I. 201123 English edition

Dear readers,

Italy is celebrating 150 years of unification. From a “geographical expression”as it was defined at the start of the nineteenth century by Klemens Wenzelvon Metternich, plenipotentiary of the Austro-Hungarian Empire, today Italy is a modern nation with an important role in the world. This was achievedthanks to its history, the beauty of its landscapes, its thousand-year-oldculture and the greatness of the artistic masterpieces produced throughout the centuries.In the last 50 years the international image of our country has also spread thanks to the creative and productive capacities of companies: products Made in Italy.Today, outside our country, the term Made in Italy is synonymous with passion and culture, above all bringing to mind beauty, quality and creativity.These are terms associated with Italian production by more than 70% ofChinese and U.S. opinion leaders interviewed for a recent surveycommissioned by Comitato Leonardo. For many, these terms are associated with traditional sectors - textiles andfood - but they have gradually spread to more modern sectors, in particularthose of furnishing and design. The roots of products Made in Italy go deep in our country. To find them you have to know Italian territories, cities, towns,“savoir faire” and expertise of the entire production chain network. It is this“network” system which is characteristic of contemporary Italian production,consisting of the coordination of small businesses around a specific territory.Today, Made in Italy is the only production system in the world where thedesigner is involved at all stages of the design cycle: devising, production,distribution and, above all, consumer processes. Even if they come from another country, any designer, once they have worked with our system, becomes “Italian”. The international architecture projects we have presented over the last 13 years of “Incontroluce” are examples of Made In Italy around the world in the sector in which our company operates.

Adolfo Guzzini

Editorial

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Contents

I. 2011

Editorial

DesignItalian light for the Chinese Ministry of the Environment

ProjectsRolex Tower

Lighting for a new Sanofi Aventis building

Northbridge Piazza

The German National Museum and the permanent exhibition “Renaissance - Baroque - Enlightenment”

Faraone Store

International School of Zug and Luzern

Official presentation of the new MACRO

The Briggait

A biodynamic light for the frescoes of Villa Farnesina

Design Museum Holon

Headquarters of the Banco Nacional de España

New Opera District Desigual Store

La Porta del Parco Auditorium

Luxury for offices in Boulevard Saint Germain

Woodland Trust HQ

Shirvanshahs Palace Complex

Domestica showroom

New Pirelli building

IBM Software Executive Briefing Center

Company cultureRon Arad: Restless

Anticorpi / AntibodiesFernando and Humberto Campana1989-2010

LED - Lighting Exhibition DesigniGuzzini Denmark

Dean Skira guest of the iGuzziniWorkshop “Light, art, technology”

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Italian light for the Chinese Ministry of the Environment

Beijing, China

Design

Building 4C is the site of the Chinese Ministry of the Environment. Designed around the concept of sustainability in its many forms such as: adaptability,recognisability, energy sustainability and accessibility, this building helps to enhance thelocal identity. Adaptability to the environment and harmonious inclusion in the urbancontext influenced its architecture. Through the architecture, the building takes onrecognisable aesthetic and formal features, making it easily identifiable in the urban landscape of the capital.The lighting adds to this, highlighting its distinctive architectural features. The north facade represents closure, due to the need to screen the building from the busy road network, protect it from cold northerly and north-westerly winterwinds, and the client's specification that this view should have a serious appearance. The facade appears monumental and compact. Occhiuto, the architect, designed a huge parallelepiped, suspended on a two-storey glazed area, created using largestone slabs and marked by horizontal and vertical slashes which expose theopenings. The basic grid is interrupted and given dynamism by the presence oflarge-scale elements: two double-height balconies and one single-storey balconywhich accentuate the idea of emptiness, and a glazed cut (the crash room)extending vertically through the entire building and coming out of the facade,representing the idea of fullness.

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Photographs: LV Hengzhongrendering by kind permission of Francesca Storaroportrait: Rino Malgrande

1. Building 4C lit according to the colours of “The Four Seasons”

2. Design rendering “The Four Seasons”

3. Rendering “The Earth”

ClientChinese Ministry of the Environment

Architectural designmOa - Mario Occhiuto Architetture

Lighting designerFrancesca Storaro

Structures and plantsFMi- Favero & Milan ingegneria S.r.l. a.

Partner AssistanceiGuzzini illuminazione iGuzzini illuminazione China

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Italian light for the Chinese Ministry of the Environment

Design

Francesca Storaro highlighted these four elements with different shades of colour,inspired by the four seasons, representing an evolving environment.They generate changes in the environment, following an evolutionary, climatic and colour sequence. The lighting idea is therefore to show the environment and thearchitecture which represents it in this building through the four seasons and theirsymbolic colours. The seasons are a symbol of the regular renewal of nature and are closely linked to the astrological tradition of celestial influences on the sublunaryworld; they follow the rhythms of nature and human life; they express a cyclical idea of time. In Greek and Roman mythology the gods of Olympus for the seasonswere: Flora for spring; Demetra for summer; Dionisis for autumn; Saturn for winter. The seasons also correspond to the basic stages of our lives: birth (spring), maturity (summer), decline (autumn) and death (winter).In contrast, in China the four seasons are represented by: the chrysanthemum(autumn), the plum (spring), the peacock (winter) and the lotus (summer).Francesca Storaro represented each architectural element with a specific season.So, she attributed to the vertical windows, which express movement, growth,development, the value of Spring, of the element Air and represented it with thecolour Dark Blue, which is the colour of thought, freedom, sensation, intuition. The horizontal windows represent stability, the line of the earth, the horizon, or a resting person, a static form, like the Autumn and the element Earth.Autumn is represented with the colour Orange, which is the colour of growth, love, the family unit, passion and emotion. These horizontal and vertical windows are lit with Glim Cube RGB luminaires, curved in the horizontal windows and linear for the vertical windows.

4Francesca Storaro

An architecture graduate, since 2007 Francescahas been a lecturer and member of the managingcommittee of the Accademia della Luce (Academyof Light). She is a member of the leadingassociations of Lighting Designers: AILD (ItalianAssociation of Lighting Designers) AIDI, PLDA,(Professional Lighting Design Association), IALD(International Association of Lighting Designers).Since 2009 she has taught level 2 EuropeanSocial Fund Masters courses for architectural and artistic lighting engineering experts at theFaculty of Architecture in Venice. Also since 2009 the international architecturallighting review “Mondo Arc” has included herfirm amongst the 50 most important LightingDesign firms in the world. Her most prestigiousand most recent work includes: lightingconception, architectural design, lightingengineering and supervision of works for theVenice Biennial Exhibition, the 55th Exhibition of Cinematographic art, the lighting of Piazza del Campidoglio in Rome, for fashion week, the lighting design for Palazzo d’Arnolfo in San Giovanni Valdarno, the lighting design for Castello Visconteo and Piazza Sant’Antonio in Locarno, Switzerland, the lighting of theCorreggio domes in Parma, lighting for the Villini delle Fate in Rome's Coppedè district, and lighting for building 4C in Beijing, the site of the Chinese Ministry of the Environment and for building B2 at the Shanghai Expo 2010, both projects by Mario Occhiuto Architects. She has also worked with architects such asMassimiliano Fuksas, engineering firms such as Favero & Milan, and artists such as MarioCeroli, as well as working on the set-up for many exhibitions dedicated to Vittorio Storaro.

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4. Rendering “The Moon”

5. The building with the colours of “The Four Seasons”, from various angles

The Crash room is a solid area projecting out from the building facade, representingfullness and prosperity. So it is associated with Summer, with the element Fire and the colour Red, a symbol of vital energy: the sign of all things positive, impulses,power and conquest. The red is created by Linealuce RGB. The balconies have lost portions, they are created by subtraction, empty spaces whichrepresent something missing, aridity. So they are likened to Winter, to the elementWater and the colour Green, the symbol of knowledge, mystery, destiny. In this casePlatea RGB spotlights were used. The building's government function made it necessaryto give the facade an official and monumental look. The two parts anchored to the ground on either side, representing stability, and thetriangular feature on top of the building, a symbol of solemnity, become the fifthelement, the quintessence, the joining element. They are the sum of the cyclical idea of time, expressing the year, and they are represented by the colour White: pure light,the colour of all colours since it encompasses them all. It has always been the symbolof Purity, Candour and Wisdom. It is the colour of energy. Since the seasons are closely linked to the astrological tradition of celestial influenceson the sublunary world, when the cycle of the seasons is finished, dynamicallycontrolled, the architectural elements featured in the building (horizontal and verticalwindows, empty and full areas) will all be lit by the symbol of the Moon, the colourLight Blue, until midnight.Then from midnight to dawn, said elements will be returned to the symbol fromwhich the environment comes, the Earth, symbolised by the colour Orange. The colour changes and phases are managed by the MasterPro Lighting ManagementSystem.

