II. 201124 English Edition

II

Editorial

Dear Readers,

Is light something that adds to architecture and spaces, or is it a part of them?This question may seem rhetorical, but depending on the meaning we assign tothe relationship we give between light and architecture, can also help us gain abetter understanding of what is behind the revolution in progress in the lightingdesign sector with the appearance of LEDs.Even from a technological viewpoint, light is a “material” which is part of abuilding’s structure, deeply penetrating it. Thanks to the small size of LEDs and their long-lasting maintenance-free operation, these luminaries are able to be embedded and integrated perfectly in to buildings.The great lighting-related insights of the 1930s from Mendelson or Mies Van derRohe can now be further developed with the possibility of changing the colourquality of light, its intensity and direction. In this way by night we have changingarchitectures and spaces, as demonstrated by the blue domes of Delhi or thelighting patterns on the Dallmayr facade in Munich, or the interiors of the newLombardy Regional Authority headquarters.Another step forward made possible by the increasing accessibility of technologies is the chance to project digitally processed images onto buildings. Like thepediments of Greek and Roman temples and the great Renaissance frescoes,architecture can provide a backdrop to visual works of art and make them part of itself. Not just decoration, but an added ingredient, which when in synergywith the architecture enhances the value of the space. This is how we should see the work in Beaune, with its “fantastic tales” leading visitors in the discoveryof the city’s history and culture. It is my intention to offer a particular “viewpoint” for interpreting the many andinteresting projects included in this issue of Incontroluce.

Adolfo Guzzini

II

2

8

10

12

14

16

18

20

22

24

26

28

32

34

36

38

44

46

48

49

50

51

52

53

54

24 Incontroluce

Contents

II. 2011

Editorial

DesignBeaune lighting design

ProjectsNordkraft cultural centre

Albany Lakes Civic Park

Office building in Rue de Colisée

Media-TIC

The Capstone Theatre

Rox Jewellers Flagship Store

Monumental lighting for Delhi’s beauties

Italian lights in Istanbul

Dallmayr facade lighting

The Sun Station

National Museum of China

Palazzo Lombardia

Colonial style in Sihlcity: lighting for the new Colonys store

Repower Shop

Niemeyer Cultural Centre

Company cultureMore light? Less light? Better light!

We want to be modern

The dream factoriesPeople, ideas, businesses and paradoxes of Italian design factories

French Touch presents at iGuzzini France the “2010 Optimiste d’Architecture” annual

New premises for the dealer in Bulgaria

“Genesis of a Dialogue: Italy - Bulgaria”Boosted cooperationwith the Troy Lighting Research Center

Light & Fashion Competition

“2011 Olivetti Entrepreneur” Award

Agreement between iGuzzini and Tongji University, ShanghaiProfessi onal Lighting Design ConventionA national dimension for the iGuzzini Historical Archive

2

Design

Beaune is the old capital of the Duchies ofBurgundy. Now a spectacular route of lights andvideo projections on the facades of the buildingsaccompany visitors in the discovery of the city’shistory and architecture. The project stems from the city authority’s desire to make the placeattractive even during the evening, entertainingvisitors and offering a pleasant environment towander through and discover. Jean FrançoisTouchard describes the initial idea for the projectas follows: “It was a city that people passthrough. They stayed and then went away in theafternoon… With this project I tried to recreate the feeling that I myself had the first time I saw the city, when I first discovered its incrediblebuildings.

Beaune lighting design

Beaune, France

ClientCity of Beaune

Energy production and managementIneo (GDF-Suez group)

Project artistic directorJean François Touchard

1

2

3

incontroluce 24

Photographs: Didier Boy de la Tour

1.2. Church apse and facade

3. Areas where video projections and architectural lighting were used

Video-projectionsCosmo - Jose Cristiani

Partners AssistanceiGuzzini illuminazione France

Jean-François Touchard

Jean-François studied plastic arts at the Fine Arts academy in Paris and since 1984 has been a lighting designer for theatre and events.He also works as an architectural lighting designer.Since 2005, he has been registered with the Maison des Artistes as a lighting and video artist.

Latest work 2007: “La traversée du 104”. An interactive video and lighting installation for the 104 centre in Paris.2008: Facade of the National Theatre in Bretagne di Rennes.Square and facade of the Clamart landscape cemetery.Since 2009 he has worked on the Beaune “Immagine e Luce”(Image and Light) project.

