard, hasalready for some years been the research

premises of Brembo and Brembo Ceramic BrakeSystem, a joint venture with the Daimler-Chryslergroup. The architectural design of the new R&DCentre is by Jean Nouvel, author of the KilometroRosso Master Plan, the interior design by BlastArchitetti (Bombassei, Siccardi and Traversa) andthe landscaping by Land. The Kilometro RossoScience & Technology Park covers an area of392,000 m2 (90,000 m2 under cover) and islocated just outside the city of Bergamo, alongthe A4 Milan-Venice motorway. Conceivedinternally as a campus set in a greenfield site, the signature feature of the complex is the“Kilometro Rosso”, a spectacular architectural

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screen fabricated from extruded aluminium andcoloured red. This Red Wall, intended by JeanNouvel essentially as a protective sound barrier to shield the buildings and the park from thenoise and pollution of the motorway traffic, iscarried on a steel-reinforced concrete base clad inits entirety with finned extruded aluminiumsections. The continuity of the frontage is brokenby large openings that resemble the air intakeducts in an automobile body shell. These areintended to provide access both to cars and topedestrians headed for the buildings in the park.Among the various architectural elements inKilometro Rosso, Nouvel has adopted a free-

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Photos: Matteo Piazza, Pietro Savorelli

1. The Kilometro Rosso, seen at night from the A4 motorway

2. Sketch by Studio Land for the park

3. Rendering of the Kilometro Rosso Science and TechnologyPark area

TeamLivia Tani, Cristina Ventura, Andrea Ciofi degli Atti, Raffaella Falbo,Andrew Todd, Gwenola de Quelen,Sergio Noero, Cristiano Benzoni,Laurent Pereira, Anna Ugolini.Blast Architetti - Luca Bombassei,Simona Traversa, Franz Siccardi

Project coordination, interior design,art direction.

Project leadersLuca BombasseiSimona Traversa

TeamFrancesca Ciuffreda, Antonio Runco,Luigi Pezone, Chiara Giussani, Aria Behbehani, Luca Cattaneo,Anna Cattaneo, Andrea Fiorucci,Matteo Mazzola, Paola Badoino

flowing green landscape with no fences, andminimal vehicular access above ground, with new buildings reachable by way of roadwaysconcealed underground. This oasis ofarchitectural excellence looks to host multi-disciplinary activities centred on research andtechnological innovation, with a view to creatinga knowledge transfer network and generatingemployment for more than 3000 persons overthe next 7-8 years. The Brembo Research andDevelopment Centre occupies 11,000 m2 and is located at the south-easternmost end of theKilometro Rosso Science and Technology Parkarea. The building is joined to the Red Wall,which widens at this point to admit the mainhorizontal access ways, and is made up ofparallelepiped blocks extending into the Park. The blocks are interconnected and interrelated

on the basis of a plan envisaging variations indimensions, offsets and cantilevers. Entry is byway of a steel-clad cylindrical structure insertedtangentially into the Wall. The glazed outer skinsof the ventilated façades are provided in reality by a sophisticated system of louvres that can bepositioned as dictated by necessity; in this way,the façades take on a thickness and densitysuggestive of ice, leaving the observer to imaginethe different vital functions carried on inside.There are three external materials: the sheet of the Red Wall, reflecting the territorial scale, the glass of the parallelepiped blocks, a symbol of administrative activity, and the silvery metalcladding of the top floor and the entrancecylinder, illustrating the conceptual content.These three materials correspond to threedifferent forms (line, pure volume, free form)

and externalize three core elements, each conveyinga different message. The four cantilevers, two to the south and two to the west, are constructedadopting a solution that combines concrete wall-beams and metal horizontals fabricated with steel joists and corrugated panels. The more pronounced western cantilever is onthe highest floor and accentuated by the fact that it rests on a receding stepped front. The Brembo R&D Centre is accessible directlyfrom a parking area that runs alongside themotorway and stands elevated from the level of the park on which the complex is laid out.This means that the entrance to the building ison the first floor of the cylinder, effectively a hubfrom which routes lead to all parts of the interior.The cylinder is an interchange for the horizontalaccess ways (“rue corridor”) incorporated into

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Projects New Brembo Research and Development Centre

the width of the Red Wall, which widen andcurve away toward the Park. On the west side,the main “rue corridor” leads from the entrancealong a winding path to a number of offices andto a conference room housed in one of thecantilevers; on the eastern side, a drop connectsthe new building with the existing SOM building.In addition to the horizontal access ways, aBrembo products showroom and a cafeteria arehoused on the upper floors of this longitudinalspace. Two bridges taken off the Wall on the first

and second storeys connect with the twoparallelepiped blocks, which are used as offices.The way up to the top floor, which runs parallelto the Wall, is via the entrance cylinder. The ground floor is laid out with open-landscaperesearch laboratories and prototyping workshops.The materials and colour schemes selected byBlast Architetti for all interiors are typified by an aesthetic approach applying rigour: the barereinforced concrete of the perimeter walls presentsa raw texture complementing the severity of

vertical surfaces finished in waxed gypsum, and the transparent lightness of screenprintedglass partitions that divide the office space andafford a continuous line of vision toward thesurrounding park. The display niches - cut intothe side walls of the main rue corridor - containsuperior mechanical components manufacturedby Brembo, and are illuminated using special Led sources able to produce changes in tone and colour. On the outside, the Brembo buildingappears as so many rectangular blocks, rather

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4-5. The Brembo Research and Development Centre seen by day and by night

Landscaping and open spaces.Complete design and technical assistance on direction of works.Studio LAND

Project leadersAndreas KiparGiovanni Sala

TeamMauro Panigo, Giuliano Garello, Anna Comi, Alain Carnelli, Prisco Ferrara,Andrea Giuradei, Mina Fiore

like a randomly assembled Lego model, whereason the inside, the linear access ways reveal the simplicity and clarity of the architecture. The complexity of the layout is well compensatedwhen considering the quality of the viewsafforded by the resulting vantage points, and the kind of independence and identity eachdepartment is able to enjoy. The walkwaysconnecting the Red Wall to the glassparallelepipeds represent nerve centres on which everything pivots - points from which

the eye can pan 360°, taking in the full panoramaof the design and appreciating the concept. In the offices, the internal screenprinted glasspartitions appear to merge with the façadeglazing, and the micro-pierced metal of theceilings pick up the silvery metal cladding of the third floor and the entrance cylinder. On the chromatic front, the Blast preference is almost always for shades of grey. Lights arerecessed throughout, and designed to washvertical and horizontal surfaces without creating

strong contrasts in density: an envelopingatmosphere is created, practically devoid ofshadows. In transit areas, light and colourcombine to represent mobility. The lighting designfor this imposing centre is based on the integrationof natural and artificial light: during the daytime,natural light is diffused through the structure,ensuring visual comfort, and at night, theextensive glazed surfaces are lit up to createluminous curtains. In the offices, recessed Opticaunits ensure an average 500 lux on horizontal

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surfaces, while creating no problems of glare orreflection on VDU screens. The fixtures used inthe meeting rooms are fluorescent Cestello,providing both background and accent lights.Recessed Lineup fixtures functioning as wallwashers are installed along the corridors, thelight from these units combining with uplightprovided by recessed Linealuce fixtures. The green space around the Brembo R&D Centreforms part of the overall design presented byStudio LAND (Landscape Architecture Nature

Projects New Brembo Research and Development Centre

Development) for the Science and TechnologyPark. The idea of LAND is that the KilometroRosso should be seen as a metaphor for a windtunnel, where “the fluid element, encounteringthe rigid geometries of the architecture, generatesmovements, waves, eddies and vortices”. In practice, the eddy and vortex components are gentle relief features and bodies of water.The soil is landscaped with crests appearing as small dunes placed to shield internal accessways or to delimit different areas. Trees are

planted to a plan of progressively decreasingdensity, more pronounced adjacent to the Red Wall, and thinning out toward thesurrounding farmland. The Park is illuminatedby fixtures generating limited visual impact:recessed Ledplus for the walkways and iWayfixtures for roadways.

