II. 200920 English edition

Editorial

Dear Readers,

Given that Incontroluce is a six-monthly publication, we cannot providenewspaper coverage of all the latest world events.The global economic crisis, now a year old, has affected the entire worldeconomy and impacted on architecture no less than other sectors, with manyprojects big and small being shelved or delayed. Nonetheless, the crisis hasalso induced a marked acceleration toward a sustainable economy, whichmeans more and more attention is now being given to research andtechnological innovation. And this surely will be the way to overcome thepresent impasse and generate new opportunities -opportunities offered not least by new products, for which companies and designers need to pool theirbest efforts, deploying experience, creativity and the ability to envision newscenarios. The Lightinprogress show organised in April at the Milan Triennale,during the 2009 Furniture Show, provided an opportunity to present someexamples of the firm commitment made by our company in this area, as welook to invest and take a leading role in this process of renewal by adopting an innovation-based strategy. With this type of strategy, the entire process of innovation is design-driven, involving different players and resources, andproviding a source of energy that can help to bring about change with regard to the meaning, the language, the value and the identity of a product (andindeed of the company as a whole). It is the approach taken by the Italiancompanies that created “Italian design”, whose attributes are summed upperfectly by Ezio Manzini in one of his recent essays: “In the past, Italiandesign was able to pick up very early on certain aspects of the greattransformation that was starting to take place. And to act accordingly. This ability to anticipate events, and to offer the right products and ideas for the occasion, did much to establish the international reputation widelyenjoyed by Italian design today.”The world is now faced with a “new frontier” of sustainable development, and of an economy that must address the social dimension of the crisis - an economy that puts people first - while also addressing the problems ofclimate change (as agreed at the G8 summit held in L’Aquila). In this scenario,design must articulate its capacity to interact with different disciplines(humanist, technical, economic and social) in defining new approaches, skillsystems and methodologies, and always with the same ultimate aim in view,namely to generate innovation.

Adolfo Guzzini

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Summary

II. 2009

Editorial

The MarchesMaster in “Eco-design & Eco-innovation”

ProjectsSan Paolo Parish Complex

A lighting scheme for the hundred towers of Ascoli Piceno

New showroom for Schneider Electric

California Academy of Sciences

New Miss Blumarine and Blugirl boutiques in Milan

The Linked Hybrid project

New corporate identity for Honda

Changzhou Olympic Sports Centre

Lighting for Emilio Vedova’s moving canvases

The Constitution Bridge

Dynamic lighting in the new H&M store

The Liangzhu Museum

The Paks contemporary art gallery

Tenerife Espacio de las Artes

The iTrust offices

The Mardan Palace Hotel

The Park der Sinne (Park of the Senses)

Corporate culture“The lost space of Stiller”

New lighting for the Rondanini Pietà

iGuzzini at the Shanghai 2010 expo

Adolfo Guzzini appointed president of the Italian Design CouncilLightinprogress: iGuzzini at the Fuori Salone 2009

An award for iGuzzini communicationiGuzzini wins DAFZA awardInternational Design prize Baden-Württemberg 2009

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Master in “Eco-design & Eco-innovation”.Strategies, methods and tools for designing and developing eco-sustainable products

written by Lucia Pietroni

The Marches

“Designers can contribute more to slowing down environmental decay than economists,politicians, businesses and even environmentalists(...).Once a certain, environmentally healthier,model of designing penetrates the market, itsbeneficial effects will multiply”.

Alastair Fuad-Luke

The level 1 Masters degree in “Eco-design & Eco-innovation” was added to the courses offeredby the Architecture Faculty at the University ofCamerino, in Ascoli Piceno, during the2007/2008 academic year. Organised as part ofthe DISIA (Industrial and Environmental Design)Degree Course in collaboration with numerousbusinesses in the Marches and other institutionalpartners, it is intended as a new trainingexperience focusing on experimentation in thefield of sustainability-oriented design and aimed at spreading a responsible and sustainableapproach. The principal objective of the Masters is to “give enrolees a competitive and strategic technical and scientific grounding in the field of product eco-innovation, that will enable them to make their way as designers,consultants or freelance providers in a variety ofcorporate and professional fields, public andprivate. It will provide them with the tools needed to maximise the environmental performance of products, so that Ecodesign criteria can beintegrated into the traditional design process, in line with the current Integrated Product Policy(IPP) adopted at European level”. Teaching activityincludes theory lessons, practical sessions, visitsto companies, seminars with experts, technicians,designers and representatives of the entrepreneurialsector, as well as participation in intensive designworkshops conducted in direct collaboration withpartner enterprises under the guidance of one ormore designers. To finish, there will be a period of work experience with a company, during whichthe student will develop a final thesis project. Especially important in this new training courseare the workshops and the work experience (350 hours minimum). For a young designertaking the Masters course, these offer innovativeways of acquiring knowledge and experimentingin the area of Eco-design, whilst for thecompanies, the designers involved in the trainingprocess, and the university, they provide effectivemedia through which to exchange, transfer andshare a variety of know-how. This is a training project that involves differentgroups (university, businesses, agencies,associations, etc.) from Day 1. It seeks to define a strategy whereby methods, tools, and knowledge

gained from research in the field of Eco-designcan be absorbed more quickly into business and professional practice, and to create an engine that will help to activate a process of innovation and development shared by the university, businesses and designers. Among the most positive outcomes produced by the first year of this Masters course has been the obvious satisfaction of companies in collaborating actively on the 6 designworkshops, which saw the development of some 80 designs for new eco-sustainable product concepts in various sectors: packaging,footwear, Led technologies, lighting appliances,furnishing, and eco-friendly commercial vehicles. By virtue of being developed in closecollaboration with businesses, these designs drew much approval for their highly innovativecontent, but equally for the attention given to aspects of engineering and manufacturingfeasibility, hence underscoring the significant role of design as a tool in the process and product innovation, and not only as a means of aesthetic and formal definition. Another gratifying upshot of the Masters was the positive response of the public to theexhibition “Eco-design & Eco-innovation. Projects and products for a sustainable future”,organised in February 2009 to mark the end of the first edition of the course, at thePalazzo dei Capitani in Ascoli Piceno, where the 80 designs produced by course students were among the items that attracted the greatest curiosity and interest of visitors. Lastly, but not least importantly, the fact that best demonstrates how the synergy between university and businesses can work in the context of a specialist training course, is that more than half of the enrolees to this first edition of the course went on to secure a collaboration agreement or a scholarship with the businesses involved as partners. Such results provide encouragementto keep moving in this direction, in the sharedconviction that design and environmentalsustainability are among the key factorsinfluencing innovation and competitive growth, in the face of the current crisis.

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Photos: Raniero Carloni

1. Site of the Eco-design and Eco-innovation exhibition

2.3. Exhibit rooms

Lucia Pietroni

Director of Masters Course in Eco-design & Eco-innovation and lecturer on the DegreeCourse in Industrial and Environment Design(DISIA) - Faculty of Architecture - University of Camerino

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San Paolo Parish Complex

Foligno, Italy

Projects ClientDiocese of Foligno,Italian Episcopal Conference

Architectural designMassimiliano and Doriana Fuksas

In 2001, this design was the winning entry in a national competition announced by the ItalianEpiscopal Conference for the building of a newchurch. Explaining its choice, the jury saw thedesign as: “a firm and innovate sign that respondsto the most advanced international research,becoming a symbol of rebirth for the city followingthe earthquake”. The new San Paolo ParishChurch Complex designed by Massimiliano andDoriana Fuksas is a monolith of pure geometry,

a box within a box. The structure comprises two main architectural elements, which are alsoidentifiable with the functions of the religiouscentre. The first element - the Church - consists of two parallelepipeds, one placed inside the other. The second element, likewise parallelepiped inshape but elongated and low, houses the Sacristy,Pastoral Ministry facilities and Priest’s House.These two main structures are interconnected by a smaller third element.

