28 English edition Expo Special Issue. 2015

Dear readers,

Here you are, a very special edition of incontroluce. You will find it a bit more voluminous than usual and above all, focused on a single event: The Expo hosted by the city of Milan. Expos have always been a world stage on which the most innovative trends in different fields are presented, even in the technological sector. Sometimes they leave a tangible mark in the city that hosts them, sometimes they determine the urban development of certain areas of the city. Think about the Paris Expo in the late nineteenth century that left the Eiffel Tower or the recovery of the Tagus riverside in Lisbon with the development of Parque dos Nacoes design by Santiago Calatrava. Contemporary editions of the Expos were marked, in my point of view, by a high rate of technological innovation. The pavilions are windows that show the possible evolutions of contemporary architecture and the possible evolution of lighting design. In Milan, we have collaborated with architecture and lighting design firms from all over the world, each with its conception and ideas to be realized. I am particularly proud that the company is involved as a partner in 40 exhibition areas for which we have found, working in teams, efficient lighting solutions integrated in the structures and spaces. To name a few of them, I can mention the pavilion of Vanke, a Chinese company, designed by Studio Libeskind or the United Arab Emirates pavilion, in collaboration with Foster + Partners, the lighting designer David Atkinson, but iGuzzini also worked on the Angola and Chile pavilions. I am particularly proud of the fact that iGuzzini was chosen as “Official technical partner of Enel” for the illumination of the Expo, in particular Cardo and Decumano, the two main axes of the exhibition site.Nowadays, the Expo certainly has a greater impact on the city that hosts it than in the past. Expo visitors, due to the greater ease of travel, or the general improvement of living conditions, or a heightened interest, or simply for an idea of culture that is not just about the visual arts and architecture, want to discover food, fashion, entertainment, everything that creates the atmosphere of a city. Thinking about all these aspects, we have selected some of the most interesting projects recently realized in Milan that through light breath vitality and pleasure. “Light is back”, in places like the Brian & Barry Building, the Botanical Garden, Milan’s Dockyard, and the cloister of the Giuseppe Verdi Conservatory. We have tried to demonstrate, through these concrete actions, how light can participate in the social aspects of a city and in this sense the adoption of The Last Supper by Leonardo da Vinci is the epitome of a social action. Cultural heritage is universal heritage. Works of human genius should be preserved to allow everyone to appreciate their beauty. Their illumination becomes a real factor of environmental quality: social innovation through lighting. Light first. Adolfo. @AdolfoGuzzini

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Contents

II Editorial

Expo 2015

2 Social innovation through lighting for Expo 2015.

6 iGuzzini’s Projects: Expo Map

18 Palazzo Italia

22 United Arab Emirates Pavilion

26 Chile Pavilion

28 Russian Federation Pavilion

32 France Pavilion

36 Germany Pavilion

38 China Corporate United Pavilion

42 Vanke Pavilion

46 Enel Pavilion

50 Save the Children Village

Milan Expo City

54 Adopting Leonardo’s Last Supper

62 Milan’s Dockyard becomes a meeting point once again

66 The “Giuseppe Verdi” Conservatory cloisters

70 The Botanical Gardens

72 Piazza de La Triennale regeneration project

74 Brian & Barry Building

76 The Duomo Market

80 Techno Souq

Company Culture

84 The Expo in the Marches

86 “Urban Lightscapes/Social Nightscapes Workshop Series”

88 All-LED lighting, the latest news from iGuzzini Partners Assistance

90 A new distributor in East Australia

92 PLDC warm ups

94 #Light On.

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Social innovation through lighting for Expo 2015.

Expo 2015

Universal Expositions have always been unique examples of how a location can take on a new character by carefully combining the temporary attractions and lasting legacy that such events create. Between 1854 and 1900, the Great Exhibitions in Paris transformed a vast section of the city that today stretches from the Grand Palais to Chaillot Hill. Over the years this area was transformed from an insalubrious marsh into an elegant museum district that culminated in the construction of the Musée di quai Branly. These Expositions, then, leave their host cities not only with an architectural legacy, but also with an immaterial legacy indicated by the changes in the title of the event, which has escalated over the years from Great to International to Universal. Following the huge success of the first ever Exposition, held in London in 1851, these type of events came to be seen as the benchmark for modernity. Accordingly, its title quickly shifted from Great to International to Universal to indicate the organisers’ vast and all-encompassing vision. Significantly, after a lengthy period following the Second World War, the word “Universal” re-emerged at the Expositions in Brussels and Montréal. And it was no coincidence that these were not only the most interesting exhibitions since the war, but also the first ones to be based on the new social order and universal values that this prolonged period

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Photos: the iGuzzini archive, Lv Hengzhong,

1. Seville 1992, Palazzo Italia

2. Saragossa 2008, the Water Pavilion.

3.4. Shanghai 2010, Palazzo Italia

of peace had created. In this light, the Expo theme in Milan 2015 could not have been anything else, but universal. And as Pavilion Zero clearly demonstrates, “feeding the planet” is a radically universal theme. The theme of the Milan Expo is “Nourish the Planet, Energy for Life”. Here are some statistics: a display area of 1,000,000 square metres,144 countries involved, and 184 days that turned Milan into a hub of opportunity attracting institutions, cultural associations, and above all, an estimated 20 million visitors. In Milan, iGuzzini luminaires have been used for 23 areas and pavilions, totalling a supply value of 3 million euros. This level of trust was inevitably based on iGuzzini’s wealth of experience gained at past Expo events. The Seville Expo in 1992 witnessed the birth of the Edge luminaire, an innovative blade of light device designed by Piero Castiglioni and used to illuminate Gae Aulenti’s Palazzo Italia. In Lisbon in 1998, Piero Castiglioni created his astounding Radius luminaire that was installed in the regeneration of the riverbank. Then, at Saragozza in 2008 and Shanghai in 2010, iGuzzini luminaires were used widely to light both national pavilions and the general exhibition area.

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Expo and iGuzzini over the years

1988 Brisbane, Australia 1992 Seville, Spain1998 Lisbon, Portugal2000 Hanover, Germany2008 Saragossa, Spain2010 Shanghai, China2015 Milan, Italy

iGuzzini is Enel’s official technical partner for lighting solutions at Expo 2015, even if other manufacturers’ luminaires have also been used throughout the exhibition.

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As “Enel’s official technical partner for lighting solutions at Expo 2015”, iGuzzini supplied the luminaires for the two main intersecting axes (the Cardo and the Decumano), the central area, the plazas and the pedestrian walkway. The company’s long and consolidated relationships with numerous prestigious architectural studios and its firmly established presence in various countries also helped it become a main supplier for many important pavilions and renowned designers at this event. These include the United Arab Emirates Pavilion designed by Foster+Partners, the Vanke Pavilion for China with Daniel Libeskind’s distinctive hallmark, Palazzo Italia designed by Nemesi & Partners, the pavilions for Chile, France, Germany, Angola, Thailand, Indonesia, Russia, the USA and the Vatican, and the China Corporate United Pavilion.In addition to these projects there is also the company’s technical sponsorship of the lighting system for the Save the Children Pavilion, in collaboration with Metis Lighting. Social engagement through lighting.

Social innovation through lighting for Expo 2015.

Photos: Lv Hengzhong.

5. Shanghai 2010, Pavilion B3-2

6. Shanghai 2010, Pavilion B2

7. Shanghai 2010, France Pavilion

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iGuzzini Projects: Expo Map

Cardo and DecumanoCommon areasPavilion ZeroExpo centreCaritas InternationalisAngola Save the ChildrenEnelTechnogym ArenaRice ClusterCascina Triulza

ThailandChildren’s Park Coffee ClusterFruit and Vegetable ClusterEatalySpices ClusterUnited Arab EmiratesKinder + SportHoly SeeFranceItaly

MexicoBio-Mediterranean ClusterVankeNew Holland AgricultureChina Corporate United PavilionGermanyChileRussian FederationIndonesiaand more

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In red pavilions and areas illuminated by iGuzzini lighting fittings

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iGuzzini provided the lighting for the Cardo and Decumano, the two main pedestrian avenues at the Expo, as well as the main squares and green pathways that run through the area. In order to provide specific solutions to the unique requirements of this event, over 80% of the products used were custom-designed.All the installation operations were simplified too, which meant changing the composition of certain products and delivering them pre-assembled.The design and style of the company’s solutions have also been widely praised for their refined appeal. The Cardo and Decumano avenues are both protected by waterproof canvas covers that filter natural light without blocking it. These covers are organised in a series of curves, set at alternating heights, which means the lighting system has to both guarantee visitors’ safety and highlight the structure’s changing shapes. These two requirements are achieved with one luminaire: the Archilede HP, regulated where necessary with different power ratings and precision-adjusted aiming. These 48-LED, asymmetric optic Archilede HP luminaires are pointed downward on a 90 cm arm at a height of 6.5 metres. About 400 of these devices illuminate the avenues with direct lighting and are positioned on the poles that support the cover structure. The direct lighting trained on the covers also helps light the two avenues indirectly. For the lower covers, 72 LED Archilede HP luminaires, each fitted on a 20 cm arm have been installed

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Cardo, Decumano and common areasExpo 2015

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Photos: Lorenzo Palizzolo, Paolo Carlini

1. Decumano

2. View towards the “Tree of Life”

3. Common areas

at a height of 5.5 metres above ground and positioned at right angles to each other. The same type of Archilede HP luminaires have also been used to light the higher covers, but they are positioned at 7 metres above ground. To meet the specific lighting needs of this highly original cover structure, then, different versions of the same luminaire, featuring different power ratings and electronic management systems have been combined and positioned at different heights. For the secondary pathways, Archilede HP luminaires have again been used, but this time installed as pole-top devices on poles that are not made by iGuzzini. Different optics have also been used (street, comfort or asymmetric) depending on the context. In all these cases, the luminaire was supplied with a white finish to create consistency and help it blend in with the support structures.Piazza Italia is located at the crossroads between the Cardo and Decumano, in an uncovered area. Here, the organisers specified that diffuse, homogeneous lighting was needed, and therefore Maxiwoody Compact COB luminaires were chosen with flood and wide flood optics and DALI control gear. These luminaires were mounted in groups of four at the top of eight tall poles. Piazza d’Acqua (Water Square) stands opposite Piazza Italia, right at the end of the Cardo avenue. To light this area, 44 W, 4190 lumen, Maxiwoody Compact COB luminaires with flood and wide flood optics were once again positioned at the top of tall, 6 to 9 metre high poles.