3

4

Design Beaune lighting design

video - projections showing the history of thebuildings on which they appeared, for examplethe Beaune Hospices, where, thanks to theprojection, you go through the wall and into theinterior…”.The luminaires for this complex plan wereindustrial, chosen from those using LED lampsand allowed a 47% reduction in consumption.Jean-François Touchard: “Lighting Beaune meantabove all making the lights as direct as possible,as close as possible to the buildings so as to givethe impression that the light comes out of the

building. We also used LEDs not just for energysaving, but for the softness of the lighting theyprovide. Beaune is a small city. The buildings are veryclose to each other, the streets are 10 m wide, so everything is always very close to the buildings. This allowed me to work with LEDs, soft lightsources, and thanks to this type of lighting Imanaged to respect this closeness. I worked with floodlights which would allow meto be discrete, integrating the luminaires in thearchitecture as far as possible without making

The city is full of it extraordinary architecture. On this lighting route I wanted to re-establishthe softer side of the city, made up of its walks.So we worked on that, selecting buildings andtrying to keep the distances between them,following the rhythm of the walk. We chosearound thirty sites and presented lightingproposals for them. Then, to link these places we created signs using colours to give the walk a sequence… Also, to tell the story of the cityand offer tourists something unknown, or whichinvited them to go to a precise place, we set up

4

5

incontroluce 24

4.5. The Hospices with up-lighting and video-projections

them visible. For the signs I used the RGBsystem. The iGuzzini range let me do all of that.It was a challenge too, managing to use basicproducts, and taking full advantage of theirpotential”.In accordance with Beaune city authorityrequirements, the designer set out a route which,starting from Rue de Lorraine leads visitors to the video-projections by Jose Cristiani of Cosmo:“This is a city fully of history and we had to tellthe story of Beaune. A story traced out withspecial narration in the form of images.

5

6

Design Beaune lighting design

6

7

7

incontroluce 24

We used video to animate some particularlyimportant sites, but the continuity of the story is entrusted to the general lighting which pullstogether all of our work”. This relationship is created using coloured lightwhich leads the visitor to see the video-projections on the clock tower; on the church; on the St. Etienne Chapel, on the Duke’s Palaceand the Hotel de Dieu. The coloured light isobtained using Platea RGB LED floodlightscontrolled with the Master Pro system. Thecoloured beams on the building facades createdby the Platea floodlights are also boosted bynarrow light beams from below, from Light UpWalk Pro and Ledplus luminaires.Another route relates to the city walls, highlightedwith coloured light to obtain spectacular effects.Platea spotlights were used for this too.Inside the city there are also lighting featuresseparate from the video-projections whichunderline the cultural and historic value of thebuildings: lighting that emphasises thearchitecture was designed both for the facade and the apse of the church. Miniwoody, Woody, Maxiwoody and Linealuceaccentuate and highlight architectural featureswith accent lighting. The City Council Building is lit with RGB Glim Cubes which pick out thewindows with coloured light, also controlled by the Master Pro system.

6.7. City Council Building

8.9. Lighting along the walls

8

9

8

Projects Nordkraft cultural centre

Aalborg, Denmark

In 2004, Aalborg City Council bought the old Elsam electricity plant with the intention of creating “Nordkraft”, a centre for culture, sports, leisure and more. The old electricitygenerating plant has become a place whichfocuses on music, teaching, theatre and art, andthe old concrete structures have been preserved. The project was awarded to Cubo Architects A/S together with Brix & Kamp AS, Korsbæk &partnere AS, Arkitektfirmaet Nord and Egebjerg Byog Landskab. The idea was to maintain the originalrough, industrial look, combining it with optimumsolutions for culture and leisure activities. This“industrial” effect was also sought for the lightingand the luminaires selected were Maxiwoodyspotlights and Berlino pendant luminaires. The Berlino was chosen for its dimensions and the possibility of using different lamps.

Both the large version with direct/indirect lightingand the small glass version were used. Berlino luminaires are installed at the entrance,in the connecting areas and at reception. TheMaxiwoody spotlights light the outer square andhighlight some interior features of the building. Maxiwoody luminaires were used inside andpole-mounted outside to try to establish a linkbetween the interiors and the urban setting. Wall-mounted Linealuce luminaires light the cinemaposters, while Ledplus luminaires line the cinemasteps. Nordkraft is located close to the portdistrict where a new area was developed. It hasbecome one of the features of the skyline thereand represents a link between the industrialarchitecture and the silos in that zone. Nordkraft is one of the largest buildings in the area, with a surface area of 30,250 square metres.

