II. 200614 English version

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Editorial

Dear Readers,

this is the fourteenth issue of our journal,now in its sixth year. A big issue, in whichwe present a variety of projects and eventsto which the company has contributed inthe role of lighting consultant. These includeprojects of undoubted importance like theMorgan Library in New York, the Gentileda Fabriano exhibition, the SIEEB buildingdesigned by Mario Cucinella - the firstbuilding erected in response to the energysaving programme initiated jointly by theItalian Ministry for the Environment andLand protection and the Ministry of Scienceand Technology in China - the new Palaceof Justice in Antwerp designed by RichardRogers, and many others. We also continueour dialogue with rectors of universities inthe Italian Marches, exploring topics linkedwith relations between education and localindustry. Generous space is also dedicatedto the “Conoscere la Forma” (AppreciatingForm) project launched by iGuzzini’s Studyand Research Centre in collaboration withthe Istituto Centrale per il Restauro (CentralRestoration Institute). Behind this particularproject is a research programme aimed atidentifying methods of analysis, and lightingdesign application, that will provide curatorsof museums and shows with a greaterawareness of how three-dimensionalexhibits can be illuminated to best advantage.

Adolfo Guzzini

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Summary

II. 2006

Editorial

The MarchesThe universities and the territory

ProjectsSIEEB Sino-Italian Ecological and Energy Efficient Building

Light for the Morgan Library expansion

Gentile da Fabriano and the other Renaissance

The Palace of Justice in Antwerp

Relocation of the Egyptian Collection in the Altes Museum

Reorganization of the Picasso Museum

New headquarters of the Calem Wineries

Thales Research and Development Centre

“Words”Work by Alfredo Pirri

New illumination for the Mitchell Library

A new building for the Welsh National Assembly

DesignThe lighting designer’s toolbar 2005 (part 2)

Corporate culture“Conoscere la forma” project

iGuzzini and the America’s CupThe Barrajas airport projectContemporary art along the motorway The Highway 4 MonumentNordic Light Award for the Blue Lagoon Medical Centre

Visionitaliane. Architecture and design for a sustainable environment

ATP Guzzini Challenger final“50+2Y Italian Design” exhibition“Concurso” for young architects

Venice Architecture Biennial for Croatia iGuzzini illuminates the G8 venue for 2006“Tracks. Founding an Industrial Heritage Museum”

Opinion

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The universities and the territory

Interview with Fulvio Esposito, rector of the University of Camerino

The Marches

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with businesses increased from 200 in 2002 toaround 900 in 2006; and there was a similarlyenormous boost given to training schemes forUNICAM students, which rose from just under60 in 2002 to 600 in 2005. But there is morebesides: I think the biggest challenge facingbusiness and university partners in the Marchesis in the move toward internationalization, inother words creating an active, vital, visible andeffective presence on the European and worldstage. With this in mind - exploiting the marginsafforded by the reform - UNICAM respondedlast year by setting up Degree Courses andSpecialist/Honours Degree courses conductedentirely in English, in an attempt to attract students from other countries. In addition, allactivities of the UNICAM School of AdvancedStudies are conducted strictly in English. And the result is already plain to see: in termsof foreign student enrolment, the University ofCamerino is top of the table among state-rununiversities of general studies, with 8% (andup to 20% in the case of research doctoratecourses).

establishment like ours would be engaged inthe demanding process of incorporating a QualityManagement System into the fabric of its every-day operations. And yet, this is now a reality inthree of our five faculties, affecting all ourcrossover services (vocational guidance, tutorage,training, placement, internazionalization…), for which Certification to ISO 9001 has beenissued (and confirmed now for three years insuccession) by the prestigious AFAQ-AFNORInternational organization. Thorough-going comparisons made with exponents of the majormanufacturing concerns, and from the world oflabour and professions, have led to the designof a wide-ranging and diversified prospectus of training programmes, with the emphasis onboth cultural content and professional skills.The teaching approach seeks to combine theoretical training with “slices” of real workexperience, in pursuit of the two key objectivesin higher education: “knowing” and “knowinghow to”. In collaboration with ConfindustriaMarche, for example, the University of Camerinohas set up “UnicamSTAGE” and “UnicamJOB”,two Web services designed to bring togetherbusinesses, students and graduates. In essence,these are suitably user-friendly databasesaccessible from our site, www.unicam.it, whichoffer important employment and recruitmentopportunities both to our students/graduates,and to businesses. The system works: agree-ments for scientific projects and arrangements

Photos: University of Camerino, Giuseppe Saluzzi; other material supplied by Pippo Ciorra

1. Metamorphosis. Exhibition: “Tracks. Founding an Industrial HeritageMuseum” Recanati, June-November 2006Display by the University of Camerino

2.3. New home for the Department of Molecular Biology. Design by architects Pippo Ciorra and Massimo Perriccioli

The university has undergone huge changesunder recent and current reforms. Have thesereforms also affected the relationship betweenthe university and its local environment, theMarches, where there are so many small businesses? Has it been made easier?

Well, even when interpreting “straightforward”laboratory experiments, the most difficult thingis to establish causal links between two phenomena, as there are always confusing variables, some known and foreseeable, othersnot. Just think then, how much this kind of difficulty is magnified when trying to interprettrends and events involving complex entitieslike human beings! So yes, the university hasindeed been hit by change, in fact far morethan a change: a genuine revolution. Look at words like productivity, competitiveness,benchmarking and - of course - quality (as a concept associated with all the variousactivities of a manufacturing concern); thesewere notions foreign to the world of academe,but now they are recognized and shared byeveryone. These new developments - not leastin vocabulary - have helped the dialoguebetween business and university enormously: at long last we speak the same language, andthough there may be one or two here who haveyet to realize it, our sums have to add up at theend of the year too! For example, I would neverhave dreamed, even just 10 years ago, that an

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methodology too. The “sale” of products derivedfrom research with immediate applicationgenerates resources, and these are used to financecuriosity-driven research, which in turn will spawnthe products of the future. Perhaps it is anapproach that ought to be adopted by the nationas a whole: look around and ask yourself, howmany of the hi-tech products in your home aremade in Italy? Not many, in fact too few, becausewe do not invest enough in basic research, thekind that generates innovation further down theline; we need to start over again, and quickly, orthe decline will be inevitable! We are playing ourpart, at any rate. And then there is the thirdmission of the university (in addition to Trainingand Research), which we want to fulfil. Innovation.The exploitation of knowledge and its conversioninto economic resources for the country. If readerswould like to see a list of current research projects,I would recommend a visit to the university’swebsite: www.unicam.it.

To what extent does the University of Camerinoinvest in research? Are there research projectsin progress? Which sectors does the universitytarget particularly in this area? What collabora-tions have there been?

The University spends around 40% of its“outgoings” on research, which in money terms is around 25 million euros: no mean sum, whenone considers that incoming funds actually“earmarked” for research amount to some 7 millioneuros. This means that a substantial proportion of“free” resources (the operating fund the universityreceives from the Ministry, and student fees) isinvested in research. In any case, our researchersdeserve the backing: they represent 0.5% of allresearchers in Italian universities, and yet theyare responsible for 0.8% of Italian scientific outputrecognized at international level. Success indeed!Another gratifying result is that of the financingfor Research Projects of Significant NationalInterest (PRIN - Progetti di Ricerca di RilevanteInteresse Nazionale): in 2005, pro-capita financingof UniCam researchers was the highest amongstate-run universities for general studies, registeringat a value (5560 euros/researcher) almost doublethe national average (2930 euros/researcher).The figures I am quoting have all come fromexternal sources, which is another sign of thechanging times: the end of self-referentiality andthe introduction of assessment, applied to allaspects of university performance. In this context,the practice of assessment by an outside body -the Committee for Evaluation of Research (CIVR -Comitato d’Indirizzo per la Valutazione dellaRicerca) - is a “historical first” for the universitysystem in Italy.