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A neutral white colour was chosen for the Cardo, Decumano, Piazza Italia and Piazza d’Acqua, whereas a warm white temperature was used for all the other squares further away from the main avenues. One particularly interesting lighting system is the one used for the phytodepuration tanks located beside the canal that runs right through the Expo area. Here, specially designed Typha luminaires with waterproof casings and simplified installation procedures, were installed right inside the tanks. A wooden walkway runs along beside the canal and in and out of the tanks to create a relaxation area for visitors. This is lit with LED iWay bollards and Glimcube luminaires positioned under the handrails - the latter covered with a stainless steel guard to stop anyone, but especially children, from hurting themselves. There is also a second canal walkway that runs further over on the inside and snakes off into the park to create other rest areas. These are lit with warm white, 21 W, large body, LED iWay bollards that have again been specially designed with ultra-simple installation procedures. In the other green areas scattered across the Expo, Zyl luminaires have been installed with a special larger and heavier, vandal-resistant mounting plate. One of the most exciting new features of the Expo Milan 2015 are the “clusters”.

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Cardo, Decumano and common areasExpo 2015

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Photos: Lorenzo Palizzolo

1. Coffee Cluster

2. Children Park

3. Fruit and Vegetable Cluster

For the first time ever, different themes and food chains have been grouped together into specific areas called “clusters”. This enables the theme of the Expo - “Nourish the Planet, Energy for Life” - to be explored with a spirit of interaction and sharing. The clusters are common areas in the exhibition area that examine the food chain in question through a series of areas and activities, such as markets, exhibitions, events, and tastings. These spaces are therefore extremely flexible and the lighting systems follow suit. MaxiWoody spotlights have been fitted in all of them with the option of a wide range of optics and accessories to ensure maximum versatility. iGuzzini has lit the rice, coffee, fruit and vegetable and spice clusters using wall washer iPro spotlights to highlight the textures of the wall panels that are covered with recycled material from the spice production industry.The Children’s Park is a linear area, including a forest with eight installations based on the main Expo themes. These are all located in open air settings and feature recreational platforms and covers constructed in the shape of large reel-like structures hung from artificial trees. The artificial lighting focuses on these reels and includes a series of Maxiwoody spotlights that guarantee direct and indirect general lighting and micro iPro luminaires that illuminate the intersecting wooden slats that make up the various reels.

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Cascina Triulza is the only structure that was already standing when the Expo Milan 2015 area was created. It is an old, typically Milanese country farmhouse and will be left at the end of the event as part of the location’s cultural identity. Managed by the Triulza Foundation, the Cascina Triulza complex covers an area of 7,900 m2 and is divided into three different buildings. The main building, formerly the farmhouse, has been turned into offices lit by DALI Lineup luminaires, and exhibition spaces lit by special track-mounted DALI Front Light spotlights. In the transit areas, iRoll and wall-mounted LED Cestello luminaires have been used to create the necessary lighting levels. Whereas outside, iPro wall-mounted spotlights have been positioned on each facade to define the perimeter of this part of the farmhouse. The former granary houses an auditorium with 200 seats, an exhibition area and a restaurant. The conference room is lit with pendant-mounted iRoll luminaires and track-mounted Front Lights; while wall and floor-mounted recessed Ledplus devices provide courtesy lighting. In the restoration area, up/down pendant-mounted Berlino luminaires and wall-mounted iPro devices have been installed to indicate the entrances and terraces and mark out the general perimeter. The third building is a former stable that has been renovated to create a market area for small producers, commercial activities and organisations promoting fine quality products and services, the environment and human rights.

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Cascina Triulza and Pavilion ZeroExpo 2015

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Photos: Paolo Carlini, Lorenzo Palizzolo

1. Cascina Triulza, external

2. Rice Cluster

3. Pavilion Zero

4. The Memory Theatre, inside Pavilion Zero

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This part of the Cascina complex, lit with up/down pendant-mounted Berlino luminaires, is also used for workshops for children between 4 and 10 years-old. Outside there is a 1,700 m2 courtyard that acts as a vegetable garden and picnic area lit with pole-top UFO products in the general areas, iWay bollards for transit areas and Ledplus luminaires around the trees.Pavilion Zero is the starting point for any visit to Expo Milan 2015. Michele De Lucchi’s design represents a piece of the earth’s crust lifted off the ground. Using a carefully planned scheme of contours it reproduces the earth’s surface with its mountains, hills and a vast central valley. The pavilion is designed to remind us of just how much humankind has done since its appearance on this earth, and how it has transformed natural landscapes and established its own culture and rituals of consumption. There are two main interest points: the Memory Theatre, a library of drawers containing info on different foods, animals and diets, and the Digital Memory, a high-impact video that focuses on hunting, fishing, cultivating crops and rearing animals. iGuzzini was responsible for lighting the library, where recessed Ledplus luminaires with different optics have been installed in the drawers and focused on the wall. The showcases have also been lit with Underscore light lines.

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Palazzo Italia Customer Expo 2015 Spa

Architecture and lighting design NEMESI Engineering Proger BMS Projects

The Italy Pavilion showcases the country’s food and culinary culture and traditions that are typified by their consistent high-quality, from the ingredients to the end products. The key display inside the pavilion, entitled Identità Italiana (Italian Identity), is dedicated to the various regions of Italy that have taken part in this cultural and artistic project. The concept behind the pavilion’s architectural design is that of an “urban forest”. The building’s external shell of branch-like “skin” was designed by Studio Nemesi to be both primitive and hi-tech at the same time. The interweaving of its geometrical lines is reminiscent of the random pattern

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of branches and the continual play of light and shadow, solid and void generates a sculpture-like building with clear land-art influences. The basic architectural idea for Palazzo Italia is a concept of cohesion in which the force of attraction generates a rediscovered sense of community and belonging. The internal piazza represents the community’s energy. This space – the symbolic heart of the complex – is where the exhibition experience begins, right in the middle of the four sections that make up the pavilion. Together, these four blocks form a kind of cityscape, while retaining their own individual character and purpose, and including:

an Exhibition zone (West block), an Auditorium and Events zone (South block), an Office zone (North block) and a Conference and Meeting zone (East block). These blocks are symbols of giant trees with massive bases that simulate roots plunging into the earth. Seen from the internal piazza, these trunks open and then stretch upwards, finally breaking free, like foliage, through the huge, glass canopy. The lighting project, also designed by the Nemesi Studio, seeks to bring light and architecture together by highlighting the building’s character and features in a way that is completely natural.

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Sustainability solutions Livio de Santoli

External Prospects: Official Technical partners of Enel on the lighting Solution for Expo 2015

The pavilion is lit with luminaires provided by various manufacturers.

Photos: Paolo Carlini, Luigi Filetici

1.2. Exterior views

3. Detail of one of the interiors

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Palazzo Italia

The general illumination system creates a homogeneous, comfortable and inviting light throughout the structure with recessed, DALI dimmable, warm colour temperature Laser Blade luminaires. These recessed products are concealed in the structure’s false ceilings and create no glare at all. In line with the architectural features of the offices (that are elongated, longitudinal spaces) long, rectangular recessed iN 30 and iN 60 luminaires have been installed that provide an ideal level of lighting for desks and work stations. For the corridors, which are the most highly frequented areas in the pavilion, pendant-mounted Le Perroquet and Tecnica Pro spotlights

have been used, while Underscore luminaires highlight the banisters and niches. The auditorium, also known as “the egg” is a space built completely in wood with a dark false ceiling. Laser Blade luminaires have been recessed in the ventilation ducts to ensure that they are completely concealed. In this context, dimmable versions have again been used to ensure that the light suits the space available perfectly, and is user-friendly too. For the outdoor lighting of Palazzo Italia, and its distinctive white cement facades, Multiwoody pole-top luminaires have been installed with a cold colour temperature to intensify the pure white effect of the structure.

Recessed Linealuce luminaires have also been positioned around the “root” base of the pavilion on account of their superior vertical lighting performance. The products used all feature LEDs with warm colour temperatures for the interiors and cold ones for the exteriors. This solution was chosen for the superior performance of these lamps which offer both long life and low maintenance costs. Palazzo Italia will remain in situ after the Expo fair finishes, so it was important to create a lighting system that is long-lasting and efficient.