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Rolex Tower

Dubai, United Arab Emirates

Projects ClientAhmed Seddiqi & Sons

Architectural designSkidmore, Owings e Merrill - NY office

Lighting DesignerBPI Shangai office - Chiming Lin

The first Rolex Tower in the Middle East wasunveiled in Dubai, in the presence of numerousguests and journalists. The complex, with aspectacular glass facade reflecting the city'scountless lights, was designed by architectural firm Skidmore, Owings and Merrill. The Dubai tower has 25 storeys of flats,including two penthouses, as well as 31 storeys of commercial spaces. The extremely simple parallelepiped shape seems to be covered with a veil thanks to the use of glass with a milky effect. In contrast, the upper part of the building loses its opaqueness, turning transparent with an effect similar to that of the pixels of digital images.The architects and the Lighting designer wanted to recreate the same type of pixelated effect at night. Therefore since the building was first lit up in February 2010, 800 special LEDluminaires with a diversified switch, have beenmanaged by a control system (storey by storey)set up by iGuzzini. The control system has beenrecreating the tower's daytime milky effect whichgradually turns more and more transparent thefurther upwards it goes. The night-time appearance also includes moreintense lighting at the top of the building, with a kind of torch effect, as if the building werecrowned to resemble the Rolex logo. The final lighting was achieved after a process in which three different iGuzzini branches eachdeveloped a part of the complex project.

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Photographs: Oliver Jackson Photography

1. The Rolex Tower in the city context. The torch effect wanted for the top of the building is clear

2.3. Different switch on phases for the special product

Turnkey ContractorDCC -Dubai Contracting Company

Partners AssistanceiGuzzini ChinaLighting engineering design consulting service

iGuzzini ItalyDevelopment and production of the special product and the control system iGuzzini MEOnsite support, Mock Up and installation

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Lighting for a new Sanofi Aventis building

Massy, France

Projects ClientSOGAM

ArchitectsFranco CianfaglioneSCGMA (Société CianfaglioneGravereaux Maroun Architectes)

This complex, initially intended to accommodate2,500 people, is in a protected area built in rue deParis, a road linking the motorway to the city centrein Massy. Built on a 6 hectare area, the projectmeets the requirements of the city of Massy: linkingthe business zone with the residential zones in the city centre, gradually switching from urban tonon-urban, acting as a transition point between the various functions of this Essonne city.Aside from that requirement, the aim was alsoto find a balance between the need for visibilityrequested by investors for this office buildingand the need for urban harmony.

The design creates a break because of its size,but perfectly fits in with the town planning.It is built of the same materials that were used inthe residential sector: bricks, glass and concrete.The main facade is a huge glass box and thebuilding gradually becomes less closed andrepetitive. The further you get from it, the otherfacades are increasingly disorderly: the brick,timber and openings are positioned randomly.The creation of 15 m wide visual faults and the addition of a glass walkway give a 250 mbuilding that is dynamic rather than repetitive or monotonous.

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Photographs: Didier Boy de la Tour

1. The building's main facade

2.3.4. Rear view of the building with green areas

Studies officeBETHAC

FitterPhibor (Vinci group)

LandscaperEmeraude PaysageChristophe Besson

Partners AssistanceiGuzzini illuminazione France SA

It succeeds in avoiding noise and environmentalpollution, offering a meeting place, somewherefor relaxation and wellbeing. These are the project guiding values: it wasessential, for the tenant and the architect, tohighlight the functionality of the work stations(clear, tranquil and restful, to promote concentration)as well as the warmth of the spaces outsidethe working areas.The two contrasting treatments used for theinteriors also bring to mind the contrast betweenthe geometrical, rigid and cold exterior, and theinterior with its undulating curves and red colour.

Delivered at the end of 2009, the 39,000square metre building today accommodates1,200 employees of Sanofi Aventis. The project includes a giant hall with a well of light, a cafeteria/restaurant with a glass roof,three underground parking levels, an archivelevel, a landscaped garden, an area forwelcoming visitors, a 350-seat auditorium,meeting rooms with mobile walls and even a gym and a locker room. In terms of lighting,during the day all of the offices are lit by naturallight from the faults which run from floor toceiling. Artificial light takes over at night.

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Lighting for a new Sanofi Aventis building

Projects

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The luminaires used for the interiors are Minilaser,Pixel Plus, Laser and Pixel. The auditorium is lit with Deep Frame luminaires.The interior corridors are covered with red plates, from the hall to the garden and lit withMaxiWoody spotlights, in some cases evenground-recessed. In the hall iRoll luminaires are supplemented with Le Perroquet pendant luminaires and above the reception desk there is an indirect light Le Perroquet. The gardens have many water features and grassy areas to help integrate the building into the surrounding environment. Bliz, iWay and Pencil luminaires are mostly used in this area. At the front of the building, the glass main facade is lit by Lavinia luminaires, pole-mounted and in the wall-mounted version applied on pillars.

3.4. Two architectural details

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Northbridge Piazza

Perth, Australia

Projects ClientCity of Perth

Urban DesignerCity Design

Lighting DesignerWSP Lincolne Scott

Part of the Perth local government project torevitalise the area of the city which welcomespeople with its restaurants and entertainment,Northbrigde Piazza offers an open space wherethey can sit and relax, partly thanks to thepresence of an LED maxi-screen, even visible fromthe shops and restaurants which line the Piazza.The lighting design, by WSP Lincolne Scott is

linked to the sense of safety and relaxation that thezone was required to offer. Mondoluce provided the technical support neededto identify the best product for creating a welcomingatmosphere. Woody floodlights were installed onpoles to light the grassy area at the centre of thepiazza, giving a suitable and comfortable lightinglevel for the Piazza and its visitors.

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Photographs: Ron Tan

1. Lighting in the streets leading to the Piazza

2. View of Northbridge Piazza

Electrical ContractorDowner Electrical

Partners AssistanceMondoluce

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The German National Museum and the permanentexhibition “Renaissance - Baroque - Enlightenment”

Nuremberg, Germany

Projects

The inauguration of the permanent exhibitionentitled “Renaissance - Baroque - Enlightenment”at the German National Museum in Nurembergsince 17 March 2010 marked the official end torestructuring work on the gallery dating back tothe 1920s and protected as historic and artisticheritage. At the end of a six year period ofplanning and construction, the biggest museumof German art and culture presents the core ofits collections in new splendour. The new exhibition of treasures dating back tothe period from the sixteenth to the eighteenthcentury on the upper floor of the gallery wascreated by applying state-of-the-art museologicalcriteria, adhering to an innovative content-related concept. The art of the early modernperiod, including masterpieces by AlbrechtDürer, Lucas Cranach and Veit Stoß is displayedin the relevant historical - cultural context topromote a complete understanding of the actualculture of centuries gone by. The time periodextends from the discovery of the New Worldaround 1500 to Rococo and the Enlightenmentof the late eighteenth century.

A thousand items on display, from paintings tosculptures, textiles, coins and medals to piecesof furniture and musical instruments, bringing to life three centuries of German cultural historydivided into themed categories such as“Pilgrimage”, “Reform” or “Nature and antiquity”. The Erlangen-Nuremberg State MunicipalTechnical Office (Staatliche Bauamt Erlangen-Nürnberg) was given the job of designing andimplementing restructuring of the gallery andthe new display architecture of the upper level.The main aim was to protect and optimise the historically important heritage items: eliminating construction elements added over

the years. As a result, the building's originalarchitectural structure re-emerged. The designer's main objective was also toemphasise the elements displayed, making the display architecture merely functional. A presentation system with the structure of a unit or a whole makes the 33 rooms, partly extremely different from a constructionviewpoint, seem like a single display body. Even the lighting design by LichtVision of Berlin was inspired by this basic principle,giving priority to the best possible visibility of the works on show, whilst the luminaires had to blend in as far as possible.