As part of a fairly complex procedure, CIVRassessed 102 institutions (including 77universities) engaged in research activities. Here again, the University of Camerino was wellplaced. Remember that we are not actually aResearch Agency, and that a substantial proportionof our resources must be allocated to teachingand training; nonetheless, the University ofCamerino sets great store by research, for thestatus and prestige it carries. You ask what kindof projects. One thing I can say: we have decidedto end the debate once and for all on dualismbetween basic and applied research. As far as we are concerned, there is only good researchand bad research. Good, we are interested in,bad, we are not. Certainly, we are well awarethat our research can lead to products in anumber of sectors - environment and energy,agrifood, architecture and design, biodiversity,bio-pharmaceutical sciences, informationtechnology and computerization - and that someof these will find a commercial outlet more easilythan most. And there is research in other sectors- chemical, physical and geophysical, mathematical,biomolecular, historical, legal, social and economicsciences, international and constitutional law -which today present challenges mainly in termsof the creativity and imagination of researchers,but nonetheless provide the basis for products of tomorrow’s market. An example: back in the1950s, when Townes, Bassov and Prokhorov(Physics Nobel Prize Winners in 1964) beganexperimenting with what we know today as thelaser, they certainly never imagined that 50 yearson, eye surgeons would be using that little “toy”of theirs to remove cataracts. It is a piece ofhistory we should never forget. And this is our

The Marches The universities and the territory

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Has this research activity also translated intotechnological innovation? Applied in whichsectors? Or, has it led directly to new enterpriseinitiatives?

This is covered partly in my previous answer.Still, I can add that some months ago we set upan Industrial Liaison Office (ILO), a task force ofhighly motivated young people whose job is tohandle knowledge transfer between universityand businesses. Among the aims of the ILO is to provide support for the creation of spin-offcompanies. This initiative has been well flagged,but it is a tricky one that the Italian universitysystem still struggles with, after an initial periodwhen besides the expected and foreseeable quotaof "normal" failures, there were also instances ofbogus entrepreneurs interested only in the Ministrygrant. But the system is being refined and cleanedup, and there are now some genuine attemptsbeing made to convert ideas and findings fromresearch into business activity. One good exampleis Synbiotec, a private limited company thatspecializes in the development of functional foodscontaining symbiotics able to trigger positivemodulation of the intestinal ecosystem inhumans. The strains of bacteria utilized werepatented by a UNICAM research group.

4. The Scialoja Hall

5. Enrico Loccioni is presented with an Honoris Causa degree in Innovation Technologies

6. May 2005. Mario Clementoni is presented with an Honoris Causa degree in Architecture

The University of Camerino has a collaborativerelationship with iGuzzini illuminazione and the Guzzini group. What can you tell usabout this?

For my part, I can say simply that our resear-chers involved in projects with companies ofthe Group are highly satisfied with the resultsachieved, and with the “climate” of the rela-tionship, but, to avoid falling into the typicallyacademic trap of blowing our own trumpet, Iwould be happier for you to put that question...to the Guzzinis!

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SIEEBSino-Italian Ecological and Energy Efficient Building

Beijing, China

Projects ProjectMinistry for the Environment and LandProtection, ItalyMinistry of Science and Technology,China

Project leaderPolitecnico di Milano, BEST Team

In December 2005, extensive coverage was givenin the Italian media to the Far East visit of a dele-gation led by former President of the RepublicCarlo Azeglio Ciampi and accompanied by a corpsof businessmen looking for investment opportuni-ties in the new China. The trip also coincidedwith the presentation, in Beijing, of the SIEEBproject (Sino Italian Ecological and Energy EfficientBuilding), inspired by a joint initiative of theItalian Ministry for the Environment and LandProtection and the Chinese Ministry of Scienceand Technology in response to the Kyoto accordson the reduction of CO2 emissions and as part of a broad programme of measures targetingenvironmental problems.

More exactly, it was on 16 February that the Kyotoprotocols on global warming became legally binding. China emits a quantity of greenhousegases equivalent to 11% of the world total, but isnot bound by the protocols as the country is notyet classified as a major power, notwithstanding its rapid economic growth in recent times. This cooperation between the two Ministries hasresulted in a project for a building on the campusof the Tsinghua University, situated north-west ofthe capital Beijing. The designer is architect MarioCucinella, working with a team from the MilanPolytechnic. The building, which will be situatedin a particularly dense urban complex, surroundedby other very tall buildings, has been conceived asa leaf capable of converting sunlight into energy. A series of south-facing garden terraces will beplanted with rich vegetation and more than 1,000m2 of solar panels able to meet the greater part of the electricity demand for the building.

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Photos: Gabriele Basilico

Rendering and drawings: MCA Mario Cucinella Architects

1.2. Exterior of the building

Architectural designMCA Mario Cucinella ArchitectsCAG China Architecture Design & Research Group

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Projects SIEEBSino-Italian Ecological and EnergyEfficient Building

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3. Rendering

4. Study of South-East façade

Designed on a horseshoe style ground plan, the building will optimize the capture of sunlightduring the winter months while maximizingprotection, likewise from sunlight, during summer.It will also ensure a continual influx of naturallight to reduce reliance on artificial lighting,which in China is still produced predominantlywith electricity generated by burning coal, themain source of CO2 emissions. The morphologyof the building, its structure and orientation,and the technological systems incorporated, arequite simply a reflection of tests and researchconducted by the design team in identifyingoptimum solutions to meet the required levels

of performance. The result is an energy-efficientbuilding with a functional layout, producingminimal CO2 emissions. Around 40 metres highand affording some 20,000 m2 of useful floorspace, the SEEB is home to an Italian-Chineseresearch centre specializing in environmentalprotection and energy conservation. It housesdepartmental offices, laboratories and anauditorium, as well as an exhibition spacededicated to Italian technologies. The façadesfacing east and west are of “double skin” typeconstruction, with the outer panes of glassground in such a way as to deflect the rays of the sun and eliminate glare.

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Projects SIEEBSino-Italian Ecological and Energy Efficient Building

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5. Rendering with artificial lighting

6. Cutting the ribbon

7. Side view with a clear illustration of the semi-reflective louvres

Not only does the building save energy, it alsosaves resources; in particular, water usage isminimized and there is a rational use ofconstruction materials, which will be durableand ensure low environmental impact. An automated system monitors the presence of staff in the rooms and opens or closes thesemi-reflective louvres making up the façadeand skylights to let in more or less light, as effectively required. And artificial light,similarly, is modulated according to the needsof the moment. The centralized control systemis able to switch lights off automatically whenrooms are left empty. The same automatedcontrol system manages temperature levelsinternally of the building, utilizing a systemcomposed primarily of air ducts at floor level in combination with auxiliary radiant panelsmounted overhead. The energy needs of thebuilding are met by a cogeneration system(gas-fired and electric). In attendance at theinauguration of the building on 6 July wereShang Yong, Deputy Minister for Science and Technology, Zhang Xinsheng, DeputyMinister for Education, Alfonso PecoraroScanio, Minister for the Environment and Land Protection, the Director of TsinghuaUniversity Gu Binglin, and Assistant DirectorChen Jining. The ceremony was conducted by Assistant Director Zhang Fengchang.

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Light for the Morgan Library expansion

New York, USA

Projects ClientThe Morgan Library

Architectural designRenzo Piano Building Workshop in collaboration with Beyer BlinderBelle LLP (New York)

26 April 2006 saw the inauguration of the newMorgan Library & Museum, designed by architectRenzo Piano, following a three year constructionproject costing 106 million dollars. The originalbuildings are now linked by a “piazza” accessiblefrom the new entrance on Madison Avenue, between36th and 37th Street, and protected by a glassand steel structure almost 16 metres high, openingonto the street. The decision to expand and renovatewas taken so as to provide more space and exhibita greater number of items from the superb collec-tion - totalling 350,000, including manuscripts,prints, books, drawings and seals - and createbetter facilities for the storage of items not on

display, but available to scholars and researchers.Renzo Piano has created new galleries, a naturally-lit reading room, a spacious underground storagefacility for works not on show and, also under-ground, a 280-seater auditorium. Visitors will beable to admire 300 masterpieces, including aselection of drawings from Leonardo to Picasso,music written by Mozart and Bob Dylan, manu-scripts by Galileo and Poe. The challenge facingthe Genoa architect was to integrate a structure of steel and glass - the main materials of modernarchitecture - into a setting characterized bybuildings of the early 20th century, and the grandmansions and Palladian façades of Madison Avenue.