Photos: Paolo Carlini, Luigi FileticiExpo 2015

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Here, the Foster + Partners studio sought to create not only a symbol-building, but also a space that binds the history of the Emirates to the theme of the Expo. Salem Al Ameri, the EXPO general administrator for the country, emphasized during his presentation of the project that the choices made are based on a specific strategy that seeks to reduce carbon emissions whenever and wherever possible. The building, in fact, has been awarded LEED ‘Platinum’ certification thanks to a combination of passive principles and active techniques, including the installation of photovoltaic cells and capturing rainwater on the roof garden.

CustomerThe National Media Council, United Arab Emirates

Architectural designFoster+Partners

Lighting design DALD- David Atkinson Lighting Design Limited

United Arab Emirates Pavilion

The fact that the building has been deliberately designed so it can be recycled and reconstructed in the United Arab Emirates after the Expo is part of this vision. And the presentation of the project through a live online press conference that eliminated flights by connecting London, Milan and Abu Dhabi, was also part of this global strategy to reduce carbon production and minimize human impact on the environment.

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The pavilion is lit with luminaires provided by various manufacturers.

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Photos: Lorenzo Palizzolo, Anthony Pearson

1. Daytime exterior view of the pavilion

2. Rendering

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The architectural design for the United Arab Emirates pavilion reproduces antique methods used to construct cities in the desert and their natural energy efficiency.The artificial lighting, designed by David Atkinson, enhances the pavilion’s architectural forms, while its all-LED luminaires helped it attain LEED Platinum status. The pavilion is located in a large area along the main Decumano avenue. From here, the visitors are drawn towards a space that deliberately recreates the effect of a canyon, by means of two 12-metre-high, undulating walls. The walkways that cross the pavilion resemble the narrow streets and courtyards of ancient desert cities, as well as their contemporary equivalents, already designed by Foster+Partners in their sustainable masterplan for Masdar City in Abu Dhabi. The walls stretch for 40 metres, the entire

length of the area, in a series of parallel waves, designed to evoke the ridges and textures of sand dunes. To communicate a specific sense of place, the textures of the walls have been created using scans taken in the desert. The materials used were also specifically chosen to show the different colours of sand found in the Emirates. These materials are highlighted by recessed adjustable Light Up Walk Professional luminaires installed along the walls and fitted with special filters that warm the original colour temperature of 2700 K up to approximately 2300 K. A ramp leads gently upwards from the entrance to the auditorium. Laser Blade Inout luminaires have been installed along the ramp as they blend perfectly with the structure and create a sense of consistency with the Laser Blade luminaires used inside the pavilion. The public park area

around the pavilion has also been designed to evoke the terrain and flora of the United Arab Emirates, and iPro luminaires have been used to highlight the trees. In the centre of the site there is a drum that contains an auditorium. The drum is a spectacular part of the project. It is covered by a distinctive metal structure which reflects the surrounding scenario during the day and is itself reflected in the dune-like walls. To create this effect at night, too, wall-mounted, wallwasher effect Linealuce luminaires have been positioned all around the upper edge of the drum. These wallwasher effect luminaires are located at a height of 11 metres, and have no “scalloping” effect so they reproduce the sensation of natural daylight perfectly.

United Arab Emirates Pavilion Photos: Anthony Pearson

1. Detail of the central drum lit with Linealuce luminaires

2. Internal gully around the central drum.

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General commissioner Lorenzo Constans Coordinator Sebastián Mallea Architectural designCristián Undurraga

Chile Pavilion

The main goal of the Chile Pavilion is to show millions of Expo visitors this country’s extreme geographical diversity: from the Atacama Desert to Patagonia, and from the central green valleys to the eastern islands. These very different regions are described through their ecosystems and how these ecosystems are being preserved.To house this concept, the Chilean architect, Cristián Undurraga, has designed a suspended structure covering almost 2000 m2. It consists of a large wooden lintel enclosed by a frame of criss-crossed beams and supported by four concrete pillars that create an intermediate space. The access point is a relaxation area with tables

and benches in which the visitors encounter the Chilean “dinner table,” with all its flavours and colours. A group of red statues, modelled on Chilean farmers, indicates the path to follow. Visitors reach the suspended wooden structure by means of a central ramp that takes them into a multimedia nucleus featuring a tunnel with twenty-four synchronized spotlights that offer visitors a virtual reality experience. The lighting project is the work of the Chilean lighting designer, Maite Zubicoa, who has opted to highlight the wooden facade and ground floor ceiling only. In the remaining space there is no artificial lighting given that images of food

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Lighting design Maite Zubicoa The pavilion is lit with luminaires provided by various manufacturers.

Photos: Paolo Carlini

1. Relaxation area that is also the entrance to the pavilion

2. General view with an iPro lighting effect

and their geographical origins are projected continually, as if it were a cinema. At night the structure looks like a huge lantern lit only from the inside. The pavilion’s wooden framework is lit by iPro spotlights positioned in the individual triangular cells of the structure, and a warm colour temperature was specifically chosen by the designer as it is particularly suited to wood. Maite Zubicoa also selected non-invasive luminaires that blend into the architecture while also highlighting its shape and form.LED lamps were used to reduce consumption levels, and significantly, only 20KW/h is required to light the whole building.

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Russian Federation Pavilion Architecture and lighting design SPEECH Tchoban / Kunznetsov

The architectural design for the Russian pavilion fits comfortably into the tradition of a long line of Russian pavilions at world fairs, that dates all the way back to the very first “Great Exhibition”, held in London in 1851. Many Russian pavilions have come to be considered as global architectural milestones and several have won prizes and awards, including the Grand Prix in Paris in 1937 and the Silver Medal in Shanghai in 2010. Covering an area of over 4,000 square metres, this structure’s concept and lighting design have both been developed by the Speech studio, headed by architects Sergei Tchoban, Alexei Ilin and Marina Kuznetskaya.

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Photos: Paolo Carlini, with the kind permission of the Russian Federation Pavilion.

1. Main entrance to the pavilion

2. Interior view

The pavilion has a particularly distinctive terrace that juts out to create a canopy about 30 metres long. This feature offers shelter to those who are outside and when visitors look up they can see their reflections in the mirrored roof. The terrace also protects the building itself from the sun and at night it is lit with iRound recessed luminaires.The pavilion’s first welcome area is lit with recessed, Pixel Plus luminaires featuring an adjustable beam that makes them the ideal choice for the wave-like effect of the ceiling. The exhibition hall and conference room on the first floor are both illuminated with iPlan and iPlan Easy products to guarantee visual comfort.

The VIP room is particularly spectacular as it includes a central bar and a huge window offering splendid views across the whole exhibition site. This room is lit with recessed Pixel Plus luminaires installed around the perimeter and Reflex Easy devices positioned in the centre to create a cosy, comfortable atmosphere around the food and drink area. The terrace is lit with iPro spotlights installed on the railings at a 40° angle.

The pavilion is lit with luminaires provided by various manufacturers.

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Customer France Agrimer

Architectural design Studio X-TU with the help of the ALN Atelien Architecture and Adeline Rispal studios

France Pavilion

The France Pavilion is based on a classic symbol of French food culture, the market. These picturesque, indoor or outdoor combinations of stalls and produce are found in all French towns and capture perfectly the general theme of Expo Milan 2015. Covering 3592m2, the pavilion consists of a laminated strip skeleton that can be completely dismantled and reassembled. The architectural structure was designed by the X-TU studio (Anouk Legendre and Nicolas Desmazière) with the help of the ALN Atelien Architecture studio (Nicola Martinoli and Luca Varesi) and the Studio Adeline Rispal, who created the pavilion’s thematic design. Particular attention was paid to reducing energy consumption, waste recycling and purification processes.

A visit to the pavilion begins with a cultivated area where visitors can appreciate typical French crops, lit by Typha luminaires. Having crossed the field, visitors then pass under an arch presenting a wide range of the most traditional, modern and innovative experiences, materials, fragrances, plants, products and technologies. Three large LCD screens show poetic animations of real time panoramic images from three different types of French countryside.

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Lighting design Licht Kunst Licht AG The pavilion is lit with luminaires provided by various manufacturers.

Photos: Paolo Carlini

1. The outside of the pavilion, with its entrance and cultivated area

2. A view of the interior

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France Pavilion

The pavilion is divided into 3 floors. On the ground floor there is a large exhibition space organised around four pillars. Front Light and Cestello spotlights have been discreetly installed in the wooden coffered ceiling to create a diffuse, homogeneous lighting effect with no glare. The access stairs to the upper floors are lit with Underscore luminaires. The first floor features partners’ display spaces. There is a store, a demonstration area, a bakery and a VIP area organised into rooms that can be joined into a single, large area. The environment is lit with Wall Washer and Downlight version Laser Blade luminaires. The top floor of the building is a terrace, lit with MiniWoody spotlights installed on vertical wooden elements, with a restaurant.

To highlight the tables and dishes served, the lighting designers have created a lighting scenario using accent lighting and the powerful contrasts of Palco and Front Light spotlights. The lighting concept created by the German studio, Licht Kunst Licht AG, illuminates the structure from the inside, as stipulated by the architects and customer, in order to attract visitors’ attention, especially in the evening. All the products used are LEDs guaranteeing high energy savings and a long life, given that the structure will be used again in the future.