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Photos Moreno Maggi

1. Exteriors

2. View from the entrance

StructuresGilberto Sarti

SystemsA.I. Engineering

Art workEnzo Cucchi, Mimmo Paladino

Building contractorEdiltecnica spa

Stone church furniture FUKSAS DESIGN Made by stonemason Maurizio Volpi

Wood furniture FUKSAS DESIGN Made by Falegnameria Bertini

Lighting appliances FUKSAS DESIGNiGuzzini illuminazione

The church building, composed of two parallelepipeds one inside another and reaching skywards, is elevated 1.5 metres above ground level to accentuate the vertical nature of the composition. It is characterised by anarchitectural element that consists of shafts of lightpenetrating and linking the two parallelepipedstogether. Indeed the inner and outer skins areinterconnected by passages that create a number of apertures allowing light into the enclosure.

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The shafts of light penetrate and bind theparallelepipeds together, entering through a set of apertures placed strategically to illuminate the interior and pick out the main features,namely the Altar, the Pulpit and the BaptismalFont. In the words of architect Fuksas: “The suspension of one volume within another.Seeing through concrete to the heavens, from outside, to inside, to outside.”The interior space is laid out to guarantee thecentrality of the Altar, whilst the Font and Pulpitare located in asymmetrical positions relative to the Altar. The effect created by the light thatenters during the daytime, through the openingsin the walls, is replicated at night using lampssuspended from the ceiling. Standing 13.5 metres tall outside the church,the monumental sculpture ‘Stele Croce’ by Enzo Cucchi, a composition of concrete andwhite Carrara marble, becomes an architecturalelement in its own right. The 14 Stations of the Cross are by Mimmo Paladino. The furniture, pews and lighting appliances are by Fuksas Design.

3.4. Interiors

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San Paolo Parish Complex

Projects

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A lighting scheme for the hundred towers of Ascoli Piceno

Ascoli Piceno, Italy

Projects DesignersEmidio Sofia and Rodolfo Terpolilli -Municipality of Ascoli Piceno

Some years ago, the Ascoli Piceno local authorityset in motion a programme for renewal of thecity’s historic centre, which has already seen thetwo most important squares regenerated: PiazzaArringo and Piazza del Popolo. Given the successof the initiative, it was decided to create a newand evocative nocturnal image of the city in itsentirety, highlighting the 34 towers that are still a visible feature of today's urban fabric. Ascoli is in fact known as the “city of a hundred towers”,

and even today it can boast a good number of towers in the historic centre, still in a goodstate of repair, standing as testimony to thewealth and prestige of the city in mediaeval times when there were around two hundred. The project envisaged the illumination of 34structures: 18 civic towers and 16 bell towers. To minimise the environmental impact of thelighting, the designers selected compact fixturesof grey colour, positioned mainly under the eaves.

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Photos: Giuseppe Saluzzi

1. General view of the city. The coloured tower is that of thePalazzo dei Capitani, in the Piazza del Popolo.

2. View of Porta Tufilla.

3. The Porta Solestà bridge.

Systems installerESSEGI di Schiavi Gianluigi e C. snc -civic towersElettroimpianti di Vittori e C. sas - bell towers

The problem of intrusive light was reduced byinstalling floods as near as possible to the towers,located high up on the roofs and balconies of selected buildings. Road glare is also much reduced by adopting this strategy. 34 distinct and separate mini electrical systems were created for the project, one for each tower. The systems are all different from one another, using various types of lighting appliances, accessories and special parts. Most of the illuminated towers are surrounded by or attached to other buildings; they are predominantly square in plan, measuring about 5 metres per side and rising above the adjoining buildings by some 20 metres on average. Single free-standing towers are between 25 and 30 metres high. To illuminate these particularly slender and tall surfaces effectively, the lighting designersselected Lingotto, MaxiWoody and Platea fixtures with spot and super spot opticalassemblies, emitting narrow ellipsoidal beams, and with flood optical assemblies. The lamps are low power metal halide, 70 and 150W, colour temperature 3000 K. Thanks to the efficiency levels of the opticalassemblies, it was possible to use a smallernumber of fixtures, around 100, thereby saving on energy and running costs. A special effect was created for the best known tower - that of the Palazzo dei Capitani located in the city’s main square. This is illuminated using Platea fixtures withRGB Leds, piloted by a special control unit, which mix and direct varying combinations of coloured light onto the walls of the tower in a programmable timed sequence. The colour illumination can be limited to a few hours after dark, and to certain days in the week, whilst the basic lighting (same as used for the other towers) will operatecontinuously.

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New showroom for Schneider Electric

Rueil Malmaison, France

Projects ClientSchneider Electric

Architectural designPhilippe Proisy

Schneider Electric, a multinational corporationspecialising in the production and distributionof electrical energy, announced an interiorarchitecture competition in 2008 for a newshowroom at its Rueil Malmaison headquarters.Architect Philippe Proisy joined forces with the designer Christian Ghion to undertake thisproject, which introduces visitors to the world

of Schneider Electric by moving them around in a space designed to elicit sensations and perceptions. The showroom is described as the “International customer lounge”: anextraordinary international reception facilityproviding information on products, services and solutions offered by Schneider Electric. In organising the new showroom, the designers

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Photos: Didier Boy de La Tour

1. Alley

2. Zen garden

DesignerChristian Ghion

Partners assistanceiGuzzini illuminazione France

incorporated interactive technologies such as RFID(Radio Frequency Identification for automations) in a setting that engages all the senses. Ghion and Proisy focused attention on themanagement of spaces, materials, furniture and lighting in order to create an environment that visitors can explore with ease, looking,listening, understanding and learning as they go.The lighting uses low power energy sources,such as Led and fluorescent. The layout of the showroom is devised on thebasis of certain key words: discover, exchange,sense, know, understand, anticipate, and there are six corresponding stages: the hall; the square; the living; the tube; the gallery; the vision. “The Hall” is the reception area. Here, Schneider Electric states its role in the world and its environmental approach. This hall leads to the “Alley” of the showroom: a long tunnel of back-lit Corian imprinted withimages of trees. Passing through this tunnel, the visitor leaves the outside world and enters a dreamlike, contemporary universe.

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New showroom for Schneider Electric

Projects

The light is generated at floor level and directedupward from recessed fluorescent strips at thebase of the Corian walls. “The Square” is thepoint where visitors are welcomed and given an RFID badge that they will keep for theduration of the tour. The fixtures used in thisarea are Linealuce, and in particular Lineup,crossed and recessed into the ceiling, piloted by the Scene Equalizer control system to producealternating warm and cool colour temperatures. The “Living” is a wellness space relating to the home and the workplace. It features an area characterised by ellipticalopenings in the suspended ceiling, lit by DMX-controlled RGB strips. There is also a micro Zen garden in this thirdspace, lit by Glim Cube and Ledplus fixtures, as well as Linealuce with Leds to illuminate the water running under the wall, and a bar area in the form of a futuristic kitchen, lit by Deep Minimal fixtures with Leds.“The tube” is the image gallery, a totalimmersion in the world of Schneider Electric.Sound and image penetrate the bodies. Theentire commentary is available in 6 languages. In the “Vision” section, the visitor enters adiscovery space enhanced by a projectionintroducing the eye to a futurist environment,with stainless steel eggs providing receptaclesfor technological research themes of tomorrow. This is Schneider Electric in 5 or 10 years time. The architects took their inspiration from theartist James Turell for this space. DMX-controlled strips with T16 RGB lamps create light signs on the walls. “The Gallery” is the place where Schneider Electric products aredisplayed: the visitor can see, touch and learnabout the functions, the characteristics and thecapabilities of Schneider Electric appliances.