Text adapted freely from monograph bySebastiano Brandolini in “Brembo Research and Development Centre 2004-2007”

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6. Detail of overhead walkway seen by night

7. Jean Nouvel and Luca Bombassei

8-9. Colour variation in the corridors

Studio Blast Architetti Bombassei, Siccardi, Traversa

Luca Bombassei (born 1966, Bergamo) and SimonaTraversa (born 1968, Milan) set up their Milan-basedBlast practice in 2001. In 2005 they were joined byFranz Siccardi (born 1964, Milan). Having completedtheir studies at the Architecture Faculty of the MilanPolytechnic and graduated, Luca Bombassei, SimonaTraversa and Franz Siccardi took up a variety of trainingand work experiences in Italy and the US, which todayprovide the versatile knowledge base of Blast Architetti,operating currently with twenty associates. Numerousprojects have been completed recently, including therenovation of several historic buildings in Venice, the new Brembo stand, and the Casa del Habano in Milan.In addition to a great number of private dwellings, worksnow nearing completion include the Milan headquartersof Rezia Energia Italia, the Master Plan for a residentialcentre in Ivory Coast, and a redevelopment project for aformer industrial estate in Tuscany. As part of the MasterPlan by Jean Nouvel, The Kilometro Rosso Science andTechnology Park represents the studio’s most completeexperience to date. The Centro delle Professioni, the firstarchitectural project in the province of Bergamo to becertified energy-efficient, will be completed by the end of 2007. The building operates with an overall energyrequirement less than half of that needed by a traditionalbuilding, and releases harmful emissions into the air at a rate 70% lower. These results qualify the Centro delleProfessioni as falling within the parameters of excellenceestablished by the top certification protocols, namelyclass A of the Italian CASACLIMA scheme, and thePlatinum level specified by the US certification programLEED (Leadership in Energy and Environmental Design).These are targets that Blast is also intending to emulateand surpass with its Interdisciplinary District of Researchand Technology (completion due at the end of 2008).

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Palazzo Madama and the Civic Museum of Ancient Art in Turin

Turin, Italy

Projects

Turin, December 2006: with the reopening of theCivic Museum of Ancient Art at Palazzo Madama,the renovation and refurbishment works begun in 1997 were brought to a close. Because theproject was a complex one, considerable timewent into studying and carrying out the necessarywork on the Palazzo. During the period inquestion, while restoration work proceeded on thePalazzo, research was conducted in collaborationwith the Energetics Department of the TurinPolytechnic, and the “Palazzo Madama Project”

team, on how best to provide lighting and climate control in the spaces housing the exhibits. The Palazzo Madama stands on a 2000-year old site presenting a remarkable stratification of architectural styles from different periods ofhistory: originally a city gate, in Roman times, itbecame a fortified castle during the 14th century.Thereafter, the stern fortress was redesigned byarchitect Filippo Juvarra and converted into aresidence, inhabited first by Marie Christine ofFrance, then by Marie Jeanne Baptiste of

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Photos: Paolo Carlini

1. Royal Lady's Chamber

2. Four Seasons Room

Project DirectorCarlo Viano, architect

Assistant to project directorDiego Giachello, architect

Technological systemsAlfonso Famà, engineer

Lighting designProject Team: City of Turin and TurinPolytechnic, Department of Energetics,within the scope of pertinent research and consultancy agreements, viz. “Designresearch and laboratory experimentrelating to problems of lighting andclimate control in temporary andpermanent exhibition spaces”, leader Prof. Marco Filippi; team:

Savoie-Nemours; with the addition of an elaborateand imposing frontage, completed in 1721,Palazzo Madama became a showpiece ofEuropean baroque. The monumental staircase in the added front section is flanked by largeexpanses of window glass creating a two-waycommunication between interior and exterior, a feature characteristic of Juvarra’s architecture.During the day, these large openings admitnatural night and “life on the outside” can, as it were, permeate the hall. At night, conversely,the brightly lit interior and the activities carried on inside are showcased for the townspeople in the piazza to see. To obtain a perception of the depth built into the frontage, a luminancecontrast is created between the surfaces withinthe staircase hall - visible from outside - and the external surfaces of the façade. It wasdecided to replace the chandeliers lighting themonumental staircase with new fixtures thatwould meet the specified requirements of keepingthe same overhead power supply points andavoiding further alterations to the building. The new “chandeliers” made by iGuzzini, basedon the company’s Cestello fixture, are able toguarantee perception of the architecture and ofthe interior decorative elements; they are flexiblestructures, equipped with light sources directedupward and sideways to flood the ceiling and the walls, and downward for efficient illuminationof the stairs. Given the dimensions of the frontagestructure and the texture and colouring of thedecorative elements, the designers decided onmetal halide light sources rated 70W with colourtemperature 3000 K.

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Chiara Aghemo, Anna Pellegrino, LauraGaleazzo; “Definition of artificial lightingsystems in exhibition rooms and along tourroutes of the Civic Museum or Ancient Artin Palazzo Madama”, leader Prof. AnnaPellegrino.

Consultant on lighting design for museum installationsAnna Pellegrino

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Projects Palazzo Madama and the Civic Museumof Ancient Art, Turin

The formal characteristics of this system provided a basic reference for the solutionsadopted elsewhere in the Palazzo, maintaining a uniformity of design and form throughout. In particular, a similar structure - albeit onsmaller scale and equipped with QR 111 halogen light sources (IRC technology) - was adopted for the Acaja and Stemmi rooms on the first floor. With the need for a significantnumber of diversified terminals and the intentionnot to expand the wiring layout beyond thatalready in place, a suitable engineering solution was found in a multifunctional systemsconcentrator, studied by the design team andimplemented ad hoc. In the context of the overall tour around the Palazzo, the concentratoris the single overall control element to which the terminals of the warning and public addresssystems are interlocked, together with the lighting fixtures. While central to the principle ofminimising alterations carried out on the building,the concentrator solution presented a particularlytough challenge to the lighting designers: the positioning of the concentrators would bepredetermined by the number and location ofpower supply outlets; also, the number of lightingpoints was limited by the size of the concentratorand the presence of other system components. In certain rooms, halogen sources (QR111 with various beam spread angle and outputcombinations, IRC technology) had to beintegrated with metal halide types to ensure the required quantity and distribution of light,even where available space might be limited.

