24100444 lighting handbook incontroluce 12
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12 II. 2005
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Editorial
Dear Readers,
Issue twelve of incontroluce bears out the
message of our current advertising
campaign, iGuzzini, Partners for Better
light. This issue presents some of the
recent projects by major international
architects, in which iGuzzini has been
involved as lighting consultant and on-site
partner of architects, engineers and lighting
designers. We have also worked closely with
master architect Steven Holl, who hasalways paid close attention to the constant
variation of light and the changing
appearance of colour in his work.
We acted as consultants on his behalf for
the exhibition in which he took an in-depth
look at the interaction between light and the
porosity of materials. As for the inauguration
of our new headquarters in Paris - which is
intended to be a meeting point between the
needs of architects and designers and the
technological know-how and experience of
our technicians, built up through years of
collaboration with the world of design and
architecture it bears further witness to ourcommitment to being dependable partners
in constructing the quality of the
environment in which we live.
Adolfo Guzzini
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Editorial
Le Marche
Giuseppe Sacconi.Architect of the typical eclecticism of Le Marche(1845 1905)
Design
I dont know how to talk about light...words cant express certain feelings
Projects
The Pero Exhibition Centre
Light for the Sanctuaryof Saint Pius of Pietrelcina
An innovative luminaire forthe GOGGS
An orchid of light forPaul Andreus Oriental Ar t Centre
Harajuku.A little corner of Japan in Valencia
A new churchdedicated to Saint Franois De Molitor
The Mosque of Sultan Hassan
The Moby Dick House
Zentrum Paul Klee
Corporate culture
An interview with Steven Holl
Party for the launch ofiGuzzinis new Paris premises
A show of lights and colours
Invisible Hotel5+5=5 Massimiliano Fuksas5 years 5 projects
MINI Design Week 2005
iGuzzini lights the Churchof our Saviour on the Spilled Bloodin St. Petersburg
Collaboration between Pool of LondonPartnership and iGuzzini lighting
John Kirwan and leadership
The Augusto Morello INTEL Design Award 2005
iGuzzini for public safetyThe Landscape of ExcellenceAssociation and Museum
Opinion
12Incontroluce
Contents
II. 2005
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Giuseppe Sacconi.Architect of the typical eclecticism of Le Marche(1845 1905)
by Giancarlo Capici
Le Marche
During his time as Supervisory Director of the
Regional Department for the Preservation of
Monuments in Le Marche and Umbria,
Giuseppe Sacconi was an eclectic architect
and restorer. He was also a Member of
Parliament. Like most architects at the time,
his formal qualifications were few, but he had
a sound grounding in architecture and the
arts. The eclecticism of his training, however,
was undoubtedly complemented by his skill
as a master of several arts, his subjectivecapacity tempered by art, and highly
sensitive to beauty in all its forms and an
erudition constantly enriched by study and a
knowledge of the works of the ancients.
Another way of understanding Sacconi is to
examine the 700 or so books that made up
his private library, and which are currently
held in the Fondo Sacconi at Rome Central
Library. These give an insight into the
architects character and cultural interests.
During the course of his working life,
considerable importance was attributed to the
monument to Vittorio Emanuele II, but the
same relevance is also due to other aspects ofhis work, both as a designer of new buildings
and as a restorer of ancient monuments,
although the latter are not easy to quantify,
since almost all of the architects archives
have been lost. Since his premature death in
1905, the suffering, torment, doubt, anxiety
and dramatic dissatisfaction that accompanied
Sacconi throughout his career, has been
documented by a long chronology of
literature, organised into various studies and
publications. However, among the works of
Sacconi, the Complesso del Vittoriano
remains the highest example of his style and
architectural language. The purpose of thispublication is to assess certain historical
factors which form the basis of the original
rationale behind the work and are examined
within the political and social context of urban
development in the early years after Italian
unification. We therefore exclude any
discussion of the disputes and caustic
reactions generated by the critical misfortune
and notoriety of the Monument to Vittorio
23 September 2005 marks the centenary of thedeath of the architect Giuseppe Sacconi, from Le
Marche. The occasion saw the launch of a bookentitled Giuseppe Sacconi e il Vittoriano nella Terza
Roma by Giancarlo Capici, published by Pilaedit.
Emanuele II, which arose, despite the broad
consensus that prevailed until the monuments
inauguration, from a heated debate of Italys
cultural heritage and from an arid and
pragmatic assessment of urban and
archaeological reasoning. The monument
remains a great work, however, and is thefruit of a political commission for the capital
city of Rome, and the commitment and
professional skill of a host of designers,
architects, engineers, technicians, artists,
skilled tradesmen and contractors, over a
period of 27 years. The subsequent ridicule
of the work (which has been variously likened
to a type-writer, a wedding cake and a luxury
urinal) fuelled the negative connotations that
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Giancarlo Capici
Born in Macerata in 1934, Giancarlo Capici graduated
from the University of Rome, having followed courses
run by Ludovico Quaroni, Pierluigi Nervi and Leonardo
Benevolo. He lives in Rome, where he runs a firm
specialising in architecture, urban planning, consulting
and promotion, but he retains a strong bond with his
native Le Marche, partly through ongoing professional
activity in the region. He works with both the public
and private sectors, and his chief interest lies in
projects of cultural interest, for which he has obtained
a number of prestigious awards. He has worked with
companies such as iGuzzini, for which he designedone of the very first Harvey iGuzzini productions.
Since 1980, he has also been involved in publishing,
and set up the Pilaedit publishing house specialising
in the publication of historical and architectural texts.
Alongside his professional work, he now also
contributes to the promotion of events aimed at raising
the profile of the cultural heritage of Le Marche.
He was recently one of the main players in the setting
up of the National Institute of Architectures new
Le Marche division, of which he is Vice-Chairman.
In September, the National Institute of ArchitecturesLe Marche division promoted a number of eventsto celebrate the life of Giuseppe Sacconi.The events were held at the town hall of Montalto,the architects birthplace, and in Ascoli Piceno,and attracted the patronage of the President ofthe Republic, the Municipality and the Province,and a contribution from the Carisap Foundation.
were to pursue this monument. Its bad
reception by the people and intellectuals,
however, was not due to its aesthetic qualities
per se, but to the historical events that turned
people against the Teutonic spirit which
the monument does indeed emanate.
Today, the role of symbolic attraction playedby the Vittoriano in Piazza Venezia also has
a more recent function as a place of homage
and, as expressed by the architect in Peter
Greenaways film, the monument seems to
have entered contemporary history as the
stage of the entire city.
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I dont know how to talk about light...words cant express certain feelings
by Alessandro Grassia
Design
I can only talk about my work as a lighting
designer in relation to my own life history.
Im convinced that my works and my way of
perceiving this profession are the result of the
attraction that Ive always felt for lines,
volumes and design. It was this attraction that
first prompted me to prefer history of art over
all other subjects, and then to study
architecture, before specialising in restoration.