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3. Living spaces

4.5. Another “Living” area

6.7.8. Coloured effects for “The Vision”

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California Academy of Sciences

San Francisco, United States

Projects ClientCalifornia Academy of Sciences

Architectural designRenzo Piano Building Workshop, in collaboration with StantecArchitecture (San Francisco)

The California Academy of Sciences in SanFrancisco is one of the few natural scienceinstitutes combining public education directlywith scientific research, conducted on site. The primary objective in deciding to remodel the new Academy was to expand its activities,and to enlarge the exhibition spaces and researchcentre, while also finding new and innovativeways to welcome and accommodate increasingnumbers of visitors. The building houses anatural history museum, an aquarium and a planetarium, bringing together the themes of nature, science and civilization. The new Academy is fully integrated into itsnatural environment, the Golden Gate Park, andmakes extensive use of energy saving techniques. The declared mission of the Academy is to“Explore, Explain and Protect the Natural World”,creating the ideal premiss for the development of sustainable design strategies. Choice ofmaterials, recycling, exploitation of natural lightand natural ventilation, the utilisation of water,including the recovery of rainwater, and energy

production were all design issues that wouldbecome an integral part of the overhaul, helpingultimately to secure Platinum certification for themuseum under the LEED programme. Some of the old buildings were demolished,reduced to rubble and reused in the newstructures. Wall insulation was made from scraps of denim cloth provided by Levi Strauss & Co. 95% of the steel utilised came fromrecycled material. Three of the existing buildings - the African Hall,North American (California) Hall and SteinhartAquarium - were reclaimed and rebuilt in theiroriginal volume. The new building retains theposition and orientation of the original Academyand all the attractions are organised around thecentral piazza. The dome of the Planetarium and the rainforestbiosphere flank the piazza on either side. This is the point interlinking all sections of themuseum together, and is covered by a glass roofwith a lattice structure suggestive of a spider’sweb. The centre of the structure is open to the sky.

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Photos: iGuzzini archiveDrawing by kind permission of RPBW

1. Section drawing

2. View of the Academy and the Golden Gate Park

3. Rainforest biosphere

General contractorWebcor Builders

Engineering and sustainabilityOve Arup & Partners

Civil EngineeringRutherford & Chekene

Aquarium managementsystems PBS&J

ExhibitsThinc DesignCinnabarVisual-Acuity

LandscapingSWA Group

Living roofRana Creek

The features of the piazza also combine toprovide an ideal venue for concerts and otherevents. The roof formally unifies the organism as a “living structure”, covered with a shallow layerof soil providing a bed for 1,700,000 smallplants selected to survive in the microclimate of the Golden Gate Park without the need forfertilizers or artificial irrigation systems. Whilst the vegetation is decorative, it also servesa practical purpose: the moisture in the soil hasthe effect of lowering the temperature inside themuseum by 5 or 6 °C, and this - uniquely in the US - means that there is no need for airconditioning in the public spaces on the groundfloor, or in the research offices along the façade.15% of the museum’s electrical powerrequirement is produced by 55,000 photo voltaiccells, sandwiched between two sheets of glass,which make up a transparent canopy around theperimeter of the living roof. The fixtures used byRenzo Piano for this project include Le Perroquetin a special outdoor version, used also at the HighMuseum of Art in Atlanta, coloured grey and red.

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New Miss Blumarine and Blugirl boutiques in Milan

Milan, Italy

Projects ClientsBlugirl boutique - Blufin Spa Miss Blumarine boutique - Spazio Sei srl

During 2009, Blugirl and Miss Blumarine openedtheir first twin single-brand boutiques in Milan,on the Via della Spiga, one of the city's bestknown shopping thoroughfares. The Blugirl boutique is laid out on three levelswith over 200 m² of floor space which, has acontemporary sophisticated loft type atmosphere.Purity of line and transparency of materials arethe hallmarks of this new store, where the spacesare neatly connected with each other.Particular care has been taken over the lighting,which functions in total harmony with the formalconcept of the interior design. The fixtures, which are all iGuzzini - DeepSurface, Tecnica and Minimal - were selected togive the surroundings a strong sense of theatre,highlighting forms and materials.The windows on the street and the glass frontedto the mezzanine floor overlooking the two-storeyentrance hall have the effect of modulating therespective interiors, which are interconnected bystairs surfaced with white composition marbleslabs, as are all the floors. The ground floor has two shop front windows,the first floor includes a VIP room, and thebasement is given over to collections andaccessories. The blue coloured walls combinewith the white ceilings to generate a relaxinginterior, lit by either recessed or exposed lampswhich are according to the nature of the spaces,characterised by a soft atmosphere, and by targetlighting produced with incandescent lampsdesigned to create an enveloping and uniformlybalanced mood.The merchandise is displayed on rounded panels

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Photos: Chiara CadedduBy kind permission of Blumarine Press Office.

1. Blugirl boutique

2.3. Internal views of Miss Blumarine boutique

Architectural designStudio Indik Roma C. Cannavò M. Critelli Shay Peri C. Volken

Engineering calculations -systems/building worksImpresa La Ca’

ShopfittingFazzuoli,Campi Bisenzio (Florence)

finished in metallic white with shiny tubularedge trims and stainless steel shelves,complemented by bright chrome plated tubularmetal hanging rails on shiny steel bases. Tablesof transparent plexiglas with tubular stainlesssteel frames incorporate white drawer pedestals.The Miss Blumarine boutique, occupying 180 m²on three levels, is characterised by pink walls,buttoned velvet upholstery, antique brasshanging rails and mother-of-pearl pink lacqueredchild sized furniture with bevelled corner edges.The ground floor is dedicated entirely to MissBlumarine fashions for various age groups. The basement houses the Miss Blumarine Jeanscollection, and a small sitting area, furnishedwith a chaise longue covered in pink buttonedvelvet. Stairs with sand-coloured coir treadsconnect the ground floor to the first floor: a loftset aside as a children’s play area is furnishedwith large pouffes, table and chairs, and a smallbookcase. Great care was taken over the lightingdesign to ensure the most comfortable andnatural atmosphere possible, giving visitors a sense of ease and tranquillity. Similarly,particular attention was given to accent lighting.Apart from a small number of designer lamps,the entire lighting system for the store and shopwindows is based on Guzzini fixtures: DeepSurface, Tecnica and Minimal. The internalshowcase window, with its full width, full lengthpink velvet backdrop curtain, is enhanced by acascade of crystal beads supplied by Swarovski.

The designs for both boutiques are by Studio Indik,which has extensive international experience in thefashion sector and took special care over the needsof the very young, in the case of the Miss Blumarineboutique. Studio Indik has also designed the newconcept for Blumarine flagship stores, its portfolioincluding the boutiques in Milan, Paris, Dubai,Tokyo, Hong Kong and Venice.

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The Linked Hybrid project

Beijing, China

Projects Client Modern Green Development Co., Ltd.

General contractorBeijing Construction Engineering Group

Architectural designSteven Holl ArchitectsSteven Holl, Li Hu Hideki Hirahara Yenling Chen Chris McVoy, Tim Bade

The Linked Hybrid complex in Beijing covers anarea of 220,000 m². This is a project in whichcommercial, residential, educational and leisurefacilities combine to create a three-dimensional city within a city. The ground level offers a numberof open passages for residents and visitors to walkthrough. These passages create small scale, micro-urbanisms, with shops activating the urban spacesurrounding the large reflecting pond. On theintermediate level of the lower buildings, publicroof gardens offer tranquil green spaces, and at thetop of the eight residential towers there are privateroof gardens connected to the penthouses.All public functions on the ground level - includinga restaurant, hotel, Montessori school, kindergartenand cinema - have connections with the green

spaces surrounding and penetrating the project.From the 12th to the 18th floor, a multi-functionalseries of skybridges with a swimming pool, afitness room, a café, a gallery, auditorium and amini salon connects the eight residential towersand the hotel tower, and offers spectacular viewsover the unfolding city. The intention of thearchitects was to ensure that the public sky-loopand the base-loop will constantly generate randomrelationships, functioning as social condensersgenerating in a special experience of city life for both residents and visitors. Geo-thermal wells (660, at a depth of 100 metres)provide the Linked Hybrid complex with cooling insummer and heating in winter, making it one ofthe largest green residential projects in the world.