ClientAalborg KommuneDGI - Danish Gymnastics and SportsAssociationsSkråens Venner

1 2

9

incontroluce 24

Photographs: Ole Ziegler

1. Work done outside the cultural centre

2.3. Leisure areas

ArchitectCuboArkitektfirmaet Nord

Landscape architectEgebjerg By & Landskab

EngineeringKorsbæk & PartnereBrix & Kamp

Partners AssistanceiGuzzini illuminazione DK

3

10

Projects L’Albany Lakes Civic Park

Albany, New Zealand

The park, extending over approximately six and a half hectares, was a visionary investment byNorth Shore City Council and some privateinvestors. A team of architects, landscapers andconstruction firms designed this park to enhancethe cultural, social and ecological aspects of thenew centre of Albany. This is a project to make the most of the areaand is part of major work undertaken for theOctober 2011 New Zealand Rugby world cup. 17,000 plants were planted, including localplants which grow spontaneously and fruit treessuch as apples, plums and olives. The park isn’tjust a treat for the eyes, it’s a positiveenvironmental resource: the trees covering itssurface are part of a system for the treatment of rain water. Rain is conveyed to the holes inwhich the trees are planted.

ClientNorth Shore City Council

Contractor NZ Strong

1

2

11

incontroluce 24

Photographs: Simone Devitt Photographer

1. Daytime overview

2. Detail

3. Night-time view with the bridge across the lakes

Lighting DesignersLight Works

LandscapingSoul Environments

Partners AssistanceE.C.C. Lighting Ltd

These holes contain special earth which filtersthe rain, before excess water is carried to thetwo lakes, effectively keeping the water in thelakes clean. The architecture firm and landscaper choseiGuzzini luminaires for the Albany Lakesproject. The FrameWoody system was used tosupport a set of MaxiWoody floodlights angledto achieve the correct photometric distribution.The floodlights light up the lakes andsurrounding area. Thanks to the system’s linearity, the visualimpact of the luminaires is minimal and theydo not intrude on the natural landscape.

3

12

Projects Office building in Rue de Colisée

Paris, France

This building was originally built at the end of thenineteenth century, inspired by the work ofengineer Gustave Eiffel. Back then the area beingrenovated today was used for garaging horsedrawn vehicles and for stables.Usually, in this type of structure the coachmen andgrooms lived on the first floor, above the horses. Aramp allowed the horses access up to theirmezzanine. Of course, soon after the building wentup the «hanging stables» were covered with aglass canopy to protect the horses. The ground

ClientPrivate group

ArchitectJean-Michel de Poulpiquet (ARCAD)

Partners AssistanceiGuzzini illuminazione France

floor and mezzanine were closed off with greyaluminium-profile frames and glass in the early‘60s and then in 1988. The current project forrenovation of the building located close to theChamps Élysées preserves the initial spirit of thecomplex by using the original architectural style.A rock garden was created in the courtyard,inspired by Japanese gardens and with a naturalwood access walkway and a small pond. Thewall opposite the main facade was covered by a vertical garden around 8 metres high.

This space is accessed through a private atrium,exclusively for use by residents. The entrance islit with Cup luminaires. The building’s floors are very similar and haveopen space office areas, equipped and air-conditioned as well as all service areas, fromtoilets to technical areas, to connecting zones.Different lighting levels were provided for each of these areas: from 150 lux for technical roomsand corridors, to 400 lux for offices and theentrance hall. Glim Cube luminaires were used

1

13

incontroluce 24

Photographs: Didier Boy De La Tour

1. The building’s courtyard

2.3. Office areas

with a special paint to make them blend in andto help camouflage them. The garden also usesMiniwoody floodlights to emphasise some zonesand plants, plus Light Up-Garden luminaires.Paths are lit with Ledplus luminaires fitted on the wood. In the office environments Wideplusrecessed luminaires, pendant Light air luminairesand Easy system luminaires are used. Someceiling-mounted iRolls feature in the first floormeeting rooms. Halls and landings are lit withadjustable recessed LED Express luminaires.