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3. The Acaja room

4. Staircase of the Juvarra frontage

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Nhow Hotel

Milan, Italy

Projects Client - InvestorDHD - Design Hotel Development -Emanuele Garosci

Architectural designDaniele Beretta

Interior designMatteo Thun & Partners

The Hotel Nhow, in Milan, is a renovated factorybuilding occupied formerly by General Electric, and one of the biggest premises in the Tortonadistrict, an industrial estate dating from the1930s. Today, the area is a well-known fashionand design quarter. The architectural design by Daniele Beretta reflects a commitment topreserve the history of the place, ensuring itsoriginal character can be retained even amid the current spate of development activity, withdisused industrial buildings being convertedeverywhere into showrooms, workshops anddesign studios. Accordingly, the General Electricbuilding has kept its original volumes, thanks to the shed type roof typical of factory buildingsand the grey render of the outer walls, which are given a lighter feel and added vibrancy bylarge windows with stained glass. The interior,designed by Matteo Thun, makes use ofindustrial construction media such as concrete for floors and steel for columns, alongside moretraditional materials like natural stone and wood,of which certain surfaces are left untreated tocreate a particular visual effect, but also toprovide a different tactile sensation. In reality, the Nhow is a hotel and more besides. It provides a venue where structures andfurnishings can be changed around andcombined to stage events such as exhibitions,fashion shows and the like, put on in associationwith the Milan Triennale and a network of artgalleries. The lighting of the interior caters forthis multifunctional requirement: installedtogether with the decorative lighting fixtures areTrimmer spots, recessed in shallow channels at ceiling height. With this intelligent solution,changes can be made to suit the lighting needsfor different types of events. On the outside, thewindow surrounds are highlighted by Glimcubefixtures with blue Leds.

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Photos: Giuseppe Saluzzi

1. Exhibition area

2.3. Exterior of the building.Window surrounds illuminated by Glimcube fixtures

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Blue Room. Memorial to the victimsof the 11th March bombings

Madrid, Spain

Projects Architectural design Studio Fam

Team membersSON3-Produzioni Digitali, Alvaro León-Keloide, Rubén Coca (video)Oliver Acosta (technical assistance)

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In April 2007, three years after the horrific trainbombings of 11th March in Madrid, a memorial to the victims was unveiled by members of theSpanish royal family: an imposing cylinder placedin front of the Atocha rail station. The monument, a sculpture, appears as a cylindrical glass tower 11 metres high fashioned from special blocksmeasuring 30x20x7 cm, the largest size possibleusing this type of material, according to architectEsaú Acosta of the “Fascinante Aroma a Manzana”(FAM) partnership that won the competition to design a fitting memorial in memory of thevictims. Mauro Gil-Fournier, another partner of FAM along with Raquel Buj, Pedro Colón deCarvajal and Miguel Jaenicke, explains that thesculpture makes sense only in association withthe large “Blue Room” underneath, from wherevisitors can read messages written by members of the public in the aftermath of the bombings:whilst the glass tower in the square is the morevisible manifestation of the memorial, it is only from this underground enclosure of some500 square metres that the significance of the memorial can truly be understood.The underground chamber incorporates amembrane of ETFE (ethylene-tetrafluoroethylene).

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The room is isolated from outside noise, so thatsilence and light dictate the mood. The structureweighs 160 tonnes overall and is completelytransparent. It is also colourless, as the glassblocks are bonded together with a specialadhesive. The messages will be visible againstthe glass during the day, and take on a differentform at night. This completely dematerialisedinternal dome consists only of letters giving shape and proportion to the membrane, whichhas the property of being undetectable with 97%transparency. Access to the Blue Room is fromthe interior of the Atocha station, via the mainhall. Once inside the room, the perception ofspace disappears, and light becomes thepredominant medium: a blue-coloured space,with the gaze drawn automatically to the “eye”looking up into the glass dome. Every other partof the installation is designed around this onemechanism. The room is inundated with light,carrying nuances and reflections induced by the glass and the ETFE membrane, to create a discreet and delicate spatial effect. At night, the words written on the ETFE material areshown up by 12 ColourWoody fixtures placedbetween the membrane and the glass.

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Photos: José Hevia

1. The Royal Family and Prime Minister Zapatero at the inauguration of the memorial

2. Simulation

3. The memorial by night

Partners AssistanceiGuzzini illuminazione España, S.A.

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Avinguda de Meritxell

Andorra la Vella, Andorra

Projects ClientMunicipality of Andorra la VellaManel Blasi, aldermanJordi Pujol, councillorJoan Rodríguez, architectVíctor Soto, lighting planner

The principality of Andorra is a small statesituated in the heart of the Pyrenees, betweenFrance and Spain. Andorra’s main source of revenue is tourism. Thanks to a notablecultural heritage embedded in its upland valleys,mountain sports and business activity, Andorra is able to attract a healthy number of tourists thewhole year round. The capital is Andorra la Vella,and it is here that most of the population lives.The city is located at the confluence of the riversValira del Nord and Valira d’Orient, which join to become the Valira. Andorra la Vella is wheremost of the Principality’s main state agencies and institutions have their offices. It is a city thatcombines history and important monuments,with the cosmopolitan air of a capital accustomedto receiving large numbers of visitors.

The Avinguda de Meritxell is Andorra la Vella’smain arterial route, a thoroughfare teeming with business activity. The road is lined with an infinite variety of shops, and typified by anenergetic bustle that continues deep into thenight. Intent on revitalizing business activity along the Avinguda de Meritxell, the MunicipalAuthorities recently approved a plan for renewaland improvement that includes new paving,street furniture and lighting, all specified with theend in view of rendering the area a pedestrianprecinct. The design by ACXT looked to providean original and characteristic lighting system thatwould prove effective for a high street with heavypedestrian traffic. The ACXT engineering teamdecided on a post 8 metres high, of 400x200mm rectangular section. The top part of the post carries a projecting panel set at right anglesto the vertical, parallel to the ground, measuring1700 mm long and widening from 400 mm atthe post to 900 mm at the free end. The panelincorporates a reflecting element, finished inwhite. The post, galvanized steel, is fitted with iGuzzini light sources. These include 2Maxiwoody street-lighting floods with 150 Wmetal halide lamps, placed at a height of 6metres. The two fixtures are directed toward the carriageway and pavement, and fitted to each side face of the post. Slightly higher, at 6.6 metres, a single Colourwoody spot is directedupward at the reflecting surface of the overheadpanel. This fixture produces dynamic colouredlight, and the optical assembly will take a metalhalide lamp rated 250 W. Accordingly, this lamppost has both functionality - afforded by theMaxiwoody floods with street-lighting opticalassembly, guaranteed to provide excellent levelsof illumination - and originality, a feature of theindirect dynamic coloured light generated by thecombination of Colourwoody spot and reflectingpanel. The posts are installed along both sides of the street in staggered formation, spaced apart at around 18 metres one from the next.This arrangement gives an average luminance of 70 lux, with average uniformity of around 0.5.