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Photos: Hengzhong Lv

1.2. The central plaza

Associate architectsBeijing Capital EngineeringArchitecture Design Co. LTD

Structural engineers Guy Nordenson and AssociatesChina Academy of Building Research

Mechanical engineersTranssolarBeijing Capital EngineeringArchitecture Design Co. LTDCosentini Associates

Lighting consultantL’Observatoire International

Curtain wall consultantsFront Inc.Xi’an Aircraft Industry Company LTDYuanda Curtain-wallJianghe

Landscape architectsSteven Holl ArchitectsEDAW BeijingTSLD

Partners AssistanceiGuzzini illuminazione China

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The Linked Hybrid urban complex

Projects 3.4.5. Partial views of the complex

All the water is recycled. Greywater is piped intotanks with ultraviolet filters, and then put back into the large reflecting pond and used to water the landscaped areas. The earth excavated for the new construction was used to create fivelandscaped mounds on the north side, providingrecreational functions. The colours of the complex are inspired by the polychromy of ancient Chinese architecture. Coloured membranes on the undersides andcantilevered parts of the bridges are designed toglow in nightlight, and window jambs are paintedusing the colours found in ancient temples. The polychrome effect is maintained through thenight hours by artificial lighting. 150W MaxiWoodyfixtures with metal halide lamps and a variety ofoptical assemblies - Super Spot, Spot and Flood -are used in the different areas of the complex tohighlight the colours.

In specifying just one product and one type of lamp, the intention was to facilitatemaintenance operations as far as possible. Metal halide was selected as the type of lamp that would give the best colour rendering.The Linked Hybrid complex was adjudged by the Council on Tall Buildings and Urban Habitat(CTBUH) to be the “Best Tall Building” in Asia and Australasia. This is an award given by CTBUHevery year to buildings in four regions: theAmericas, Europe, Africa and the Middle East, Asia and Australasia. The selected buildings arethose that successfully integrate architectural form,structure and construction systems, while alsopossessing clear merits of sustainable design thathelp to guarantee quality of urban life. The award ceremony for the “Best Tall BuildingOverall” will be held on 23 October 2009 duringthe CTBUH Conference in Chicago.

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New corporate identity for Honda

Romford, United Kingdom

Projects ClientHonda

Architectural designMorton Wykes

Partners AssistanceiGuzzini illuminazione UK

Following a long and successful collaborationwith Honda UK, iGuzzini was approached byHonda Europe to advise on the development of a lighting solution appropriate for theorganization’s new Corporate Identity in Europe. In keeping with the Honda philosophy, thelighting design had to feature the mostinnovative technology in terms of fixtures and reflectors. The light sources selected were those considered most efficient in terms of their capacity to use less energy yet guaranteeexcellent colour rendering and ensure a truereproduction of the finishes on vehicles. Theproject as a whole needed to be inexpensive,offering ease of installation, reliability, efficiencyand low maintenance costs, as well as bearingin mind the ultimate disposal of the productsutilised. iGuzzini was named sole supplier for all sectors of the dealership structure - showrooms,offices, workshops, sales counters - and alloutdoor areas, including forecourts and used carlots. Indoors, particular care was taken over theshowroom lighting. The ceiling is coffered, withfluorescent lamps installed in the square recesses.

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Photos: Martine Hamilton Knight

1.2. View by day and by night

3. Workshop

4. Showroom

Tracks installed on the sections between therecesses carry 150W Tecnica spots with metalhalide lamps; these provide accent lightingunder which vehicles are shown off tomaximum advantage. Considerable thought wasgiven to the lighting for the workshop, which is conceived as a theatre where customers canlook on as spectators while their cars are beingrepaired. The fixtures used in this area neededto ensure levels of luminance as required bysafety standards for the workplace, both at floorlevel and on the ramps, besides being visuallyattractive. Central 41 pendants were selected for this task. Offices and areas open to thepublic are equipped with Frame, Action andSistema Easy fixtures. Offices not open to thepublic are provided with recessed Sistema 43downlights and Light Air pendant fixtures. This is a solution that both saves energy andcreates an Up/down lighting effect tending toemphasise the height of the building. Indirectoutdoor lighting, using Nuvola fixtures, providesvisual comfort and ensures that the forecourtand car park are invitingly and uniformlyilluminated.

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Changzhou Olympic Sports Centre

Changzhou, China

Projects ClientChangzhou City Government

Architectural designJiangsu Century Architecture Design Co., Ltd

The Changzhou Olympics Centre and internationalExhibition Centre (COCIEC), completed inSeptember 2008 after more than two years ofconstruction work, is the cultural and sports centreof Changzhou, and one of the city's most importantprojects. The design of the new facility, whichincludes an open air stadium, an indoor stadium,a swimming pool and an exhibition centre,embodies the concept of “a region of water andmagnolia flowers, south of the Yangtze river”.

The magnolia, appropriately, is the emblem ofthe city of Changzhou. Accordingly, everythingfrom the basic architecture to the stadiumskylights had to resemble this symbolic flower. The client and the architects also wanted thelighting concept to fall in with this requirement.Working with the architects, the iGuzzini team put together a complete proposal for the project. After a number of discussions, the idea of usingvariable, coloured light for the stadium was

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Photos: Hengzhong Lv

1. General view. In the middle, the Olympics Centre

2. The central piazza. On the left, the International Exhibition Centre

General ContractorChangzhou Tianyu

Partners AssistanceiGuzzini illuminazione China

accepted. The 18 entrances to the stadium andthe pool are equipped with transparent panelsthat reflect sunlight during the daytime, whereasat night a change of colour occurs, piloted bythe control system. The façade is lit by Platea floods. The lightingfor the exhibition centre and the relative façadeis provided by Gem pendant fixtures.

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Changzhou Olympic Sports Centre

Projects 3.4.5.6. Different coloured light effects

7. Coloured light effect seen from inside

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Lighting for Emilio Vedova’s moving canvases

Emilio & Annabianca Vedova Foundation, Venice

Projects Design and architectureRenzo Piano - RPBWwith Alessandro Traldi - Atelier Traldi

General coordination and engineeringFavero & Milan IngegneriaMaurizio Milan

The first “dynamic museum” designed by RenzoPiano, dedicated to Emilio Vedova, is located inone of the nine 16th century Salt Warehouses on the Zattere island, where the great Venetianpainter had his home and studio.The relationship between the Genoese architectand the Venetian painter was forged back in1984 when the two worked together on the Luigi Nono opera “Il Prometeo” (libretto MassimoCacciari), conducted by Claudio Abbado. They had discussed the idea of mobility at the time, and earmarked the old warehouse

as a future home for the painter's works. The Vedova foundation is the first art museumwith no pictures actually hung on the walls: here, the visitor finds only bare walls of old brick. The paintings, which vary in size - 18 measuring280x280 cm, 9 measuring 180x280 cm - are set in motion by a mechanical arm and aremanoeuvrable along the entire length of thewarehouse. The pictures stop at various points and then disappear, circulating in sequence. This revolutionary approach to exhibiting works of art, and the considerable size of the

warehouse, imposed certain conditions on the layout of the lighting scheme. The pictures are lit by Le Perroquet spots,positioned in groups of three on the rafters, at a height of about 15 metres.These spotlights use the DALI protocol and arepiloted by the Master Pro control system in such a way that the smaller canvases will be lit only by the middle fixtures of the groups, which areequipped with 75W halogen lamps and 24°optical assembly. For larger pictures, the lightfrom the middle fixture is augmented by that

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Photos: Michele Crosera

1.2. Pictures in motion

3. Picture storage system

Artistic consultantGermano Celant

Design and technological realizationMetalsistem - Fabio Roncati

Installation contractorIccem

Technical sponsoriGuzzini illuminazione

of the lateral fixtures, equipped likewise with 75W lamps, but using 8° optical assemblies.This has the effect of creating two greatlyelongated cones of light, broadening the coneformed by the middle fixture. As for thesurrounding walls, these are also lit using 75W Le Perroquet spots, but in this instance with a much wider angle (45°) and fresnel lenses, and directional louvres serving to shapeand expand the light cone still further. To give a softer and more diffused light, shadows areattenuated using Le Perroquet fixtures with 75W lamp, 24° optical assembly and wallwasher screen.