2 3

14

Projects Media-TIC

Barcelona, Spain

PromoterEl Consorci de la Zona Franca

Architectural designEnric Ruiz-Geli, Cloud 9

StructureBoma, S.L. - Agustí Obiol

Media-TIC was promoted by El Consorci de laZona Franca. Located in the 22@Barcelonadistrict, in the multi-discipline Parc BarcelonaMedia installation, the structure is designed as a city forum whose aim is to become a centre forcommunication and meetings linking Barcelona’sbusinesses and institutions in the technology,information and communication sectors.The building’s name, Media-TIC, refers toInformation and Communication Technologies. It offers infrastructures and incubation orfinancing services to media companies (audio-visual, production, digital effects, etc.). It alsohouses the TIC Technology Centre and has areas for companies and institutions. The TIC Technology Centre (CTTIC) has a clearaim: to facilitate the various economic sectors,the mechanisms for the incorporation, use andapplication of ICT (Information and CommunicationTechnologies) in order to increase their productivityand competiveness in the digital economy, at the same time contributing towards training andboosting talent and human capital. The 22@Barcelona district is making a name foritself throughout Europe, setting the benchmarkfor Information and Communication Technologiesthanks to the advanced infrastructures beingcreated there.

2

1

15

incontroluce 24

Photographs: Luis Ros, Iwan Baan

1. A model of the building

2.3. The building by day and in the district setting

4. Coloured lighting effect for interiors

InstallationsPGIGrup - David Tusset

Technical ManagementTécnics-G3 -J.M.Forteza

Project ManagerCAST- Angel Rotea

Partners AssistanceiGuzzini illuminazione España S.A

The building designed by Enric Ruiz-Geli and his firm Cloud 9 reflects the switch over from an industrial to a digital society. The building is a digital architecture, built using CAD/CAMprocesses, in which connections are moreimportant than the materials. The Media-TIC facade does not show industrialmass production, instead developing anddemonstrating information construction. Media-TIC pays homage to the principle and to the aim for which it was designed with more than 300 sensors. On the ground floor,presence sensors adjust consumption based on the number of people in the hall. The facade sensors connected to the lightingsystem save energy by avoiding consumption

over the first 3 metres of facade. And last but notleast, 104 sensors with CPU connected to theETFE bearings makes each one a component partof a smart facade. The building’s roof is fittedwith photovoltaic units which produce up to29,000 kWh/year, giving a saving of 18.8 tonnesof CO2, and a roof garden with two grassy areas.Media-TIC lighting is another significant aspectaided by the ETFE covering, since this “skin”allows temperature control, at the same timeoptimising the entry of natural light. As well ashaving a specific lighting system, the centralstructural elements of the office floors use afluorescent film which supplements the night-time lighting. In the interiors, artificial lightingadjusts to the purposes and flexibility of the

various floors and takes on a further communicationfunction thanks to the use of colour. Line Uprecessed luminaires with the latest generationT16 fluorescent lamps arranged in continuousrows become part of the encompassing structure,providing uniform general lighting for the workingenvironments. The linearity is also maintained in linking zonesby using the colour green which is characteristicof the building. All of the perimeter modules are fitted with DALI devices, which allow thelighting level to be adjusted depending on thelevel of natural light. On the balconies, alongthe stairs and in other linking and stoppingareas, continuity is achieved by using iSignfluorescent lamps.

3 4

16

Projects The Capstone Theatre

Liverpool, United Kingdom

Client Liverpool Hope University

Architectural designDV Architects

Services ConsultantsTDS

The ultra-modern Creative and Performing ArtsCentre incorporating the Capstone theatre is theresult of a renovation project started at the end of the ‘90s thanks to remarkable work by DVArchitects on the former Roman Catholic School,which saw it transformed into the Cornerstonebuilding. The name comes from Psalm 118:22, the stonethe builders rejected and which became thecornerstone.The renovation work, which won the LiverpoolArchitecture and Design Trust Award as the bestcontribution to the sustainability of the urbanenvironment, cost in excess of £20 million andwas financed by the generous support of manypartners, including the North LiverpoolPartnership, English Partnership, EuropeanRegional Development Fund, Higher EducationFunding Council for England, Esmee Fairburn and Garfield Weston Trusts, the Heritage EnglishLottery Fund, the Jesuit Provincial Authority, theArchdiocese of Liverpool, the Historic ChurchesPreservation Trust and Hope University funds.iGuzzini’s involvement extended to various areaswith many types of luminaires. iRolls were usedin the auditorium. Action luminaires wereinstalled in the connecting zones between thevarious areas and in the foyer. The foyer luminaires are controlled using theMaster Pro system. Easy system PL-R recessedluminaires are fitted in the dressing rooms. Meeting rooms are lit by Light Air luminaires, and the area outside by Lavinia CPO-TW, iTeka,Miniwalky and Vis.