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Photos: Michel Denancé

1.2. Piazza: interior and exterior

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Design teamG. Bianchi (lead project partner), T. Sahlmann, K. Doerr, with A. Knapp, Y. Pages, M. Realeand P. Bruzzone, M. Cook, S. Abe,M. Aloisini, L. Bouwman, J. Hart,H. Kybicova, M. Leon; Y. Kyrkos,C. Colson, O. Aubert (models)

ConsultantsRobert Silman Associates (structure);Cosentini Associates (services);Ove Arup & Partners (systems design: heating and lighting); Front (façade consultants); Kahle Acoustic (acoustics);

Harvey Marshall Associates (audiovisual systems consultants); IROS (elevator design); HM White (landscape architect);Stuart Lynn Company (cost consultants)Sistema Lux

manuscripts of inestimable value. Renzo Pianohas extended the Renaissance style buildingwith its Palladian influences, erected by thebanker Pierpont Morgan, by adding a series of modern, light-filled pavilions. As technicalsponsor on the Morgan Library project, concer-ned with lighting installations, iGuzzini offeredsuitable fixtures, and the benefit of thecompany’s extensive experience in design.

The elevators (and stairs) - also glass and steel- lead from the lobby area to the library proper,where the “modern” material gives way totraditional wood. Also on the ground floor is a small “cube” for displays in which the light is controlled (as throughout the museum-and-library) by a computer that analyzes exteriorlight data in real time. Still lower, 20 metresdeep into the bedrock of Manhattan, vaultshave been dug to contain books and

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Projects Light for the Morgan Library expansion

The lighting design for the project was entrustedto RPBW and Arup, who focused particularly on the interplay between two types of lighting:natural and artificial. A regards the choice ofluminaires for the various rooms of the complex,the designers settled fairly quickly on Le Perroquetspots, which are used generally for accent lighting.

Natural light is extremely important, and in therooms able to receive it, the use of artificiallighting is minimal. In the reading room, forexample, the only artificial light is provided byfluorescent tubes on the bookshelves, whichserve to illuminate the spines of the books, andtable lamps for users of the facility to read by.

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The exhibition space afforded by the “cube”receives natural light from the ceiling cavities,whilst the Le Perroquet fixtures are used simply to provide accent lighting and supplement thenatural source when demanded by the settings.In the underground vaults where the more fragilepaper exhibits are displayed, conversely, onlyartificial lighting is used; here, the level ofillumination is maintained at 30 lux, thanks to a calibrated study of the light sources adoptedand of the number of fixtures, and to the use of special filters. Le Perroquet fixtures are alsoinstalled on tracks forming part of an indirectlighting system created especially for this project.In the auditorium, on the other hand, Le Perroquetunits are deployed in conjunction with a newcoupling system that allows them to be used in pairs.

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4. Auditorium

5. Piazza

6. Detail of the window frontage on the piazza

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Projects Gentile da Fabriano and the other Renaissance

Fabriano, 21 April - 23 July 2006

CreditsUnder the high patronage of Presidentof the Republic Carlo Azeglio CiampiAn exhibition promoted and staged by Francesco Merloni State Exhibition status

The exhibition entitled “Gentile da Fabriano andthe other Renaissance”, promoted and staged byengineer Francesco Merloni, was inaugurated 20 April 2006 in the presence of former PresidentCarlo Azeglio Ciampi. The show represents aunique experience in terms of the high scientificvalue it embodies in today’s cultural panorama. For the first time, it reconstructs the corpus of work by Gentile da Fabriano, presenting a numberof paintings sufficient to retrace the steps of hiscomplex artistic journey. Also on show, certain of the more important polyptychs painted by theartist, fragmented over the centuries butreassembled here in their original form, thanks to a successful collaborative effort involving thepromoter of the event and its scientific committee,and the various lenders to whom the exhibits nowbelong. The exhibition is set up in the buildings of the fifteenth century Ospedale del Buon Gesù,situated in one of the most important squares ofFabriano: the Piazza della Cattedrale. Reorganizedespecially for the occasion, the complex houses all public services on the ground floor so as toguarantee permanent freedom of access betweenthe building and the town centre, even outside ofthe exhibition’s opening hours, whilst the exhibitsare all on the first floor, distributed around theambulatory of the beautiful late Gothic cloister. The design of the exhibition has transformed ahistorically defined location into an art venue, withthe period surroundings now incorporating a new"internal" space circumscribed by a continuous wallsymbolically recreating the narrative continuumthat charts the evolution of Gentile da Fabriano'swork through his widespread experience in Italy,and recombining the aspects of multiplicity anddiversity on show, like the dimensional andmaterial variety of the exhibits (frescoes, paintings,drawings, jewellery, illuminated manuscripts)and the variety of authors included.

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Photos: Sante Castignani

1. Cloister of the Complex

2. Detail of Room VI

Given the importance of preserving the singleexhibits, moreover, special containers had to bedesigned, such as could be adapted in terms ofsize, lighting and climate parameters to meet theparticular recommendations offered by restorers in this regard. A key element in the design of theexhibition is colour. Following a careful chromaticanalysis of Gentile’s paintings, the designers wereable to define a limited range of colours that would

Layout design Studio Salmoni Architetti AssociatiVittorio Salmoni, Carla Lucarelli,Giovambattista Padalino, AlessiaTanzie con Enrico Branchini, Roberto Evangelisti, Alfredo Filippetti, Mario Michetti, GiovannaPizzella, Carlo Giantomassi,Giovanna Bonasegale, DonatellaZari, Francesco Stefanori

characterize the overall layout of the exhibitionwhile offsetting the gold of the paintings and the splendid frames, the items of jewellery, the powerful colouring of the illuminated manuscripts,and the delicate precision of the drawings. Thewalls and the floor, treated identically throughoutto underscore the fluidity of the space, are modulated in varying shades of grey.

Layout implementationGuidobaldi allestimenti

Systems designGiovanni MassaCarlo NobiliBruno RoccheggianiRoberto ManciniLorenzo MicozziTermostudi Associati

Systems implementationClimate controlRCGroupTecnoimpianti

Electrical and lighting systemsEffetto LuceB.C.B. Electric

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Projects Gentile da Fabriano and the other Renaissance

Automation and safety systemsSiemens

BuildingGruppo Stella Costruzioni GeneraliTenso One DesignMag92

Exhibits are mounted or hung on panels of an opaqueand absorbent azure blue selected to highlight thecharacteristic splendour of the late Gothic works onshow, and to show off their rich colouring. The lighting system is based on a delicate counterpointbetween background lighting, designed to enhancethe exhibition space, and localized pools by whichattention is focused on the single exhibits. Shuttlespots and floods were used, with different opticalassemblies and power ratings, selected to comple-ment the quality, colour characteristics and size of

the individual items, and their inherent receptive-ness to light. The facility of dimming all the roomswas guaranteed by the continuous wall, whichensures both that natural light cannot penetrate andthat the internal climate can be kept under constantcontrol. With the erection of a large canopy in thecloister, and a specially designed tension membranestructure in the historic garden adjoining theOspedale, the open spaces are also furnished, andthe various sections of the architectural complexdrawn into a single unit.

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Studio Salmoni Architetti Associati

The Salmoni firm of architects won a competition in July 2005 set up by Kind Art srl, calling for ideason how to stage the Gentile da Fabriano exhibition.The studio has been operating since 1954 in thefields of strategic land planning, urban design,architecture, the restoration of historic architecturaland monumental heritage sites, and the design of museum installations and temporary exhibitions.Recent restoration projects include the former con-vent of San Domenico, now the Civic Museum of Camerino; the Villa Salvati in Monteroberto(Ancona), and numerous churches in the Macerataarea; the Villa Favorita in Ancona, now the offices of ISTAO (Adriano Olivetti Institute); also the oldJewish Cemetery in Ancona, and Ancona’s Theatreof the Muses, a project cited by the Architectureand Art Department of the Cultural Heritage Ministry(DARC) as being among the most important worksof architecture erected since the Second War. The studio has designed many urban renewal andaction plans, including the Recovery Plan for thePalombare quarter of Ancona. With Aldo Aymonino,Cino Zucchi, Alberto Ferlenga and Pippo Ciorra,Salmoni handled the completion o of the Q3Montedago quarter of Ancona and the design for a residential building in the Viale dei Pini district of Senigallia, which was nominated for the Inarch2005 award. The partnership recently curatedpreparations at the Diocesan Museum of Camerino,the Pinacoteca of Visso, and the Maria SofiaGiustiniani Bandini Museum at the Castello diLanciano in Castelraimondo. Since 2001, Salmonihas been the promoter of initiatives concerned withCity Lighting and collaborated with artists such asMario Sasso, Carlo Bernardini, Raffaella Nappo,Denis Santachiara, Studio Azzurro and JacopoFoggini, and with various designers.