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3.4. Detail and view of the inside of the France Pavilion

Expo 2015

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Germany Pavilion CustomerFederal Economy and Energy Minister

General Contractor ARGE

Spatial design, architecture and masterplan Schmidhuber

The title adopted by the Germany Pavilion for this year’s Expo 2015 theme is a “Field of Ideas”. In other words, a vision of Germany as a vibrant, fertile “landscape” bursting with innovation. The pavilion effectively displays how we must develop a respectful relationship with nature if we are to ensure sufficient food for the future. This is done by focusing not only on effective environmental policies, innovative businesses and forward looking projects, but also through the commitment of civilians. Consequently, visitors are welcomed into the pavilion with the motto “Be active!”The pavilion’s architectural design consists of a gently rising plateau that evokes Germany’s

distinctive field and meadow landscapes and opens to reveal an exhibition expressing the country’s vision. Visitors are free to explore the landscape plateau with its surfaces made of different woods that recall the Germany countryside with its typical patchwork of fields.The pavilion’s central element is a range of stylised plants that sprout up from the floor like “seedlings of ideas” and then continue growing until they reach the outside world where they unfold into a vast canopy of leaves. This highly original feature unites indoor and outdoor spaces and the exhibition with the overall architectural structure. Together with Weisspunkt und Purpur, iGuzzini was responsible for creating

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Layout, exhibition displays and contents design Milla & Partner GmbH

Lighting design for interiors Weisspunkt und Purpur

Project management and construction phase Nüssli

The pavilion is lit with luminaires provided by various manufacturers.

Photo: Paolo Carlini

1. Exterior view of the Germany pavilion

2.3. Interior detail

the pavilion’s interior lighting system. Track-mounted Palco spotlights with refractors and directional flaps were used to create the pavilion’s accent lighting. The effects of these luminaires were carefully studied to ensure they blend in with the general lighting, which is mainly natural during the day and enters through the stylized plant features that act as skylight wells. Thanks to carefully positioned spotlights, these wells also create a moonlight effect at night. Particular care was taken over the lighting in the film projection areas where the illumination levels never exceed 200 lux.

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Architectural design Tongji University

Lighting design LEOX Lighting designer

China Corporate United Pavilion

By adopting the name “Seeds of China”, the China Corporate United Pavilion has drawn on the symbolism of the seed to interpret the dream of a group of Chinese companies whose values are based on the conservation of natural resources and food security. The living essence of seeds is an excellent metaphor for the heritage, perseverance and innovation of China’s entrepreneurial spirit. The inspiration behind the China Corporate United Pavilion is the power released when a seed sprouts and breaks through the ground, and the structure was designed by the Architectural Design and Research Institute of Tongji University Ltd (Group). From the outside the structure has a simple and elementary aspect

that consists of a parallelepiped built from glass and a breathable membrane that together seem impossibly light. Life is born in the green heart of the structure in an area that contains the auditorium, and this space gradually develops into the spiral ramp of a DNA chain that leads visitors to the upper levels. The goal is to create a gentle and natural environment. During the day the exhibition gallery uses the centre ring for light and air, and the heart of the pavilion is wrapped in a cylinder of green walls that creates a unique and natural sensory experience. The pavilion offers four different itineraries. From the first floor in the exhibition hall and in the auditorium, visitors proceed down to the ground floor and

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The pavilion is lit with luminaires provided by various manufacturers.

Photos: Paolo Carlini

1. Exterior

2. Corridor overlooking the central “green heart” of the pavilion

basement where they can enjoy the direct experience of watching food being prepared, before continuing to the restaurant and gift shop. The lighting project, created by the LEOX lighting designer studio in Shanghai, follows the pavilion’s architectural design. Linealuce Mini and Compact products illuminate the internal structure of the facades with a grazing effect underlining the power of a growing seed. MaxyWoody spotlights highlight the details and texture of the pavilion’s “DNA structure” while Primopiano luminaires light the display areas. Light Up recessed luminaires, installed in the exteriors of the structure, emphasize the soft shape of the pavilion and attract the attention of passers-by.

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China Corporate United Pavilion

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3.4. Areas dedicated to two companies.Expo 2015

3.4. Areas dedicated to two companies.

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Founded in 1984, Vanke is the largest Chinese real estate company listed on the Shenzhen Stock Exchange. This corporate giant has decided to participate at Expo Milan 2015 in order to offer the world a showpiece of contemporary life in China, from the perspective of ordinary people, through the experience and spirit of “Shitang” (a Chinese term that describes the convivial experience of eating at table). Covering a surface of 959m2, the Vanke Pavilion is located in the northern section of the fair’s main thoroughfare, the Decumano or World Avenue, near the Arena Lake and Piazza Italia. For the design of the Vanke Pavilion, Daniel Libeskind brought together a range of concepts, from the ancient thinking of Confucius and Lao

Vanke Pavilion Customer Vanke Group

Architecture and lighting design Studio Libeskind

Tzu, to Renaissance and contemporary art. Architecturally, the pavilion’s sinuous geometry and continuous inside-outside flow take the visitor on a journey through space, time, traditions, values and human relationships. The exhibition is organized into two independent routes, one from the inside towards the outside, and the other with a garden that is found on the roof. Once inside, visitors are led through a forest of bamboo poles bearing screens showing scenes of people enjoying meals, having fun, and sharing. This concept is based on the metaphor of roots, trunks and branches which symbolize Vanke’s commitment to the community. The shape of the pavilion is based on China’s sacred mountain, Huan Shan. The American

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Photos: Hufton+Crow

1. The pavilion’s sinuous architecture

2. One of the interiors

architect has created a stylised reproduction of its shape with a structure covered by 4,200 red tiles that change colour according to the light. The visual effect is a roof that looks rather like the scales of a snake, crossed by a stairway that runs round the pavilion allowing visitors to pass easily from one part of the structure to another. The lighting project that has also been designed by the Libeskind Studio, plays a fundamental role in the pavilion’s impact as it succeeds in making the structure seem bigger. The interior area consists of a ground floor with a very dark exhibition room that is laid out like a museum. On the first floor, there is a reception room where the lighting is controlled by a special system that allows it to be adjusted to suit special

requirements and events. In the same area there is also a huge lantern that filters natural light during the day and is covered by a dark curtain by night. The outdoor lighting system has been created by installing five poles around the perimeter of the pavilion each of which are fitted with MaxiWoody floodlights. For the stairway and roofs, Underscore luminaires have been used to create lines of light in a low intensity design that blends in with the surrounding space. This was a deliberately move as Vanke wished to preserve the spectacular and magical atmosphere that the EXPO exhibition site creates at night, without over-exaggerating its own presence.

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The pavilion is lit with luminaires provided by various manufacturers.

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Enel Pavilion Customer Enel

Architectural design PIUARCH Lighting designEsa EngineeringEnel Sole

Enel is the largest electrical company in Italy and one of the world’s major electricity and gas sector operators with a particular focus on Europe and Latin America. The Group operates in more than 30 countries across 4 continents, generating power from over 90 GW of net installed capacity and distributing electricity and gas through a network spanning around 1.9 million km. With its 61 million end users worldwide, Enel has a larger customer base than all of its European competitors and is one of Europe’s leading power companies in terms of installed capacity. For the EXPO fair in Milan 2015, Enel has created the first smart city “green field” in the world. This smart grid can power a city

with no less than 100,000 inhabitants. One hundred cabins connected through an optic fibre network transmit electricity and information in real time, powering the entire exhibition site where everything operates thanks to electrical energy. LED lighting and e-mobility have been used, and all the energy that circulates is controlled and monitored by the smart Energy Management System. This state-of-the-art system, developed by Enel Distribuzione in collaboration with Siemens, controls energy consumption in a granular manner until it reaches the individual pavilions. Enel also has its own 890m² pavilion at the Expo, dedicated to the latest developments in energy systems.

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Photos: Lorenzo Palizzolo

1.2.3. “Light forest” colour variations

Based on the Smart Grid it has designed to power the EXPO site, the Enel pavilion stands out for its unconventional architecture. It is not an actual building, but a lit installation that instead of merely acting as a container, actively becomes what it is promoting: a demonstration of the innovative and dynamic nature of the Smart Grid. The pavilion is decidedly atypical as it is not an architectural construction waiting to be filled, but an open air space with a linear 107-metre long walkway featuring 3D images, videos and animated infographics. In a series of stages, this trail introduces the visitor to the changes that are taking place in the energy sector and rapidly consolidating a new model of energy distribution and consumption.

At the heart of the pavilion is the control room, a room dedicated to the technology, operation and benefits offered by the smart grid. On entering the control room, the visitor finds a multimedia environment characterised by two large LED walls, one vertical and one horizontal. This spectacular backdrop consists of 144 kinetic modules and includes 9 tablet stations where visitors can navigate articles, data, and information flows regarding the energy consumption of the Expo site and various national pavilions in real time. A magical atmosphere is created all along the exhibition trail thanks to a forest of light consisting of 650 lit poles that change colour constantly and emit special sound effects.

These luminous vectors are planted in the floor of the Enel pavilion, as if they were the nerve endings of the smart grid that is symbolized by the metal mesh on the pavilion floor. The poles consist of polycarbonate tubes with a diameter of 150mm and a range of different heights varying from 5.3 to 7 metres that are dramatically lit by the LED lamps located on the grid. The perception that visitors have of this virtual volume changes continually in relation to their movements and location, as the vertical components are constantly aligning, misaligning and overlapping.

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The pavilion is lit with luminaires provided by various manufacturers.