This background pervades all of my work,
which translates first and foremost into 2
showing the language and musicality of
architecture, quite literally, in its best light.Its as though light didnt exist without the
purpose of revealing the identity of the
illuminated object. When I finished my degree
in architecture, I had no idea that my work
and ideas would go onto find expression in
lamps, optics and light sources; not least
because at university in the 1980s, when I
gained my specific knowledge, very little was
said about artificial light. When fate decreed
that I take up the task of lighting historic
buildings and monuments, my biggest
challenge was re-learning and developing my
technical knowledge of lighting: the rest just
happened on its own. When I say this I dont
mean to undervalue the role of technical and
technological knowledge of lighting, quite the
reverse: you could say that such knowledge
constitutes the tools of the lighting designers
trade, like a writers pen or a painters
brushes. The lighting designer needs to be
fully conversant with his work tools, needs to
know how to handle them with ease, needs
to understand the mechanical aspects of the
job (I maintain that a lighting designer must
be capable of taking apart the equipment he
uses in his designs and putting it back
together again), and also has to keep up to
date with the new technologies that emerge
from research and industry. But although
necessary, this is not enough on its own.I still firmly believe that an artistic lighting
design can only be defined as complete when
the technical tools are used to express a
particular vision or interpretation of historical
knowledge. A good example of this is the
project I undertook for Enel Sole in Piazza
Duomo in Catania. The design of the Baroque
architecture that defines the urban space
leaves no margin for interpretation: the
rhythm of solids and voids, the alternation
of pilaster strips and mirror images, the
dimensions of the bases and the form of the
cornices interact with each other with such
rigour, that all you can do is follow their lead.By following the teaching of J. Summerson,
who attributed musical tempos to the spaces
that punctuate classical columns (presto,
allegro, andante, adagio, largo), you can see
how the beams of light in Piazza Duomo beat
the rhythm of the architecture as though it
was a musical score. If you manage to get in
tune with the architecture, youre unlikely to
produce an indifferent design. The same
applies to how you lay out light sources,
especially if theyre fixed to the building itself.
You must never overlook the fact that a
lighting system is also visible during the day,
so even the layout of the visible equipment
cant be taken out of its architectural context.
And let it not be said that this vision of
lighting impinges on the creative freedom of
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Photos supplied by Alessandro Grassia
1. Piazza Duomo, Catania
2. Cattedrale di Pisa
3. Tempietto di San Pietro in Montorio, Rome
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Design
the lighting designer, because you can stillplay around with levels of illuminance, colour
temperature, the direction of the beams, you
name it. You just need to know the rules of
the game and you can do practically
anything. An example that comes to mind is
the way the Baroque architects displayed their
talent through virtuoso shapes and
spectacular effects based on the compression
and expansion of material: all apparently
deviating from the rigour of the language of
classical architecture, but all totally in
harmony with its shapes and proportions.
So you can break the rules, but only once you
fully understand how they govern the way anitem is made. The same applies to modern
architecture. The Magliana viaduct over the
motorway connecting Rome to Fiumicino
airport, built by Riccardo Morandi in the early
1960s, is an example of modern architecture,
for which I recently produced a lighting design
on behalf of ANAS, together with Professors
Pepe Barbieri and Rosario Pavia.
I dont know how to talk about light...words cant express certain feelings
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On the Morandi Viaduct, the light helps youread the structural function of the component
parts of the work: slim and streamlined
because of the taut stays, and solid and
imposing because of the compressed portal.
Given that the structure was completely unlit
before, just making it visible would have been
an improvement; but a lighting design has to
do more than that. You have to read the
structure, analyse it, get hold of the original
architects drawings, understand the static
mechanisms, and compare it with other
works by the same architect. Then and only
then can you attempt to come up with a
design concept. To sum up, its not enoughjust to use the latest, sophisticated
techniques. Lighting designs should be the
incarnation of a guiding idea inspired by the
character and spirit of the structure to be lit.
Seeing a monument by night thus evokes a
new feeling, but what it evokes must not
contradict the formal message originally
intended by the architect.
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4. Altare della Patria, Rome
5. Viadotto Morandi, Rome
6. Villa Madama, Rome
Alessandro GrassiaAlessandro Grassia graduated in architecture in Rome,
where he still lives and works. His initial training focused
on classical architecture and the restoration of historic
buildings and monuments; only later did he specialise
in the science and techniques of lighting. In 1993, he
started work as a lighting designer, specialising in artistic
and monumental lighting installations. He has worked
with public bodies, municipal authorities and advisory
and inspection services. In little over ten years, he has
undertaken the artistic lighting of some of Italys
best-known monuments and archaeological sites,
including the archaeological excavations of Pompeii and
Herculaneum, the Altare della Patria and the Pantheon
in Rome, the cathedral in Pisa, Raphaels Villa Madama
and the Tempietto di Bramante, also in Rome, and the
Cascata delle Marmore, in Umbria. He also produces
lighting plans, such as those executed for the Municipality
of Frascati and for Upper Bergamo. He is a lighting
consultant for the Co-operation and Development
Department of the Ministry of Foreign Affairs, with whom
he was involved in the design of certain installations at
the Museum of Shanxi a Xi-Han (Peoples Republic of
China) and the National Museum of Damascus (Syria).
In his capacity as a lighting designer, he works with
various firms of architects and civil engineers. He
lectures on post-graduate lighting courses in the faculties
of architecture at the universities of Rome and Venice.
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PhotosFabio Emilio Simion, Maretti Srl
1.2. Pictures of the roof the trade fair complex(mountains and craters)
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Service centre logo
Structural designerSchlaich Bergermann und Partner
Curtain wallsPermasteelisa spa
Steel structureIcom Engineering, Ask Romein,Carpentieri dItalia
RoofingBemo Systems
Designer and art directorDoriana O. Mandrelli
Architectural projectsupervisorsGiorgio Martocchia, Ralf Bock
3DFabio Cibinel
Design GroupAngelo Agostani, Fabrizio Arrigoni,Chiara Baccarini, Giulio Baiocco,Daniele Biondi, Giuseppe Blengini,
Laura Buonfrate, Sofia Cattinari, IreneCiampi, Chiara Costanzelli, Alberto Greti,Kentaro Kimizuca, Roberto Laurenti, DavideMarchetti, Luca Maugeri, DominiqueRaptis, Cesare Rivera, Adele Savino, TasjaTesche, Toyohiko Yamaguchi
Executive drawings of the pavilionsStudio Altieri
Structural engineers for central axis,service centreStudio Marzullo
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The lighting project covered the various
pavilions, the central area, the large road axis
covered by the steel and glass structure that
characterises the complex and several outer
zones of the Services Centre, so as to create
uniformity in the visual impact of the
installations. The pavilions are lit by a direct
and indirect system to meet the requirement
for an average of 300 Lux on the ground and
to create uniformity for the considerable
height of the buildings. The pavilions vary inheight from 10-12 metres, and 7 metres per
storey in the two-storey pavilions.
The position of the light sources was defined
by a mesh with rectangular modules. To
achieve the necessary level of lighting, Lavinia
units with street optics and 400 W iodide
light sources were used for the direct lighting,
while 250 W light sources provide the indirect
lighting. The project focused particularly on
lighting the walkways inside the pavilions,
because the stands themselves are equipped
with their own lighting during exhibitions.
The lightweight, transparent sail, which isover a kilometre long and undulates to form
mountains and craters varying in height
between 10 and 12 metres and ground level,
was lit by a variation of the Lavinia system
with a double arm anchored to the metal
structure and arranged lengthways in relation
to the transit route. In order to soften the
visual impact, the same colour as used for the
roof was chosen. In this case, the lighting is
provided by asymmetrical flood optics with a
250 W metal-halide light source. Under the
roof are escalators and transit ways, with
offices and shops at the side. The general
lighting of the Service Centre and the outerpart of the auditorium is based on 250 W
Platea projectors with asymmetric optics.