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Photographs: Lothar Reichel

1.2. Set-up of the rooms

ClientGermanisches NationalmuseumNürnberg

Lighting DesignerLichtVision Berlin - Thomas Müller

DesignerErlangen-Nurmberg State Municipal Technical Office - Jürgen Wolff and Florian Kutzer(Staatliches Bauamt Erlangen-Nürnberg)

Partners AssistanceiGuzzini illuminazione Deutschland GmbH

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The German National Museum and the permanent exhibition “Renaissance - Baroque - Enlightenment”

Projects 3.4. Set-up of the rooms

This idea was implemented with light ceilingsusing daylight and artificial light in the largerooms, together with accent lighting fromTecnica spotlights which were also fitted in the toilets where they are the main lighting,unlike in the large rooms where their effectmimics daylight. Special diffusing filters allow a delicate transition between cones of light and a harmonious effect on the display walls. For optimum reproduction of the colours of the paintings halogen lamps were used.

The lighting is combined with a complex control system which guarantees constant light intensity, protecting the items displayed.In the rooms lit from above, daylight is regulated in the roof by special plates in the air gap between the sheets of insulatingglazing. Light sensors in the roof space and in the collection rooms measure the light intensity present and control the shadingsystems and the amount of artificial lightnecessary.

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Faraone Store

Milan, Italy

Projects ClientFaraone Jewellers

Architectural and lighting engineering designIosa Ghini Associati

The concept behind the new Faraone jewellerystore in Via Montenapoleone, Milan, assigned to architect Massimo Iosa Ghini, is inspired by an idea of preciousness characterised byenveloping forms which outline the space and describe an elegant, refined display. The design was guided by the quest forequilibrium, in the architect's own words: “The dry symbol of a cut, polished and limpidstone, the fluid of gold and precious metalsenclosed in an elegant wooden cover… They need to be put together in the correctproportions to obtain a space which makes the most of the contents and which is pleasing to all of the senses of those working andshopping there”. The interior was created using traditional materials, with very carefullychosen sophisticated finishes: different woodspresented with shades of colour tending towardsgrey, amber glass, brass and bronze colouredmetals, soft leather for the seats. The rooms are enclosed in moulded woodpanelling, which appears throughout the space.

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Photographs: Santi Caleca

1. Shop windows on Via Montenapoleone

2.3. Views of the interior

The glass display cases with square linesintersect and penetrate each other. The jointscreate glints of light and innovative overlaps.The perimeter walls are completely dedicated to displays and extend with luminous glassdisplay cases emphasising the natural colour of the stones. Emerging from these long shapesthere are others extending towards the centre of the space until they meet up with thesinuous bronze coloured bands. The seats arecovered with soft tan leather. The upholstery is encompassed by a hand-polished band ofbrass. On the floor, a carpet marks out theconsultation and sales areas. The atmosphere is warm and inviting.The lighting consists of three elements: thetheatrical pendant luminaires made to order by a craftsman; the LED lighting for thewindows, specifically to emphasise the jewelson display; the Deep Minimal metal haliderecessed luminaires which supplement theother lighting and even it all out.The boutique is set on two storeys, linked by a staircase screened by an imposing wall ofmultiple sheets of coloured glass, in bronze and amber-yellow shades. On the first floor, the sitting rooms are for customers who preferto have their own dedicated space and morepeace and quiet. Cesare Settepassi, like a truefamily jeweller or a contemporary metropolitancraftsman, is always available to customers and those asking for his advice, vision andopinion. Attentive and discrete, he is alwayspresent both at the ateliers and in the jewellerystore, witness to the history, a past and a futureat the service of the “family” which hasexpanded to include all who show a love forbeauty, style and good taste.

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International School of Zug and Luzern

Baar, Switzerland

Projects ClientFondazione Don Bosco

Architectural and lighting engineering designGermann & Achermann AG

The International School of Zug and Luzern(ISZL) is an important feature in Baar: around1,200 students from 50 countries are registeredat the school which uses an international syllabus.The ISZL has 3 sites: Baar, Hünenberg andLucerne. In Baar, under the direction of architectural firm Germann & Achermann, a new secondaryschool building was designed and built. The main body consists of the Hall, a huge,construction which is half sunk into the ground.The three-storey school building is a woodenstructure with a glass and metal facade.The entire building meets MINERGIE® standards,a quality label for new and refurbished buildings.

The label is jointly supported by the Swisseconomic establishment, by the Cantons and the Confederation. That also involves compliance with speciallighting requirements. The designers also had to take into account that the new buildings aredivided into three different sectors: the “generalzone”, indicating parts of the building such ascorridors and stairwells, the classrooms and the Hall. The general zone is mostly lit withSistema Easy luminaires using PL-R fluorescentlamps which, despite their low power, have a greater output than conventional lamps. So, with a small number of lamps, it waspossible to provide the overall lighting power

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Photographs: Günther Laznia

1. The school's interior lighting seen at night

2. Lighting of the double-height hall, with spectacular effects on the walls

Electrical installation designerScherler AG

Electrical installation fitterErzinger Eugen AGHans Müller AG

needed, at the same time ensuring optimumcompliance with Minergie requirements. A Mini Light Air lighting system was used in the classrooms, automatically adjusting toexterior lighting conditions, providing only thelighting needed to supplement natural light,which was an essential factor to guaranteeoptimum conditions for teaching. The pendantMini Light Air luminaires give out only 70%direct light, the remaining 30% being indirect,producing a very pleasant lighting effect.The Hall, which at eight metres is double height,had to be fitted with lighting able to allow theset-up of big exhibitions, meetings and theatricalperformances. Powerful Reflex recessedluminaires were used, avoiding glare.Finally, the foyer lighting consists of LED PixelPlus luminaires, on one hand satisfyingMinergie requirements relating to maximumemission per square metre, and on the othercreating lighting effects which emphasise thefoyer compared with the other areas. Overall,this resulted in a building with a 4,800 squaremetre surface area which, with its modernstructure, is a hugely effective stylistic contrastwith the adjacent neo-baroque style church.

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3rd December 2010 saw the inauguration andpresentation to the public of the new MACRO(Rome Museum of Contemporary Art). Winner in 2001 of the international competitionorganised for that purpose, the design byarchitects Odile Decq and Benoit Cornette suitsthe district and the cultural institution located in it, embedding but not forgetting to open up to the city to promote cultural awareness. The result is a beautiful structure, with a round interior route, two openings to the roads and slipping into the sky at the roof. The museum which now opens onto two roads has two contrasting visual aspects,

Official presentation of the new MACRO

Rome, Italy

Projects ClientCittà di Roma (Rome City Authority)

Works supervisionCittà di Roma

Museum Director Luca Massimo Barbero

the old and the new. The old entrance is fromthe old stables side giving onto via ReggioEmilia, the courtyard covered by glass and thetwo wings linked by galleries and the basementforming the museum's first building. The new entrance is under the glass bow of the new extension, pointing towards via Nizza, an extended square of a courtyard planted withJapanese ailanthuses and full of gravel, leadingto the heart of the new building.Its space is gradually discovered by movingaround the red monolith of the 200-seatauditorium which is the heart of the building andattracts people from all sides, located on a floor

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of black basalt which was also used for Romanpaving. The light filtered by the glass above cuts through the shadows of the beams andpreserves the half-light. The glass roof bySimone Prouvé, creator of the fine steel framesin the layered glass, does its job marvellously,dialling down the light without making shadows. The black-painted high side walls, like the metal framework, extend the distance to the sky and close the box around the ruby block. Both mingling hall and central foyer, this tallirregular room is surrounded by a mezzanine leveland crossed by silver coloured metal hangingwalkways directing one's view with arrows.

Photographs: iGuzzini Archive

1. The foyer with the red monolith

2. Some of the hanging walkways seen from above

Architectural and lighting engineering designOdile DECQ Benoit CORNETTE architectes urbanistes

Main contractorCDG

Main contractor for finishingCLM

Partners AssistanceiGuzzini illuminazione FranceiGuzzini Rome

The big gallery (1,200 square metres) extends at an angle below a black steel structure, whose arches are from 8 to 12 metres high.Suspended from its arches, a walkway gentlyclimbs the space towards the upper terrace,offering visitors a view of the works displayedand ending on the terrace tiled with black basaltwhose centre is dominated by the angled surfaceof the hall's glass roof, across which a slice ofrefreshing water flows, a clear reference to thefountain decorating any square worthy of itsname in Rome. At the side of this “hanging”square one finds the umbrellas of a cafe -restaurant.