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Photos: José Hevia

1.2.3. Avinguda de Meritxell

Architectural and engineering designACXT-Idom Ingeniería y Sistemas S.A.

SystemsGEA, General Eléctrica Andorrana S.A.

Partners AssistanceiGuzzini illuminazione España, S.A.

The electrical installation is designed to give 3on-off controls per lamp post, as well as a signalcable for control of the Colourwoody spot.With these light sources and the associatedcontrol function, the Municipality can select the colour reflected by the overhead panelsaccording to the calendar: ordinary weekdays,holidays or national festivities: single colours, or different colours in programmed sequence. As an item of street furniture, the lamp post alsoincorporates a flagpole bracket for occasionswhen the Municipality chooses to put out flagsand banners, and is also prewired for Christmasilluminations. The lighting fixture, manufacturedespecially by iGuzzini, has been named Meritxell.

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Trésors englouits d’Egypte

Grand Palais, Paris, France

Projects Exhibition organizerFranck Goddio and Hilti Arts & Culture GmbH

Lighting designThierry d’Oliveira

During the six months from September 2006 to March 2007, the Grand Palais in Paris hosted the Trésors engloutis d’Egypte exhibition.For the first time, the French public were able to see almost 600 exhibits constituting just asmall part of the artefects brought to light duringthe maritime archaeological missions led byFranck Goddio and his team in the Bay ofAboukir - mapping the cities of Heracleion andCanopus - and the ancient Port of Alexandria. These sites were submerged during the 7thcentury A.D., following a rise in the level of the Mediterranean sea.

Among the main items on show at the exhibitionwere three colossal statues, one of which thegreat statue of Hapi, known in Egypt as God of the Nile, symbolizing abundance and fertility,and the imposing sculptures of a Ptolemaic king and queen fashioned from red granite,standing over five metres high. The installation of a lighting scheme for this show, designed byThierry d’Oliveira with assistance from JacquesBiderman, was a particularly complex operation,given the complete absence of lighting fixtures inthe 40-metre high roof of the Grand Palais, otherthan a few suspended safety lights. This problem

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was overcome by Philippe Délis, who designedthe exhibition for the same pieces in Berlin, with the creation of semi-enclosed spaces usingscreens seven metres high, equipped with fixturesplaced in such a way that the beams would crossto provide accent lighting on the more importantitems. The exhibition is lit using Gabbiano and Le Perroquet Professional spots with halogen light sources, mounted on tracks. The samefixtures - again track-mounted - were used in thebookstore and restaurant. 400 Led fixtures rated1 watt, designed by Thierry d’Oliveira and madeby Panavision, were deployed to illuminate the

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Photos: Didier Boy de la Tour

1. Themed illumination of the Grand Palais

2. One of the exhibition rooms

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ScenographyPhilippe Délis

Partners AssistanceiGuzzini illuminazione France S.A.

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Projects Trésors englouits d’Egypte

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3.4. Other areas of the exhibition

display cases. Given the theme of the exhibition,Philippe Berthé took his inspiration for theillumination of the façade from water, using a blue-green coloured light rippled by waves,created using a traditional technique of gold mirrorsstirred by the slightest breath of air. The columnsand cornices of the façade were lit by Plateafixtures with superspot optical assemblies.

The columns were also backlit using Platea Spot fixtures with a blue filter. Also contributing to the ripple effect are Woody fixtures withdischarge lamps: the beam from these is reflectedby the system of gold mirrors. The entrance to the exhibition is accented by high powerMaxiwoody spots with blue filter, and narrow-beam Platea Superspots.

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New illumination for Romsey Abbey

Hampshire, England

Projects ClientRomsey PCC Fabric Committee

Main contractor A.C. Lighting

The magnificent Norman church at Romseystands on a religious site that has been occupiedsince early Saxon times, and certainly long before the convent was founded in 907.The church was abandoned by the nuns duringDanish raids in the late 10th century. On their return, the church was restored andextended. The Norman church was begunaround 1120. It is cruciform in shape, 77.7metres in length, and built mainly of Binsteadstone from the Isle of Wight. The Nave wascompleted in the early 13th century, with the last arches in the Early English style.Recently named as one of the 100 best loved

places of worship in Britain in a nationalnewspaper survey, the Abbey also hosts several high profile concerts a year and variouscommunity activities. Regular visitors include the Romsey singers, Romsey Choral Society, the Bournemouth Symphony Orchestra and the City of Southampton Orchestra. During 2007, a new architectural lighting system was supplied and installed, utilising more than 300 individual fixtures. The Abbeyapproached A.C. Lighting to provide a solutionthat would address the poor general lighting andexpensive running costs of the Church’s existingsystem. As the project’s primary lighting contractor,A.C. Lighting employed David Atkinson LightingDesign (DALD) to design and specify a newlighting system, then supplied, installed,commissioned, and programmed the controlsystem. To increase the general lighting levelsalong the Nave, Crossing, North & SouthTransepts, Chancel and Sanctuary, the existingETC Source 4 Pars were repositioned from theTriforium level to the Clerestory level. The fixturesare now fitted with anti-glare louvres to helpminimize the off-access glare, which previouslyhad been a major issue with the Abbey. With sustainability, maintenance and energyefficiency as key considerations, the project teamwanted to minimise the use of incandescentlamps. Accordingly, it was agreed to placeparabolic reflectors with 150W long life metalhalide lamps from the Triforium level, to be usedas general lighting throughout the day whenthere are no services or events. With the Abbeyhaving such an abundance of outstandingarchitectural detail, the team decided to pick outkey features such as archways and windowreveals with uplighters, in this instance Woodynarrow beam fixtures fitted with a spreader lens.

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Photos: A.C. Lighting Special Projects

1.3. The Nave

2. Details of Triforium lighting

To ensure conservation issues would be suitablyaddressed, fresco wall paintings and carvedwooden panels are illuminated using UV filtersand controlled lighting levels. On the ground floor,low voltage fittings are positioned on the capitalsof the various columns to uplight the vaulting and downlight the side aisles and chapels. Long life lamps have been used throughout the Abbey, with the added advantage that a presettable dimming system can be used.The dimming system is controlled by four LCDtouch panels which provide access to numerouscustom scheme presets for the different servicesand events held and staged in the Abbey.