1

17

incontroluce 24

Photographs: James Newton Photographs

1. The foyer

2.3. One of the dressing rooms and a meeting room

4. The auditorium

Electrical Client A&B Engineering

Main Client Allenbuild

Partners AssistanceiGuzzini illuminazione UK

2 3

4

18

Projects Rox Jewellers Flagship Store

Glasgow, United Kingdom

ClientRox

Interior designGraven Images

Cost controlFitzsimmons

Rox boasts a long tradition as a prestigiousScottish jewellery company, famed for itsexcellent customer service and the absoluteoriginality of its designs.With four stores located all over Scotland, theflagship store in Glasgow’s Argyll Arcade recentlyunderwent a £1 million refurbishment. TheGraven Images design team and cost consultantsFitzsimmons asked iGuzzini to collaborate on the Rox project to find a lighting solution whichwould interact with and enhance therefurbishment work, providing the correct lightinglevels for both ambient and accent lighting.Since the goods on display are worth severalthousands of pounds, particular care was takento supply different types of lighting so as tohighlight the various items displayed. The lamps were chosen first through a series of workshops held at the iGuzzini showroom in Glasgow. The aim was to provide a different take on the traditional approach which had involvedenhancement of the product exclusively withmetal halide lamps. The result was a mixture of metal halide, dichroic and LED lamps forlighting the products on display by placing the right emphasis on each of them. The mixture of lamps highlights the gold, white gold, platinum and diamonds, revealing their true potential, accentuating their sparkle.The upper floor is set up as a private lounge (or salon Privé) where customers can receiveindividual attention, browsing products in arelaxing, informal atmosphere with a bar(sponsored by Moet).The iGuzzini products used include track-mounted Tecnica, Deep Frame and Pixel Plusspotlights, together with Ledstrip luminaires for highlighting the detail of the profile.

1

19

incontroluce 24

Photographs: iGuzzini Archive

1.2. The Salon Privé on the upper floor

3. Shops windows giving onto Argyll Arcade

Partners AssistanceiGuzzini illuminazione UK

2 3

20

Projects Monumental lighting of the beauties of Delhi

Delhi, India

ClientDelhi GovernmentASI - Archaeological Survey of India

Lighting designLucent Consultants

For the 2010 Commonwealth Games the DelhiGovernment renovated many neglected monuments. The lighting of these monuments is part of ageneral architectural restoration process. Thebasic idea was to breathe new life into thesehistoric sites around the city and to arouse new interest among tourists. The projects observed a very strict schedule andwere completed long before the Games whichtook place in October 2010. The well-executedrestoration and the fantastic lighting created asplendid sight for tourists, showing the

architectural marvels of India’s great history intheir full splendour. The lighting design for emphasising themonumental beauty of the building and thesupply of the luminaires needed was handled by Lucent Consultants.Both the tomb of musician Abdul Rahim Khan-I-Khana and the two Dadi and Poti tombsare lit with Maxiwoody and Miniwoody models.At night the domes are coloured, producing amarked difference between how the monumentslook during the day and after dark.

1

21

incontroluce 24

Photographs: Taj Mohamad

1. Tombs of Dadi and Poti

2. Tomb of Abdul Rahim Khan i Khana

2

22

Projects Italian lights in Istanbul

Istanbul, Turkey

ClientICE

Lighting design for the Fountain of Ahmed IIIStudio Annunziata e Terzi

During 2011 iGuzzini’s presence in Istanbulresulted in two jobs which were very importantin terms of Italian - Turkish cooperation. InMarch 2011 iGuzzini’s dealer in Tepta, Turkey,sponsored the new lighting of Palazzo Venezia,the residence of the Italian Ambassador inIstanbul. The building is in the very centralBeyoğlu district, close to the famous IstiklalCaddesi Avenue and not far from the Galatatower. On 17 March, to mark the celebrationsof 150 years since the unification of Italy, thenew lighting of the facades of Palazzo Veneziawas unveiled, featuring the use of exclusivelyLED luminaires: Linealuce, Glimcube,Miniwoody, iPro, with warm white light LEDs.In this way the details of the facade areenhanced and at the same time there is a 50%energy saving.In July 2011, Istanbul saw the lighting ofvarious city monuments as part of the “ItalianLighting Design for Istanbul” project started in2009 and promoted by ICE (Italian Institute forForeign Trade). The project was created thanks to collaborationbetween Italy and Turkey leading up to thecelebrations for Istanbul being awarded the title of European Capital of Culture for 2010.