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Save the Children chose to take part in the Expo 2015 in order to draw attention to its work from all over the world. It sees the event as an opportunity to experiment with new channels for providing information, raising awareness and creating engagement around its mission.The architectural design for the Save the Children Pavilion represents a village with small “houses” and plantations. The lighting concept, designed by Metis Lighting and donated to the charity, is based on the following requirements: - lighting the pathways on the outside so as

to invite visitors to explore the architecture and plantations of the “houses” in the village;

- highlighting the construction materials used for the “houses” and illuminating the various displays.

Save the Children village Architectural design Argot ou La Maison Mobile;

Design-Build Workshop Argot ou La Maison Mobile - Mezzo Atelier-

Landscape Project Melania Bugiani

- guaranteing required lighting levels for both visitors and Save the Children operators.

The iGuzzini luminaires used to create the lighting concept were donated by the company in its role as technical sponsor. The interior lighting system consists of grazing lighting on the bamboo perimeter panels created during the Build Workshop, and accent lighting on the displays.The former was created with Linealuce Mini ceiling-mounted LED luminaires, while the latter featured Front Light halide spotlights with directional flaps. Customised decorative pendant lighting was also designed to specification for the interiors, to light the horizontal planes and create a cosy, domestic atmosphere. This warm lighting then filters out through the houses to create a ‘‘lantern’’ effect.

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Production / Artistic Direction: Accapiù S.r.l.

Lighting design Metis Lighting

The pavilion is lit with luminaires provided by various manufacturers.

Photos: Leo Torri

1.2. Views of the pavilion

The outside area features accent lighting on key elements, such as the vertical garden and the side entrances to the individual buildings. This is provided by adjustable halide and LED Mini Woody floodlights installed on the roofs or hidden behind the sheet metal perimeter.To highlight the coloured shapes of the “houses” LED Tube luminaires have been mounted on the outside walls. The external walkways are lit by adjustable iPro Micro floodlights fixed on wooden poles, and the same floodlights are mounted on stakes to light the trees that act as a backdrop to the “houses”.

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Milan Expo city Adopting Leonardo’s Last Supper.

In 1998 iGuzzini adopted the Galleria Borghese and in 2015 it has repeated the experience with Leonardo da Vinci’s Last Supper. In the years in between it also acted as the technical sponsor for hundreds of other projects in large and small museums, in Italy and all over the World. By adopting the Last Supper iGuzzini has once again expressed its commitment to supporting Italy’s cultural heritage by offering both its lighting knowhow and luminaires to major projects involving important International artworks and locations. The agreement between iGuzzini and the Milan Architectural and Landscapes Heritage Office involves literally “adopting” the famous artwork. In other words, iGuzzini has provided a new lighting system featuring latest generation luminaires that will allow the rich colours and details of Leonardo’s masterpiece

to be better appreciated. Moreover, iGuzzini will also put the skills of its Research Centre at the service of the Heritage Office. In the years to come, then, with the Centre monitoring the rapid technological developments taking place in the lighting sector and working together with the High Conservation and Restoration Institute, the methods for conserving and exhibiting the masterpiece will be continually updated. In short, this means that the quality of light for both the painting and the surrounding environment will be constantly improved with the latest lighting solutions. In 2014 the Milan Architectural and Landscapes Heritage Office began to consider the need for a new lighting system for Leonardo’s Last Supper. Leonardo painted the masterpiece in the refectory of the Dominican Convent Church, Santa Maria

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delle Grazie in Milan, which was declared a UNESCO World Heritage Site in 1980. The refectory is a long, rectangular room with Leonardo da Vinci’s masterpiece on the northern wall and Donato Montorfano’s Crucifixion facing it, on the southern wall. Both of these were traditional subjects for refectory paintings.The Last Supper was commissioned by Ludovico Sforza, Duke of Milan, and painted between 1494 and 1497, whereas Montorfano’s Crucifixion is dated to 1495. From a technical point of view, The Last Supper is an incredible experiment. Leonardo chose to paint a mural because he wanted to create the light effects that Flemish artists were beginning to import into Italy. He therefore needed to create a surface and adopt the colours normally used when painting a canvas.

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Photos: Christian Fattinnanzi

1. Leonardo’s masterpiece with the new lighting system

2. Arts Minister Franceschini during his speech

3. Head of the Milan Architectural and Landscapes Heritage Office, Alberto Artioli and Director of the Lombardy Region’s Museum Administration, Sandrina Bandera

4. Dario Franceschini, Adolfo Guzzini and Massimiliano Guzzini

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Adopting Leonardo’s Last Supper.

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To achieve this, he prepared the wall with a primer and then a binder made from a combination of ingredients that is still unknown, and which is sadly the primary cause of the painting’s deterioration that began as far back as the early 1500s. Visitors began reporting the damage caused by Leonardo’s experimental techniques almost immediately. And unfortunately, Milan’s damp climate only added to the problem. In fact, the local authorities were so afraid of losing the masterpiece completely that Federico Borromeo, the founder of the Ambrosiana Academy had a huge copy made for posterity. Over the centuries, the masterpiece has been restored on numerous occasions and in 1999, the latest restoration project, that began in the mid 1970s was finally unveiled. In the same year, lighting and air conditioning systems were installed that have been used

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1.2. Head of the Last Supper project, Giuseppe Napoleone, giving a speech at the Santa Maria delle Grazie church

3.4.5. Visitors’ reaction to the lighting system.

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up until now. The lighting system was designed according to the project specifications compiled by the Galileo Ferraris Electrotechnical Institute photometry laboratory. The luminaires were positioned according to distribution requirements and concealed behind the barriers that run parallel to the two paintings (The Last Supper and The Crucifixion). Luminaires with special T5 fluorescent lamps and a double reflector optic system were used, as the devices were positioned very close to the lit surface in relation to its height, and a marked asymmetric beam was therefore needed to ensure an even light over the vertical surface. The overall colour temperature produced was approximately 4050°K. The decision to use this colour temperature was based on the fact that the restoration of the painting had been carried out using 5500°K Durotest lamps.

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Adopting Leonardo’s Last Supper.

Place

The Last Supper

The Crucifixion

Public area of the Cenacolo

Paths

Total

Old installation(Watt)

345

120

1370

1500

3335

New installation(Watt)

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120

310

493

Energy saving (Watt)

– 298

– 204

– 1250

– 1290

– 2842

– 86%

– 93%

– 87%

– 81%

– 85%

The requirements stipulated by the Heritage Office for the new lighting system installed in 2015 focused on the need to localize light only on the surface of the painting. This was done to avoid lighting the walls on either sides of the painting and the part of the vault above it, and to guarantee the colour quality of the work, reduce the heat given off by the luminaires and lower energy consumption. The design of the new lighting system consisted of two clear stages: laboratory testing the luminaires and defining the solution on-site. The first phase was conducted in the ISCR lighting laboratory with the aim of assessing the system’s optimum spectral distribution. The new system features Palco spotlights fitted with Chip On Board LEDs installed on a DALI track supplied with an iGuzzini control unit that can adjust the light flux emitted by each spotlight individually. This achieves an extremely high standard of light uniformity on the painting while keeping the level of lighting on the work within the limits set and verified for its conservation by the Italian High Institute for Conservation and Restoration.

The system consists of three groups of luminaires, each aimed at a specific area of the painting. The spectral quality of the LEDs was defined by visual assessing the surface of the painting in a series of tests that involved activating 4 Palco floodlights with a range of different composition LEDs. All of these were latest generation Chip On Board LEDs, tested previously at the ICR laboratory, and the floodlight with the best chromatic balance turned out to be the one with a 3384 K colour temperature LED. Every single decision, from aiming the luminaires to establishing colour temperature, was made together with, and in the presence of a group of experts including the Head of the Milan Architectural and Landscapes Heritage Office, the Head of the Last Supper project, the Head of the restoration project and the Director of the Lombardy Region’s Museum Administration. Having defined the chromatic balance, assessments were then made with regard to conservation. All the measurements taken indicate that the new system installed by Tecnosaier (Lucio and Fabio Pironi) has achieved a radical improvement in heat dissipation. The considerable reduction in the level of heat dissipated throughout the room by the new lighting system will have an extremely positive effect on the stability of the display area.The possibility of extending opening hours, however, does not depend only on the annual dose of light (lux hour/year), calculated from the light levels registered on the painting, but also on other environmental parameters (such as dust and pollutants). So before deciding any increase in the number of viewers, a test period will be required to monitor the effects on the micro-environment.These improvements have not been used solely for Leonardo’s masterpiece, but also for Montorfano’s Crucifixion. To light this painting 3 optical assemblies have been used for each of the two Cestello

luminaires positioned on the side walls. These create a crossflow of evenly distributed light over the whole painting, and the quantity and aiming of the light flux has been precision-adjusted to make the cracks and bumps in the walls less obvious.All the optic assemblies are regulated by a DALI system, and screw-secured in the correctly aimed position to ensure they cannot be moved accidentally during cleaning. New lighting systems were also installed in the public area of the refectory and the access tracks that regulate the flow of visitors. Cestello luminaires fitted with low voltage R111 halogen lamps powered at 10.5 volts and 3.7 A, totalling a power of 38 watts for each optical assembly, were already installed in the refectory. But these lamps were replaced with optical assemblies with 20 watt multichip LEDs. For the visitors’ access track in the cloisters the existing design solution has been kept, but the 30 x 50W halogen lamps in the Cestello luminaires have also been replaced with the same number of 11 watt LED optical assemblies, thereby reducing consumption by 78%.