An extension of the mezzanine level and on theline of a staircase, the cafeteria is in the bow,dominating the entrance, with one eye on theroad and the other on the entrance courtyard.The red-lacquered irregular polyhedron of theauditorium surprises with its matching interior.With a satin-finish exterior and gloss interior, it is lit with Linealuce luminaires hidden in the ceiling and directed at the speaker. The MACRO lighting design was created in close collaboration with architect Odile Decqand museum director Luca Massimo Barbero,who provided details of the requirements fordisplays and management of the spaces.

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Official presentation of the new MACRO

Projects

With technical advice from iGuzzini, the museum'stechnical sponsor, but above all a partner companyin the true sense of the word, the most suitableluminaires for the different needs of the variousareas were identified. In the “Black Room” blackiPro 150W discharge luminaires were used fordiffuse light and black Metro pendant track-mounted discharge luminaires for lighting the itemsdisplayed. The “Small White Room” was lit usingwhite fluorescent Linealuce luminaires, managed

by a control system, for diffuse light and by whiteTecnica halogen spotlights to light the works of art. There are also white fluorescent Velaluminaires for a wall washer effect. Communalareas are lit with black Le Perroquet halogens and black fluorescent Linealuce luminaires. The hall linking the old MACRO with the newMACRO is lit with white fluorescent Linealuceusing a control system. The entrance hall usesiRoll 65 discharge luminaires with up/down

lighting. The “Art and Video” room is lit with DeepMinimal luminaires managed by a control system.For the exteriors we used ground-recessed Ledplusluminaires and for grazing light on the interior ofthe roof Radius discharge spotlights. Thanks to our role as technical sponsor, iGuzzini also madeavailable to the museum a number of Tecnicahalogen spotlights and Parallel dischargeluminaires which can be added for impromptuexhibitions.

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3. The “Small White Room”

4.5. Scenes from the press conference

Some questions for Odile Decq

Where does the MACRO design come from?

The MACRO design came from the city, not just because it was the client, but because its structure, composition and essence gotinside the MACRO to create this design with the front square and the upper square andbetween them the walkway, the pathway, the route, perfectly reflecting the way the city of Rome is laid out. So that you can wander from one square to the next. For me, that is the essence of Rome, of the city, which went into the museum. Also, the basalt floor is the same used for the roads of Rome. So, the city goes into themuseum and the museum is open to the city.

There is a lot of light in here. What were youthinking in terms of artificial and natural light?

Nowadays museums, especially museums of contemporary art need natural light, so we had to make sure that it could easily entereverywhere in the museum. That's why in the exhibition rooms you findthese huge windows. But at the same time, we need to protect against too much naturallight when an artist wants to work in moreartificial conditions, or when night falls. That's why artificial light was also necessary, so that we could light the entire space, inparticular the exhibition rooms, allowingexhibitors to focus attention on certain points,depending what they most wanted to do. But things are different here in the foyer: this is a communal area, with works of art. So in some places we have to focus the light, but generally speaking the museum isimmersed in natural light, and in particularin an environment in which little by littleartificial light substitutes the natural light, but can't be too different.

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The Briggait

Glasgow, Great Britain

Projects ClientWASP Foundation WASP’s Artist 1 Studios, Glasgow Sculpture StudiosCity of Glasgow

Architectural DesignNicol Russel, Broughty Ferry

The Briggait, the popular term in Glasgow for this building which is the old fish market alongthe river Clyde, is next to a seventeenth centurybell tower that is a distinctive feature of theGlasgow skyline. Glasgow architects Clarke and Bell produced the original design for the Briggait, inspired by Les Halles, the great market in Paris builtbetween 1845 and 1854. Inaugurated in 1873 as a fish market, it was extended east in 1899and in 1903. When the fish market transferred outside the cityat the end of the ‘70s, the Briggait was no longerneeded and the Municipal Council thought aboutpulling it down. But the charity called the BriggaitTrust was set up to save the building and convertit into a shopping centre, although within a fewyears it had fallen into disuse. The Council is currently applying an overallstrategy for the city, the “Housing the Visual Arts Strategy”, also supported by Scottish ArtsCouncil Lottery funds, which has seen therefurbishment of this building, which will house11 organisations working with visual arts andwill create a dynamic artistic district. The Briggait consists of three large halls fromthe former fish market, which have been emptyfor a decade. The building can accommodatearound 250 artists, in 71 affordably priced,good quality studios, a purpose-built sculpturelaboratory, and multimedia structures, aspecialist library and a series of creativeindustrial units. Electrical consultancy Buro Happold askediGuzzini to help with the specifications for the lighting of the main hall and exterior lighting on this project. The inside of the main hall is lit with iRollluminaires. 1

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Photographs: Peter Iain Campbell

1. Facade lighting

2. Main hall lit with iRolls

Electrical installation consultingBuro Happold

Electrical installationMitie

Main contractorMorris and Spottiswood

Street), the columns are lit with Light UpProfessional ground-recessed luminaires. Their light flow combines with that of theMiniwoody CDMTC luminaires fitted behind the columns to increase the illusion of depth. On the Bridgegate side Light Up Professionalrecessed luminaires are again used to emphasisethe columns, together with Linealuce andMiniwoody, as well as some Radius floodlights for the three windows at the top of the facade.

They are columns mounted on the original iron columns whose rustic charm is due to their basic style and irregular finish. Ambient lighting is obtained using these product in the compact fluorescent and metal halide versions. The cylindrical shape reflects that of thecolumns and the product is more functionalthan showy. The exterior lighting covers twovery different facades. Along the river (Clyde

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A biodynamic light for the frescoes of Villa Farnesina

Rome, Italy

Projects Director of the National Roman Museum at Palazzo Massimo alle Terme Rita Paris

Technical DirectorMauro Petrecca

the public through Roman history and artaccording to themes. This museological approach also allowsexperiments with a correct museological system: in the various sections the different nature of the finds is tackled with the correct lightingengineering tools, the right wall colours, the most suitable supports, the clearest captions and all other measures necessary to put the works into context and facilitate the visitor'sexperience, in terms of emotion, teaching, a critical or interpretative approach.

The new set-up of the section dedicated to thefrescoes of Villa Farnesina is part of the frameworkfor updating the exhibition criteria at the NationalRoman Museum at Palazzo Massimo alle Terme.The main aim was to create, in the correctchronological and philological order, a visual routein which the different sections are independentzones of experience, treating them as chapters ofthe same story but which are independent of eachother. The huge quantity of works and finds whichare so diverse in terms of materials, techniques,size, colouring and state of preservation can guide

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Photographs: Roberto Lucignani

1. Reconstruction of the large triclinium, with illuminated barrel vault

2. One of the rebuilt spaces

Architectural design and lighting designStefano CacciapagliaCarlo Celiawith Anna Marcucci and Marco Tondo

Lighting engineering consulting serviceCarolina de Camillis and Riccardo Fibbi

In Villa Farnesina the layout of the rooms wasredesigned with the aim of recreating, as far aspossible, the original sequence of perceptions:the positioning of the rooms, of the frescoes andthe mosaics follows (as far as is allowed also by the new internal layout of a museum space)a plausible sequence. From the long fresco ofthe Cryptoporticus, its pattern marked by thepainted decorations (in which unfortunately thegaps are much larger than in the frescoed parts,but which was deliberately put back together to include large spaces) the visitor reaches,thanks to a rich didactic element, the large hallhousing the reconstructions of two Cubicula andthe Triclinium. Here the positioning of the roomsand the perspective and chromatic sequence allowone to relive the perceptions of the space in a wayvery similar to the original condition. The coveringsof the areas and the walls are grey and thegeometry is absolutely basic to avoid interferingwith the colours of the frescoes, above all with the large black fields of the triclinium.The crucial choice in designing the display forthis section relates to the criteria for lighting the works. The designers decided to continuewhat was started with the rooms of the Villa di Termini, where ‘shadowless light’ wassuccessfully used, and with the painted gardenof the Villa di Livia, which was the site of thefirst experiment with ‘biodynamic’ light: artificiallighting used to reproduce the variability ofnatural light which affects the perception of the colours of frescoes. In the large triclinium a heat-stretched sheet with shape memory wasused to recreate the geometry of the barrel vault, deconstructed in the contemporary way.From this sheet, forming an artificial ceiling,diffuse light rains down, ‘without shadows’, so that the grain of the material does notpredominate the preciousness of the paintings.