1

23

incontroluce 24

From left:Ferdinando Pastore (ICE Istanbul), Gianluca Alberini (Italian Consul in Istanbul),Gianpaolo Scarante (Italian Ambassador toIstanbul), Huseyin Avni Mutlu (Governor ofIstanbul), Mustafa Demir (Mayor of Fatih, thedistrict where the fountain is located), Paolo Guzzini, Ibrahim Ozekinci (Director ofIstanbul Foundations). On the far right isMohammed Garip, who is responsible for lighting in the city.

Photographs: Archivio iGuzzini

1. Palazzo Venezia facade

2. The Fountain of Ahmed III

3. Inauguration of the new lighting for the fountain

The dual purpose was to promote Italianexperience lighting cultural heritage sites and toencourage exchange and partnership between thetwo countries which share important elements oftheir histories. The programme included a 2009conference on architectural urban lighting and thecreation, in collaboration with leading lightingdesigners and Italian lighting companies, of thelighting for Istanbul’s three most famousmonuments. The Dolmabahçe Clock Tower, theIMA (Istanbul Fashion Academy) and the Fountainof Ahmed III. iGuzzini participated as technicalsponsor of the lighting for the Fountain of AhmedIII, a real jewel of Ottoman Istanbul. The Fountain was built by Sultan Ahmed III

opposite the Imperial Gate (Bāb-ı Hŭmāyūn) of the Topkapi palace. The design, by the StudioAnnunziata e Terzi firm, had three objectives: to improve the perception of the plasticity andcolours of the decorations; to minimise theimpact of the luminaires; to harmonise andscreen the lights of the area surrounding theFountain so as to improve the night-timeappearance and allow a view of the new lighting. Woody floodlights were used, with metal halidelamps having different power ratings, installed on a metal structure which was specially created forthe project. iPro luminaires were also used. All luminaires were managed with the “ColourQuick” Light Management System.

2 3

24

Projects Dallmayr facade lighting

Munich, Germany

ClientAlois Dallmayr KG

Lighting designTom Schlotfeldt, Schlotfeldt Licht

FittersSeidler & Freinecker

Alois Dallmayr, the famous delicatessen store inMunich established more than 300 years ago,is synonymous with tradition and quality. Buttradition shouldn’t be interpreted as meaningarrival at one’s destination, but rather theopposite: “Tradition is legitimised only if you cangive it a sense of the future”, is a company belief.This eye to the future has driven the company’sdevelopment from “spice traders” to the currentinternationally-renowned producer.

This desire for progress was also decisive whenchoosing new lighting for the original Dallmayrpremises, the company’s flagship, with morethan 1.5 million visitors a year. Since lastDecember the historic facade of the building inDienerstraße, at the heart of the city in Bavaria,has had truly innovative LED lighting. The basicaim of the new lighting was to show thesplendour of the entire surface of the facade. The previous solution only lit the first two floors.

1

25

incontroluce 24

Photographs: Frank Vetter, day & light

1. Lighting of the building’s entire facade

2.3. Details

The new lighting focuses on details, the featuresof the columns and the window openings,highlighting the facade’s plasticity and regularstructure. Miniwoody LED floodlights were usedto light the garrets and features of the columnson the third floor. The pilasters running across the first and secondfloors are lit by Woody LED floodlights with a spotoptic. Glim Cube luminaires accentuate thefourth-floor window openings. The light intensityof all of the luminaires can be adjusted using theDALI system. The choice of lighting colourtemperature was inspired by the “sunny yellow”colour used to paint the facade and a warmwhite was selected.

2

3

26

Projects The Sun Station

Santiago, Chile

ClientMetro de Santiago, Chile

Architectural design and works supervisionBAC S.A.