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Photos: the iGuzzini archive

1. The new lighting system with its Palco spotlights

2. The LED spectrum used

3.4.5 Leonardo’s masterpiece lit by the old system

3a.4a.5a. Leonardo’s masterpiece lit by the new system

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Milan’s Dockyard becomes a meeting point once again

CustomerMilan municipal council, Lombardy regional council

General design and layouts Jean François Bodin Urban planning and architectural and environmental design Edoardo Guazzoni, Sandro Rossi

The redevelopment of Milan’s Dockyard, La Darsena, is one of the permanent legacies of the Expo Milan 2015 that has given the city back this historical and symbolic site. The project, developed by architects Edoardo Guazzoni, Paolo Rizzatto, Sandro Rossi and Studio Bodin & Associés, included restyling the ancient port and the area around it, with an investment of approximately 19 million euros. The operation involved renovating the banks of the waterfront with new pedestrian areas and a new dock for tourist boats, and redeveloping

Piazza XXIV Maggio by pedestrianising part of it and adding new park areas. For the paths and square, iGuzzini supplied a Multiwoody system, specially customised to meet the service company, A2A’s specifications, and recessed Balisage luminaires have been installed along the harbour banks to indicate the edge, especially in footpath areas. In the square, iPro floodlights have been used to produce direct lighting on the base and facade of Luigi Cagnola’s neoclassical monument, the Porta Ticinese or Ticinese Gate.

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Photos: Paolo Carlini

1.2. Glimpses of the dock, now revitalized through new lighting

Street furniture and lighting design Paolo Rizzatto

Project management, market studies, diagnosis and structural design D’Appolonia S.P.A.

General and special plants and systemsManens Intertecnica S.R.L.

New tree-lined walks have been created on both sides of the dock, while on the western edge of the basin a garden has been developed that leads down to the water’s edge. The park is lit with iWay bollards fitted with special screens to meet A2A’s specifications and anti light pollution standards. To encourage the public to use and explore the area a new pedestrian and cycle bridge has been

built between the north and south banks. This is reached via steps lit with special wall-recessed Comfort LED luminaires. The disabled access lifts, on the other hand, are lit with Woody luminaires. The former site of the city market has been demolished and replaced by a new structure, built next to Viale D’Annunzio. This links the pedestrian areas along the harbour banks to

Piazza XXIV Maggio, where a newly refurbished portion of the Corso del Ticinello road has also been reopened and enhanced. The new market is lit with recessed iRound and Linealuce Mini luminaires that create an attractive light scenario on the market’s lamellate structure on the side overlooking the harbour bank.

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The “Giuseppe Verdi” Conservatory Cloisters

Customer The Giuseppe Verdi Conservatory – President Maria Grazia Mazzocchi

Concept Teresa PomodoroSandrina Bandera

Located in the former convent next to the Chiesa di Santa Maria della Passione in Milan, the “G. Verdi” Conservatory is an authentic architectural gem. Established by a Napoleonic Royal Decree in 1807, the institute boasts over 200 years of history and numerous famous musicians have studied here, including Giovanni Bottesini, Alfredo Catalani, Amilcare Ponchielli and Giacomo Puccini. In the second half of the twentieth century the institute was so well-known that every major Italian composer either studied or taught here, and literary giants such as Salvatore Quasimodo and Fernanda Pivano gave classes here too. In 2014, thanks to the vision of President Maria Grazia Mazzocchi, and the creative spirit of both Teresa Pomodoro, the project’s artistic director and representative of the Arnaldo Pomodoro Foundation, and Sandrina Bandera, Curator and Director of the Brera Art Gallery, the “Bosco nel Chiostro” (Wood in the Cloisters) installation was created. Located in the seventeenth century cloisters of this splendid building, this “imaginary wood” consists of eight sculptures by contemporary artists. In its role of technical sponsor, iGuzzini illuminazione has taken part in this project by providing the luminaires for CastagnaRavelli’s lighting design. Throughout history the courtyard in the cloisters has never been brightly lit and this has always added to its charm. The architects, therefore, sought to enhance this magic with a moonbeam effect that illuminates the artworks gradually and reveals their beauty only a little at a time. The narrow cone of light emitted by the iPro spotlights creates this effect perfectly by lighting only part of the sculptures on display, leaving the viewer to discover the rest and enveloping the entire context in an intensely poetic and almost surrealistic mood. To complete the atmosphere, the cloister colonnade’s existing low intensity, warm colour, incandescent lamp system has been replaced with a higher intensity alternative and a colour temperature with a cosy, vintage lantern effect.

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Photos: Vico Chamla

1. CastagnaRavelli’s lighting concept for the cloisters.

2. Detail of Arnaldo Pomodoro’s “Lancia di Luce” (Light Lance).

3. Giuseppe Maraniello’s “IN-ES”.

Lighting Design CastagnaRavelli

The great dome and lantern of the Chiesa di Santa Maria della Passione that towers over the Conservatory have also been lit to enhance the atmosphere of the setting. The lantern has been illuminated almost as if it were a city marker pointing to the cloisters with an elliptical, transversal beam: Platea floodlight for the sides of the dome tambour and iPro narrow beam floodlights for the lantern at the top. Given the architectural importance of this location, very small iGuzzini luminaires have been located in the pilasters and columns that respect the architectural design and enhance

the environment without disturbing it. This highly original lighting scheme gives people coming to the Conservatory for concerts and events the opportunity to admire Alik Cavaliere’s “Grande albero” (Big Tree), Pietro Coletta’s “Barchetta di carta” (Paper Boat), Pietro Consagra’s “Ferro trasparente grigio” (Grey, Transparent Iron), Giuseppe Maraniello’s “IN-ES”, Eliseo Mattiacci’s “Fluidità” (Fluidity), Arnaldo Pomodoro’s “Lancia di Luce” (Light Lance), Gio’ Pomodoro’s “Scala solare – omaggio a Keplero” (Solar Stair - Homage to Keplero) and Giuseppe Spagnulo’s “Cubus”.

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The Botanical Gardens CustomerInterni

Lighting Designer Piero Castiglioni

Milan’s “Orto Botanico” or Botanical Gardens are a historic open air museum, founded in 1774 at the bidding of Empress Maria Theresa of Austria. The gardens are located in the centre of Milan, behind the famous Palazzo Brera that covers an area of 5000 m² and houses the Brera Art Gallery, the Braidense Library, and the Astronomical Academy and Brera Observatory (la Specola). Since 2013 the Botanical Gardens have been regenerated thanks to the magazine INTERNI that has promoted the overall renovation of the site that is actually part of the University of Milan. The regeneration project has also included the

construction of paths for the visually handicapped and a new entrance, the restoration of the lecture hall and an energy efficiency project for the area. The latter includes a new permanent lighting system with luminaires donated by iGuzzini.The lighting project was designed by the architect, Piero Castiglioni. To allow the environment to be enjoyed also at night, he has created a hard lighting system that highlights only certain areas and never illuminates the whole space. Glimcube stake-mounted luminaires mark out paths and plant beds, while Trick products highlight the trunks of the tall trees that enclose the garden with a kind of forest.

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Photos: Paolo Carlini

1. The Botanical Gardens during the day

2.3. Tree trunk lighting detail

4. One of the paths lit with grazing light

In addition to the botanical species in this Milanese oasis of greenery, there is also the architectural splendour of the observatory and the eighteenth century fountain basin with its water lilies and other aquatic plants, all lit with iPro floodlights. The lighting system has been specifically designed to respect the photoperiodism of the deciduous plants and the lighting levels are kept at very low levels of between 10 and 40 lux. Plants in our latitudes prepare for Autumn when the days begin to grow shorter. So to ensure that artificial light does not confuse their perception of time, lighting levels must be kept below 200 Lux.

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Out of the many urban regeneration initiatives approved in the Expo Milan 2015 public works pool, the one that was particularly dear to the local council was the construction of a cycle path linking the centre of Milan to the end of the Sempione Park. More specifically, this project consists of a circular cycle path that runs all the way round the Sempione Park, thereby creating a hub for a network of cycle paths that stretches out for over 5 kilometres, and links the park to the castle, Corso Sempione, Piazza Castello, Piazza Cairoli, Via Dante, Piazzale Cadorna, Corso Garibaldi, Largo V Alpini, Largo la Foppa, La Triennale, the Piccolo Teatro and the aquarium. This path crosses the square opposite the famous La Triennale, located in the Palazzo dell’Arte, built

Piazza de La Triennale regeneration project

Customer Comune di Milano, the Mobility, Environment and Public Works Council.

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in 1933 by the architect, Giovanni Muzio. La Triennale is an internationally renowned cultural institution that organises contemporary art and design exhibitions, conferences and events. Since 2011 it has been the home of the Teatro dell’Arte, one of Milan’s most important theatres and a new benchmark for culture projects and the performing arts. The La Triennale institution itself chose the UFO luminaires that have been installed along the cycle path in the area surrounding the Palazzo. And, not surprisingly, the luminaire they selected has a distinctive contemporary design and uses a LED lamp, the most innovative light source currently available and a high-efficiency energy saver.