Graphical DesignMonica Colawith Raffaella Cola

Displays byFabrizio Meloni S.r.l.

A control system manages the short lightingcycles, which in a hundred seconds simulate the natural variation of the colour temperatureand intensity of daylight throughout the day(2700K - 6500K), with the correspondingvariation in perception of the colours of thefrescoes. This means that the visitor canappreciate, in these one hundred seconds, the colour changes that take place in an entire day. As regards preservation of the articles, the presence of the translucent sheet allows a significant reduction in harmful radiation corresponding to UV and infrared wavelengths.

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A biodynamic light for the frescoes of Villa Farnesina

Projects 3. Cubiculum

4. One of the connecting areas

The biodynamic lighting was set up using lampswith different colour temperatures varying between 2700K and 6500K, managed by theLight Equalizer control system.In the Cubicula the work was made more ambitiousby the difficulty making both the frescoes and thestucco-work on the vaults clear: reconciling in thesame space the need for diffuse light and grazingindirect light. Again, the translucent sheet was used to recreatethe ‘artificial ceiling’, ideal for reading the frescoes,with the system for reproducing the daytime cycle,make this even more spectacular given the richand precious colours of the walls. A linear system

with LED lamps, completely hidden from view,completes the lighting equipment, using presettimers to supply grazing indirect light on thestucco-work of the vault, accentuating the relieffeatures thanks to the photometry, the orientationand the positioning chosen. In the connectingareas between the reconstructed rooms full offrescoes and teaching materials for the entiresection, the same “biodynamic” lighting system isapplied, with the invention of diffusers having a‘cuttlefish’ shape which, reproducing the shape ofthe frescoes, produce a soft wall washing effecton the painted surfaces, whilst the dispersed flowis absorbed by the grey background of the walls.

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Design Museum Holon

Holon, Israel

Projects ClientHolon Municipal Authority

Architectural designRon Arad Architects

ArchitectWaxman Govrin

In 2003 the Ron Arad Architects firm was askedto design the first national Design Museum tobe built in a recently developed area of the cityof Holon, a few miles south of Tel Aviv, intendedto become the new cultural and educationalcentre of Israel. The local authority commissionedthe Ron Arad Architects firms to design a museumthat would comply with international standards,having the important role of promoting design andarchitecture in Israel, but also abroad. The Design Museum at Holon (DMH) occupiesa 3,700 square metre area. The large square tothe north is a public area, as well as the accessroute for the Museum.

The features of the platform-style site are splitby the museum layout on two staggered levels,linked by an outside sculptural ramp, the mainroute around the museum. In this way, the paththrough the museum becomes moreexperimental, since it leads the visitor through a series of spectacular interior visions crossingthe museum's internal courtyard. The idea of creating and exploiting tensionbetween an interior layout of efficient “boxy”spaces and the dynamic, curving outer shell isthe guiding principle of the design of the entiremuseum. The largest part of the building isencircled by five separate ribbons of Cor-Ten

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Photographs: Uzi Porat

1. Museum exterior

2. One of the rooms

Structural designHarmel Engineering

Partner AssistanceLighting System Italy (1982) ltd

steel which ripple and snake into, out of and around the building's internal spaces. These ribbons are the structure's spine,supporting most of it structurally and at thesame time dictating its position relative to thesurroundings. The horizontal positioning of the ribbons is further emphasised by the tonesof the treated coatings and the wear and tear on the steel with the passage of time: both bring to mind the geological structure typical of the Israeli desert. The ribbons are always visible to the visitor and act as the visual thread running throughthe entire museum.

The museum's two main galleries provide anopposite and diverse base for the curator's work:the largest gallery, at 500 square metres, usesthe power of Israel's constant natural light and is lit with track-mounted Tecnica spotlights. The second, smaller gallery, measuring 200 square metres, offers a black box, allowingadditional flexibility. Exhibits can also bedisplayed along the museum routes (twoadditional “mini-galleries”) and in the exteriorareas surrounded by the Cor-Ten ribbons. Other spotlights used are Parallel luminaires as well as recessed Reflex, and iSign. OutsidePlatea, Kriss and Linealuce luminaires are used.

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Headquarters of the Banco Nacional de España

Madrid, Spain

Projects Architectural designEduardo Adaro and Severiano Sainz de la Lastra (nineteenth century)

Lighting engineering designIntervento

Partners AssistanceiGuzzini illuminazione España

The current headquarters of the Banco deEspaña (Spain's Central Bank) was establishedat the end of the eighteenth century to give theBanco Nacional a site more befitting theimportance of its functions, such as issuingcoins and banknotes to the whole of Spain,feeding and clothing the armed forces ormaking the Crown's payments abroad. It islocated in Plaza de Cibeles, at the heart ofMadrid, where Calle de Alcalá and Paseo delPrado meet. This symbolic building was designedby architect Adaro and inaugurated in 1891.

Since then it has undergone two majortransformations: in the 1920s the BancoNacional was extended according to the Yárnozdesign and in 2005 the final addition wasmade, designed by architect Rafael Moneo. The building had a traditional lighting systemwith old lights installed on the long balconies of the main floor, using mercury-vapour lamps. In 2001 Banco de España invited three firmswhich handle lighting, including Intervento, totake part in a competition to provide ideas inline with the following requirements: use of

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Photographs: Tomás Antelo

1.2. Different views of the building

modern technology and the most advancedtechnical resources for both lamps and controlsystems; minimum emission of light flowskywards, integration of the luminaires withminimum visual impact, general use ofsupporting and fixing systems which do notcompromise the integrity of the monument. The design created preserves the old lights, but substitutes their metal halide lamps with compact fluorescent lamps equipped with electronic transformers for regulating the light flow.

This type of lighting was backed up with a line of light obtained by installing Linealuceluminaires on the eaves running the length ofthe building. Although the system angles thelight upwards, there is zero light pollutionbecause the beam of light is very narrow andthe eaves screen the light flow and reflect itdownwards. The building's coping anddecorative elements were also put to good use,such as the balcony railings and the roof light,not forgetting the symbolic golden globe on theclock mechanism, lit by Maxiwoody 100 W

sodium lamps. The lighting system is basedentirely on LED lamps. Each luminaire can be adjusted, allowing different looks to be created. The control system is the Master Pro. The new system installed has brought areduction of 33.5% in the rated power and49.7% in the maximum power. Last but notleast, given the long working life of the lamps(50,000 hours), system maintenance isreduced to just two checking and cleaningoperations on the luminaires per year.

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New Opera District Desigual Store

Paris, France

Projects ClientDesigual - Abasic S.L.U.

Architectural designTurull - Sorensen Arquitectos SL

Interior DesignFederico Turull Neddermann

The store that Desigual has opened in Paris, inthe Opera district, has become the brand's new“flagship” in the French capital. Its more than 1,700 square metres, spread overthree floors and located at the centre of the city,therefore deserving of this epithet. The distinctiveness of the interior features ishighly accentuated. The continuous striving anddesire for innovation which are characteristic of the brand bring new features to the interiors,where the clothing is more than ever the starand an integral part of the decoration: treesmade from T-shirts in different shades, giantfabric flowers, bundles of material scrapsstacked on the shelves, walls covered withclothes from floor to ceiling.Fruit crates become tables for displaying newcreations as if it were a market. Blackboardswith messages such as “the T-shirts say Hi” orcustomised mannequins with the photocopiedfaces of employees attract attention in anentertaining way inviting passers-by to go into the shop and enjoy its real surprises.

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Photographs: Didier Boy de la Tour

1. A detail of the display

2. The shop windows

Partner AssistanceiGuzzini illuminazione EspañaiGuzzini illuminazione France

vapour ("mini white sun") lamps, mainly used for lighting the furniture and some panels. The spotlights are fitted with a honeycomb glass anti-glare screen to further increase visualcomfort. On the ground floor, clothes hangingfrom the ceiling at the entrance is one of thetrademark features of Desigual stores. They arelit by spotlights using 35W dichroic lamps with24° light cone.The shop windows are also light with spotlights,but in this case Tecnica luminaires. Some useQR111 50W halogen lamps with a spot optic,while others use 100 W sodium-vapour lampswith spot optic.