Projects The Pero Exhibition Centre
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3. Interior of one of the pavilions in the trade fair complex
4. Picture from the advertising campaignPartners for better light
5. The road at level 6
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The new church dedicated to Saint Pius in
San Giovanni Rotondo, designed by Renzo
Piano, took ten years to build. By combining
the exterior and interior space, the work was
designed to accommodate the growing
number of pilgrims who visit San Giovanni
Rotondo. Pianos building will be able to
accommodate 6,500 people, while a large
open space communicating with the nave will
enable a further 30,000 people to attend
religious ceremonies. The extensive complexcontains works by contemporary artists such
as Domenico Palladino, who created the
bronze entrance door to the nave; Giuliano
Vangi, who designed the pulpit, and Arnaldo
Pomodoro, who produced the gilt bronze cross
hung over the altar and lit by a cone of
natural light, which filters through an aperture
in the roof. The lighting emphasises the
connection between interior and exterior
environments. To ensure a uniform look for
the vast complex, the indoor areas were fitted
with various versions of Le Perroquet
projectors, while the outdoor areas are lit by
Nuvola units, together with Light Up,
Light for the Sanctuaryof Saint Pius of Pietrelcina
San Giovanni Rotondo, Italy
Projects PrincipalReligious province of SantAngelo ePadre Pio Order of Capuchin Friars Minor
Architectural projectRenzo Piano Building Workshop
MaxiWoody and Berlino in suspended and
post-mounted versions. The nave is shaped
like an Archimedes spiral and covers an area
of 5,700 m2. It features an inner and an outer
rank of arches in Apricena stone
(for a total of 22 arches), aligned on a single
geometrical centre. Next to this is a raised
area with steps leading up to the altar by the
sculptor Arnaldo Pomodoro. The feet of the
outer arches delineate the perimeter of the
nave. Various versions of Le Perroquet wereconsidered the most appropriate light fittings
for the various requirements of the nave, and
a stylistic link was maintained throughout the
complex. The lighting design is the result
of a compromise between the needs of the
Capuchin friars, whose priority is the reception
and safety of visitors and who hence require
high levels of lighting, and the concept of
Renzo Piano, which was based upon much
lower levels. From the churchyard you can
see the main arch of the church in all its
glory. It is the largest stone arch in the world,
with a width of 45.8 m and a maximum
internal height of 15.7 m.
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Photos: Giuseppe Saluzzi
1. Bronze entrance door to the nave,by Domenico Palladino
2. Main altar with the cross by Arnaldo Pomodoroand the aperture which lets in natural light
Liturgical consultantMons. Crispino Valenziano
Execution of workSociet consortilea responsabilit limitataFabbrica della Chiesa
Director of WorksGiuseppe Muciaccia
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information centre, a pilgrims hall and toilet
facilities. Inside this area there are three
auditoria for meetings, debates and the
projection of films etc., equipped with two
seating areas (stalls and circle), with seating
capacities of 249, 292 and 366 respectively.
The area is lit with suspended Le Perroquet
luminaires produced specifically for this
project, because they are double and some are
equipped with loudspeakers. The units use
150 and 250 W halogen light sources.
It is closed with a large glass panel,
consisting of over 100 windows, which make
up two bearing structures. The full load of the
church and crypt is discharged through a
single central pilaster, on which all the stone
arches converge. Access to the church is via a
straight pedestrian avenue eight metres wide,
lined by two rows of cypresses, beside which
there are terraced areas of greenery, where
pilgrims can stop and rest. At the end of this
avenue stands a large cross in Apricenastone, made up of 70 ashlars. The avenue is
lit by Nuvola units. The churchyard is
triangular in shape and slopes towards the
interior of the nave. It covers an area of 8000
m2, which is enough to accommodate some
40,000 worshippers. It connects with the
historic churchyard of the Sanctuary of Santa
Maria delle Grazie. The enormous expanse of
white is broken up by 21 olive trees lit with
Light Up units. People heading for the
churchyard can walk along beneath the
colonnade immediately to the right of the
large cross. The first nine columns are higher
than the others so as to form a support for theeight bronze bells, each of which sounds a
different note, cast at the Papal Foundry of
Marinelli di Agnone. On each of these nine
columns stands an eagle sculpted by Mario
Rossello. The portico is lit by MaxiWoody
luminaires, with directional deflectors to
illuminate the columns, and by suspended
Berlino luminaires, which pick up on the
post-mounted Berlino units in the outer part
of the portico. Beyond the threshold is the
reception area for pilgrims, equipped with lifts
to provide sick and disabled people with
access to the level of the church.
The reception area also accommodates an
3. The large glazed area which closesthe worlds largest stone arch
4. Access avenue
Projects Light for the Sanctuaryof Saint Pius of Pietrelcina
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An innovative luminaire for the G.O.G.G.S.(Governement Offices ad Great George Street)
London, England
Projects
The British Government Offices in Great
George Street occupy a prominent position
next to the Houses of Parliament in central
London. Foster and Partners were assigned
the task of joining the buildings in the
complex, designed in 1898 by John
McKean Brydon and built in the early
1900s, into a single working unit.
After completing the plans for the west
wing, Spencer de Grey, the partner directing
the Treasury project for Foster and Partners,explained that: In this project, the
challenge lay in transforming the 100 year
old building, with its deep planimetry
punctuated by sources of light and inner
courtyards, into a modern, energy-efficient
working environment. As the reconstruction
of the west wing was classified as
excellent and the east wing as very good
under BREEAM (Building Research
Establishment Environmental Assessment
Method) criteria, the architects clearly rose
to the challenge. The main entrance to the
east wing, which is 20 m high and
dominated by a large marble staircase,was felt to be the ideal environment
in which to bring historical and
contemporary elements together
in a coherent manner.
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This aim gave rise to the proposal by the
lighting consultants, Speirs and Major
Associates, to create an elegant, contemporary
central luminaire and locate it in a
neoclassical environment. The client and
the other members of the design team,
including the restorers and urban planners,
were in favour of the idea, and at the end of
2003, iGuzzini was appointed to design andconstruct a modern luminaire. The concept
of Speirs and Major Associates revolved
around the idea of a progressive flow of light
towards a series of reflective rings suspended
below a number of light sources, so as to
allow part of the light to filter through, and
the rest to be reflected onto the walls and
domed ceiling. From this starting point, an
analysis was made of the various issues
relating to photometric performance,
aesthetics, materials and maintenance.
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Photos: Jonathan Syer
1.3. The hall of the British Government Officesin Great George Street with the suspensioncreated by iGuzzini
2. Exterior of the building
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CustomerStanhope and Bovis Lend Lease,Matthew Lusty
Architectural projectFoster and Partners,Philipp Eichstadt
Lighting projectSpeirs and Major Associates,Jonathan Speirs,Philip Rose,Claudia Clements
Having already made an approximate
calculation of the total light flow needed to
provide the desired levels of illumination, it
was then necessary ascertain whether this
result could be obtained from a single source.
With 1,000 W, 80,000 lm, average life of
9,000 hours and a class 1A colour rendition
index, the Osram Powerstar metal-halide lamp
met these requirements. Ground glass was
initially identified as the ideal material for the
reflective rings. We then generated acomputer model of the space and the
luminaire, with 15 rings below one light
source housed in the skylight.