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The selection and installation of worksby Emilio Vedova in the Magazzini del Sale exhibition hall was undertakenby Germano Celant and FabrizioGazzarri.

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The Constitution Bridge

Venice, Italy

Projects

The fourth bridge over the Grand Canal, designedby the architect Santiago Calatrava, connectsthe Piazzale Roma with the railway station.Besides being an architect, Santiago Calatrava is also an engineer and sculptor, and has otherfamous bridges to his name: the Puente de laMujer in Buenos Aires, the Puente del Alamilloon the River Guadalquivir, and theOberbaumbrücke in Berlin. His design for thenew bridge in Venice features a single self-supporting arch composed of three tubularsections. It is a blend of the contemporary,

ClientMunicipality of Venice

Architectural designSantiago Calatrava

in its forms and construction techniques, and ofthe traditional, in its use of materials: steps ofIstrian marble, the stone found most commonlyin Venice, glass parapet panels, and bronzehandrails. The bridge and the landing areas oneach side are illuminated by MaxiWoody fixturesmounted on poles and on the surroundingbuildings, equipped with HIT 70, 150 and 400Wlamps and accessorised with diffusing, antiglareand refracting filters. This ensures optimum levelsof vertical illumination, and of luminance on the bridge deck.

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Photos: Paolo Carlini

1.2. The single self-supporting arch of the new bridge

Direction of works Roberto Scibilia - Municipality of Venice

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Dynamic lighting in the new H&M store

Barcelona, Spain

Projects ClientH&M, Hennes & Mauritz

Architectural designEstudio Mariscal

Building contractorDula Bau

H&M has a new store on the Portal del Ángel,Barcelona’s most famous shopping street, in alate 19th century building by Doménec Estapé.Reconciling the “old” and the “new” was thechallenge facing the Studio Mariscal, and the outcome is a retail space in which the“remordimiento” style, typically bourgeois and baroque, interacts with pop, modern andcontemporary. The conception of the interiordesign is suggestive of transitoriness, consistingof easily replaceable elements. A second skin

was applied to the original architecture, creating a new look, but without concealing what liesunderneath. This second skin incorporates the lighting design, which creates a displayenvironment using T16 fluorescent tubes ofvarious wattages (depending on length). Thelight emitted through the horizontal louvres ofthe selected fixtures is diffused and fragmented,providing a level of background illumination that allows the eye to take in the entire interior.The merchandise is lit by spots installed in the

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Photos: Rafael Vargas

1.2. Some of the interiors

Shop fitting and furnitureDula Ibérica

Technical architecture and systemsMC Arquitectura e Ingeniería

LEDSBARCO (supply)SONO (installation and assembly)

RefurbishingArtecc

suspended ceiling. Like a cluster of clouds, theplates are equipped with three-phase electrifiedtracks carrying Tecnica units with two types oflight source (35W and 70W HIT metal halide,and QT12 100W/12V halogen), some used as spots (~10º), some as floods (~30º). The entrance is an explosion of light, colour and movement created with Led displays,designed to attract the attention of the crowdspassing through the pedestrian precinct. Twoother especially important features of the new

interior are the staircase and the dome. Emphasis is given to the void created by thestairwell, which conveys light from the dome at the top of the building. In effect, the centralatrium interconnects the three floors and allowsnatural light to all parts of the interior. Specialsolutions are adopted for the central staircaseand dome, the sale nobili and the access stairs,so as to place the focus on the amalgamation of the existing architecture with the newlyintroduced contemporary elements,

underscoring the integration of the two by means of accent lighting created using spots with a variety of beam geometries. All fixtures are operated using DALI protocol and piloted by the Scene Equalizer, whichallows adjustment of the fluorescent strips and on/off control of the various spots and floods in preset groups. As a result, the differentparts of the interior can be configured dynamicallyaccording to the time of day and the level ofcustom, and in response to events.

Partners AssistanceiGuzzini illuminazione España

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The Liangzhu Museum

Liangzhu, China

Projects ClientZhejiang Vanke Narada Real Estate Group Co., Ltd.

The museum houses a collection of archaeolo -gical finds from the Liangzhu civilization, alsoknown as the Jade culture (circa 3000 BC).Located at the northern extremity of the ‘LiangzhuCultural Village’, in the neighbourhood ofHangzhou, is a new park and buildings complex. The building is situated on the edge of the lake and connected to the park via bridges. The architecture of the building becomesapparent to visitors by degrees, as they approachthe museum via the park. The museum buildingconsists of four units clad in Persian travertine, all 18 metres wide, but of different heights. Eachunit has an internal courtyard interconnecting

the rooms of the museum; a space that invites the visitor to pause a while and relax. Whilst the exhibit rooms are linear in character, theynonetheless afford a number of individual routesthrough the museum. To the south of the buildingis an island with an exhibition area, connected to the main body of the museum by a bridge.The materials used in all public areas of themuseum - Ipe wood and travertine stone - areboth tough and resistant to aging. The entrancehall is accessible from a courtyard of which thecentrepiece is the reception counter, made of Ipe wood and lit from above. Consultancy on the lighting for the museum was provided by

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Photos: Hengzhong Lv

1. Exteriors

2. Hall of the columns

3. Exhibit reproducing primitive life during the Liangzhu period

Architectural designDavid Chipperfield Architects - LibinChen, David Chipperfield, AnnetteFlohrschütz, Marcus Mathias, MarkRandel, Christof Piaskowski, ArndtWeiss, Liping Xu

Local architectsZTUDI The Architectural Design and Research Institute ZhejiangUniversity of Technology

Landscape designLevin Monsigny Landschaftsarchitekten

InstallationGuangdong Jimei Design and Engineering Co.

Partners AssistanceiGuzzini illuminazione China

iGuzzini China. The Liangzhu Museum has 3public exhibition areas, decorated with backdrops,showcases and special settings. In the secondroom, where the backdrop describes the primitiveway of life during the Liangzhu period, with blueand green as the main colours, i24 wall washersare used, with lamps of colour temperature 6500K. In the third room, where the backdrop showsa sunset, the fixtures used are Parallel spots withwall washer screen and light sources of colourtemperature 2800 K. Recessed Deep Framefixtures and Lux spots are used to provide accentlighting for the showcases. Recessed Light UpGarden units are installed in the grounds outside.

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The Paks contemporaryart gallery

Paks, Hungary

Projects ClientPaks City Government

Architectural designIren Jaromi Ybl - Gyula Kiss DLA Ybl

the design of a single glass wall without trussesbeneath the arches, developed and patented inHungary, that would give emphasis to the feelingof suspension.The space taken up by service rooms is minimisedin order to maximise exhibition space. The firstfloor, which used to be the packing department ofthe old cannery, houses a multimedia library withmodern automatic archives and open shelves forart albums, and the administrative offices of thegallery, which now open directly onto theexhibition space. The laboratory and the art shopare located on the ground floor, occupying one of the long flanks of the old rectangular building. A loft has been added to this part of the gallery,with wood floor and diffused lighting.

From the time of its installation in 1991, untilrecently, the gallery of contemporary art in the cityof Paks had occupied a temporary home; in pointof fact, the collection was housed in one of thetown's old hotels, subsequently sold by the localauthority in 2005. At the same time, the authorityhad purchased a disused cannery at public auction.Today, the Paks Contemporary Art Gallery is amodern museum with a national and internationalcollection of exhibits; consequently, its culturalmission is not limited simply to serving the localcommunity. The artistic directors of the galleryasked for a space sufficient to accommodate notonly the existing collection, but future acquisitionsas well. From an architectural standpoint, theproject presented certain key challenges, such as

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Photos: by kind permission of Iren JaromiYBl-Gyula Kiss DLA Ybl

1. Exterior of the building

2.3. Contemporary works of art on display

Design companyKiss-Jaromi Architect-Office Ltd.