Lighting plays a fundamental role in creating the desired atmosphere. Suitable chromatic reproduction of the colourscharacteristic of Desigual articles and goodlighting contrasts are essential. Use is mainly made of halogen and whitesodium vapour lamps, which make the spacewarmer and more welcoming and enhance thecolours of the clothes. The lights are spotlights,with a pendant three-phase electrified tracksystem. Lux spotlights for the per QR111 50Whalogen lamps with a superspot optic, in particularlighting the panels along the perimeters, and 100WLux spotlights with spot optic for the sodium

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La Porta del Parco Auditorium

Naples, Italy

Projects ClientBagnoli Futura Spa

DesignersArch. Silvio d’Ascia with Servizi Integrati and IDI

Lighting engineering designSilvio d’Ascia and Servizi Integrati

The design for La Porta del Parco (Park Entrance),an Integrated Tourism Services Complex, the firstwork to transform the former industrial area of the Ilva di Bagnoli steelworks, began with anambitious and clear objective: to create a newpiece of city as an entrance to the large BagnoliFutura coastal park.La Porta del Parco was conceived as a large, open public space on several levels and withoutinterruptions between the interior and the exteriorof the complex, having big angled surfacesallowing the height difference of more than 8 metres between city level (Via Nuova Bagnoli) and the level of the future city park to be gradually overcome.

The continuity is also underlined by the use of dark grey ceramic material to cover thehorizontal surfaces of this area, a reminder of the volcanic rock in public areas in Naples.The Integrated Tourism Services Complex (total surface area more than 40,000 squaremetres, with around 16,500 square metres of basement level parking) is divided with an interesting functional mixture of differentactivities: in addition to two large publicsquares, it houses a wellness centre with Spa,swimming pool and fitness centre totallingaround 7,000 square metres, a 300-seatconference room, a 1,100 square metreexhibition area, a series of multi-functional

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Photographs: Barbara Iodice

1. View of the complex showing the auditorium and the Spa dome

2. Night-time view of the auditorium

Final design and worksSled SpA - Misha Rae

Works supervisionServizi Integrati S.r.l. - Nicola Salzano de LunaI.D.I. S.r.l. - Paolo Minucci Bencivenga

indoor and outdoor spaces, shops, bars, offices,600 parking spaces. The auditorium and theentrance dome of the wellness centre, two glass and steel "skylights", are the only things to emerge in the urban landscape with largeangled surfaces, both lit by iGuzzini. The auditorium of La Porta del Parco - a trueurban facade for the Complex on Via NuovaBagnoli - is compact and organic, completelytransparent, covered with a skin of low-emissionglass “scales”. In this building the idea of transparency linkedto the use of materials such as glass and steelwas combined with excellent acoustics thanksto the specific studies done and to solutions

which provide functional responses for bothacoustics and lighting. A series of melamine sound-absorbing tubesplaced along the vertical walls of the hall, atdifferent heights between the vertical structuralgirders at the metal crosspieces for the glassscales, guaranteed excellent acoustics in thespace surrounded by glass, while maintainingmaximum transparency towards the outside.In this way, during the day the auditorium reflects the surrounding environment, and during the night it becomes a beacon of light,always guaranteeing the best possible acoustics. In the hall of the Auditorium iTeka spotlights are applied to the arches for general lighting.

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La Porta del Parco AuditoriumProjects

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3. The dome at night

4. Auditorium hall

The 150W luminaire with asymmetric emissionis fitted in pairs, the light directed downwardsand upwards so that the uplighting gives soft,diffuse lighting that adds to the directdownlighting. In the foyer, visitors are welcomed with Tecnicaspotlights using 50W lamps, and large versionrecessed Pixel Plus luminaires with lampshaving various power ratings. The design of the new multi-functional structureof the Porta del Parco complex also complieswith energy saving and high environmentalquality requirements: alternative energy sourcesare positioned on two large angled facades to

the south and south-west of the continuoussurfaces. Monocrystalline photovoltaic panels guaranteeself-sufficient production of more than 20% of the complex's daily electricity requirements,corresponding to around 256,000 kWh/year. The design also allows for water recovery from spa sources, to be used partly in the SPAcentre treatment pools. The glazing of the two "skylights" is solar-control and reflective. Even the Spa dome is lit with iGuzziniluminaires: Platea, Tecnica and Ledplus. The recessed luminaires lighting the square are not made by iGuzzini.

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Luxury for offices in Boulevard Saint Germain

Paris, France

Projects ClientCRPNAC

ArchitectsDroles De Trames ArchitectesEric Chazelle and Henri Raynaud

BET TCEARETEC

The building, subject to a refurbishment projectto create offices, is in Paris's VII arrondissement,near the Eiffel Tower and Orsay Museum.Overlooking a courtyard in a real estate complexdating back to 1886, it has significant heritagevalue. It is laid out over 7 storeys, covered with a Eiffel-style steel-framed glass roof resting on cast iron columns. The former offices of the Rombaldi publishing house, the buildingunderwent many transformations (creation offlooring, a lift and a staircase by removing thecast iron columns, skylight well meshes, etc.). Droles De Trames Architectes were tasked withcomprehensive renovation, to produce all the

comfort required for a luxury office building. The same principle is applied for the groundfloor, first floor and second floor lighting: ceiling-mounted iRoll luminaires guarantee generallighting of the central area surrounded by the cast iron columns, while the outer area,identified by a slightly lower false ceiling, is lit with recessed Wide plus luminaires. Corridors and bathrooms are grouped togetherbehind a black service wall on each floor.The essential part of the design was to restorethe perception of the central atrium, by insertinga translucent area, to be used as a meetingroom, suspended in space between two floors

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Photographs: Didier Boy de la Tour

1.2.3. Musée des Lettres et Manuscrits(Letters and Manuscripts Museum)

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below the glass roof. This area is lit with ceiling-mounted iSign luminaires. Pendant iSigns were selected to light the areabelow the glass roof, forming an ideal line ofluminaires which follows its structure. The basement, with no natural light, is lit using Compact Easy and Wide plus luminaires. Special attention was paid to the details of thefinish and the choice of lights, to emphasize the space available. The design continues with a custom set-up forthe tenant, who intends to install the Musée desLettres et Manuscrits (Letters and ManuscriptsMuseum) on 2 floors, with adjacent offices.

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Woodland Trust HQ

Grantham, United Kingdom

Projects ClientThe Woodland Trust

Project managerBuro Four

ArchitectFeilden Clegg Bradley StudiosWill Garner

The new Woodland Trust headquarters inGrantham, Lincolnshire, house the offices and a meeting area for its 200 staff. The aim of the2,800 m2 headquarters is to create a highlyfunctional and sustainable building, the latterbeing reflected by its BREEAM certification as“Excellent”. The building services strategyincludes widespread use of natural ventilation,natural daylight, solar shading, lightshelves. This has then been combined with low energy

IT solutions. The unassuming exterior seemsalmost normal for the location - in its own way it is a classic piece of architecture on a car parkin a typically English ribbon development, and it respects its environment in every way.Obviously the building was designed as a socialsite. The outer social “courtyard” opens directlyinto another social “heart”: the large entrancearea, which leads directly to the high sunlit ceiling,giving onto landings on both upper levels.

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Photography: Peter Cook

1. Outside of the Woodland Trust HQ

2.3. Some areas of the offices with Y Light standard lamps

Structural engineeringAtelier One

Building services engineeringMax Fordham

BREEAM consultantMax Fordham

Landscape architectGrant Associates

CDM coordinatorPFB Construction

SurveyorRidge

Clearly, in this place people are not justmeant to feel that they are at work, they are also put at ease. From inside the officesthe building performs one of these miracles: it seems to incorporate the immediatesurrounding environment, offering splendidviews: the wooden horizon that shifts gently; the church steeple; the roofs of a pretty English country town.There are many innovations, starting with thedecision to use wood as the main buildingmaterial: Feilden Clegg Bradley Studioscalculated that the carbon saving from notusing a concrete structure is the same as thefirst nine years of operation of the building.The client got exactly what they wanted:something inspiring, innovative and frugal -original and feasible. Even what FCBSintended was done: innovation using normalmaterials such as wood and paint. iGuzziniilluminazione contributed by adding to themainly natural lighting around 100 Ground Y Light lamps for direct and indirect lighting.The lamps can be controlled individually up to 50% of their power. This is definitelycontributing to the reduction in energy use.The variations across the floor space, whichreflect occupancy levels and personalpreferences give more texture and interest to the working environment. The quality oflight is superb, both on the work surface and the reflected ambience from the ceilings.