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Lighting designDALD - David Atkinson Lighting Design

Partners AssistanceiGuzzini illuminazione UK LTD

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GN Store nord

Copenhagen, Denmark

Projects Client GN Store Nord

Architectural designNOBEL arkitekter

EngineeringEKJ Rådgivende ingeniører as

GN Store Nord is a world famous manufacturer of wireless headsets, an organisation whoseexpansion has resulted in a demand for newsystem management solutions. To guarantee theexpansion of production as planned, it becamenecessary to shorten the communications path between development and manufacture. To achieve the objective of optimizing work flow, GN Store Nord purchased an existingcommercial building, erected in 1995 andalready redeveloped, with a small office blockattached. The building has been completelyredeveloped and refurbished, given a new mainentrance and equipped with 500 workstationsstructured as offices in a flexible open landscape.The redevelopment has produced a floor area of34.500 m2. The architectural side of the projectwas placed entirely in the hands of the NOBELarkitekter practice, whose consultants designedthe new development laboratories in the old part of the original building. One of the moreimportant tasks was to establish a connectionbetween the various departments that would givegreater cohesiveness and a more agile work flow.

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Photos: Hviidphotography - Anders Hviid

1.2. Corridors and quiet room

3. Atrium

LandscapeHenrik Jørgensen landskabsarkitekter plr.

AcousticsJordan Akustik

Partners AssistanceiGuzzini illuminazione Danmark

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All of this was achieved by reorganising theoutside area, originally laid out as gardens. The space was covered over with a new steel and glass structure, creating a large atrium that affords access to the building. From anarchitectural standpoint, the atrium links the components making up the core of thecomplex, logically and satisfyingly.

The walkways crossing the atrium serve toconnect the various departments, while alsosymbolising the dynamic image of the company.In addition, the atrium of the new GN buildingfunctions as a reception and meeting area, aswell as providing the focal point of the complex,with its auditorium, conference rooms, lifts,staircases and sitting areas.

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Lighting for fun. Sihlcity and Rüsterei

Zurich, Switzerland

Projects Sihlcity clientKarl Steiner AG

Sihlcity Architectural ProjectTheo Hotz AG

Sihlcity lighting designReflexion AG

Sihlcity, the new leisure and shopping paradise on the south side of Zurich, was designed by theTheo Hotz architectural practice as a fascinatingcombination of glass, concrete and brick. Four buildings of the original complex - an old paper mill around which the centre isconstructed - have remained intact, bearingwitness to a chapter in the history of Zurich. The old factory buildings have been carefullyrestored and integrated into the new construction.The landmark emblem of Sihlcity is the sixty-metre-high chimney of the old paper mill, while its coreelement is the multistorey shopping and leisurecentre. Notable among the eating places in Sihlcityis the Rüsterei - restaurant, bar, event location andspeciality store in one - designed by the well-knownartist Zermatt Heinz Julen and run by the Zurichcompany Five AG. The special architecturalcharacter of the Sihlcity complex is showcased by the lighting. The aim adopted by Reflexion of Zurich, the lighting design contractor, was toreinforce the notion of a “city within a city”, notleast by fashioning a clear distinction betweeninteriors and exteriors. On the outside, the light is concentrated by spots, in such a way that areasopen to the public, frontages and buildings arepicked out with narrow beams placed to accentselected elements of the structure by highlightingtheir three-dimensionality. The interiors, by contrast,are bathed in diffused light, with no accent areas. The project called for a number of adaptations to standard products: hardware and wires had to be altered to suit the existing electrical systems, and the colours of exposed parts adapted to thedecor of the building. One distinctive feature of the Sihlcity project is the lighting scheme for theRüsterei. For the design of the system, the artistHeinz Julen and Ralf Gubler, executive officer of theEidos AG architectural practice, elected to approach

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Photos: ARTCOM Architekturfotografie - Günter Laznia

1. Exterior of Sihlcity

2.3.4. Colour changes inside the restaurant

Rüsterei clientSihlcity Gastro AGFive AG

Rüsterei Architectural Project Eidos AG Ralf Gubler, Heinz Julen

Lichtkompetenz GmbH of Zurich. The lightingdesigners duly took on board the artistic conceptexpressed by Heinz Julen, regarding the use oflights, and used iGuzzini fixtures and technologiesto implement it. The lighting is based on the use oflateral sources directed at fabric surfaces positionedalong the sides and middle of the room. Completingthe spectacular effect are tables and counters withrecessed fluorescent tubes, of which the colour canbe changed utilising an RGB control unit piloted bya Colour Equalizer system preprogrammed toproduce the effects indicated by Heinz Julien.Numerous static and dynamic programs are storedin the system, so as to guarantee the most suitablelighting at different times of day, and for the varioustypes of event held in the bar and restaurant.

For example, a static mode is selected for use at sittings, so as to avoid altering the colour of the food on the table and ensure diners will not be disturbed by repeated changes,whereas functions and events can be lit moreadventurously. Whatever the lighting schemesprogrammed into the system, the RGB controlunit ensures that colours can be varied and used selectively, for example with colder tones on hot summer days, and warmer tones in winterconditions. Another aspect of the need for greaterflexibility of the lighting system is connected withthe possibility of reorganising the interior layout:for certain events, the legs of the tables can beclosed up, and the illuminated surfaces raisedoverhead to function as lighting panels.

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Rüsterei lighting design Lichtkompetenz GmbH

Partners AssistanceiGuzzini Schweiz

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The right light for Bally shops

Basel, Switzerland

Projects ClientBally Schuhfabriken AG

Architectural designMach Architektur

Partners AssistanceiGuzzini Schweiz

The new Store Concept adopted by historicfootwear and clothing brand Bally is an expressionof harmony, from the structure of the buildingfacade through to the way the products arepresented. A template for use worldwide. Dark brown tinted glass, classic white logo, shop window displays… the high end quality of the products is immediately apparent. Inside,the atmosphere is one of calm and tranquillity,thanks to the colours and the natural materialsadopted. Operating through its Swiss branch,iGuzzini worked in close cooperation with Macharchitektur of Zurich, the company contracted to design and implement construction works on the store. As regards the lighting installation,the architect specified a complex system ofchannels incorporating fixtures with two differentlight sources. The choice of fixtures was limitedfurther by the enormous height of the ceiling in one of the main areas of the store; here, thedecision was taken to use a special version of the Metro spot, or rather, groups of three spots.Frame spots were adopted for the area with thelower ceiling, and Astra wall lamps for the corridor.All fixtures are integrated into a control systemthat can be used to create different types of mood.During business hours, maximum luminousintensity ensures optimum presentation of theproducts in the store. At night, only the windowsremain illuminated, with low-level lighting. The internal lighting accentuates the depth of thefront part, effectively transforming the interior ofthis exclusive store into a veritable shop window. Events are organised regularly in the store, andfor these, predominantly accent light is used.

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Photos: ARTCOM Architekturfotografie - Günter Laznia

1.2.3. Store interiors

The collaboration between Bally and iGuzzinibegan in August 2006 with the design of the first store in Basel, which opened at the end of January 2007. Thereafter, the collaborationextended to all other Bally branches around the world, and there are seven such projectscurrently in progress.