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4. Dome of the building with the luminaire
5. Drawing of one of the proposals for the product
6. Section of the building's hall
Projects An innovative luminaire forthe GOGGS
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During the prototyping phase, problems
emerged due to the difficulty of obtaining
glass rings of the necessary size and the need
to limit the weight of the object. To overcome
these hurdles, we decided to use acrylic.
Working on the prototype enabled us to
determine the optimum size of the piece and
eliminate any shadow effects caused by the
overlapping of the rings. The finished result
produces 300 lux on the ground and 100 on
the walls. Special spill rings were then
developed to avoid any kind of glare
and construct a modern style of luminaire.
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An orchid of light for Paul AndreusOriental Art Centre
Shanghai, China
Projects Architectural projectADPI, Paul AndreuChinese Architecture Institute: ECADI
PrincipalConstruction Headquarterof Shanghai Oriental Arts CenterProperty Management
In the brand new Shanghai Oriental Arts
Centre in the citys Pu Dong district, which
was completed in December 2004, Parisian
architect Paul Andreu has created, in his own
words, a radiant and transparent building, as
if by magic. The orchid-shaped Shanghai
Oriental Arts Centre covers an area of some
23,350 m2. Surrounded by a large park, it is
one of the largest and best known projects
built in Shanghai, if not in the whole of Asia,
in the past two years. It is a public culturalbuilding funded by the City of Shanghai.
The complex accommodates three auditoria:
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a 1,979-seat concert hall, a theatre with
seating for 1,054 people and an auditorium
for chamber music, with a capacity of 330.
It also accommodates annexed public
structures such as an exhibition hall, music
shops, a restaurant, an art library and a
multimedia and training centre. Paul Andreu
wanted this melting pot of music and theatre
to have strong visual impact, especially in the
evening, when the audiences are inside.
He also wanted to convey a sense of mystery,without constructing something enclosed,
stifling or heavy.
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Photos: Hans Schlupp
1. Rendering
2. The Oriental Arts Centre by night
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3. Collective area corridor
4. Entrance hallProjects An orchid of light for Paul Andreus
Oriental Arts Centre
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He explains that when he first started thinking
about the Shanghai Oriental Arts Centre, he
immediately saw it as a resplendent building
in the dark. In fact, one of the prominent
aspects of the design is the faade, built using
an advanced construction technique based on
layered glass, which thus transmits all theinterior light outwards. At night, the building
becomes radiant and transparent. From
outside, you can see all the visitors to the
Centre as they go in, move around, climb the
stairs and disperse in every direction around
three interior volumes whose contrasting
colours blend gradually into the colour of the
ceiling. Rising from the base in which they
appear to have taken root, the three interior
volumes, which become progressively lighter
in colour as they approach the ceiling,
enclose the three concert halls as though
they were protecting something preciousand fragile. The surrounding collective space,
conceived as an interplay of curves and
transparencies, comprises an entrance hall,
foyer, corridors and exhibition areas.
In both functional and visual terms, this space
connects the theatres with the city, which is
visible everywhere, and with the surrounding
landscape, trees and the sky above. iGuzzini
assisted the architect in verifying the quantity
and distribution of light with its lighting
calculation software (Photos 2000) and by
3D rendering. To create this sense of light,
Paul Andreu used Gem luminaires in all thecollective areas (entrance, shopping areas,
side corridors) that can be seen from the
outside. In order to install the Gem units at a
variety of levels, the length of the suspension
cables was modified.
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Harajuku.A little corner of Japan in Valencia
Valencia, Spain
Projects
In homage to the famous district of Tokyo
renowned for its shops, restaurants and
internationally trend-setting clubs, Harajuku
is the name chosen for a top level Japanese
restaurant, which combines the excellence
of Japanese cuisine with the best of
Mediterranean dining. The building that
houses the restaurant, designed by Francisco
Vzquez, Director of Suite 347 Interior
Design, belongs to Arturo Blanch and Chino
Roca. It is situated in the heart of Barrio delCarmen, the district with the highest
concentration of innovative clubs and
restaurants in the whole of Valencia.
The quintessence of Japanese cuisine finds
expression in three of its variants: sushi,
teppanyaki and elaborate dishes.
Guests can watch their food being prepared
live by a skilled chef behind the bar.
Harajuku represents a new concept of venue:
as well as a restaurant, it provides multi-
media projections, audio and lighting, which
turn it into a refined lounge bar where guests
can relax over a drink after dinner.
The large number of different areas and theuse to which they are put determined the
philosophy behind the lighting design:
general diffused light in the reception area,
restaurant and thoroughfares, combined with
light directed towards the various bars.
Interior DesignFrancisco Vzquez
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Photos: Zig-Zag
1.2. Various areas of the restaurant.
The lights used for the general diffused
lighting play a leading role in the
setting. The suspended Gem luminaires,
made up of two shells of transparent
polycarbonate, whose surfaces have been
made opalescent by photoengraving to aid
diffusion, use fluorescent lamps with anadjustable electronic device with DALI
system (Digitable Addressable Lighting
Interface). This electronic system switches
the unit on and off, and controls light
intensity and use of colour via a common
standard, even for different lighting devices.
In the restaurant, it controls light intensity
very simply, adapting it to the lighting
requirements of different times of day
(lunch, dinner and after dinner).
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The two bars where diners watch their food
being prepared, before eating it hot from the
hob, were fitted out with directional lighting
to focus attention on a specific point using
Le Perroquet suspensions with low-voltage
halogen lamps, whose light emission is
toned down by the back-lighting of the wallsdecorated with large photographs, which set
the tone of the dcor in this area. The upper
part of the windows in the corridor, which
look out over the street, serves as a screen
for multimedia projections. For this reason,
Woody projectors with halogen lamps were
fitted on the outside, which also made it
possible to have a single exterior lighting
system integrated with the faade.
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A new Churchdedicated to Saint Franois De Molitor
Paris, France
Projects Architectural projectCorinne Callies and Jean-MarieDuthilleul AREP
Director of worksAssociation Diocsaine de Paris
the place of worship. Around the altar, thefloor slopes downwards like the bottom of a
boat or a pair of cupped hands gathering
water from a spring. Two curved walls made of
the golden coloured stone typical of Parisian
architecture circumscribe the congregation.
The colour of the marble blends with the
neighbouring houses, while emphasising the
sacred nature of the place through its precious
refinement. Two features of this large structure
indicate the presence of the church: the three
monumental wooden doors, which provide
access to the portico, and the bell-tower which
flanks the western side of the building. As you
enter the church, you catch sight of the gardenin front of you, through a milky glass panel.
Here, Japanese maples and beds of grasses
are reflected in a pond. In front of the glass
panel, the large cross forms the final part of
the entrance axis. In front of the cross, on the
same axis, stands the pulpit, from which the
holy scriptures are read. The large baptismal
font, by contrast, stands on the opposite side,
near the entrance. Two side galleries extend
the enveloping movement of the congregation
upwards around the altar.
March 2005 saw the inauguration of a new
church on the site of the chapel built in 1941
at 44 Rue Molitor. Originally very small and
built with poor quality materials, the chapel
posed serious safety problems, which seemed
to be insurmountable. For this reason, various
studies and assessments had been conducted
since 1985 to come up with various solutions
for rectifying the problems and rebuilding.