3. Room IV

4. Part of Room III

Scientific curatorship of the exhibitionKeith ChristiansenAndrea De MarchiLaura LaureatiLorenza Mochi Onori

General OrganizationCIVITA

Promoting BodiesMinistry for Cultural Heritage and Activities Office for Historical, Artistic and Ethnoanthropological Heritage in the Marches

The Marches RegionOffice for Cultural Heritage and Activities - Office for Tourism Province of AnconaMunicipality of FabrianoMountain Community of Esino-Frasassi

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The Palace of Justice in Antwerp

Antwerp, Belgium

Projects Client:Regie Der Gebouwen

Architectural designRichard Rogers & Partners

Architectural CollaborationVK Studio

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Photos: Giuseppe Saluzzi

1. Indirect roof lighting

2.3.4. Exterior of the building. Daytime and nocturnal view

Structural engineeringArup - VK Engineering

Engineering consultantsArup - VK Engineering

Cost consultantVK Studio

Main ContractorInterbuild - KBC - Artesia

Lighting consultantsArup

Landscape architectWirtz International BV

FaçadeLesos Engineering

Acoustics consultantArup Acoustics

March 2006 saw the official inauguration of thenew Palace of Justice, a secular cathedral of metal,glass and wood measuring 78,000 m2. It wascreated by architect Richard Rogers, winner of an international design competition launched in1999. The design features six wings arrangedaround a public space at the hub - the concourse- and interleaved with fingers of landscapedgarden. The façade, with large expanses of glass,admits plenty of natural light that floods all of therooms, maximizing transparency both effectivelyand symbolically. Rogers has come up with abuilding that does not dominate the city skyline:in reality, the structure rises no higher than thesurrounding buildings, and the inclined crests ofthe architect’s novel roof design are reminiscentof Flemish church bell towers, or the sails on thenearby Escaut river. Indeed it is the wave-likeappearance of the roof that characterizes thePalace of Justice: a complex three-dimensionalstructure composed of triangular sections, resultingfrom a close collaboration between Richard Rogers& Partners, Ove Arup and VK. The distinctivesuperstructures are of hyperbolic paraboloidgeometry, with each individual roof structure, in practice, comprising four interconnectedquadrants. Each quadrant appears as a hyperbolicparaboloid on a square base. The linear elementsthat fill the quadrants are “woven” from wood,each consisting in an assembly of struts securedto a main rib. This method of construction allowsthe formation of a cladding with faultless curves.The wooden structure remains visible from insidethe building, so that the visitor can appreciate the interaction of the different components. The lighting system for the new Palace of Justiceincludes Nuvola fixtures, made by iGuzzini, whichblend perfectly into the architectural context ofthe building.

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Relocation of the Egyptian Collectionin the Altes Museum

Berlin, Germany

Projects ClientBundesamt für Bauwesen und Raumordnung, DirectionBrigitte Rüger

The Egyptian Collection in Berlin is one of the most renowned collections in the world. Its transfer to a new location in the summer of 2005 coincided with the 175th anniversaryof the Preußischer Kulturbesitz. It was decidedin January 1991, as part of a master plan forthe Museumsinsel (Museum Island), that theÄgyptisches Museum (Egyptian museum) andPapyrussammlung (Papyrus collection) wouldreturn from Charlottenburg to their historichome in the Neues Museum (New museum),following renovation and refurbishment. The first step in this transfer was to equip the top floor of the Berlin Altes Museum (Old museum) temporarily, to receive theEgyptian Collection. The rooms radiate from the main staircase around an open space at the centre of the building. For the purposesof the new layout, the rooms having side windows and skylights were considered as lateral light sources. Daylight entering througheach window is filtered through a white

diffuser screen. The exhibition layout utilizesaround 179 display cabinets (2 m - 2.5 mtall), freely arranged. The lighting design isbased on the use of directional spots that canbe trained on the exhibits. Strong accent lighting shows up the fine relief structures andthe quality of the materials. The artificial lights,installed only on the ceiling, also serve as general downlighters. Display lighting fixturesare recessed into the suspended ceiling structure. The ceiling area is divided into bandsrunning at right angles to the façade, 1.90 mapprox in width. This division of the ceiling isaccentuated by the use of electrified tracks. The basic arrangement adopted is a three-phasetrack carrying Metro spots with dimmers, using low voltage halogen lamps (QR111/12V)available in various wattages. Around 40% ofthe spots are equipped with beam controlaccessories or fitted with diffuser lenses.

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Photos: Juergen Lippe

1. Room in the Altes Museum dedicated to Egyptian art

2. Bust of Queen Nefertiti

Beneficiary:Staatliche Museen Berlin, ÄgyptischeSammlung - Dietrich Wildung

Architectural designHilmer & Sattler und Albrecht,Gesellschaft von Architekten mbH, DirectionFrigga Uhlisch

Architectural design - execution GMH- Architekten Galen Meyer Hintze - Franz Galen

LayoutScala - Günter Krüger

Lighting design LichtVision GmbH - Carla Wilkins

The choice of fixture was determined by thedecision to use narrow bands of light and bythe facility of rotation through 365°. The lightfrom the spots is also adjustable by means of a rotary potentiometer type control. Colourrendering in the display areas is Ra>90. Heatwas also a factor in the design of the lightingsystem, given that when defining the climateconditions for the different rooms, a maximum2 or 3 spots were allocated to each cabinet orexhibit. Emergency lighting would be providedby separate lamps (QR38/12V 20W 32°)recessed into the gap of the suspended ceilingstructure. Besides the many fine masterpieceson show, the temporary enlargement of theAltes Museum on the Museumsinsel hascreated space for the famous bust of QueenNefertiti, of which the paint has survived,unrestored, from the Amarna period (around1340 B.C.) to the present day. Having completedthe tour, the visitor can take a last look atNefertiti across the large rotunda and enjoy theview of the Lustgarten, over which the Queenlooks out every day. The final transfer of theCollection to its definitive home on theMuseumsinsel - the renovated and refurbishedNeues Museum - is planned for 2009.

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Reorganization of the Picasso Museum

Malaga, Spain

Projects

The Picasso Museum in Malaga is the outcomeof a wish on the part of the artist’s heirs, Christineand Bernard Ruiz Picasso, to set up a permanentexhibition in the place of his birth. The idea wasmade possible thanks to the support of publicbodies, principally the Autonomous Governmentof Andalusia. The museographic project is structuredaround a total of 155 works by Picasso, releasedor donated to the museum by the two familymembers. The building selected to house the collection is the Palacio di Buenavista, for which

ClientChristine e Bernard Ruiz Picasso

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the location and the typically Andalusian stylewere key factors in making the choice. Given thescale of the project, it was deemed appropriate topurchase adjacent properties, enabling the creationof a cultural complex integrated into the urbanfabric of the historic city centre. The task of planning and designing the complex, and adaptingit to the purpose in hand, was entrusted to RichardGluckman, of Gluckman Mayner Architects, andto Isabel Cámara and Rafael Martín Delgado of Camara/Martín Delgado Arquitectos, with theassistance of the engineering concern ARUP. The Palacio di Buenavista is the main building of the museum, and the home of the permanentcollection; accordingly, a significant amount ofwork was needed to incorporate all the servicesand systems that must form part of a modernmuseographic environment, lighting included.After numerous trials and studies, the choice fellon the Parallel fixture, fitted with low voltage 12Vhalogen lamps, type QT12 (50/75/90/100 W). In addition to the usual directional flexibility, the Parallel can also be used in conjunction withboth spot and flood optical assemblies, withcylindrical shields, so that the light output canbe adapted to the effective requirements. The fixtures used for the permanent exhibition area have a black finish, integrated completelyinto the restored panels of the building, with thecontrol gear positioned remotely from the source;this meant designing a special mechanical fixingassembly and an electrical connection. The positioning of the single fixtures was conceivedand defined on the basis of the “quasi permanent”placement of the exhibits. In the temporary exhibition rooms, on the other hand, the installa-tion was decidedly more flexible and dynamic,allowing adaptability to the various layouts. In this instance the fixtures have a white finishand are mounted to multiphase electrified tracks;each is equipped individually with its own lightintensity control and electromechanical adapter.