CuratorZoltan Prosek, art historian

ContractorDunacenter-Therm Ltd.

LED technologyLedium Ltd.

Partner AssistanceK-light Lighting technologies Ltd. cooperative partner: Nora Timar

This allows the museum to put on displays of photographs, graphics and small sculptures, for which limited headroom is not a problem. The decision was taken to retain the bare '60s

style concrete of the original fabric for theexhibition spaces. The exposed surfaces werepolished and waterproofed. The exterior of the building is clad with Cortensteel panels.The space afforded by the old factory is ideal forexhibiting contemporary paintings and sculpturesof monumental proportions, but with the selectedlighting system and the special pedestals adopted,much smaller paintings, sculptures and modelscan also be shown to equal advantage. The gallery is also perfect for entertainment shows and multimedia installations. Self-evidently, an extremely flexible lighting systemwas required. The designers sought a deliberatecontrast between the iGuzzini luminaires and theoriginal lamps of the factory; these however wereupdated by fitting Led sources. The interior lightingis provided by Le Perroquet fixtures, somepositioned to give indirect lighting, others track-mounted and ceiling-mounted. Elsewhere, i24fixtures provide indirect light for the loft and offices,and recessed Linealuce wall-washers are installedalong the public access corridor. The exterior of the building is also attractively lit, utilising mainlyLight Up Walk professional units at ground level,which are also fitted with coloured filters to showup the trees, whilst the statues in the grounds areilluminated by 5 narrow beam Flash fixtures.

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Tenerife Espacio de las Artes

Tenerife, Spain

Projects ClientCabildo Insular de TenerifeSanta Cruz de Tenerife

ConstructionOHL S.A., Santa Cruz de Tenerife

In October 2008, the Tenerife Espacio de las Artes(TEA) di Santa Cruz was inaugurated on the islandof Tenerife. With its 20,000 m² of floor space, theTEA is primarily a cultural infrastructure with aclear contemporary vocation of bringing togetherdifferent types of art in one place; but it is also,and no less, a fragment of urban fabric connectingthe old world and the new in the city centre.Architects Herzog & De Meuron had the idea ofcombining a series of diagonal elements andsloping floors with a ramp of steps, by way of

which the public can gain access to the building.The geometric architectural elements favourexposure to the world outside, bringing dynamismand brightness, even after dark, when artificiallight passes through the irregular openings in thewall and out toward the city. The structure housesart collections, temporary exhibition galleries, anauditorium, the Tenerife Photography Centre, theÓscar Domínguez Institute, and a Library (part ofthe island’s library network), as well as a cafeteria,restaurant and shop.

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Photos: José Oller, Iwan Baan

1.2. The building in its urban contextView by day and by night.

Architectural design Jacques Herzog, Pierre de Meuron,David Koch

Associate ArchitectVirgilio Gutiérrez Herreros

Architectural planningHerzog & De MeuronVirgilio Gutiérrez Herreros

Systems engineeringTECHNE Ingeniería y Arquitectura

Lighting engineeringOve Arup

Partners AssistanceiGuzzini illuminazione España

The main feature of this building is the profusion of small glazed openings spread across the entire shell. More exactly, there are 1200 ofthese windows, in 720 different shapes and sizes. The idea was inspired by the pixellation of adigital image picturing reflections of sunlight on the ocean waters of the Canary Islands. The preparation of the concrete frontages,punctuated with pixel-like perforations thatprovide the building with a truly singular type of lighting, serves both to enable a unique

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Tenerife Espacio de las ArtesProjects

distribution of natural light admitted during thedaytime, and produce a magical radiation ofartificial light from interior to exterior at night-time. iGuzzini was involved in the design of thelighting system, providing expert advice andsupplying products to meet the many differentrequirements presented by the different areas(The exterior is illuminated by recessed Linealucefixtures, which adapt to the architecture with

minimal visual impact, ensuring a suffused anduniform glow; recessed Light Up Walk fixturesinstalled at floor level guarantee maximum visualcomfort; MaxiWoody and Light Up WalkProfessional spots are positioned at the end of the ramp, tracing atmospheric trails of light. Inside the library, fluorescent Lineup fixturescreate the ideal indirect lighting for reading and browsing, whereas the exhibition halls

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3.4. Interiors of the TEA

are equipped with special products (fluorescentstrips). The permanent exhibition room is lit by a mixture of Tecnica spots and floods and Le Perroquet pendants which, thanks to theirease of directional adjustment, can be used both to pick out individual features and, whenfitted with a diffuser, to provide uniform lighting for vertical surfaces, functioning effectively as wall washers.

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The iTrust offices

Cham, Switzerland

Projects ClientiTrust

Architectural designBeat Schöpfer, [punkt-s] gmbh

iTrust, a systems integrator incorporated in 2003and based in Cham, in the Zugo Canton, decidedrecently on a heavy investment to renovate its headquarters. The aim was to create anenvironment reflecting the philosophy and culture of the company, based on values of transparencyand accountability. The supervision andimplementation of the project was entrusted to interior architect Beat Schöpfer, who called in iGuzzini as lighting design consultant. The lighting serves to emphasise the atmosphereof the single rooms. The designers decided onmainly indirect luminaires to create suffusedbackground lighting, with spots and other fixturesto provide accent light. The middle of the officepremises consists of an organically structuredentrance. In keeping with the iTrust philosophy,the rooms adjoining the entrance are notcompletely isolated: staff must not be excluded

wallpaper and three Gem pendant fixtures createa lively atmosphere in which to seek inspiration -and not only for the staff of iTrust: this is also theroom preferred by clients to discuss their projects.The second room, the “Innovation Trust”, iswhere ideas are implemented. The room isreduced to the bare essentials, with soft anddiscrete lighting supplied by iSign fixtures, whichblend effortlessly with the dark colour schemeand futuristic lines. The implementation step is followed by a pausefor relaxation: the atmosphere in the “RelaxationTrust” is typical of an oasis. Light is provided bysome 15 Ledplus type units recessed into thefloor, which project the shadows of numerousplants onto the ceiling. This is a place where staff can ‘chill out’, especially at the end ofthe working day. The workstations are separated one from

from what is happening around them. The floorspace is divided substantially into openworkstations, a meeting room, a Director’s office and three themed rooms - Trusts, so-called - created for specific work processesand planned as single enclosures, separated from the remainder. In reality, iTrust has no fixed workstations. When staff are not with the clients, they simply sit with their notebook PCs in whichever place is most suitable for the project they happen to be working on. If extra concentration is required,or there is a long phone call to be made, they will move into one of these three isolated spaces. The Trusts are separated from the central area by curved partition walls approximately twometres high. The first, the “Creation Trust”, is for the initialconception of ideas. Aubergine carpeting, lilac

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Photos: Günther Laznia

1. Entrance

2. Relaxation area

Direction of worksBeat Schöpfer, [punkt-s] gmbh, Zürich

Partners AssistanceiGuzzini illuminazione Schweitz

another by sound absorbent panels that alsofunction as notice boards and are fixed to wiresso that they can be raised, as required, in theevent that teams wish to work together around a single large table. In this instance the lighting needs to be suitablefor working in front of a computer screen.Accordingly, a combination of direct light andindirect was adopted, using Mini Light Airpendant fixtures, which also incorporate DALIprotocol and consequently are dimmable. Thefixture used in the meeting room and Director'soffice is a recessed Wide Plus rated 55W, whichcreates a soft and diffuse light. The lights are alsooperated from a central control unit with remotehandset and touch panel, which allow users toretrieve and select different preprogrammedsettings. The walls of the meeting room andDirector’s office, and the front walls of the officesin the main entrance area, are lit by 100W PixelPlus units equipped with Wall Washer screens so that the entire wall can be lit uniformly fromthe ceiling.