Estación Intermodal del Sol is one of the stationsin the Santiago metro system, arranged on twolevels and providing a change-over point for cityand intercity buses. In this way, it increases linksto the zone to the west of Santiago, which thanksto this station gains quick and easy access to theentire Santiago metro system.The architectural proposal for this terminal isparticularly innovative in Chile, thanks to use of alarge canopy made of a tensile structure having

the design line chosen for all of the surfaceprojects for new Metro stations designed by theBAC S.A. architectural firm. This canopy was designed with the dual functionsof protecting passengers from the weather andoffering a covered circulation area with few verticalstructural elements. Its shapes favour ventilationand permanent air circulation, allowing thecreation of a large ventilated waiting area withoutthe build-up of exhaust fumes from the buses.

1

27

incontroluce 24

Photographs: Cristian Barahona M.

1. Evening view of the tensile structure

2. Detail of the tensile structures of the canopy

Engineering designsZañartu - MC – PM

Lighting design Opendark S.A. - Karin Vásquez

Tensile structureCidelsa

Construction firmConstructora Internacional S.A.

The architectural development is simple: 13 busbays, two sets of staircases and a central bodywith services for passengers and ticket offices.The latter are equipped with Easy luminairesfitted with Dark Light screens. An essential feature of the project was limiting the number of luminaires with their relative supports as far as possible, since they usually obstructcirculation: that’s why the decision was made to use the huge structure’s supports as fixingelements for the Woody symmetrical andasymmetrical floodlights with 150 and 250 Wmetal halide lamps. The number of luminaires is low, but they are highly efficient for a coveredsurface area measuring 3000 square metres,minimising electricity consumption for lightingand air-conditioning. The final overall configuration gives a particularlyattractive bus terminal which captures theobserver’s attention, successfully updating theurban image of a place that until not long beforethe project began to take shape was dreary,bordered by three motorways and practicallyabandoned on the outskirts of Santiago.

2

28

Projects National Museum of China

Beijing, China

ClientNational Museum of China

DesignMeinhard von Gerkan and Stephan Schützwith Stephan Rewolle and Doris Schäffler

Design staffGregor Hoheisel, Katrin Kanus, Ralf Sieber, Du Peng, Chunsong Dong

The conversion and extension of the ChineseNational Museum combines the former ChineseHistory Museum with the Chinese RevolutionaryMuseum. Completed in 1959 as one of tenimportant public buildings in Tiananmen Square,in direct proximity to the Forbidden City, themuseum is still a milestone in the history ofmodern Chinese architecture. Outline plans wereinvited from ten international architectural firmsand the project was awarded to Gerkan, Marg &Partners (gmp) for its submission, together withBeijing’s CABR, ahead of Foster & Partners, KohnPedersen Fox, OMA & Herzog & de Meuron. The original GMP submission envisaged gutting

the existing museum. The central block would be removed and the large space thereby createdspanned by a bronze flying roof linking the oldbuilding and the new one. Following a discussionwith the client and Chinese architectural experts,this scheme was revised, with the aim ofintegrating more of the external impact of the old building in the new building, though withoutabolishing the immediately obvious distinctionbetween old and new. This would allow thebuilding to illustrate the continuity of history. The aim was to join the northern and southernwings in a single complex, by removing thecentral structure.

1

29

incontroluce 24

Photographs: Christian Gahl

1. The Tiananmen Square entrance

2. The central hall with red wall covering

Revised designMeinhard von Gerkan and Stephan Schütz with Stephan Rewolle

Project leadersMatthias Wiegelmannwith Patrick Pfleiderer

Project managementBeijing Guojin Consultants Co., Ltd.

Chinese partner firm and Electrical engineeringCABR (Chinese Academy of Building Research)

Structural engineeringschlaich bergermann und partner CABR - Chinese Academy of Building Research

The 260 metre long hall acts as its central accessarea. It widens to embrace the existing centralentrance which opens onto Tiananmen Square. The ‘forum’ thus created acts as an atrium andmulti-functional events area, with all services forthe public, that is to say, cafes and tea shops,book shops and souvenir stores, ticket offices andtoilets. The classic three-part division of Chinesehistoric buildings also dominates the design ofthe ‘forum’. A stone base serves as a platform fora wooden structure, with a coffered roof restingon a grid. For this coffered roof extending alongthe entire forum and in the central Hall, iGuzzini developed a special luminaire which