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Photos: Paolo Carlini

1.2.3. Piazza de La Triennale and Viale Alemagna with the new cycle path and lighting system.

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Brian & Barry Building Customer BBB SPA

Architectural designC&P ARCHITETTI - Luca Cuzzolin, Elena PedrinaStudio Spagna - Silvano Spagna

This historic 1950s palazzo that stands on the corner of via Durini and via Borgogna, near piazza San Babila in Milan, houses Brian & Barry, a department store with a combination of food, fashion, free time, cosmetics and design retail sectors. Over its nine retail floors, the store’s various outlets are deliberately alternated to enhance their individual styles and identities, and this is emphasized by specific accent lighting that blend with the general illuminations. This consistent, homogeneous effect is created using 3000 and 4000K Underscore luminaires, spaced at an interval of 20cm, and located behind Barrisol design panels, a solution that has the added advantage of lighting the panels with the same uniform consistency.

The homogeneous lighting of these designs and the colour change option requested by the designer are both controlled by an LMS Quick management system. To create the accent lighting, on the other hand, Front Light LEDs have been installed on tracks built into the metal framework of the suspended ceilings so they can be easily adapted to suit the different kind of furnishing on each floor. The type of LED used by the floodlights has a CRI of over 90 that guarantees excellent colour perception, which is particularly important for this kind of environment.One particularly important architectural element is the white metalwork staircase that not only connects the various floors, but also constitutes a sculptural element that flows like a white ribbon

through the heart of the store. Here the lighting scheme consists of a double line of Underscore luminaires concealed in the narrow space between the metal profile of the stairs and the wall.To light the outside of the building, Linealuce Mini luminaires have been installed on the sills of all the windows. The products are managed by a control system that creates different light scenarios and effects that transform the facades overlooking Via Durini and Via Borgogna into an unforgettable spectacle.

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Photos: Paolo Carlini

1. The homeware floor

2. Exteriors with light line effects highlighting the windows.

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The Duomo Market Customer Gruppo Autogrill

Architect AMDL

Lighting Designer Dean Skira

The Duomo Market or “Mercato del Duomo” is the new Autogrill Group flagship store in Piazza Duomo. Operating together with the Pollenzo University of Gastronomic Science (UNISG) the group has created a covered market structure with a range of carefully selected local manufacturers. The sales point covers four floors and a total space of 5,000 m2 of which 3,000 are open to the public. The different floors are distinguished by subtle changes in the finishings of the raw materials used. These materials deliberately mirror the different consumer experiences, which vary from simple, natural food to complex dishes and from rapid consumption to slower and more elegant eating experiences. The transitions in this vertical store experience are reflected in the different concepts developed inside it. These include: the Bar Motta, the Market, the Milano Duomo Bistro, the Aperol Terrace, the Spazio restaurant, designed by Niko Romito Formazione and the Wine Bar. The complex also includes a Kartell Shop, on the store’s mezzanine floor and a Feltrinelli bookshop in the basement. The architect Michele De Lucchi is responsible for the project’s design that is distinguished by its profound respect for and ability to blend with the original design of Giuseppe Mengoni’s Galleria Vittorio Emanuele arcade. This splendid example of eclectic late nineteenth century Milanese architecture was built between 1865 and 1878, and is one of the city’s most important architectural features.On entering, visitors are welcomed by a suspended bronze sculpture of a life-size ancient olive tree created by the British artist, Adam Lowe, to symbolize Autogrill’s history and universal values. The lighting project created by lighting designer, Dean Skira, features dynamic LED technology solutions that intensify the vertical nature of the store experience and enhance the sculpture’s shapes and contours by varying its intensity and colours as the day goes by.

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Milan Expo city

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Photos: Lorenzo Palizzolo

1. Adam Lowe’s sculpture

2. Outside in the Galleria Vittorio Emanuele

Artist Adam Lowe

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Milan Expo city The Duomo Market

The technical solutions include installing a combination of luminaires with different power ratings, lighting angles and screened optics. In particular, this has involved carefully positioning Laser Blade downlight cones of light that illuminate the horizontal surface of the sculpture without adding light to its vertical surface or the surrounding walls. The lighting system also uses multiple reflectors positioned at the base of the tree that not only illuminate the artwork, but also emphasize its colour and texture. These reflectors have a further role too, in that they create highly theatrical effects by casting dramatic shadows onto the store walls. Dean Skira commented: “Lighting this space was a quite a challenge because of its relatively small size and architectural features. It also offered the chance to maximize the visitor’s visual experience by minimizing the presence of the luminaires. The solution reached has required the close cooperation of iGuzzini and the best LED products on the market”.

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3.4. Various views of the interior layout

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Techno Souq Customer la Rinascente Architectural and lighting design Cibicworkshop

To celebrate Milan hosting the Expo 2015, the “la Rinascente” store in Piazza Duomo has commissioned the construction of an eclectic and highly distinctive installation. Open from May 1st to October 31st, Techno Souq aims to raise awareness of important local projects and celebrate fine quality food and fashion, two areas that Milan has traditionally excelled in. The installation was designed by the Cicibworkshop and is located in via Santa Radegonda, the side street leading off Piazza Duomo, where in 1865 the Bocconi brothers opened the shop that would later become “la Rinascente”. The exact building is the one next to the Odeon cinema that originally housed Milan’s first hydroelectric power station, used to light the famous “La Scala” theatre.

The installation consists of a series of suspended sail-like structures that float in the air at different angles, covering the street and collecting rainwater in huge flowerpots. These structures are originally white, but their colour is changed by the MaxiWoody floodlights installed in the side walls. Compact, warm white MaxiWoody floodlights have also been used to light the street surface. In addition to hosting a series of events Tecno Souq also offers local people an attractive and original place to stop and enjoy a moment’s relaxation and as Aldo Cibic, the designer, himself commented: “it’s a joy when a city generates a new place for people to meet.”

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Photos: Alberto Ferrero

1.2. Interior colour variations for the Techno Souq

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Back on home ground, the Marches regional council made careful plans this year to welcome visitors attracted to the area by the exhibition and events organised at the Italy pavilion in the Expo fair in Milan. For the entire duration of the Expo, information points were set up at two key access points to the region and in five regional offices. Each of these seven points has its own business/tourist theme that acts as a showcase to help companies welcome newcomers. These include both foreign institutional delegations and buyers, and Italian and overseas visitors coming from Milan to enjoy the beauty of the region. The two key access points are the Raffaello Sanzio Airport and the Diamond Centre at Porto

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Expo 2015 The Expo in the Marches

Sant’Elpidio. The five regional offices, on the other hand, have been set up in five of the region’s main towns. There is one in Urbino, showcasing the culture, design and quality of the region’s organic sector. There is another, in Ancona, representing the macro-region and the Blue Economy. And then there are three more: one in Civitanova Marche, one in San Benedetto del Tronto and one in Macerata.iGuzzini illuminazione has played an active role in this initiative to promote the beauty and competence of the region. First and formeost, iGuzzini organised the first Expo Day in the Magna Battiferri lecture hall at the University of Urbino. This was particularly fitting

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4. From left to right: Peter Higgins (Land Design), David Atkinson (DALD), Ronald Schuurmans (Foster +Partners)

5. The audience

6. Ronald Schuurmans, Peter Higgins

Photos: Christian Fattinnanzi; with the kind permission of Loriblu

1. Diamond Palace

2.3. The Studio Nemesi project (Susanna Tradati and Michele Molè)

as the company has always considered architecture to be a cultural process, and not merely a question of construction. The main aim of the event was to raise cultural awareness within the region by organising talks with important figures from the world of architecture and design. Held on June 30th, it featured a series of important figures in the field of architecture and lighting design, including Studio Nemesi, Foster + Partners, David Atkinson Lighting Design and Land Design Studio, all of whom explained the thinking and planning issues behind their designs for the Palazzo Italia and the United Arab Emirates Pavilion. iGuzzini also contributed its technical know-how

to the construction of an eco-compatible building with a Class A+ energy rating, at the Diamond Palace, one of the region’s key access points. All the artificial lighting was created with LED luminaires supplied by iGuzzini to help visitors explore the many innovative solutions perfected by local companies at this important Marches access point. The solutions on display were specifically chosen by its founders, Loriblu Graziano Cuccù and Annarita Pilotti, to boost the local economy and put a “zero km” philosophy into practice by reducing the distance between the producer and the consumer and, therefore, lowering transport costs.

TestimonialMarche nel

Mondo EXPO 2015

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Configuring Light / Staging the Social is an interdisciplinary research program based at the London School of Economics and Political Science (LSE). Founded at the end of 2012 by sociologists Joanne Entwistle (King’s College, London), Don Slater and Mona Sloane (LSE), it explores the role light plays in our daily lives. The Configuring Light project is funded by LSE and the Economic and Social Research Council (ESRC). Configuring Light / Staging the Social examines the fundamental role of light in the social world. All the projects involved in the programme look at the ways in which lighting is configured in social contexts: as an infrastructure, as technology, as an environmental issue or as a kind of special material that we create and shape through our daily actions and professional knowhow. Being such a critical element of social life, light is an integral part of a series of contemporary issues, such as protecting the environment, safeguarding health and well-being, urban planning and conserving our artistic and architectural heritage. Despite this central position, light is relatively invisible in social research. The CL research program, managed by the LSE Department of Sociology, is currently seeking to correct this by bringing together academics and professional experts from a range of different disciplines to develop interconnected projects focused on different types of light configurations in manmade environments. The Peabody IMPROVE project and Social Light Movement (in collaboration with and funded by LSE HEIF5) is the first instance of direct collaboration as iGuzzini has offered to be the technical sponsor for the project. From October 13th to 17th 2014 a workshop was held on the lighting design of Peabody’s Whitecross Estate (WHX). Peabody is a philanthropic foundation established in 1862 which owns and manages 27,000 homes, housing approximately 80,000 people.