It was eventually decided that the only feasible
solution was complete rebuilding. Standing inRue Molitor, the church of Saint-Franois
occupies a position between the city and a
garden, which call to mind the supreme sites
of biblical times, Eden and Jerusalem.
City and garden also represent two important
places in the life of Saint Francis. The entrance
faces south, towards the city, from which
visitors enter and towards which they go when
they leave the church. The church is situated
beyond a quiet, partially shaded portico,
which forms a transitional space between the
bustle of the street and the meditative calm of
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Project promoterSorif Investissement
Site DirectorPhilippe Talbot et Associs
Concrete structuresKephren Ingnierie
AcousticsAREP
PlumbingBETHAC
Landscape designerMichel Desvigne
Photos: Didier Boy de la Tour
1.3. The nave
2. The churchs faade
The church seats 420 people. The flat ceiling,
made with slight gaps between the boards,
allows a few rays of sunlight to filter through
and creates an atmosphere of concentration
and meditation. At night, artificial lighting
helps recreate the effect of daylight coming
from above, and is softened by the churchs
wooden ceiling. Linealuce units with xenon
lamps were used for this purpose.
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The Mosque of Sultan Hassan
Cairo, Egypt
Projects PrincipalThe Aga Khan Trust for Culture
Project directorChristophe Bouleau
Lighting projectSimon Simos Architecte- Eclaraigiste
From a stylistic point of view, the mosque ofSultan Hassan is the most compact and
homogeneous of Cairos monuments.
The structure was built in 1256 AD for
Sultan Hassan bin Mohammad bin Qalaoun
as a mosque and religious school (madrassa)
for all sects. The buildings most notable
features are its cornices, entrance and
monumental staircase. Many see the stone-
built Sultan Hassan mosque as the most
important Islamic monument in Egypt. With
no signs of architectural indulgence, the
building shows faith in its executive clarity
and moderation. In order to accommodate
the four major schools of Sunni Islam, themosque of Sultan Hassan is based on a
classical cruciform floor plan, so the
courtyard leads to an enormous vaulted area
(liwan) on each side, for each of the four
schools. Despite the fact the liwan pre-date
Mohammed, their cruciform layout isattributable to the Mamelukes who completed
the architecture by adding a domed
mausoleum. The outer structure of this
mosque is very imposing and stands out for
its majestic cornice and the ver tical
protrusions of the faade, despite the fact
that it stands in the shadow of the
massive Citadel. In Cairo, building space was
at a premium even at the time the mosque
was built. So although the outer walls are
somewhat oblique to adapt to the available
space, the architects found a very original
way of giving the impression of a uniform
volume inside. The mosques lighting,executed to a lighting design by the firm
Simon Simos, seeks to emphasise the
volumes and the heights of the building.
The desired lighting effects are achieved
using Woody and Maxiwoody projectors.
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Photo: Matjaz Kacicnik
1.2. The Sultan Hassan Mosqueagainst the urban backdrop of Cairo
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The Moby Dick House
Espoo, Finland
Projects Architectural projectJyrki Tasa
This biomorphic house sprouts out in the
street from behind a rocky outcrop. A stone-
built staircase and a steel bridge lead to the
main entrance on the first floor above ground
level. Access to the building is via an organic,
white outer wall. This floor accommodates a
living-room, library, master bedroom and two
balconies. The ground floor houses childrens
areas, a guest-room and a garage. Sauna
facilities, a fireplace and a gym are located in
the basement. The floors are connected by along staircase, lit by a skylight, and by a
two-storey winter garden. Three translucent
glass and steel bridges also connect these
areas. The staircase forms the spatial core of
the house and is lit by a large skylight.
The handrail consists of tubular steel and
the balustrade is made of steel wires.
The staircase affords a view of the house in
every direction either directly or through
various glass walls. The house faces
south-west, over the garden, through a set
of large windows. The structural framework
of the house consists of concrete-filled steel
pillars and concrete/steel composite slabs
combined with steel/wood roof construction.
The faades are mostly clad with plywood,
together with pine slats and boards.
The undulating first-floor ceiling consists of
overlapping birch veneer plates. The fireplacein the living-room is a steel construction clad
with brushed aluminium plates. The exterior
lighting is provided by Woody luminaires,
while the winter garden inside the house is
lit by Berlino fixtures.
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Zentrum Paul Klee
Bern, Switzerland
CustomerMaurice E. and Martha MllerFoundation
Architectural projectRenzo Piano Building WorkshopB.Plattner, senior partner appointedin conjunction with ARB architects(Bern)
Projects
The Paul Klee Centre in Bern, inaugurated on
20 June 2005, houses the worlds largestcollection of works by the Swiss painter,
in a landscape building designed by the
Genoese architect Renzo Piano. Paul Klee
(1879-1940) was a generous artist: he left
some 10,000 works, of which 4,000 are
kept in this new building which, according
to Piano, plays hide-and-seek with nature.
The centre stands in open countryside a few
kilometres from the centre of Bern.
Three glass and steel hills give form to
an architectural design that reproduces
the movement of the sea, in harmony with
the surrounding mountainous landscape and
inspired by the idea of capturing the senseof light and lightness and the precious
relationship with nature that characterise
Klees work. At the entrance, a section open
to the public houses an auditorium. As you
proceed into the hills you approach the
heart of the structure, which accommodates
the research and study centre dedicated to
Klees work. Paul Klees oeuvre is illustrated
by 200 works from the collection and,
on the lower floor, by an exhibition entitled
Nulla dies sine linea (Never a day without
lines) of a further 180 water colours and
drawings produced in 1939.
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Photos: Gabriele Basilico
1.2. Details of the exterior of the Zentrum Paul Klee
3. The three waves designed by Renzo Piano
4. Brise-soleil left open during the night
5. Exterior by night
Design teamM. Busk-Petersen, O.Hempel(architects in charge) with A.Eris, M.Prini,L.Battaglia, J.Moolhuijzen (partner) andF.Carriba, L.Couton, S.Drouin, O.Foucher,H.Gsottbauer, F.Kohlbecker, J.Paik, D.Rat,A.Wollbrink; R.Aebi, O.Aubert, C.Colson,F.de Saint-Jouan, P.Furnemont,Y.Kyrkos (models)
ConsultantsOve Arup & Partners, B+SIngenieure AG (structural calculations);Ove Arup & Partners, Luco AG,Enerconom AG, Bering AG (services);Emmer Pfenninger Partner AG(faade design); Grolimund+PartnerAG (construction physics)Mller-BBM (acoustics);
Institut de scurit, Hgli AG(fire prevention); M.Volkart(additional services);Schweizerische Hochschule frLandwirtschaft, F.Vogel (landscapedesign); Coande (signposting)
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Projects Zentrum Paul Klee
The historical journey leads visitors through
the rooms on the main floor, where Renzo
Piano shrewdly solved potential display
problems by dropping the walls down from
above and suspending them a few
centimetres above the ground. A number
of exercises from Klees youth are displayed
in this area, such as the five panels bearing
views of the countryside around Bern and
chefs doeuvre such as Insula Dulcamara
and the renowned still life from 1940, inwhich the artist reviewed his approach in
the light of cubist and metaphysical
experimentation. Unlike traditional museums,
the exhibition areas of the Paul Klee Centre
are not lit by natural light. The techniques
used by Klee often involving water-colours
or even oil on paper make his works
particularly fragile. It would therefore be
dangerous, explains Piano, to expose them
to natural light. Artificial light is much easier
to control. The lighting design involves
a judicious mix of direct and indirect light
provided by suspended and track-mounted
Le Perroquet luminaires, for lighting the workswith degrees of brightness ranging from 50
to 100 lux. The indirect Le Perroquet
luminaires use 70 W metal-halide lamps with
colour temperature of 4200 K and 3000 K.