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Photos: A. Rubio & Asociatos

1.2. Picasso Museum, interiors

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Planning, design and adaptation of building complex Gluckman Mayner Architects - Richard Gluckman, Isabel Cámara e Rafael Martín Delgado di Camara/Martín DelgadoArquitectos, with the collaboration of ARUP

Lighting designRoberto Bergamo and Paul M. Schwartzbaum

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New headquarters of the Calem Wineries

Oporto, Portugal

Projects

section specially equipped to host cultural,social and business events. The three mainpublic areas are the museum, where visitorscan learn all about the Douro region, the making of Port Wines, and the history of theHouse of Calem; the cellars, where the winesare aged in special conditions, protected fromlight and heat; and the tasting and sales salon.In this context, the approach adopted for thelighting design was one of maximum respect for the architecture of the buildings, and for the particular needs presented by each set ofsurroundings. The Kriss appliques, with 100 W high pressure sodium vapour lamps(HST - white), offer a low, warm emission that enhances the features of the walls andprovides a common point of reference throughout the premises.

Architectural designJose Luis Pereiro AlonsoSimón Pereiro López-Quecuty

With a tradition stretching back some 150years, the House of Calem is among the mostfamous names in Port Wine history. Founded in 1859 by Antonio Alves Calem, the firm has collected a great number of awards andacknowledgements. In the late 1990s, theCaixanova Bank bought into the Calem company,acquiring a 20% share of the capital that wouldincrease subsequently to 99%. High on the listof priorities for Caixanova was to renew theimage of the brand and initiate an ambitiousplan that involved renovating and refurbishingthe historic buildings where the casks arehoused. The winery premises offer modernservices to cater for the many tourists who visitCalem - typically more than 100,000 everyyear. The process of renovating the buildingswas concluded in 2004, and there is now a

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Photos: Manuel Vicente

1. Tasting salon

2. Detail of casks

3. Cellar

FurnishingSofía PernasMicaela Neira

MuseographyPablo BustilloRufo Fernandez

The lighting for the museum is suitably museo-graphic, using Le Perroquet fixtures mounted ontracks. In the tasting and sales area, the lightemission of the Le Perroquet units is widenedto provide direct lighting on the horizontalsurface of the tables. The offices are equippedwith suspended Berlino luminaries andHIT150W metal halide lamps, which providedirect-indirect lighting. The auditorium, whichforms part of the cellars, can seat 120 people.The grazing light projected onto the walls bythe Kriss fixtures comes in this instance from

halogen lamps, and is complemented by directlight from Le Perroquet fixtures with halogenlamps and flood optical assemblies. Diningrooms with seating capacities from 14 up 150,exhibition rooms, private meeting rooms, theculture of the House of Calem and of itswines... all combine to offer a high qualityfacility for cultural and social events. The architectural renovation project at theCalem winery received the “Best of WineTourism Award” for 2006.

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Thales Research and Development Centre

Palaiseau, Francia

ClientGroup Thales

Architectural designStudio SerauFrédéric Tomat and Alain Dupont

Projects

The multinational Thales Group is a globalelectronics concern serving the aerospace, defenceand information technology sectors. It becameknown by its present name in 2000, following an acquisition. The company is currently stateowned in part, and operates in 30 countries. The Group recently built a Research andDevelopment Centre at Palaiseau, of which thedesign was entrusted to Frédéric Tomat and Alain Dupont, two young members of the SERAUstudio of associated architects and engineers.

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Their design was based on an attentive analysislooking both at the functional expectations ofthose who would be users of the projectedbuilding and, more especially, at the personalityof the client. The Centre would have an overallsurface area of 32,000 m2 and include a buildingto house offices and optical laboratories, also a"reception” block with conference facilities, abuilding with laboratories, research centres, whiterooms and equipment rooms, and a technicalplatform.

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Photos: Didier Boy De La Tour

1. Exterior of the building

2. Main hall

The concrete and glass structure contains aconference room and features a imposingmonolithic staircase, suspended in space andaffording a window on the world outside. Theinner garden is laid out with set pathways andprovides a further meeting place. In addition tothese areas, onto which all routes through thebuilding converge, there are also “vertical cores”conducive to conviviality, with their glass frontage,open staircase and balcony overlooking thelandscape, and areas for relaxation on eachlanding. As to other components of the design,these serve to fulfil mainly functional requirements.The prefabricated structure consists in a systemof prestressed uprights and cross members, withstandard infill panels, for comprehensive flexibilityof application. The façades in particular areworthy of note: the shimmering surfaces of theparapets, screenpinted glass and blinds reflectthe lights of the optical research building, itssouthernmost wing faced along the two upperfloors (the lower level presents a plinth of smoothconcrete), with a timber cladding that provides aneffective barrier against the sun and is punctuatedat intervals by square see-through voids.

Certain occupants of the centre would spendmost of their time in laboratories (some necessarilywithout windows), effectively in isolation, and tofacilitate personal contact between these people,the designers decided to create two open-viewareas. The reception hall is a glass cube placedat the crossing of two large wings (the office and optical lab block, and the laboratory andwhite rooms building) and becomes a generalmeeting place. A recreation room. Somewhere to exchange ideas.

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“Words”A work by Alfredo PirriUne historie privée:a private history - contemporary Italian photographyin the Anna Rosa and Giovanni Cotroneo collectionParis, 21 June -15 October

Projects

The Maison Européenne de la Photographie(MEP) offers a selection of photographic worksfrom the collection of two Italians, Anna Rosaand Giovanni Cotroneo, who have been artlovers for over 30 years. The starting point oftheir photograph collection is a view of Naples,by Mimmo Jodice. The selection presented byMEP director Jean-Luc Monterosso includes a“classic” section (with pictures by VincenzoCastella, Antonio Biasiucci, Franco Fontana,Mimmo Jodice, Francesco Jodice, Luigi Ghirri,Donatello Spaziani and Raffaella Mariniello,Claudio Abate, Elisabetta Catalano, FerdinandoScianna, Mario Giacomelli, Silvio Wolf andGabriele Basilico), and a further section dedicatedto young photographers. In addition to the pho-tographs, there is an installation entitled “Parole”

(Words) by Alfredo Pirri, dedicated to photogra-phy and light and realized in collaboration withAdnkronos, for which iGuzzini provided lightingconsultancy and equipment. Pirri’s creation isnot a work of photography, but a homage tophotography, which etymologically means “writing of light”. As news from the Adnkronospress agency is networked, the light of the installation changes. Brighter when the news isgood, dimmer when bad. The technique adoptedfor the floor level installation, measuring 4 x 8metres, is typical of the artist’s work: slabs ofwhite Carrara marble and shards of red glassmake up a landscape that could be consideredas a metaphor for the world we live in. The element that animates the piece is light,although to speak of "lighting effects" would be

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Photos: Didier Boy De La Tour

1.2.3.4. Variations in light, linked to the news stories arriving at Adnkronos.

wrong, and indeed Alfredo Pirri is first to say so,explaining: “The composition is backlit by largelamps positioned facing the observer, like a bigwindow. The projected light changes irregularly,influenced by two sets of values: the power ofthe light, and its colour temperature - in otherwords warm light and cold light. The changesare generated by the normal activity of Adnkronos,responding to a stream of around 2000 newsitems per day registering on a terminal not seenby the visitor. The stream of news is filteredthrough a grid of 100 words: 50 for power and50 for quality. A small monitor screen is positionedalongside the installation, on which visitors canread only the titles of the agency news reportsand the two associated key words”. If Adnkronoscirculates a news item, for example, with thewords “people” and “peace” - belonging respecti-vely to the lists governing quantity of light andcolour temperature - the installation will beilluminated with light of a stronger, sunnier nature.Conversely, when news reports contain wordssuch as “blood” and “defeat”, the landscape willappear in a feebler and cooler light. The systemuses Sivra technology, developed by iGuzzini,which the technical department of Adnkronos,

run by engineer Giovanni Parise, has coupled toits news streams by way of an algorithm that willextract a pair of values from each news item inreal time. These values are then used to pilot the variable output of the lamp. In practice, aprocessed signal is relayed to a personal computerat the MEP - connected via the internet to theAdnkronos central information systems at Piazza Mastai in Rome - and applied to the lamp illuminating the exhibit, producing aninstantaneous response.