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The Mardan Palace Hotel

Antalya, Turkey

Projects

The Mardan Palace Hotel, owned by Azerbaijanimultimillionaire Telman Ismailov, is one of themost luxurious hotels in the Mediterranean,located in the popular Turkish holiday resort of Antalya. The opening ceremony was attendedin May 2009 by such high profile A-listers as Richard Gere, Mariah Carey, Tom Jones, Sharon Stone, Seal and Monica Bellucci.The Mardan Palace in Antalya is a hotel inspiredby the architecture of the ancient Ottomanpalaces, a Tale of the Orient in its own right. The hotel is built on the splendid Mediterraneancoast of Southern Turkey, occupying a total areaof 180,000 m². It is divided into wings: theAnatolian Wing, with 225 rooms - the mostremarkable feature here provided by decorations in the traditional Ottoman style, withcombinations of dark coloured woods and giltembellishment; the European Wing, featuring a post-modern design proclaiming simplicity, in all of the 203 rooms; and the DolmabahceWing, a block of 88 rooms furnished with themost luxurious pieces imaginable. The wingsstand along three sides of a pool recalling theBosphorus, straddled by a bridge based on 16th century drawings by Leonardo da Vinci for the Galata bridge, which was never built.Guests can take a gondola ride across the pool, whilst one of the restaurants is a replica of the Maiden Tower in Istanbul.The lighting was designed and implemented in direct collaboration with the proprietor.

ClientTelman Ismailov AST 1989 Group

Project coordinationHüseyin Davutoglu.

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Photos: By kind permission of AST 1989Group - Halkla iliskiler

1.2.3. Views of the complex

Partners AssistanceTepta Aydinlatma

The outer façades of the three wings areilluminated using cold cathode lighting:elsewhere, all of the lighting installation isspecified with iGuzzini fixtures. Uplighting on the columns is provided by Kriss and Yotafixtures and by recessed Light Up units; thetowers are lit by MaxiWoody floods; the bridgewalkway is illuminated using Led sources,whilst Radius and Platea were selected for

the Dolmabahçe door and the boat moorings.64 Euclide fixtures are installed around thepool. The decorative pool on the entrance sideis illuminated by Led Glim Cube units; the stepsleading up to the entrance are lit by recessedLed sources, and the statues around the pool by Woody fixtures. Delphi lighting systems are used for the car park.

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The Park der Sinne

Hanover-Laatzen, Germany

Projects

The Park der Sinne - Park of the Senses -represents the kernel of the KronsbergLandscape Plan, and is one of the finest parts of the legacy left to Germany followingExpo 2000. The organisations responsible for the project were the Hanover RegionalAuthority and the City of Laatzen. The park, designed by garden and landscapearchitect Hans-Joachim Adam, is intended to develop the awareness of our five senses:sight, hearing, touch, smell and taste. The lighting scheme for the park was entrustedto students of the HAWK Higher Institute of Art and Applied Sciences, Hildesheim, workingunder the guidance of lighting designer NorbertWasserfurth. The innovative landscapearchitecture is combined with technological

ClientsHanover RegionCity of Laatzen

Landscape designHans-Joachim Adam

modernity and with a sustainable use of energy. One of the aspects of the lightingdesign concerned the development of anoutdoor lighting device capable of producing a variable output. The Lighting Design course student JohannaHermann developed the preliminary designsand planning, as well as the design of special fixtures, as part of her degree thesis. In the pilot project at Laatzen, the lightingeffects are not only designed to create anemotional experience; they also serve scientificpurposes, such as the study of light perception. It is a feature of the lighting design that visitorsshould be able to find their way around thepark simply by reference to the illumination of the elements included in the landscape.

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Photos: Daniel Junker

1. Lighting effect2. Plan of the park3.4.5. Project

Lighting designStudio DL - Norbert Wasserfurthin collaboration with the HAWK university, Hildesheim

Partner AssistanceiGuzzini illuminazione Deutschland GmbH

The discreet relationship with nature, in thisinstance, is as important as the idea that visitors should be allowed to test their capacities of perception and nocturnal orientation. Three basic dynamic processes are behind thelighting design: dynamic adaptation of the lightconditions to the movement of people throughthe park, the areas where visitors can pauseand experience the light, and the directionalpositioning of fixtures according to the season.

These ambitious objectives are achieved with the solution implemented by the HAWKuniversity of Hildesheim, in collaboration with iGuzzini: a lamp of variable light outputequipped with three 1W Leds of different colourand optical specification. Each Led is poweredindependently, and therefore adjustableindividually, so that the lighting effect can be adapted to different objects. The colourtemperature can be varied from cool white

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to warm white, and the beam from narrow towide. The extreme flexibility of the appliance, and the sensors detecting movement in the park, produce a wide variety of lighting effects. The entire installation is wired up to a centralcontrol system not iGuzzini. For reasons ofenvironmental protection, no lights are switchedon in the park unless visitors are physicallypresent. The system is also powered by solarenergy.

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“The lost space of Stiller”

Eidgenössische Technische Hochschule, Zurich19 February - 13 March 2009

Corporate culture

In the Spring of 2009, the Swiss Federal Institute of Technology in Zurich (ETH - EidgenössischeTechnische Hochschule), hosted an exhibitiondedicated to the work of one of its most famousstudents: the architect and writer Max Frisch.Inspired by his novel “Stiller”, the exhibition entitled “The lost space of Stiller” was promoted by architect Markus Seiferman of PATALAB,London, in collaboration with the Max FrischArchive in Zurich. Seiferman, who also directed the installation, had the idea of recreating thespace, and spaces, inhabited by the centralcharacter of the novel, Anatol Stiller. Three wooden crates or boxes, representing Stiller’s studio, dining room and bathroom, were arranged on an open platform, around a tableau of a living room. The resulting collagewas installed in the main hall of the ETH.

Light was used by Seiferman to create theatmosphere for these spaces. It was not hisintention to re-create actual locations mentioned in the book Stiller, but rather to reveal the spacesexisting between the main characters of the novel.To achieve this objective, Seiferman enlisted thehelp of both iGuzzini UK, and iGuzziniSwitzerland. Inside the hall, general lighting for theexhibit was provided by 18 Cestello stands placedon two levels. The dining room box was equippedwith 8 Led Express spots piloted by the MasterOne DALI system. In the bathroom box, afluorescent source rated 6500 K created a coldand sterile atmosphere.The exterior of the building was illuminated for theduration of the exhibition, using 4 MaxiWoodyfloods for the façade, and an array of 26 Linealuceand 13 Woody fixtures fitted with discharge andfluorescent lamps accentuating the windows of thedome alternately with hot and cold light.iGuzzini Switzerland invited a number of guests toview the exhibition, which provided an opportunityto demonstrate the importance of a well-designedlighting scheme.1

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Photos: Günther Laznia

1. Positioning of the Cestello stands

2. Exterior illumination

3. General view of the installation

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Corporate culture

The Rondanini Pietà, Michelangelo’s last work,is an unfinished sculpture purchased in 1744by the Marchesi Rondanini, hence the name.The Pietà was acquired by the Municipality of Milan in 1952, and has undergone cleaningand restoration work in the years since, mostrecently in 2004. During 2009, a number ofmaintenance operations were also carried outon the installation designed originally for theRondanini Pietà back in 1956 by theprestigious firm of architects BBPR (Banfi,Belgiojoso, Peressutti and Rogers). For the firsttime, attention has been given specifically tothe pietra serena and olive wood niches bywhich the sculpture is protected. These structures are examples of Italian design,and as such, attributed the same status as that of a museum piece. In its capacity as sponsor during this phase of the renewal, iGuzzini supplied fixtures andtechnical consultancy on the adoption of a new lighting system, utilising Le Perroquet and Le Perroquet Professional spotlights.