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Augustinus Muziekcentrum

Antwerp, Belgium

Projects Architectural designVanhecke & Suls

Partners AssistanceiGuzzini Benelux

In January 2006, a new performing arts venuewas opened in Antwerp, dedicated to early music.The Augustinus Muziekcentrum - aka AMUZ -houses a singular concert hall, which is set in a historic building and yet equipped with all the technological aids needed to qualify it as amodern auditorium. The deconsecrated baroquechurch of Saint Augustine has been restored and renovated, with the exclusive intent ofturning it into a hi-tech venue for concerts and recordings of early music. The reconversion of this church is a project unique of its kind in Europe, and was made possible thanks to the experience of architects Vanhecke & Suls,who have undertaken other renovations of thiskind in the past. The works were carried out with maximum care for the historic building, andit was on their completion that the altar triptych,by Old Masters Rubens, Jordaens and Van Dyck,was restored to its original place in the church. It is a piece that provides an additional feature of special interest for this fine heritage site.

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Photos: Paul Van Den Brande

1. Winter Chapel, now the foyer

2. Concert stage

3. Sound diffusers along the right aisle

In the side aisles, Le Perroquet fixtures are used to light the public access and seating areas, whilst the illumination for the paintings is provided by Cestello fixtures with halogen lamps. The WinterChapel dates from the 17th Century and isdecorated with frescoes of the period. This is the foyer of the new AMUZ. Again, the Cestello is used, in this instance as a suspended centre light incorporating 21 sources (AR 111) and opticalassemblies with a variety of beam spread angles.

The music centre can be divided visually andlogistically into two parts. On the one hand, the newly constructed elements - includingoffices, platforms and atrium - and on the other,the renovated fabric functioning as concert halland foyer, where iGuzzini was involved. Lightingthe space in the baroque concert hall called for ajudicious balance, not least as the system wouldinvolve the use of stage lighting equipment,which by its nature is appreciably powerful.

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Melbourne Airport, international arrivals

Melbourne, Australia

Projects Client Australia Pacific Airports (Melbourne) Pty Ltd

Architectural designDesignInc.

In 2006, with the advent of the new AirbusA380 and the accompanying increase inpassenger traffic, Australia Pacific Airports wereobliged to expand the baggage handling systemat Melbourne airport. The arrivals terminal wasduly upgraded, with changes affecting thereception area and baggage reclaim hall.

The architectural design of the enlargementproject was entrusted to DesignInc, whoseconsultants selected an indirect lighting solutionfor the new hall, using Greenwich fixtures with250W metal halide lamps trained upwards ontocircular diffusers of large diameter.

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Photos: Infinite Photography - Justin Matthews

1.2. Interiors

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Building Services EngineerMeinhardt (Vic) Pty Ltd

Partners AssistanceECC Lighting LTD

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Lighting plan for Old Havana

Havana, Cuba

Projects ClientOficina del Historiador y Consejo de Estado

Project CoordinatorJosé Linares, Ing Jorge Candelaria

A decision was taken during the course of 2006,by the Oficina del Historiador, to address theproblem of energy consumption, starting withreorganisation and modernisation of the streetlighting in the Old Havana district, a project thatwill take around two years of work to complete.Accordingly, the main objective of the lighting plan drawn up for La Habana Vieja was to achieve significant energy savings: this would mean utilising fluorescent, discharge and LED light sources to replace the existing halogen lamps.iGuzzini will be the main partner on the project,providing consultancy on matters of lighting designand supplying fixtures under the terms of anagreement with the Oficina del Historiador and the Consejo de Estado, drafted in April 2007. In reality, collaboration between iGuzzini and theCuban institutions dates back to 1998, when theCathedral was illuminated for the visit of PopeJohn Paul II, and the company was also involvedin the illumination of Havana’s Museo De BellasArtes. 2007 has brought a new opportunity forcollaboration: the illumination of selected historicalbuildings in the old town centre, in particular theexterior of the “Palacio de los Capitanes Generales”,which houses artefacts and exhibits from thecollections of families by which Cuba was ruledin former times. This building is now lit externallyby Miniwoody fixtures with discharge lamps,mounted on brackets for the lower walls, and onbases to uplight the perimeter. The power cablesare concealed in the balconies to minimise theirvisual intrusiveness. Another interesting buildingis the former convent of Santo Domingo, latterly agovernment office and now part of the university:today, the building houses the Faculty ofArchitecture and Restoration.

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Photos: Enrique Padron

1. The Santo Domingo buildingAbove the doorway, the “box” specified by the architect

2. Cathedral square

3. Signing of the agreement drawn up in April 2007left to right: Italian Ambassador Domenico Vecchioni,Paolo Guzzini, l’Historiador de La Habana Vieja Eusebio Leal

The first two floors of the building retain a historicallink with the façade of the old convent, in terms ofthe materials utilised, the bricks, an old tower andthe entrance doorway. To highlight the architecturalfeatures of this historic building, the two lowerfloors are illuminated using Linealuce fixtures with xenon lamps, and Radius units for the arches. The structure of the 3rd, 4th and 5th floors is a recentaddition: a glass shell, encasing the old bell tower.Architect José Linares wanted to create a sort of“light box”: the effect was achieved with a Lineupwall washer of the type used for window reveals. 3

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Ideapark

Tampere, Finland

Projects Clientldeapark Development Ltd

Architectural designSchauman Architects OyArkkitehtuuri OyTAKT

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entrances. Lighting schemes for the buildingfrontages, pedestrian area, market place and OldTown were designed by Timo Alhanen of InLightOy and Jaakko Kiukkanen of TAKT. The streetlighting for the Ideapark complex was designedwith the notion of “not too much light” in mind,primarily to minimize the use of energy forlighting purposes but also, indirectly, to cut down on energy usage for air-conditioning. The solutions adopted for lighting the entrancesand squares are designed to ensure ease oforientation for visitors. Overhead, fixtures installedon the main roof trusses are directed toward the trees of the pedestrian area, so that the lightwill filter through the branches and create awelcoming atmosphere. Standing on a site of 10 hectares, the Ideapark centre has 180 shoppremises with floor areas from 11 up to 6600 m2,and generates 1200 jobs. Between 6 and 8 millionvisitors are attracted each year. The surroundingshops are seen as a market undergoing a continual process of renewal throughout the year.

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Ideapark is located in Finland, just off theHelsinki-Tampere motorway, about a 30-minutedrive from Helsinki and 12 km from Tampere, the country’s third largest city. The type ofconstruction and the layout were determined inthe autumn of 2004 following development andintegration of the architectural design, commercialstrategy and business plan. The idea behind thedesign was to replicate the atmosphere of a smalltown in a combination of two main structures:the Business City, a covered, welcomingenvironment, and the City Wall, encircling thecentral pedestrian precinct with its buildings and lanes. The downtown flavour of the setting is accentuated by a marketplace in the parkadjacent to the Old Town area. The buildingspresent a fragmented profile, a simple andintelligent way of creating narrow and elongatedgreen areas. Surrounded by parking areasradiating away from the roofed structure thatskirts the City Wall, the pedestrian precinct isquickly and safely accessible by way of four

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Photos: Voitto Niemelä, Topi Jalonen

1. Entrance to the shopping centre

2.3. Indoor areas of Ideapark

Building contractorTeräselementti Oy

Electrical systemsSähköinsinööritoimisto Matti Leppä Oy

Lighting systemsTAKT - Jaakko KiukkanenInLight Oy - Timo Alhanen

Partners AssistancePejan Oy

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Sales space is dedicated both to fashion and to beauty products. Here, the visitor will findconcept stores and boutiques of many housesthat have not had a presence in Finland hitherto.High fashion boutiques and budget stores arefound side-by-side under the same roof.Architecturally, the Old Town stands out from therest of the complex. The Old Town seeks to breakthe pattern set by many of today’s malls andshopping centres, in that it offers an opportunityfor small businesses to become involved.