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New illumination for the Mitchell Library

Glasgow, Scotland

Projects ClientGlasgow City Council

Architectural designGlasgow City Council Building Services

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Situated on North Street in the central CharingCross district of Glasgow, the Mitchell Librarywas built between 1906 and 1911. This imposing Edwardian baroque building hasa fine marble and stone staircase and spaciousreading rooms, with elaborate joinery and plas-terwork. 2006 saw the implementation of a fullrenovation and refurbishment project thatincluded the renewal of the illumination to theNorth Street frontage. In line with a recent commitment of the Glasgow City Council to seethat the town’s more important buildings are fittingly illuminated, the North Street frontage ofthe Mitchell Library has been newly lit up withiGuzzini fixtures. As part of an overall sponsor-ship, in collaboration with the Glasgow CityCouncil’s Heritage and Design Department, itsBuilding Services, and lighting designers LightFolio, iGuzzini provided a lighting solution capa-ble of meeting the expectations and wishes ofthe design team. The proposal submitted to theclient was different to the kind of illuminationadopted in 1990, which utilized suspended fixtures. The new system gives the buildingadded depth, revealing its architectural features

to maximum effect and, not least, showcasing afinial statue by Thomas Clapperton on the dome;the figure represents Literature, personified alsoas Minerva, the Roman goddess of wisdom andlearning.

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Photos: Paul Zanre Photography

1.3. Façade

2. Detail of the dome

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Lighting designLight Folio

Technical sponsoriGuzzini illuminazione

performance and durability in mind. The iGuzzini fixtures utilized include: Radius,Linealuce, Woody, Light Up Professional andPlatea. The former St. Andrews entrance onGranville Street was destroyed by fire in 1962.In 1980, an extension was added to the MitchellLibrary, behind the original façade, and thisbuilding also incorporated the Mitchell Theatre.Thanks to the successful collaboration on theMitchell Library illumination, iGuzzini was also selected as supplier of lighting fixtures for subsequent phases of the refurbishment.

Great care was taken over the illumination of the statue, which is picked out distinctly by aMaxiwoody with superspot optical assembly.Another imposing statue, also representingWisdom, overlooks the North Street entrance:here too, iGuzzini found a way of highlighting the feature, using a concealed Mini Woody spot. The entire system of façade fixtures was designedin such a way as to provide a source of illumination that would be invisible by day andhighly effective at night. All products used for the installation were selected specifically with

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A new building for the WelshNational Assembly

Cardiff, Wales

Projects

In March 2006 (St. David’s day, 1st of March),Her Majesty the Queen opened the Senedd buildingfor the National Assembly for Wales (NAfW). The project, originally conceived and won incompetition in 1998 with Architects RichardRogers Partnership (RRP), BDSP Partnership and ARUP to provide a new home for theAssembly, was re-tendered in 2001 under a‘design and build’ procurement route with thesame design team lead by the Main ContractorTaylor Woodrow Construction. The Clients Briefrequired that the new Assembly Building meetthe Assembly's constitutional responsibilities forsustainable development and achieve "Excellent"rating under the Building Research Establishment

ClientNational Assembly for Wales

Project directorTPS

Architectural designRichard Rogers Partnership

Environmental Assessment Method (BREEAM). In response, the environmental design strategy forthe building as a whole was one first and fore-most of reducing energy demand, followed by theapplication of renewable energy sources and onlythen covering any residual demand by usinghighly energy efficient technologies. This philoso-phy is also reflected in the lighting design andcould broadly be described using the followingthree step approach:

1. Maximise and control natural daylight penetration;2. Use of energy efficient light sources;3. Link controls to deliver the best cross-overbetween natural and artificial.

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Photos: Redshift Photography - Dave Thrower

1. Exterior

2. Assembly chamber

Quantity supervisorNorthcroft

Transmission ConsultantRoger Farmer Associates

Main ContractorTaylor Woodrow Construction

A predominant feature is the Debating Chamber,located in the heart of the building. This space,where proceedings will be broadcast live, isunmistakably meant to be read and perceived as a daylit space by both Assembly Members and the watching public. The vision of thedesign team was to allow internal conditions ofthe Chamber to vary naturally with the passageof time, thus providing a vital psychologicalconnection with the outside. The space isenclosed and daylight can only enter via a glazed lantern that is seated on the domed roofbeneath a rotating wind cowl and a horizontalglazed ring around the base of the funnel in the main hall events area. The most prominentdaylight aperture is the glazed lantern. Daylightis reflected into the heart of the Chamber belowvia a combination of light shelves around thebase of the lantern, a suspended conical mirrorand a series of concentric aluminium ringswhich make up the chamber funnel.

Civil and Structural engineersARUP

Environmental and construction service engineers BDSP Partnership Ltd.

Lighting consultantsBDSP Partnership Ltd.DPA Lighting Consultants

Set AdvisorDepartment Purple

M&E ContractorMJN Colston Ltd.

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The artificial lighting design for the debatingchamber required that the artificial lightingachieve a horizontal illuminance of 500lux with a colour temperature of 5000K and colour ren-dering of 1A/1B, suitable for colour balancing bythe host broadcaster, televising the proceedingsduring daylight hours. As with the daylightingstudies, numerous computer modelling simula-tions assessing various artificial lighting strategiesand luminaire configurations were undertaken byBDSP Partnership to achieve both a technicallycompliant and an architecturally simple yet ele-gant solution. Following some early investigationson CTB filters, the installed design is based on theuse of 70W 4200K ceramic discharge metalhalide CDM-T lamps. The fixture - Pixel Plus -was modified to accept the 70W CDM-T lamp.

This meant prototyping a new fixture, on whichphotometric and thermal tests were conducted inItaly at the IGuzzini laboratory. The result is aChamber lit by a single ring of 80 fixtures with70W CDM-T metal halide lamps, recessed intothe base of the funnel and set at oblique angles,with the aluminium rings starting immediatelyabove. A further eight floodlights are installedhigher up between the tubes to illuminate thesurface of the funnel. In addition, at the perime-ter of the chamber, circular T5 fluorescent lamps

are recessed into the acoustic panels. As themetal halide lamps cannot be dimmed, the flood-lights were arranged in four banks (i.e. 25%) toachieve daylight compensation. In this mannerthey could be switched according to the daylightlevels. In conclusion, the artificial lighting designcoupled with daylight successfully complementsthe overall low energy concept for the whole proj-ect, enabling the Senedd to set new standards inenvironmental performance.

3.4. Assembly chamberProjects A new building for the Welsh NationalAssembly

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The lighting designer’s toolbar 2005 (part 2)

by Julle Oksanen

Design

Tool 5: Calculations

“Lightprisms in Helsinki - Vantaa airport. Permanentlighting for the European flights terminal. 22 x 2200 kg glass prisms, each equippedwith adjustable aluminium wings, and 6 lumi-naires providing the electric light. 200 lx Ehor- was the level selected for general lightingpurposes. During the daytime, natural comesinto the terminal through the aluminium wingsand glass side walls. Daylight creates so-called“Accidental lighting architecture”. The computerwas used to calculate the lumen package inlight directed from luminaires through the glasspanels to the wings and then down to floorlevel within the terminal. The computer did notresolve everything, but helped a lot. Our owncalculation formula was used. Architect PekkaSalminen, lighting designer Julle Oksanen.

Grand Central Station in New York City hasbeautiful lighting inside the building. It is thework of lighting designer Charles Stone. This is the best part: according to the recom-mendations there ought to be Ehor = 200 luxat floor level. Grand Central Station has onlyEhor = 15 lx and it is beautiful. Less than 8%of the recommended value, and yet peoplecome from all over the world to see it and enjoythe atmosphere.

Tool 6: Recommendations

Thousands of pages have been written with ofall kinds of recommendations on lighting. Some are fine, others make me smile. For 10years or so I was very excited about creatingthem with different teams, like with the CIEand other voluntary associations. After 10 yearsof superactive personal involvement I started tolose my 100% trust in recommendations andstandards. But I would like to introduce a verygood practical example to everyone: GrandCentral Station in New York City..