The others use 75 and 100 W low-voltage
halogen lamps. They are all special units,
insofar as they were adapted for installation
on the metal roof supports, which have
different heights and gradients to create the
wave effect that can be seen from the outside.
The areas of the building used for offices and
services, where the amount of natural light is
greater, were also fitted with Berlino
luminaires. The western elevation of themuseum is lit by natural light. From here, the
suns rays pour into the building and expand
into the various rooms through translucent
screens which filter and soften them. Next to
the structure is a stretch of motorway,
which looks as though it cuts the three
hills into sections.
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6. Bookshop
7. Exhibition hall
8. Ticket office
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9. Detail
10. The complex by night
Even the roads and exterior areas were lit,
using Lingotto, Woody and Light Up Walk
luminaires, which use metal-halide lamps
with ratings of 150, 70 and 35 W.
Some of the Light Up units use 100 Wlow-voltage halogen lamps. As well as the
extensive exhibition space adjacent to the
lawn, the building houses an auditorium for
plays and concerts, a childrens museum,
a walkway connecting the various waves,
with installations set up along it, and a range
of rooms for national and international
conferences. The decision to build well
away from the city centre flies in the face of
tradition, which normally dictates that
museums occupy city centre locations
in order to capture urban attention.
The urban atmosphere is not entirely absent,
however, because the curved stretch ofmotorway that runs beneath the centres large
lawn influenced the parallel, curved layout
of the three arcades. According to the
architect, this solution ensures optimum
visitor density. Renzo Piano comments:
The motorway is the dominant topographical
element. The sacred and profane have always
co-existed, and a museum cant be
separated from life.
Projects Zentrum Paul Klee
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Interview with Steven HollCorporate culture
Could you explain the concept that lies
at the root of your contribution to the
exhibition Entrez lentement ?
I received an invitation from Pierluigi Nicolin
to create an access route to Alvar Aaltos Villa
Mairea, which I like very much.
I like the villas relationship with its context
and the way it dissolves into the landscape.
In a sense, its the opposite of Le Corbusiers
Villa Savoy, which gives more the impressionof an object placed in the landscape. Villa
Mairea is porous, it has a porosity which
intermingles with the landscape, and since
we had already used the notion of porosity in
other works, such as Safaristraat in
Amsterdam, made entirely of perforated green
copper, we decided to do an experiment. We
tried to create a series of rooms, objects and
spaces with maximum emphasis on the
concept of porosity. It shows how many ways
you can break something up. We also tried to
create a fully digital construction, so there are
no drawings for this project, it came directly
from the computer screen. The material
specifically developed for the project is a
completely new material produced by
Albeflex. This material is crucially important
because there is no structure, which meansthat the surfaces have to bend and inside it
there are fins, so the problem is that it has
to bend along these lines without breaking.
So inside this material there are various
layers: its a composite material but it doesnt
lose its strength when bent.
Could you explain what you mean by the
term porosity?
Porosity relates to my philosophy of
architecture, or to the phenomenological
dimension of architecture, in other words tosomething experienced by my body as it
moves through space. As for porosity, what
interests me most is urban porosity.
In the film, you can see a project for Beijing,
in which our chief idea is to enable urban life
to move throughout the complex. There are
eight towers, 750 apartments, a hotel and a
cinema, and in this project you can move
both horizontally and vertically. Thats why
the towers are connected by bridges, which
are open to the public. This is urban porosity,
and for me its very important. At a secondary
level, phenomenological porosity is what you
see when one layer is laid on top of another:the porosity of life, like when light shines
down through a tree and you see all the
leaves moving on the ground and you notice
a marvellous design. Its not raw light,
because the porosity of the tree somehow
gives the light another life.
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ProjectSteven Holl ArchitectsSteven HollNick Gelpi, Project architect
With Alessandro Orsini
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For you, what role does light play
in architecture?
Light is very important too, because light isnt
an isolated thing, its not an object, in other
words you get a plane of light and a plane of
shade, then another plane of light, another
plane of shade and then a plane of light
again. And if the light is sufficiently powerful,
the structures that have been built are
transformed into something which and this
is the difficult part whatever it is, we move
through it, or it moves on the wall, so it
becomes part of the whole picture, although
at the moment the light is not quite right.
Sunlight is much better. Sunlight can producethese effects, because perfect artificial lighting
is beyond our reach.
So you intend to design on the basis of light,
using different tactics - one design for the day,
one for the night - by considering buildings
both night and day in an open way
For me, space doesnt exist without light, so
you need to think of night as well as day. In
the Helsinki project I produced in 1993, each
area has its own slice of natural light, but that
same slice is also the slice through which theartificial comes in. As the sun sets, theres a
gradual transition. Natural light is gradually
replaced by artificial light, and thanks to an
electronic control system, the colour tones
change automatically. The Beijing project is
more significant at night than it is during theday; a mirror of water reflects the entire
cinetheque and will have the same effect as
Times Square when its raining and the
pavements are wet. Youll be able to see all
the colours of the buildings, like a giant
water-colour on the street basically, the idea
behind the Beijing project is that nocturnal
light is captured in a large pool of water.
You have a very poetic vision. What do you
think we should do with the architecture of
this world, from a poetic point of view?
In order to find the poetic dimension right
from the start of the project, you need to
study the possible opportunities in depth.
For example in Beijing, theres this enormous
pool of water measuring 100 m x 50 m, and
in Beijing water is in short supply.
Theres a shortage of water, so we had to use
waste water. All apartments have two
plumbing systems. The waste water from
baths and showers first goes through a filter
system and then drains off into the pool of
water outside. This means that the pool will
always be full, because the drains are always
full of the water from peoples homes, to berecycled for this landscape. So what were
seeing is a fundamentally poetic idea,
but to put it into practice we have to be
very, very pragmatic.
In your experience, what is the meaning
of the term project? How do you go about
producing a project these days, when
thousands of other things are demanding
your attention?
Each project is an opportunity to give shape
to the highest degree of inspiration. Fun and
poetry come together in a place, and Ill never
say its not possible. You have to have clients
who agree with you, and in Beijing they did,
so Ive never produced such an imposingproject: 12 buildings, something like 800
apartments, a hotel and a cinetheque.
But if your client agrees with you, a project
like this is as easy to produce as a simple
house, because they agreed in taking these
poetic decisions, so it was an interesting
decision. I think architects are good when
they have good clients. They have to share
the same vision.