This area - where things are “small” - isthe gravitational hub of the surrounding space, and allows visitors to find their way more easily around the centre. Inside theIdeapark complex, Le Perroquet indirect and Le Perroquet spot fixtures are used to providea blend of diffused and accent lighting.In areas where pedestrian traffic is heavier, the lighting is provided by outdoor fixtures: Platea with asymmetrical optical assemblies, and Citywoody.

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“Praxiteles - Connaitre la Forme”

23 March - 18 June 2007, Sully wing, Salle Saint Louis, the Louvre

Corporate culture IdeationiGuzzini Study and Research Centre Central Restoration Institute

Scientific CollaborationMuseo Tattile Statale Omero

“Conoscere la Forma” (Appreciating Form), aproject that had its first outing in Milan during May 2006, was set up for the period from Marchto June 2007 in Paris, at the Louvre. The teachingaspect of this project had special interest for CyrilleGouyette, head of educational programming at the Paris museum, who asked iGuzzini to set upthe show as part of an exhibition dedicated toPraxiteles. Following the customary format, threeprofessionals were invited to interpret the sculpturethrough a choice of lighting: Alain Pasquier,director of the Louvre’s Department of Greek,

Etruscan and Latin Antiquities, Jean-Luc Martinez,curator in the same department, and partially-sighted opera singer Agnès Robert. Alain Pasquierbegan his reading by exploring the details: he usedlight to pick out certain details of the sculpture, asif bringing them into closer focus with a zoom lens. He then brought these together in a dynamicstudy, a gradual, almost emotional journey ofdiscovery. Jean-Luc Martinez approached thesculpture full-frontally, seeking to use the light as ameans of flattening the form to a two-dimensionalshape, in an attempt to answer the question that

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Photos: Didier Boy de la Tour, iGuzzini Archive

1. Display niche and lighting for the Satyr

2.3. Organisers at work

4. Lighting by Pasquier.

5. Inauguration, 19th March. left to right: Juan Velasquez of iGuzzini France, Jean-Luc Martinez, Henry Loyrette, Director of the Louvre, Adolfo Guzzini.

6. One of the colour combinations selected by Agnes Robert

Thanks toTrapani Heritage Authorities for their kind permission to use the copy of the Dancing SatyrThe Louvre Museum

arises in scientific discussion of the work: was itconceived originally in two or in three dimensions?Agnes Robert explored the sculpture by touchinitially, before developing her appreciation of thepiece through the medium of light - in particularcoloured light, which as a partially sighted personshe is able to detect better than neutral light. To deliver the various lighting schemes selected,the sculpture was placed in a structure havingluminous walls, equipped with an RGB systemcapable of producing numerous colour variationsand nuances. The structure also incorporatedTecnica spots fitted with a variety of opticalassemblies and light sources of different colourtemperatures, to provide maximum flexibility. A “Scene Equalizer” control system is set up tomanage, store and retrieve all of the lighting effects produced. The inauguration on the eveningof 19th March was attended by former FrenchCulture Minister Renaud Donnedieu de Vabres,and the Director of the Louvre, Henry Loyrette. A meeting in Paris on 24th April brought togetherrepresentatives of many French museums, with Roberto Farroni, Director of Italy’s MuseoTattile Statale Omero, also taking part.

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The mission of the French association Designer’sDay is to promote design and create links betweenall of the various players involved in the process of manufacturing design items. In recent times, the association has customarily identified a themeeach year, then organised visits to Paris-baseddesign locations connected with the theme. In 2007 the theme was “desire”, and iGuzzini -having a branch in Paris - was able to take part in the initiative for the first time. On 15th June,in Paris, iGuzzini France opened its doors to

Corporate culture Ron Arad at Designer’s Days

Paris, 14 - 18 June 2007

journalists and exponents from the world of designfor a meeting with Ron Arad, who set up theshowroom for the day, playing around with hislatest lamp designed for iGuzzini. The name of the lamp is PizzaKobra - appropriate in view of themany forms it is able to assume: flat like a pizza,or wavy like a snake. Ron Arad has come up witha lamp that uses innovative technologies, like Leds (6 cool white, 1W each), and joints allowingcontinuously variable forms to emerge, whiledirecting the luminous flux onto the work surface.

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Photos: Didier Boy De La Tour

1. Ron Arad

2.3.4.5.6. Evening of 15th June

7. Installation at iGuzzini France

For more information:http://pizzakobra.iguzzini.com

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During the Fuori Salone 2007 days in Milan,concurrently with Euroluce 2007, the iGuzzinishowroom hosted a special initiative: “Less CO2ReLighting”, in a bid to demonstratewhat iGuzzini can do to help reduce carbondioxide emissions. For many years now, ourcommunication campaign has promoted theculture of light, speaking of the need to saveenergy and combat light pollution: the message“Who stole the Milky Way” dates back to 1993.Today, the theme is “Better Light for a Better Life”- a reminder that a well-designed lighting plan,implemented using the best technologiesavailable, has the effect of reducing energyconsumption and consequently cutting CO2

emissions. The iGuzzini commitment wasreinterpreted poetically by designer Giorgio Di Tullio and given visual expression in theinstallation “Visioni di Terratre”, exhibited at theMilan showroom during the Salone del Mobile.

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Corporate culture Less CO2ReLighting

iGuzzini Partner AssistanceMilan, 17 - 21 April 2007

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Photos: Carlo Anastasio

1.2. The “Visions of Terratra” installation

3.4. Evening of the inauguration

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Corporate culture

“Renzo Piano Building Workshop. The Visible Cities”The Milan Triennale, 22 May - 16 September 2007by Fulvio Irace

This year, the Milan Triennale dedicated anextensive monographic exhibition to the work of Renzo Piano: “Renzo Piano BuildingWorkshop. The visible cities”, which provided anevent ideally suited to open the fourth edition ofthe Festa per l’Architettura. The achievements ofRenzo Piano are recounted through the projectsthat have placed him among the most importantarchitects on the international scene, and had the effect of transforming our urban landscape: from the paper-built prototype of the Beaubourg in Paris to the conversion of the Lingotto in Turin…

the Cité Internationale de Lyon to thePotsdamerplatz in Berlin… Renzo Piano has setabout transforming the old industrial cities intocentres of information and culture. Experimentsconducted on the disused industrial areas ofMilan and Sesto San Giovanni, Lyon and Paris,and Harlem in New York, on the other hand,reflect the shift from city of manufacturing to cityof trading. The city according to Piano conveysthe notion of multifunctional spaces that translatethe restlessness of contemporary life throughcomplexity, transparency and permeability:

concepts dear to Italo Calvino, one of the authorswho most profoundly influenced the sensibilitiesof the architect, and to whose “Invisible Cities”the exhibition’s subtitle pays homage. The curatorof the exhibition is Fulvio Irace, and the installationwas done by the Renzo Piano Building Workshop,with Franco Origoni. iGuzzini illuminazione istechnical sponsor of the lighting for drawings,photographs, models and prototypes, some ofwhich suspended from the ceiling. The fixturesused are Le Perroquet spots (suspended version),together with stage type spots.