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Shirvanshahs Palace Complex

Baku, Azerbaijan

Projects ClientBaku Old City Municipal Authority

Partner AssistancePBC Company - Giandonato Boccia

The Shirvanshahs Palace Complex, built in the fifteenth century, is one of the pearls ofAzerbaijan's architecture and since 1964 it has housed the state history and architecturemuseum. More recently it was declared to be a world heritage site by UNESCO. The complex is at the highest point of one of the hills of the ancient Baku fortress. Divided in a picturesque fashion over three terraces, oneabove the other, it can be seen from the sea and from the high ground surrounding the city.

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Photographs: Emil Khailov

1.2. Overviews of the complex

Inside, there is a residence, the Divankhanapavilion, the Shirvanshahs tomb, the palacemosque with a minaret, a Turkish bath, themausoleum of court scientist Seyid YahyaBakuvi and the eastern gate which was a later addition. Since the entire complex is subject to strictconservation rules, the electrical system andinstallation of the luminaires were absolutelynot allowed to affect the surfaces. For example,recessed Linealuce luminaires were only used

in recently constructed parts of the floor, whichwere not covered by the protection rules. Also, given the rich decorations of the gates, the guiding idea for the entire project wasto make the most of the various entrances and gateways without the luminaires being too apparent. This resulted in the choice of floodlights locatedon the roofs of the various buildings in thecomplex. This method of installation wasapplied in most cases, except for the palace

porticoes, where Radius floodlights stand on the ground at the back of the columns, the cables passing through the gaps in theancient stone blocks: a solution which left the precious materials untouched.The residence in the complex features amagnificent gate, lit by Radius floodlights, with niches having deep shadows and upper windows decorated with “shebeke”. All of the walls are uniformly lit with LED Light Up luminaires.

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The Divankhana was the site of officialreceptions and state meetings. At the centrethere is a stone dome with pointed arches,surrounded by the portico of a closed courtyard.The more internal arcade is lit using Radiusfloodlights resting on the ground. In the courtyard to the south of the complex is the octagonal mausoleum of court scientistSeyid Yahya Bakuvi and the palace mosque is close to the tomb.

The minaret bears an elegant Arabic scriptdating the building, 1441. The domes andminaret are lit with the crossed beams of iPro150 W and Woody 70 W luminaires, bothhaving a spot optic. The lower part of thecomplex, below the palace level, includes the Turkish bath, which has been destroyed.However, the remains provide importantinformation about the rational layout of itsrooms and the expertly constructed system

for water inflow and heating. This area wasalso subject to the ban on wiring luminaires,meaning that it was lit by the beams of Plateafloodlights. The effect is general light, withouttoo much shadow. Another area worked onwhere the constraints were very strict was the passageway used to display archaeologicalfinds from various areas in the country. In this case, the existing lighting points were substituted with new iWay luminaires.

Shirvanshahs Palace Complex

Projects

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3. The lit up Divankhana

4. Evenly lit dig at the site of the Turkish bath

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Domestica showroom

Msida, Malta

Projects ClientDomestica Ltd

Architectural and lighting engineering designEnzo Eusebi Nothing Studio

Construction firmPolidano Group

Domestica Ltd has had close links to thecompany Berloni for more than 35 years, sincethe founder of Domestica began making highquality custom furniture. Before the deregulationof imports, Malta was the only country thatmade furniture under licence to Berloni. Today it imports the complete production range.The new Domestica showroom in Msida wasdesigned to provide a place that would stimulatethe senses and draw visitors in. Sophisticatedobjects exist alongside state-of-the-art technology. The visitor moves between unusual materials, inan area in which the out of scale features canprove surprising and all of the senses are involved.The outside of the Domestica complex consists

of two volumes. The first made of reinforcedconcrete dressed with local Franka stone. The overall effect is that of a huge block of stone which looks unstable. The second volume is made of glass and steel.The glass is of the extra-clear structural type with rectangular modules held by a system ofstainless steel spiders with an opaque whitesteel rear structure. In the evening, the artificial lighting emphasisesthe contrast between the lightness of thebioclimatic glazed area, lit from the inside, andthe compactness of the dark solid “rock”, only litat some points. Through the big square openingin the facade a dynamic coloured light from

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Photographs: Enzo Eusebi Nothing Studio

1. Night-time view of the building

2. Reception

3. Display area

Linealuce RGB luminaires creates a kind of “lightsign”. Circular recessed Ledplus luminaires witha wall-washer effect are fitted along the exteriorroutes. Behind the building Miniwoodyfloodlights are used in combination with LEDwall-mounted Glim Cube for grazing light onthe wall, plus iTeka floodlights in the car park. Inside the glazed area there are two completelywhite platforms with transparent extra-clear glassparapets skewered by white circular columns.Along the staircases linking the floors 100W, 4-assembly pendant Cestello luminaires hang,with dichroic lamps and flood optic, in additionto wall-mounted Y lights. All in the glass andwhite volume, opaque like a skeleton preservedin a glass case. To make the space less artificial,greenery is featured at the facade: teardrop-shaped trees with slender trunks and thickfoliage, around 5 metres high so that objects at least one and a half metres tall can fit underthe foliage. These trees are lit by recessedcircular Lightup luminaires with a symmetricalflood optic. The reception area has satin-finishiroko wood flooring and opens onto a 5 metrehigh double-height area. From the entrance theFranka stone reception desk is visible and toreach it one has to pass beneath the stone-cladangled wall. The lighting consists of recessedcircular Ledplus luminaires in some cases usingfluorescent lamps and in others LED lamps.The display areas are lit with black, dimmable,medium-body Tecnica luminaires, in variousversions with flood and spot optics having avariety of power ratings. The office areas arefitted with pendant Light air luminaires with a dark VDU screen.

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New Pirelli Building

Milan, Italy

Projects ClientPirelli RE

Architectural designGregotti Associati International

Electrical installation designStudio De Stefani

The new building is within the La Bicocca Pirelliarea. It was designed with an architecturesimilar to that of the other buildings there (the headquarters of Pirelli RE and the ResearchCentre), so that it would be in line with thegroup's corporate image. The planning and architectural choices for therecovery and transformation of the entire Pirelliarea and its buildings were therefore made so as to emphasise the continuity of the productionestablished there during the twentieth century.

iGuzzini luminaires were used to light thevarious environments.The office areas are mainly organised as openspaces, and are fitted with Lineup dark Light for the right level of comfort. The sameluminaires are also used to guarantee visualcontinuity in those office areas separated off bypartitions, to create quieter, more tranquil zones.Along passageways, communal areas andcorridors the same Lineup luminaires were used, but with a Wall Washer optic.

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Photographs: Paolo Carlini

1. The building at night

2. Double-height area with gallery

A special study was carried out on lighting forthe central double-height area which is alsoused to host events. Here, recessed The Reflex luminaires guaranteegeneral light, while accent light is provided with Tecnica spotlights. In the area closest tothe gallery there are also recessed Linealuceluminaires, highlighting the sense of lightnessand suspended nature of the gallery. Outside, the circular part of the garden is lit by several iTeka luminaires.

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IBM Software Executive Briefing Center

Rome, Italy

Projects ClientIBM Italy

Architectural and lighting engineering designIosa Ghini Associati

in Rome is in the same structure that houses the IBM Software Group internationaldevelopment laboratory. The IBM Software Executive Briefing Programwas designed to offer events which areprofessionally managed to maximise the value of the time that clients spend with IBM. Any “briefing”, wherever it takes place, usually includes presentations and demos,to familiarise clients with the running of the events they take part it.