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CollaboratorsGarrick Ambrose, Tim Bade,Makram El Kadi, Chris McVoy
Co-ordinationRuth Lo, Priscilla Fraser
Materials and Construction ConsultantsAlberto Martinuzzo, Albeflex srl
InterviewGiorgio Di Tullio
VideoMultivideo
Photos: iGuzzini archives
1. Porous monoliths
2.3. Details
4. Steven Holl
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Party for the launchof iGuzzinis new Paris premises
Paris, France
Corporate culture
"A meeting place and information source for
architects and other practitioners from the
sector, iGuzzini's new Paris premises at No. 10
Boulevard de la Bastille, in the heart of the
historic Bastille district, were inaugurated on 20
April." The buildings restoration was overseen
by the architect Pierluigi Copat. It occupies an
area of some 1,300 m2, in which light takes thelead role. On one side, the patio accommodates
an innovative vertical garden - a wall of leaves
and flowers designed by the famous botanist
Patrik Blanc - and the other is decorated with
designs in light. The showroom in the lower
ground floor is known as the camera oscura,
and unlike the camera chiara, has been
completely deprived of natural light so as to
focus attention on the artificial light. The
concept of camera oscura, designed by the
architect Maurizio Varratta, bears the same
hallmark as the other showrooms in Antwerp,
Oslo and London. The two upper floors house
open-plan offices and were designed to amplifythe influx of natural light as much as possible
and provide optimum lighting in the work area.
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Photos: Gabriele BasilicoDidier Boy De La Tour
1. View of the hall with the vertical garden on the right
2. Office area
3. Detail of the camera oscura
4.5.6.7.8.9. Pictures of the inauguration party. Among the guestswere: Pierluigi Copat, Paul Andreu, Massimiliano Fuksas,Doriana Mandrelli and Jean Michel Wilmotte.
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A show of lights and colours
Oberstdorf, Regensburg,Berching, Germany
Corporate culture
Light is a medium which can constantly
change our perception of architecture and
our environment, and iGuzzini Germany
has launched a series of initiatives which
exemplify this concept, with installations
in varying architectural contexts.
These include the lighting of the
Schattenberg ski-jump in Oberstdorf.
Four ColourWoody projectors for emitting
variable coloured light, three MaxiWoody
static projectors and professional Linealuceand Light Up Walk luminaires have
immersed the 45 m high ski-jump in a bath
of coloured light. Another demonstration of
the use of coloured light took place at the
last meeting of the Bayerischer Stdtetag in
Regensburg, chaired by the President of
Ministers, Edmund Stoiber.
During the political meeting, the inner
courtyard of the Historisches Museum,
where the evening events were held,
was lit with a flow of lights and colours by
ColourWoody projectors and Linealuce
lamps. On 17 and 18 June, the Akademie
Licht invited a number of high-profile
representatives of the international lighting
sector, famous lighting artists and renowned
universities to the first Berchinale des Lichts,
a two-day event dedicated to light in the
mediaeval city of Berching. Facades, bridges,streams, alleys, tree-lined avenues, defensive
towers, gates, the city walls and the church
that stands above the city were all lit with a
range of lighting systems.
The 35-metre bell-tower, which stands over
the city, was lit by four ColourWoody
projectors for emitting variable coloured light
and one MaxiWoody projector.1
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3
Photos: Bernhard Mann
1. The Schattenberg ski-jump in Oberstdorf
2.3. The bell-tower in Berching
4. Lighting in Regensburg
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1.2.3. Project rendering Nikolas Travasaros
Invisible Hotel uses rendering and animation
to show us the future of the hotel sector, by
presenting ten projects by Greeces best young
architects. The initiative, in which we are
partners through Diathlasis, iGuzzinis Greek
distributor, is directed by the architect Memos
Philippidis and is divided into two exhibitions.
Hotel / Recreation is an exhibition held in the
600 m2 area of the Ex-Faema from 13 to 18
April. At this Milan-based event, the project by
Nikolas Travasaros, which was judged to be the
Invisible Hotel
Salone del Mobile,Milan, 13-18 April 2005DESTE Centre of Contemporary Art,Athens, 19 - 23 April 2005
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most significant, was presented together with the
virtual hotels by Alessandro Mendini, Anna Gili,
Leonida de Filippi, Massimo Caiazzo and Zani
&Zani. The exhibition is produced by the architect
Sotirios Papadopoulos. The other exhibition is
Invisible Hotel/Athens, held from 19 to 23 April
at the DESTE Centre for Contemporary Art, the
exhibition venue inaugurated in 1998, following
the conversion of an old industrial warehouse,
under a renovation project by the American
architect Christian Hubert.
The architects whose projects are involved in
the initiative are: Andreas Angelidakis, Yiannis
Aisopos, Iro Bertaki+Christina Loukopoulou
+ Kostis Panigiris, Panos Dragonas + Varvara
Hristopoulou, Thanasis Hohlidakis, Eleana
Horiti, Eleni Kostika, Stella Merminga
+ Vangelis Ravanos, Panos Nikolaidis
+ Errica Protestou.
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5+5=5 Massimiliano Fuksas5 years 5 projects
Frascati, Scuderie Aldobrandini,
17 April 15 May 2005
Italys first monographic exhibition dedicated
to Massimiliano Fuksas was held in the
Scuderie Aldobrandini in Frascati, which the
architect from Rome helped restore to the
public in 2000, through his sensitive and
original restoration plan. The five years since
2000 have seen a transition in Fuksass
creativity from light Architecture, in which
slim, light forms predominated, to sculptural
architecture in which solid material and
sculpture play the key role. iGuzzinis
presence at this first monographic exhibitionin Italy is no coincidence. The exhibition,
which brings together the most important
projects of Massimiliano Fuksas, is one of a
string of events in which iGuzzini has acted
as technical partner for the Rome-based
architect and his firm. It follows the lighting
of the new trade fair complex in Milan, the
creation of the Lavinia luminaire (designed
by Doriana and Massimiliano Fuksas) and
the lighting of the exhibition Forma,
the modern city and its past, set up by
Doriana Mandrelli and Fuksas in 2004.
Corporate culture
MINI Design Week 2005
Milan, Triennial,
13-18 april 2005
The Salone del Mobile 2005 hosted the first
edition of the Mini Design Award, a triennialcompetition promoted by MINI and the
European Design Institute. The subject of
this years edition was The future of the city:
slow or fast? Light. 48 projects were
submitted to the jury, made up of Gillo
Dorfles, design historian, Piero Castiglioni,
architect and designer, Enrico Finzi, President
of the Astra and Demoskopea research
institutes, Elio Fiorucci, fashion designer,
Carlo Forcolini, President of ADI, Piergiovanni
Ceregioli, Director of iGuzzini Research Centre
and Alessandro Mendini, an architect and
designer. Awards were given to the projects
by Lucio Lazzara, Gone with the velcro,
Ely Rozemberg Chromatic garden and
Matteo Ragni, Do you light MINI?. Mini is
also the main Sponsor of the OpenAirDesign
exhibition, produced by Interni.
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1. The winners of the Mini Design Award2. Abatjourban project
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Corporate culture
iGuzzini lights the Churchof our Saviour on the Spilled Bloodin Saint Petersburg
On 26 May 2005 a press conference was
held in Saint Petersburg to present the lighting
project for the Cathedral of our Saviour on the
Spilled Blood. The cathedral, also known as
the Church of the Resurrection, was built
between 1883 and 1907, on the site in
which Tsar Alexander II was mortally
wounded in 1881. The architect, A. Parland,
built the church according to the precepts
of Russian ornamental architecture, in a
Russian-Byzantine style. In fact the
resemblance between the Church of theResurrection and St. Basils Cathedral in
Moscow, dating back several centuries earlier,
is striking. The presentation was attended by
Piero Castiglioni and Chiara Baldacci, authors
of the lighting design and representatives of
iGuzzini illuminazione, the events technical
sponsor. The event was also attended by
Alexander Kuzyakin, Director of Lensvet,
Saint Petersburgs public lighting company
and Alexander Bobrov (Chairman of the
Committee of Energy and Engineering Supply
of the Administration of St. Petersburg).