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Corporate culture

iGuzzini at the Salone del Mobile Milan, Euroluce, 18 - 21 April 2007

After a period of absence, iGuzzini returned to the Salone del Mobile this year to present itslatest innovative solutions for energy saving - the main theme addressed both at the mainevent and elsewhere. During this edition of theSalone, iGuzzini took an active part (with its Less CO2ReLighting initiative) in the sustainabilitydebate “Best Up. Circuito dell’Abitare Sostenibile”.Best Up is an acronym for Bello Equo Sostenibile,promoting themes of sustainability applied todesign and living, and communicating them tobusinesses, professionals and ordinary membersof the public. The lighting for “Dawn at Midnight”an event-cum-performance organized by StudioAzzurro, was created using Platea and Woodyfixtures. The new Tecnica spot was used toilluminate the installations of Michele De Lucchi,Denis Santachiara and Luca Scacchetti, for theexhibition “All you need is light”: curated by AldoColonetti. Light Up floods illuminate the Ssssthtower by Michele De Lucchi for “Decode Elements”:designers and planners compare notes on thetheme of reading, through a series of installationsdedicated to the four elements: air, earth, fire and water.

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Corporate culture

Primavera italiana arthouse film & Alinari photographsGenk, 5 May – 7 June 2007

With a Belgian branch of iGuzzini illuminazionebased in Antwerp, the company was well placedto contribute to the “Primavera italiana” eventheld in the country. The show was organized aspart of celebrations marking the 50th anniversaryof the Treaty of Rome and made possible with the patronage of the Italian Embassy in Brussels.iGuzzini supplied Cestello Applique and Le Perroquet track-mounted fixtures for thelighting at an exhibition entitled “Self-celebration,The Sacred, and Masterpieces”, a selection of photographs from the Alinari archives, staged in the old Winterslag mine.

A show for iGuzzini PartnersRome, Santo Spirito in Saxia complex5 June 2007

Some 250 persons including architects, lighting designers and figures from the world of show-business and culture were the guests ofiGuzzini at a convivial evening spent in the SantoSpirito in Saxia complex. Entertainment wasprovided by the Roman comedian Enrico Brignano.

Photos: Paul Van Den Brande

Top right:right to left: The Governor of Limburg, the French Consul, the German Consul, the Spanish Consul, the Italian ConsularAgent, and the Burgomaster of Limburg.

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Workshop on Lighting Plans

For people who work at iGuzzini, training is a part of life: in May of this year, iGuzziniilluminazione organized two seminars with Pietro Palladino. In the course of these meetings,under the guidance of the well-known LightingDesigner, iGuzzini technicians conducted anauthentic workshop on lighting for town centres.

Corporate culture

“More than Vision” presentationMilan, FORMA - International Centre of Photography 26 June 2007

“More than vision”, the eighth volume of theilibriguzzini series prepared by the Study andResearch Centre and published in collaborationwith EditorialeDomus, was presented in Milan,26 June 2007. Attending the launch were AdolfoGuzzini, Luigi Spinelli of Editoriale Domus, MarkRea, Director of the Lighting Research Center atRensselaer (Troy, NY State), and Fulvio De Nigris,founder of the “La Casa dei Risvegli di Luca DeNigris”. In the course of the presentation, MarkRea spoke about some of the latest discoveriesemerging from studies on the relationshipbetween light and wellness.

Photos: Carlo Anastasio

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IncontroluceSix-monthly international magazine on the culture of light

year IX, 16

EditingCentro Studi e Ricerca iGuzziniFr.ne Sambucheto, 44/a62019 Recanati MC+39.071.7588250 tel.+39.071.7588295 faxemail: rc@iguzzini.it

iGuzzini illuminazione spa62019 Recanati, Italyvia Mariano Guzzini, 37+39.071.75881 tel.+39.071.7588295 faxemail: iguzzini@iguzzini.itwww.iguzzini.comvideo: 071-7588453

Graphic DesignStudio Cerri & Associati

PublisheriGuzzini illuminazione spa

Contributors to this issueiGuzzini illuminazione Benelux Bvba/SprliGuzzini illuminazione DanmarkiGuzzini illuminazione España S.A.iGuzzini illuminazione France S.A.iGuzzini illuminazione Schweiz AGiGuzzini illuminazione UKE.C.C. Lighting LTD, AustraliaPeyan Oy, Finlandia

Cover photoPietro Savorelli

Printed: October 2007Tecnostampa, Recanati

II. 200716 Incontroluce

The Editors are not responsible for inaccuracies and omissions in the list of credits relating to projects and supplied by contributors.Any additions or amendments will be included in the next issue.

II

Editorial

Dear Readers,

the sixteenth issue of our journal is truly a bumper edition, packed withcontributions from our branches in Europe, but with items from distributorsaround the world as well. In this issue we present the project undertaken in collaboration with the Brembo company at Italy’s first Science andTechnology Park, as part of a master plan by Jean Nouvel.As ever, the topics covered are many and varied: the contemporaryarchitecture of Nouvel and the museum installation at Palazzo Madama in Turin, an English abbey and an exhibition at the Grand Palais, Paris, the headquarters of a Danish company, and a memorial to the victims of the 11th March terrorist bombings in Spain. Also presented in this issue is the second edition of “Conoscere la Forma”(Appreciating Form), the project launched by iGuzzini’s Study and ResearchCentre in collaboration with the Istituto Centrale per il Restauro (CentralRestoration Institute), which from March to June 2007 was hosted by the Louvre.

Adolfo Guzzini

II. 200716 English versionIncontroluce XVI / The Marches: Industry and Territory: support for schools and for youthsports / Design: The power of light / Projects: New Brembo Research and DevelopmentCentre / Palazzo Madama and the Civic Museum of Ancient Art in Turin / Nhow Hotel / BlueRoom. Memorial to the victims of the 11th March bombings / Avinguda de Meritxell / Trésorsenglouits d’Egypte / New illumination or Romsey Abbey / GN Store Nord / Lighting for fun.Sihlcity and Rüsterei / The right light for Bally stores / Augustinus Muziekcentrum /Melbourne Airport, international arrivals / Lighting plan for Old Havana / Ideapark / Corporate culture: “Praxiteles, connaitre la forme” / Ron Arad at Designer’s days / LessCO2ReLighting / “Renzo Piano Building Workshop. The Visible Cities” / iGuzzini at the Salone del Mobile / A show for iGuzzini Partners / Primavera italiana - arthouse film & Alinari photographs / Workshop on Lighting Plans / “More than Vision” presentation

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