The Software Executive Briefing Center in Romewas completely refurbished and significantlyextended. The entire project, for an innovative andcaptivating reworking of the famous “stripes” of the IBM logo, is by architect Massimo IosaGhini and his firm. Cutting edge audio-visualtechnologies were carefully selected to provideguests with a comfortable environment and an experience with high added value. The new Software Executive Briefing Center

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Photographs: Santi Caleca

1. Ceiling and floor featuring illuminated curves

2. Some of the areas, with the IBM logo stripes

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IBM Software Executive Briefing Center

Projects 3. Ceiling fitted with Reglette luminaires

4. One of the presentation and projection rooms

in addition to the Lens luminaires in theconference room. The main feature of the architectural space,that is to say, the soft lines of the areas, are emphasised with Ledstrips, actual strips of LEDs which can be adapted to the most diverse shapes. They were used both in the ceilings and thefloors. In some cases fluorescent Regletteluminaires were also installed in the ceilings.Recessed Lineup luminaires were used in the reception area and above the bars in the bar area.

By listening, discussing and illustrating hownew IBM technologies can help people faceand solve technical and business problems, we move away from the traditional idea of top-down communication, and towards a place for useful discussion: a new Agora (Greek assembly area). Particular care was paid to these discussionareas, including the use of artificial lighting to create a comfortable environment: pendantor continuous strip Lens luminaires were used in the projection and meeting rooms. Recessed LED Laser luminaires appear

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Ron Arad: Restless

Barbican Center, London, United Kingdom18 February - 16 May 2010

Company culture Display designRonArad Associates

Lighting engineering designDALD - David Atkinson

Technical SponsoriGuzzini UK

The “Ron Arad: Restless” exhibition exploresthree decades of design by Ron Arad, from hisinitial post-punk approach based on assemblingready-made products, to his exclusive andextremely “clean-lined” furniture sculptures.The show, with dramatic display, designed by Ron Arad Associates, uses the most recentLED technology for video, but there are alsoarchitectural designs and industrial productionitems on display. Underlining the importance in Ron Arad's workof experimentation with processes and materials,the show offers a close look at the developmentof objects, from the initial idea to final production.The lighting for this exhibition is by lightingdesigner David Atkinson, Creative Director of DALD. iGuzzini was the show's technicalsponsor.

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Photographs: James Newton

1.2. Some of the rooms

3. Detail with PizzaKobra

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Anticorpi / AntibodiesFernando and Humberto Campana 1989-2010 Milan Triennial Exhibition14 October 2010 - 16 January 2011

Company culture

The show illustrates the salient points of thework by the Campana brothers, intended toemphasise subjects such as recycling, thefusion of natural and synthetic materials andthe integration of cultures. The show focuses in particular on their working methods,influenced by a large number of sources ofinspiration: from the lushness of the Brazilianrainforests, to improvisation by travellingsalesmen and the shanties of poor districts,from film to music to art.For the show the Campana brothers created a special new installation for the TriennialExhibition. The Triennial was able to light the designers' works in the best possible way using Le Perroquet luminaires, which put the spotlight on the objects.

Photographs: Fabrizio Marchesi

1.2.3. Images of the display

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Company culture

LED - Lighting Exhibition Design

Second exhibition, Milan4 December 2010 - 10 January 2011

iGuzzini took part in the second Milan InternationalFestival of Light, setting up, for the “Led Satellite”section, a display of “art lighting” which can beused by the public for the duration of the show in Milan. The star is the Ambrosiana Picture Gallery with“Light metamorphoses” by architect and lightingdesigner Alessandro Colombini, a design of whichhe himself says: “A magical stream of saturatedand enveloping colours transform the solemnproportions of the Ambrosiana Library and PictureGallery into a changing space, and accentuate its architectural role and its importance as thesetting for some of the world's most preciousworks of art”.A project in which light and colour blend. The bright, intense light rises from the groundand turns red, green, blue and then simply white, before starting over. Always convinced ofthe need for a sustainable approach to lightingengineering design, for the facade of theAmbrosiana Picture Gallery iGuzzini selectedPlatea LED RGB luminaires, designed by MarioCucinella and Piero Castiglioni.

iGuzzini Denmark

Established in 2000 in Copenhagen, inSeptember 2010 iGuzzini Denmark inaugurated its new offices in the charming Refshaleoenarea, a lively district of artists and designcompanies in an industrial area. A severe1960s red brick building with an impressiveview of the port and the octagonal square of the Amalienborg royal palace, it is the new base for iGuzzini DK.The second floor, a 400 square metre area,where the original industrial architectureremains untouched, features a contemporarydesign: visible systems and very high ceilingswith big skylights lie opposite the resin floor and white walls, where large windows provide a view of Copenhagen's canals, giving a glimpse of the city's historical heritage.In the open space, the workstations and designareas are perfectly integrated with the zone whereinterior and exterior luminaires are on show. At the time of the inauguration the “lightlaboratory” still had to be set up, a room used for testing the effects of light in the differentsituations possible.The new Danish headquarters are also a“Partner Assistance” area: expert technicians are available with all of their professionalismand the know-how of a company with morethan fifty years of experience, to identify theluminaires able to implement a top qualitylighting design and to help spread an alternative energy model.

Photograph: Paolo Carlini

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Company culture

Dean Skira, guest of the iGuzzini

Recanati, 27 October 2010

During the “International Lighting Meeting”training course at the iGuzzini illuminazioneRecanati headquarters from 25 to 29 October,iGuzzini, which always values training, invitedLighting Designer Dean Skira to give a lessonbased on his professional experience to around40 lighting engineering designers and dealersfrom Hungary, Ukraine, Georgia, Greece,Australia, Egypt, Israel, Poland, Turkey andaround thirty of the company's lightingengineering consultants.The title of his lesson was “Concrete, steel, wood, light and emotions”. As hinted at by the title, it was not a purelytechnical lecture. Light has been seen as agenerator of experience that is not just biologicaland visual, but also and above all emotional. Dean Skira covered both the technical aspects of the discipline, such as colour rendering, colour temperature, integration with architecture,glare, direction and positioning of the products,and the emotional aspects linked to the use oflight. Above all, he stressed the importance ofworking with the architect right from the start, to achieve perfect integration between light and architecture. The gathering also saw the presentation of “My Light”, published in Italy by Lupetti Editori.

Workshop “Light, art, technology”

Munich, November 2010

A guided tour inside BMW Welt in Munich wasone of the central points of the “Light, art,technology” workshop held in November 2010at iGuzzini Germany. The architects and lightingdesigners invited were able to discuss thesubjects of light in application, museum lightingand LED lighting during conferences and in thelight engineering laboratory known as the“Effects Room”. The evening was dedicated to “Light and taste”:guests enjoyed a very special trip to the famous“Volkhardts Wein und Bistro” wine cellar, wherea session tasting fine wines and admiring themarvellous architecture was the backdrop forpleasant conversation in a relaxed atmosphere.The two places were chosen as examples ofgood integration of architecture and light, thanksto the relationships established several years ago.

IncontroluceSix-monthly international journalof lighting culture

year XIII, 23

Editorial 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

EditoriGuzzini illuminazione spa

The following companies collaborated in this issueiGuzzini illuminazione China LtdiGuzzini illuminazione Deutschland GmbH iGuzzini illuminazione España S.A. iGuzzini illuminazione France S.A. iGuzzini illuminazione Middle EastiGuzzini illuminazione Schweiz AGiGuzzini illuminazione UKLighting System Italy (1982) LtdMondoluce, West Australia (W.A.) PBC Company

Cover photographUzi Porat

Printed: April 2011Tecnostampa, Recanati

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

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Francesca Storaro / mOa- Mario Occhiuto Architetture / Skidmore,Owings & Merrill / BPI / SCGMA / City Design / WSP / LichtVisionBerlin / Staatliches Bauamt Erlangen / Iosa Ghini Associati /Germann&Achermann / Odile DECQ Benoit CORNETTE architectesurbanistes / Nicol Russel Broughty Ferry / Stefano Cacciapaglia CarloCelia Anna Marcucci Marco Tondo / Ron Arad Architects / WaxmanGovrin / Intervento / Turull - Sorensen Arquitectos / Federico TurrullNeddermann / Silvio D’Ascia / Servizi Integrati / IDI / Droles de TramesArchitectes / Eric Chazelle / Henry Raynaud / Feilden Clegg BradleyStudios Will Garner / Nothing Studio Enzo Eusebi / Gregotti AssociatiInternational / DALD - David Atkinson / Alessandro Colombini