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2
3
The Pool of London Partnership (PLP),
a development agency set up in 1996 toimprove the physical, social and economic
environment of the high-profile area known
as the Pool of London, which runs from
London Bridge to beyond Tower Bridge on
both banks of the Thames, has joined forces
with iGuzzini illuminazione to promote the
use of better quality and more energy-efficient
lighting for Londons building exteriors and
public spaces. During a technical analysis
seminar held at the iGuzzini Light Studio in
the Business Design Centre in Islington last
week, the two companies presented several
projects showing that it is possible to create
safe, protected environments with much less
light (and energy) than currently required by
the relevant legislation.
Collaboration between the Poolof London Partnership andiGuzzini illuminazione:a call to reform lighting guidelines
The meeting was attended by specialists from
the sector, including participants in theurban redevelopment programmes Tower Hill
Square and More London Riverside, and Ian
Stanton, Sales and Marketing Director of
iGuzzini UK. Mr Stanton explained that the
wastage of over 30% of the light and energy
that we generate is unacceptable, and called
for the adoption of more rigorous standards
and the use of more efficient systems.
Linda Houston, Director of PLP, outlined the
importance of lighting in urban and economic
development, job creation and community
safety, and the role played by the Pool of
Londons award-winning general lighting
project in co-ordinating the investments
and projects of public bodies and private
owners of buildings.
1. Exterior of the Church of Our Saviour on the Spilled Blood2.3. Simulations of the lighting project
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Augusto Morello INTELDesign Award 2005Milan, World Light Show, 17-23 May 2005
In the innovation category, the jury for
the Augusto Morello INTEL Design Award
2005 selected the product iWay, one of the
new products presented at the World Light
Show and designed by Jean Michel
Wilmotte. iWay is an advanced system
of pathlights, with a cylindrical or
parallelepiped shape made of extruded
aluminium with polycarbonate screen.
The essential design, fully flush structure
and virtual absence of exposed screws give
the system an elegance that is clearly
expressed in both the square and round
versions. Thanks to the innovative patented
optics, iWay ensures a high degree of visual
comfort and excellent photometric
distribution.
Corporate culture
John Kirwan and leadershipRecanati, 9 June 2005
9 June 2005 saw the conclusion, with a
public meeting in the assembly room
of the Municipality of Recanati, of the
Masters in Sales & Operating Marketing
organised by iGuzzini illuminazione in
conjunction with Adecco Formazione.
The meeting provided an opportunity to
discuss and develop topics relating to
business leadership, involving a comparison
with the dynamics of the world of sport. The
speakers included two experts on the subject,
Andrea di Lenna, a human resources
management consultant and author of the
book La fabbrica dei campioni, and John
Kirwan, the former Italy rugby coach who
previously played wing for the All Blacks for
10 years. The meeting was attended by
participants in the Masters course, several
lecturers and students from the Industrial
Technical Institute of Recanati, the heads
of a number of local schools, the youth
division of U.S. Recanatese football club,
the Management of the Guzzini Group and
representatives of Confindustria, AIDP
Marche, AIF Marche and the Adecco Group.
The Masters course started on 6 April in
Recanati and involved 24 graduates, mostly
from technical and economic disciplines,
from various parts of Italy. The aim of the
course was to create a highly professional
profile, capable of operating in as specific
a commercial marketing area as that of the
application of artificial light to architecture.
In view of the brilliant results achieved by
the students, some were given work
placements at iGuzzini and Adecco.
1 2 1.2. John Kirwan during the meeting
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On 27 January 2003, the European
Parliament and the Council of the
European Union adopted two new
Directives: Directive 2002/96/EC on waste
electrical and electronic equipment
(WEEE) and Directive 2002/95/EC on the
restriction of the use of certain hazardous
substances in electrical and electronic
equipment (ROHS). These Directives
govern the end-of-life handling of lighting
equipment and ask manufacturers to takecharge of disposal. Once again, this puts
Italy in the difficult position of having to
take common decisions in a lighting
market which is extremely fragmented in
Italy, thus leading to the adoption of
radically different stances. To date, a
consortium known as Ecolight has been
set up, which includes about 50
manufacturers out of a total number of
lighting manufacturers in Italy of some
Opinion
3,500. From a manufacturing point of view,
complying with this Directive is not
particularly onerous for an organised and
structured company. From an organisational
point of view, by contrast, it means stamping
products with the end-of-life disposal symbol
and re-drafting instruction leaflets, for
example, or producing new leaflets for
recycling firms explaining how the product
is assembled, what its components parts are
and what materials they are made of.I believe that greater co-operation between
respective manufacturers and between the
consortium and legislators is absolutely
imperative if we are to establish a law that
provides an effective and practicable
solution to the problem of end-of-life
disposal of lighting products.
Giannunzio Guzzini
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IncontroluceInternational biannual magazineon the culture of light
EditorResearch Center iGuzziniFr.ne Sambucheto, 44/a62019 Recanati MC+39.071.7588250 tel.+39.071.7588295 faxemail: [email protected]
iGuzzini illuminazione spa
62019 Recanati, Italyvia Mariano Guzzini, 37+39.071.75881 tel.+39.071.7588295 faxemail: [email protected]: 071-7588453
Graphic designStudio Cerri & Associati
PublisheriGuzzini illuminazione spa
This issue was made possible thanksto the contributions of:iGuzzini illuminazione Asia Ltd
iGuzzini illuminazione Deutschland GmbHiGuzzini illuminazione Espaa S.A.iGuzzini illuminazione France S.A.iGuzzini illuminazione Schweiz AGiGuzzini illuminazione UK LTDArab Lighting Company, EgittoPeyan Oy, Finlandia
Cover photographZentrum Paul KleePhoto: Gabriele Basilico
Printed by Tecnostampa, RecanatiOctober 2005
The Editor accepts no responsibility for inaccuraciesor omissions in the list of credits relating to projectssupplied by collaborators.Any corrections or additional information will beprovided in the next issue.
12Incontroluce II. 2005
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Incontroluce XII / Le Marche: Giuseppe Sacconi. Architect of the typical eclecticism of
Le Marche (18451905) Design: I dont know how to talk about light...words cant express
certain feelings Projects: The Pero Exhibition Centre / Light for the Sanctuary of
Saint Pius of Pietralcina / An innovative luminaire for the GOGGS / An orchid of light for Paul
Andreus Oriental Art Centre / Harajuku. A little corner of Japan in Valencia / A new church
dedicated to Saint Francis of Molitor / The Mosque of Sultan Hassan / The Moby Dick
House / Zentrum Paul Klee Corporate culture: An interview with Steven Holl / Party for the
launch of iGuzzinis new Paris premises / A show of lights and colours / Invisible Hotel /5+5=5 Massimiliano Fuksas 5 years 5 projects / MINI Design Week 2005 / iGuzzini lights
the Church of our Saviour on the Spilled Blood in St. Petersburg / Collaboration between
Pool of London Partnership and iGuzzini lighting / John Kirwan and leadership / The Augusto
Morello INTEL Design Award 2005 / iGuzzini for public safety / The Landscape of
Excellence Association and Museum