In issue 13 of Incontroluce, Julle Oksanen dealt with the first four tools that need to be used, and which serve as guides to lighting design: Concept; Master plan, the Lighting Design process, and Computers. Having already looked at these, he now discusses further tools, with the aid of photographs from his own portfolio.

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Photos provided by Julle Oksanen

1.2.3. Light prisms. Lighting for the European flights terminal at Vantaa airport, Helsinki

4. Grand Central Station, New York

5.6. Before and after. Stockmann Shopping Mall

The building is in the process of being renovated.The Lighting Design Master Plan has beencompleted and the Pilot area is ready. During the one year process of preparing a new lighting design, these tools were used:

– Concept – Master plan – 1:1 scale model – Calculations – New technology – Teamwork – Computers – Lighting design process – Recommendations – Luminaire design – Client

Final example of application using all the tools: Stockmann shopping mall project

Briefly: The lighting is divided into 3 elements,all with their own purpose and significance.The lighting design philosophy also includedpartly architectural design elements, as do allengineered systems (air conditioning, waterpipes, sprinkler system, wiring, etc.), whichwere concealed behind the unobtrusivesuspended ceiling structure. Besides indirectrecessed lights and strip lighting, spots with asharp 25° beam were used as accent lights topick out individual products. Spotlights todaydo not necessarily need to be track-mountedany more. The grid of luminaires was checkedby computer in order to ensure coverage of thewhole sales area. iGuzzini Frame luminaireswith electronic ballasts were used.Our evaluation of the Frame as a luminaire wasas follows: visually attractive black box, stylish

contours, right size and proportion for oursuspend ceiling elements, high quality materials,good aiming angles, zero glare even if aimedincorrectly by the client, technically high quality,electronic ballasts = long lamp life with 35Wmetal halide, easy to install, reasonably priced.There are many designers and clients who eitherfail to understand or at least underestimate theimportance of the manufacturer in a smooth andflexible design process. As regards my ownlighting projects - be they educational, researchor design - the role of manufacturers and theirstaff is especially valuable and important. On this project, for example, the manufacturershave created something special in terms of theadopted luminaires, and been super fast withtheir services.

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“Conoscere la forma” project

Milan, Italy

Corporate culture IdeationCentro Studi e Ricerca iGuzzini Istituto Centrale per il Restauro

Thanks toTrapani Heritage Authorities, for their kind permission to use thecopy of the Dancing Satyr

On 23rd May at the premises of iGuzzini PartnerAssistance in Milan, the press and public wereintroduced to a new project, “Conoscere laForma” (Appreciating Form), originating from a collaboration between the iGuzzini Study and Research Centre and the Istituto Centraleper il Restauro (Central Restoration Institute).The project comes about as the result of aconviction central to every aspect of corporatestrategy: light is an element fundamental inacquiring knowledge of the world around us.When used to illuminate works of art, inparticular, lighting must be properly studied,designed and implemented, given that it has a crucial influence on the preservation,perception, analysis and understanding of the work. “Appreciating form” is a projectdeveloped along two lines:

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Photos: Paolo Carlini, Carlo Anastasio, Archivio iGuzzini

1. Setting up the different lighting schemes

2. Left to right, Adolfo Guzzini and Caterina Bon Valsassina,director of the Istituto Centrale per il Restauro

3. The Satyr, installed at iGuzzini Partner Assistance

“Viewable forms”In this part of the project, a model of a work ofsculpture is considered by three professionalsin specific and different areas of expertise, forexample: a restorer; an art historian, and aphotographer Underlying this project is a researchprogramme aimed at identifying one or moremethods of analysis, and of lighting designapplication, that will provide curators of museumsand shows with a greater awareness of howthree-dimensional exhibits can be illuminated to best advantage. Using computer management,designers can create a variety of settings, staticand dynamic alike, besides programming arange of different lighting parameters such asintensity, cone width and colour

“Touchable forms”The same model of a work of sculpture,consistent with the original, made of material and on a scale suitable for the purpose, ispresented for tactile exploration by the blind and partially sighted. To enable appreciation of the piece by the blind and partially sighted,researchers have identified ways of preparing the surface of copies specifically with tactileresponse in mind, related for example to thethermal properties of materials, by utilizingdifferent materials for certain details, and byselective treatment of the surface. This part of the project was developed in closecollaboration with the physics laboratory of the Central Restoration Institute, and founder-moulder Alessandro Fagioli.

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4. The Dancing Satyr, as seen by archaeologist PaoloMoreno

5. The Dancing Satyr as perceived by the blind and partially sighted, by Angelo Mombelli

6. The Dancing Satyr, as seen by Gillo Dorfles

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Corporate culture “Conoscere la forma”project

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The Dancing Satyr of Mazara del Vallo

The bronze statue of the “Dancing Satyr” was discoveredon the bed of the Sicilian Channel in two stages: firstthe left leg, in the Spring of 1997, and almost a yearlater, the armless body, without the right leg. It represents a figure of mythology, part man part goat,one of the orgiastic followers of Dionysius, god of wine. The work is dated to around the end of the 4th or the3rd century BC. Its beauty and perfection suggestPraxiteles as the author.

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7.9.11. Three images of the installation by Vincenzo Cerami

8. Digital 3D model

10. The original of the Dancing Satyr

The process of producing the model is character-ized by two steps, known in industry as reverseengineering and rapid prototyping: in the first, the geometry of the sculpture is mapped three-dimensionally (in 3D), using a laser scanner.After various data post-processing and solid modelling operations, the laboratory engineersarrive at a Digital 3D Model, consistent with theform of the original sculpture. Whilst this "virtual"model is needed in order to preserve the historicalmemory of the form, for study purposes and forsolving problems of restoration and conservation,it can also be used as the template for a physical/material model consistent with the original, or a model of which the scale and construction material can be selected to meet specific needs.

In the second step, the model is generated byautomatic machining processes using numericalcontrol, with the physical model of the sculptureacquired directly from the digital model. The scale and material are selected as appropriate. Interpreting a copy of the Dancing Satyr of Mazaradel Vallo in Milan through the medium of theirenvisaged lighting schemes were VincenzoCerami, novelist and screenwriter, Gillo Dorfles,critic and historian of art and design, AngeloMombelli, expert in perception difficultiesaffecting the blind and partially sighted, andarchaeologist Paolo Moreno, who has beenstudying the sculpture of the satyr since itsdiscovery.

12. A moment during the press conference. From left: Giorgio Accardo, Gillo Dorfles, Paolo Moreno,Angelo Mombelli, Vincenzo Cerami, Adolfo Guzzini

13.14. Other moments during the presentation of the project

15. “Touchable forms” Tactile exploration by the blind and partially sighted

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Corporate culture

The Highway 4 Monument, by Antero Toikka,was built along the motorway between Helsinki e Lahti in December 2005. The full inaugurationtook place early in 2006. The sculpture, installedat Ohkola on a low hill, was erected to provide anoise barrier between the motorway and the railway. During the winter months, it is illuminatedby Light Up Walk Professional fixtures with refractors and antiglare lenses, using metal halidelamps.

Contemporary art along the motorwayThe Highway 4 MonumentMäntsälä, Finland

The Barrajas airport project

The Estudio Lamela, a leading name in modernSpanish architecture, is well-known as designerof the Terminal 4 at Barrajas airport, and of theBernabeu Stadium, home to Real Madrid.Lamela is the only Spanish practice present atthe “Architectural Design and Urban Planning”show in Shanghai, this year notching up itssixth edition. iGuzzini illuminazione collaboratedwith Estudio Lamela on the lighting for BarrajasTerminal 4.