New lighting for the Rondanini Pietà

Castello Sforzesco, Milan

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Photos: Paolo Carlini

1. The installation designed by BBPR

2.3. The sculpture

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Corporate culture iGuzzini at the Shanghai2010 Expo

The theme selected for Universal Expo 2010,“Better City, Better Life”, expresses the interest of the international community in strategies for sustainable urbanisation and development.iGuzzini is involved as lighting partner on a number of high profile projects. One such project will be the lighting for theItalian Pavilion, designed by architect GiampaoloImbrighi. The Pavilion, which has a squareground plan of 3,600 m² and stands 18 metreshigh, is divided internally into volumes ofdifferent sizes and irregular shapes, linked bysteel bridge-structures. The Pavilion will be filled with light, thanks not least to the use of transparent concrete, a recently developedpolyhedral material. It is also conceived as a special kind of“bioclimatic machine”, designed to achievesignificant energy savings. Photovoltaic elementsintegrated into the outer windows will guaranteeprotection from solar radiation, whilst the lightingdesign adopted for the building not only aims atemphasising the spaces, but also at favouringlow energy consumption.

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Another of the projects involving iGuzziniconcerns the environmental and operationalrestoration of former industrial buildings in theUrban Best Practices Area (UBPA) of Expo 2010;this project was won by mOa- Mario OcchiutoArchitecture in an international ideas competition. The lighting design was entrusted to FrancescaStoraro, with iGuzzini providing consultancy andproducts. The entry submitted for the competitionby Mario Occhiuto, who has been working onarchitectural sustainability for many years andalready has major projects to his name in China,focuses firmly on technology and eco-compatibility,helping to export Italian know-how to a countrythat hitherto has been little concerned withrecovery and restoration. Alongside the buildings to be recovered is one of new design (C1 Building) that will providereception services for the entire Urban BestPractices Area. There is also another new pavilion, named B3-2,of which the design has been entrusted toArcheA. The idea centres on energy saving anduses high efficiency Led lighting technologies.

Photos: By kind permission of the architects

1. View of the area where building B3-2 will be erected

2. Plan with detail of the area

3.4. Rendering of the Italian Pavilion

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Corporate culture

Adolfo Guzzini appointed president of the Italian Design Council

2 July 2009 saw the establishment of theItalian Design Council, instituted by a decree of the Ministry for Cultural Heritage andActivities, dated 12 March 2009. Minister Sandro Bondi stressed that “this is the first time that three strategic ministries for the Made in Italy brand - the Ministry forProduction Activities, the Ministry for ForeignAffairs and the Ministry for Cultural Heritageand Activities - are cooperating to promoteculture, business, home markets and exportmarkets, all under the banner of thinking,designing and producing Italian”.The Italian Design Council is chaired by Adolfo Guzzini and made up of 24 membersrepresenting the world of enterprise, design,publishing and training. The members: Pietro Di Pierri, SilvanaAnnicchiarico, Giovanni Francesco Accolla,Massimo Arlechino, Andrea Branzi, LuisaBocchietto, Medardo Chiapponi, Giuseppe Chia, Aldo Colonnetti, Pierluigi Cerri, RiccardoDiotallevi, Giorgio Di Tullio, Arturo Dell’AcquaBellavitis, Renza Fornaroli, Frida Giannini,Stefano Giovannoni, Carlo Martino, ClaudioMessale, Raffaella Panizzi, Antonio Paris,Antonio Romano, Nadia Salvatori, AndreaVallicelli.

Lightinprogress: iGuzzini at the Fuori Salone 2009 Milan, La Triennale, 22-27 April 2009

The off-site ‘Fuori Salone’ fringe of the MilanSalone del Mobile 2009 provided iGuzzini withthe opportunity to present its “lightinprogress”initiative, advertising the commitment made bythe company in offering viable solutions toprovide better street lighting, save energy, spendless money and care for the planet we inhabit. The “lightinprogress” project was designed by the iGuzzini Study and Research Centre, with installation by Pierluigi Cerri and visualcommunication by STZ, and consisted of an exhibition staged at the Triennale, with apresentation of new products for 2009 at theiGuzzini Partner Assistance premises in Via San Damiano.

On show at the Triennale were the results of three important collaborations: Archilede, the Led street-lighting system developed andproduced for Enel Sole; the lighting solutiondesigned by Piero Castiglioni for urban renewalof the old Osservanza asylum complex inImola; the wind powered urban lighting systemdesigned by Stefano Boeri for the island of La Maddalena. In addition to these exhibits, the actions taken by the company to promotethe culture of light were documented in 7 video chapters shown on monitors along theroute around the exhibition and summarised in slogans.

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Corporate culture

An award for iGuzzini communicationTP 2009, San Patrignano 26-28 June 2009

The iGuzzini “Better Light for a Better Life”advertising campaign won first prize at TP 2009“Communicating sustainability”, with the citation“Best advertising campaign, characterised by strongcreativity expressed through traditional media”.The award, promoted by the “Italian Associationof Professional Advertisers” in collaboration withthe Piedmont Regional Authority and its “Uniamole Energie” (Unit our energies) campaign, calledfor a message able to transmit values associatedwith eco-sustainability, such as would encouragethe public to consider environmental issues and promote responsible behaviour in this area. The award ceremony was held at San Patrignanoduring the TP convention, which ran from 26 to 28 June.

International Design prize Baden-Württemberg 2009Ludwigsburg, 16 October 2009

The Stuttgart Design Center announced itsInternational Design Prize for 2009 as “Focus Open”. For 9 years running, previously, this important national award of the Baden-Württemberg region had a single theme. For the tenth anniversary, by contrast, thecompetition was opened up to all productcategories. For this international competition,accordingly, the jury looked solely at the qualityof the design: manufacturers and designers were invited to submit products that had been on the market no more than two years. The jury members met in mid-May, and selectedthe winning products from 438 entries. The Lux fixture, designed by Gerhard Reichert,was the winner of the “Focus in silver” award.The presentation ceremony will be held inOctober 2009.

iGuzzini wins DAFZA award

Dubai, 29 June 2009

iGuzzini illuminazione Middle East, based in Dubai, was awarded the Eco-sustainableOffice Award offered by DAFZA (Dubai Airport Free Zone Authority), the body thatmanages the ‘Free’ area of Dubai Airport - i.e. a location where businesses can be set up without local sponsorship. In the otheraward category - safety at work - the winner was Airbus Middle East.The adjudication committee first selectedcandidates for the award, and then visited each of the short-listed companies at theirpremises. The awards presentation ceremony, held on 29 June, was attended by Nasser Madami, assistant to the CEO of DAFZA, and by Ahmed Al Hashimi, Executive Director of Corporate Services.

IncontroluceSix-monthly international magazine on the culture of light

year XI, 20

RedazioneiGuzzini Study and Research CentreFr.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

PublisheriGuzzini illuminazione spa

Contributors to this issueiGuzzini illuminazione China Ltd.iGuzzini illuminazione Deutschland GmbHiGuzzini illuminazione España S.A.iGuzzini illuminazione France S.A.iGuzzini illuminazione Schweiz AGiGuzzini illuminazione UKK-light Lighting technologies Ltd. Tepta Aydinlatma, Turkey

Cover photoHengzhong Lv

Printed: October 2009Tecnostampa, Recanati

II. 200920 Incontroluce

Errata corrigeIncontroluce 19

On page 46, the name of the architecture firm Lewis& Hickey was indicated wrongly as Lewis & Hockey

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

Massimiliano Fuksas / Philippe Proisy / Renzo Piano Building Workshop /Studio Indik / Steven Holl Architects / Morton Wykes / Jiangsu CenturyArchitecture Design Co. / Santiago Calatrava / Estudio Mariscal / DavidChipperfield Architects / Iren Jaromi Ybl - Gyula Kiss DLA Ybl / Herzog & De Meuron / Beat Schöpfer / Hans Joachim Adam

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