The workshop was focused on creating new lighting design projects to help improve urban outdoor spaces. In this workshop, LSE researchers provided design teams with their social research to give them a better understanding of the Peabody’s Whitecross Estate and its community and help them create more effective public lighting solutions. For the entire workshop, the design teams spoke to the local community in order to understand their lifestyles and lighting needs, and test different luminaires.The project was documented in two short documentaries and an exhibition was staged at the LSE in February 2015. The material,

photographs and videos of the workshop were displayed in the LSE lobby from 27th January to 20th February 2015.The success of this first project that brought together iGuzzini, the Social Light Movement with Elettra Bordonaro and the Configuring Light program, has shown how important it is to continue this interdisciplinary work by refining and clarifying the “Social Research in Design” approach through workshops, events and more sophisticated guidelines for integrating social research and lighting design. An example of this is the “Urban Lightscapes/Social Nightscapes Workshop Series”. These workshops seek to meet

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Company culture “Urban Lightscapes/Social Nightscapes Workshop Series”.

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this need by promoting a “Social Research in Design” concept both as a potential approach and as a “toolbox” for lighting designers. The results can then be used by the network of international professionals brought together by the project and even passed on to other design fields (such as architecture or urban planning). The “Urban Lightscapes/Social Nightscapes Workshop Series” revolves around a 24-month, part-time collaboration with the technical and lighting sphere architect, Elettra Bordonaro, who is being funded by iGuzzini to take part in the Configuring Light team. Elettra Bordonaro has been asked to provide tools

Team

Don Slater, (co-founder of Configuring Light/Staging the Social), Associate Professor in Sociology, London School of Economics

Mona Sloane, (co-founder of Configuring Light/Staging the Social), Project Manager of Configuring Light, London School of Economics Joanne Entwistle, Senior Lecturer in Sociology, King’s College, London

Elettra Bordonaro, co-founder of the Social Light Movement ‘iGuzzini Associate Research Fellow for Social Research in Design’.

All images: © Catarina Heeckt for Urban Lightscapes/Social Nightscapes

1. Presentation of IMPROVE project results.

2.3. Meetings and interviews with residents

4. Lighting proposal test phases

and guidelines giving practical help on how to include social research in the urban lighting design process. For the 24 months in question, Elettra Bordonaro has been authorised to use the title ‘iGuzzini Associate Research Fellow for Social Research in Design’. At a practical level, the project will include a number of workshops during this two-year period as well as a final report that will include a number of guidelines on how to integrate social research into community lighting designs. Some of the results are already available at: http://socialnightscapes.org/wp-content/uploads/ 2014/10/SRD-Handbook.pdf

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During 2015 a number of iGuzzini spaces have been reorganised to house all the company’s new features and LED luminaires. To celebrate the Expo fair coming to Milan, the layout and displays at the iGuzzini showroom in the city have been significantly restyled. Now, all the luminaires you can see there are LED devices, and there is an exciting new feature, too: a spectacular red container that offers visitors a “lighting experience” with a faithful reproduction of Leonardo’s “Last Supper”. The iGuzzini Partners Assistance space in Paris has also been updated with LED luminaires only, and a new “lighting experience” area has been added here too.

Photos: With the kind permission of Eurofiere

1.2. The container when closed and open;

3. Lighting experience focused on Leonardo’s “Last Supper”

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Company culture All-LED lighting, the latest news from iGuzzini Partners Assistance

Milan, Italy

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Photos: Gwel; Didier Boy De La Tour

1-5 Different moments at the opening

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iGuzzini has created a new partnership in Australia. From February 2015 onwards architecture enthusiasts can explore the entire iGuzzini range at a continually updated showroom in the exclusive Jones Bay Wharf complex.The space was unveiled with a huge party of designers and architects, including Glenn Murcutt, winner of the 2002 Pritzker Prize, who greeted the guests. Spectacular musical entertainment was provided by the Lady of the Harp, Alana Conway, and the violinist, conductor and composer, Richard Tognetti. The event was completed with a special PLDC warm up in which Joachim Ritter outlined the forthcoming local and international activities linked to the conference to be held in Rome at the end of October 2015.

Company culture A new distributor in East Australia

Sydney, Australia

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Photos: James Horan, Michael Lynch

1.2. Unveiling the new space

3. Layout of the showroom

4.5. Different moments at the opening

6. From left to right: Massimiliano Guzzini, Rino Brindisi, Glenn Murcutt, Adolfo Guzzini

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As part of the build-up to the PLDC 2015 in Rome, a number of warm up events have been organised to give the community of professional Lighting Designers the chance to exchange their ideas and experiences in a relaxed atmosphere. iGuzzini, the convention’s Diamond Sponsor has hosted a number of these warm ups, including: November 2014 in Dubai, February 2015 in Sydney, Australia, and March 2015 in Paris, London and New York. The guests at the meeting in New York included Natalia Quintavalle, the Italian Consul General, and Joachim Ritter who emphasized the importance of continuous training for Lighting Designers, considering the rapid innovations that are continually taking place in this sector. The guest speaker at the event was Daniel Latorre (The Wise City) who provided a number of useful insights into the constant interaction between lighting and architecture, and how digital technology continues to influence design.

Company culture PLDC warm ups

London, UKParis, France

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5. Warm up in New York

6.7. Warm up in Dubai

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New York, USADubai, UAE

Photos: Gwel; Peter Dressel

1. Warm up in London

2.3. Warm up in Paris

4. New York. From left to right: Daniel La Torre; Joachim Ritter, Natalia Quintavalle, Pier Paolo Celeste, Massimiliano Guzzini

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Company culture #Light On.

At the beginning of 2015, the MAXXI (Museum of 21st Century Art) and iGuzzini signed a three-year agreement for an annual programme of international architecture lectures in Rome and the Marches. The project coordinated by both iGuzzini and MAXXI Architecture, features a three-year programme of four lectures per year to be given by internationally renowned architects. The meetings will be held at both the iGuzzini headquarters in Recanati and the MAXXI museum in Rome.

The visiting architects have been specifically selected from all over the world with a particular focus on the younger generations. All of them have practical experience in design and construction, a particular interest in the issue of architecture and public space, an innovative and interesting approach to research and an ability to communicate their views and ideas clearly. The series kicked off with a meeting featuring Kjetl Thorsen, a founder member of the Snøhetta studio, whereas the second

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3.4. The audience at Recanati during meetings with the Snøhetta studio and Atelier Bow Wow.

5.6. Tsukamoto Yoshiharu (Atelier Bow Wow) during the meeting with the students

involved Tsukamoto Yoshiharu, a founder member of Atelier Bow Wow.Educational credits can be provided for students at the Roma Tre Faculty of Architecture, the Ascoli Piceno Architecture and Design School, and the Construction Engineering and Architecture degree course at the Marches Polytechnic University. Professional credits can also be provided for architects registered in the official association of architects for Rome and Macerata.

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Photos: Christian Fattinnanzi and with the kind permission of MAXXI

1. Kjetl Thorsen, (Snøhetta) Pippo Ciorra, (Senior Curator MAXXI Architettura) and Adolfo Guzzini in Recanati

2. Margherita Guccione (Director MAXXI Architettura) and Kjetl Thorsen in Rome

IncontroluceSix-monthly international journal of lighting culture

year XVII, 28

Editoriale OfficeCentro Studi e Ricerca iGuzziniFr.ne Sambucheto, 44/a62019 Recanati MC+39.071.7588250 tel.+39.071.7588295 faxrc@iguzzini.it

iGuzzini illuminazione spa62019 Recanati, Italyvia Mariano Guzzini, 37+39.071.75881 tel.+39.071.7588295 faxiguzzini@iguzzini.itwww.iguzzini.com071-7588453 video

Graphic DesignStudio Cerri & Associati

Lay outxycomm (Milano)

EditoriGuzzini illuminazione spa

Cover photographAmendolagine Barracchia

Printed: October 2015 Tecnostampa - Pigini group Printing division Loreto - Trevi

The editorial team is not responsible for errorsand omissions in the list of credits relating to projects and supplied by collaborators. Any additions or corrections will appear in the next issue.

Daily news on iGuzzini on Twitter: @iGuzzini@iGuzziniUK@iGuzziniME@iGuzziniIBERICA@iGuzziniFrance Adolfo Guzzini@AdolfoGuzzini Massimiliano Guzzini@MaxGuzzini Andrea Sasso@aesse65

28 Incontroluce I. 2015

Nemesi \ Foster+Partners \ DALD - David Atkinson Lighting Design Limited \ Cristiàn Undurraga \ Maite Zubicoa \ SPEECH Tchoban - Kunznetsov \ Studio X-TU \ ALNAtelien Architecture \ Studio Adeline Rispal \ Licht Kunst Licht AG \ Schmidhuber \ Weispunkt und Purpur \ Tonji University \ LEOX lighting Designer \ Studio Libeskind \ PIUARCH \ Argot ou la Maison Mobile \ Metis Lighting \ Jean François Bodin \ Eduardo Guazzoni \ Sandro Rossi \ Paolo Rizzato \ CastagnaRavelli \ Piero Castiglioni \ C&P ARCHITETTI - Luca Cuzzolin, Elena Pedrina \ Studio Spagna - Silvano Spagna \ AMDL\ Dean Skira \ Cibic Workshop

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