Nordic Light Award for the Blue Lagoon Medical CentreReykjavik, Iceland

In June 2006, a medical centre for the treat-ment of psoriasis and eczema, inauguratedMay 2005 and operating in the Blue Lagoonarea, was given the Nordic Lighting Award forthe quality of its lighting design. The lightinginstallation, which utilizes iGuzzini products,“is perfectly in harmony with the building” and at the same time able to create a welcoming and pleasant atmosphere (from reasons given by the jury).

iGuzzini and the America’s CupValencia, May-June 2007

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Corporate culture

Visionitaliane. Architecture and designfor a sustainable environmentBeijing, National Museum, 3-28 July 2006

iGuzzini continues to develop and strengthen itspresence in China. In addition to the lighting forMario Cucinella’s “Sino-Italian Ecological andEnergy Efficient Building” (see page 10), thecompany’s name is associated with the lighting for two exhibitions dedicated to Italian architecture,also involving two major Italian publications: Domusand Interni. Domus provided material from itshistorical archive for “Visionitaliane. Architectureand design for a sustainable environment”, anexhibition on Italian landscape, architecture andartefacts staged in Beijing, at the NationalMuseum in Tienanmen Square. The exhibition iscurated by Italian architect Mario Occhiuto andorganized by Italy’s Ministry for the Environmentand Land protection, in cooperation with theMinistry for Cultural Heritage and Activities, theICE, China State Environmental ProtectionAdministration and the China Academy of SocialSciences. It offers a window on landscapes,architectures and artefacts of the 20th Century in Italy, and a look at the cultural roots of Italiancooperation in China. Also on show are Italianexamples of architecture linked with environmentalsustainability.

Since Valencia was named as host city for the32nd America’s Cup, the commercial port areaof the city has been extensively renewed.iGuzzini illuminazione contributed - as technicalsponsor - to the lighting systems for the twoteam bases of Mascalzone Latino and LunaRossa. The Mascalzone Latino team base,designed by the architectural partnership Cestaro& Ciribì, is intended first and foremost as aworkplace where many different activities canbe carried on at any one time, but also offersareas open to the public, and where guests can be entertained. Le Perroquet, Light UpWalk and Sistema Easy are the fixtures installed.For Luna Rossa, on the other hand, the RenzoPiano Building Workshop came up with thesimplest of structures: a parallelepiped, with old sails, kevlar and carbon fibres among thematerials used in construction. The façade is illuminated with Lingotto fixtures.

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Corporate culture

1. Giannunzio Guzzini presents winner Davide Sanguinettiwith the trophy

2. The two finalists: Simone Bolelli and Davide Sanguinetti.

“50+2Y Italian Design” exhibitionBeijing, National Art Museum of ChinaNAMOC), 10 September - 10 October 2006

“Concurso” for young architects

In collaboration with Pasajes magazine, iGuzziniEspaña has launched the third edition of itsarchitecture competition, intended exclusively for architecture students. The closing date forentries is 30 July 2007. The winner will receivea first prize of € 18,000, a diploma and a trip to iGuzzini headquarters in Italy. The second placed candidate receives a prize of € 6,000 plus a diploma, and the third placed, a prize of € 3,000.

July 2006. The Guzzini Challenger tennis tour-nament was won this year for the second timeby Davide Sanguinetti, who took the title whenhis opponent in the final, Simone Bolelli,retired hurt in the second set. Events on theChallenger circuit are administered by the ATP(Association of Tennis Professionals), whichalso runs the prestige tournaments on the mainTour, notably the four Grand Slams (AustralianOpen, Roland Garros, Wimbledon and the USOpen). The ATP Guzzini Challenger tournamentwas sponsored once again this year by FratelliGuzzini, iGuzzini illuminazione and Teuco,three companies of the Fimag-Guzzini Group.

ATP Guzzini Challenger finalRecanati, 30 July 2006

As part of the “Italy in China” year, Interni maga-zine was approached by the Italian Embassy toorganize a design exhibition at NAMOC. Theexhibition is dedicated to the history of Italiandesign over the last 50 years (1956 - 2006).The selected exhibits would feature products considered to be symbolic of Made-in-Italy during the period covered. These include land-mark iGuzzini fixtures: AM-AS table lamp, Central 41, Lingotto applique (indoor version), Le Perroquet (suspended version with plate), and iWay.

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Corporate culture

iGuzzini illuminates the G8 venue for 2006 St Petersburg, Russia, July 2006

St Petersburg provided the venue for the G8summit in 2006, the main meetings beingheld at the Mariinskij Palace. To mark theoccasion, the building was provided with new illumination, commissioned from iGuzzini illuminazione. This project figures alongsidethose already completed for the Church of the Resurrection, the Nevsky Prospect and the Hermitage.

Venice Architecture Biennial for Croatia

Lumenart, the iGuzzini distributor for Croatia, is building a new headquarters. The design -by the famous Croatian architect Andrija Rusan- has been selected to represent contemporaryCroatian architecture at the Venice Biennale.

On 1 June 2006, a new exhibition was openedat the Villa Colloredo Mels, entitled “Tracks.Founding an Industrial Heritage Museum” andpromoted by the cultural association “Il Paesaggiodell’Eccellenza” (Landscape of Excellence).The exhibition is a first step toward setting up thefuture museum of industrial heritage representingthe area between the valleys of the Musone andPotenza rivers, and reflecting local culture andvalues. Punctuating the tour of the exhibits arecertain selected “items of excellence” representativeof local industrial output and of the corporatevalues of the 25 contributors involved with theassociation. There are six broad themes - Art,Design, Communication, Local/Global, Innovationand Social Responsibility - through which theorganizers have sought to illustrate an extraordinaryand heterogeneous industrial scenario. And alongside the exhibition, likewise in the VillaColloredo, there is the “Guzzini Gallery”, providingan overview of the various companies of thisimportant Recanati group, and an introduction tothe Eko Guitar Museum.

“Tracks. Founding an IndustrialHeritage Museum” Recanati, June - November 2006

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I have always been keen on sport, and Ibelieve sport plays a huge role in educationgenerally. This was always what promptedme to set up the Guzzini Tennis Club, whichis open to everyone in Recanati - especiallyyoungsters - and not only to companyemployees. The club has grown over theyears: in 2004 it was awarded the bronzestar for merit by CONI (the Italian OlympicCommittee), and our tournament is now onthe ATP Challenger circuit. iGuzzini hasalways supported the activity of the TennisClub and of other sporting organizations inthe region, such as the youth footballscheme of the Unione Sportiva Recanatese. With support from local business, these twoorganizations help to coach a great numberof youngsters: every year, 300 boys andgirls of between 6 and 14 attend the tennisand football schools created by the twoRecanati clubs. Their commitment is thatmuch more admirable at this particulartime, when sport seems more and more frequently to be tainted by corruption, andscandal generally. Helping to get youthsports off to a healthy start is one of themost important values underpinning socialand cultural development in society, complementing and completing a parallelcommitment to maximize the value of ourcultural heritage in the Marches throughintelligent and imaginative technical sponsorship.

Giannunzio Guzzini

Opinion

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IncontroluceSix-monthly international magazine on the culture of light

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

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

Graphic DesignStudio Cerri & Associati

PublisheriGuzzini illuminazione spa

Contributors to this issueiGuzzini illuminazione Benelux Bvba/sprl iGuzzini illuminazione Deutschland GmbH iGuzzini illuminazione España S.A.iGuzzini illuminazione France S.A.iGuzzini illuminazione Norge A.S.iGuzzini illuminazione UKLumenart, CroaziaPeyan Oy, Finlandia

Cover photoCarlo Anastasio

Printed by Tecnostampa, RecanatiOctober 2006

The Editorial staff is not responsible for inaccuracies and omissions in the list of credits relating to projectsand provided by colleagues.Completions or corrections will be included in thenext issue.

II. 200614 Incontroluce

Incontroluce XIV / The Marches: The universities and the territory / Projects: SIEEB Sino-Italian Ecological and Energy Efficient Building / Light for the Morgan Library expansion / Gentile da Fabriano and the other Renaissance / The Palace of Justice in Antwerp /Relocation of the Egyptian Collection in the Altes Museum / Reorganization of the PicassoMuseum / New headquarters of the Calem Wineries / Thales Research and DevelopmentCentre / “Words”, a work by Alfredo Pirri / New illumination for the Mitchell Library / A new building for the Welsh National Assembly / Design: The lighting designer’s toolbar2005 (part 2) / Corporate culture: “Conoscere la forma” project / iGuzzini and theAmerica’s Cup / The Barrajas airport project / Contemporary art along the motorway / The Highway 4 Monument / Nordic Light Award for the Blue Lagoon Medical Centre /Visionitaliane. Architecture and design for a sustainable environment / ATP GuzziniChallenger final / “50+2Y Italian Design” exhibition / Concurso iGuzzini España / VeniceArchitecture Biennial for Croatia / iGuzzini illuminates the G8 venue for 2006 / “Tracks.Founding an Industrial Heritage Museum”

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