Events and acoustics technologyMüller-BBM GroupADA Acoustic Design Ahnert

Lighting designconceptlicht GmbHTsingHua Design Institute

FacadeSuP Ingenieure GmbH

uses light to help create the welcomingatmosphere that was required throughout thebuilding. This atmosphere is also created by theharmonious use of materials: local granite for thefloor and walls of the base layer and woodencladding in the gallery area. Rooms of particularimportance can be recognised by the use ofdifferent materials. The central hall opposite the main west entranceand the theatre have red wall coverings to improveacoustics. The museum’s main entrance continuesto face west but, for the first time, the north andsouth entrances are linked by the ‘forum’. The architectural form of the space is a

contemporary interpretation of traditionalelements of Chinese buildings. This is alreadyobvious in the west courtyard, accessed via broad steps reminiscent of the steps in front ofthe temple precincts in the Forbidden City justaround the corner. The west entrance of thecurrent building, the “Mengguobao” facingTiananmen Square is notable for a series ofwonderful pillars, linked to each other by anentablature in the style of temple and palacearchitecture, with the roof structure resting on it.In historic Chinese architecture this sophisticatedsystem of beams and shelves supporting theroofs of imperial palaces is called ‘dougong’.

2

31

incontroluce 24

The western facade of the new building isdesigned in a similar fashion. The entrance doorsto the new buildings are made of perforatedbronze plates that filter the daylight, producing a muted atmosphere, like that of traditionalChinese buildings obtained through typicaldecorated shutters. The motif of the perforation was inspired by anancient bronze panel - one of the extraordinaryitems among the one million works of art thatmake up the National Museum collection. This ornamentation also recurs in the form of the balustrades inside the museum. The north wing facing Chang’an Avenue houses

the exhibition of Chinese modern history, while the south wing houses the administrativeoffices and the library. In the new building, themain exhibition areas are distributed over foursuperposed storeys north and south of the centralhall, where state receptions, banquets and similarevents are held. Below the central hall there is a cinema and atheatre, an events room suitable for conferencesand, thanks to the fine acoustics, classicalmusic concerts and other events requiring astage. The base level and basements containthe museum’s laboratories and workshops,storerooms and the underground garage.

National Museum of ChinaProjects 3. The Forum

4. The traditional style of the colonnade and the windows translated into a contemporary language

5. The west entrance

4 5

32

Projects Palazzo Lombardia

Milan, Italy

ClientLombardy Regional Authority

Architectural design Pei Cobb Freed & Partnerswith Caputo partnershipSistema Duemila

Palazzo Lombardia is the new LombardyRegional Authority headquarters, alongside thehistoric Palazzo Pirelli and consists of curvilinearbuildings 7 and 9 floors high plus a centraltower with 39 floors, 161 metres high, inspiredby the principles of accessibility and saving. The buildings at the base of Palazzo Lombardiaare divided into four 7- and 9-floor structureshousing all of the councillors’ offices and headoffices, as well as the cultural, entertainmentand service departments.

Floors +00 and +01 contain an exhibition area,a multi-purpose auditorium, a crèche, a gym, a500-seat conference room, a library, theRegional Area, the main Protocol offices, variousareas for socialising and a restaurant, bar, cafeand shops. The tower will house the Chairman’spolitical - administrative offices, therepresentatives’ rooms, the council chamber andpress hall. The skyscraper’s top floors are for thepublic, with a multi-functional belvedere and aterrace.

1 2

33

incontroluce 24

Photographs: Paolo Carlini

1. Rendering del progetto di Pei Cobb Freed & Partners

2.3. Chairman’s office

ClientInfrastrutture lombarde spa

Lighting design Studio Voltaire - Jacopo Acciaro

The work will include a mixture of administrative,cultural, representative and leisure functions, allaround a large covered square extending over4,000 square metres, with thousands of squaremetres of greenery, a new pedestrian and cyclepath on via Restelli and hanging gardens on theroofs. There will be cutting edge environmentallyfriendly plants for heating and cooling rooms andfor generating electricity (high output heat pumpsusing groundwater and photovoltaic panels builtinto the tower’s glass facades). No fossil fuels willbe used. iGuzzini provided artificial lighting in theChairman’s offices, with minimum visual impact,but with lighting effects that were even coloured.To light the area with the desk, iN 60 luminaireswere recessed in the ceiling to create two types of light. Also in this office Hub luminaires werefitted along with fluorescent lamps. Lineup RGBrecessed luminaires were also used, behind acurtain, and Deep Laser LED recessedluminaires. At the building’s ground level, the big auditorium was lit with Reflex professionalluminaires and halogen lamps and on the firstfloor the conference room was lit with ReflexFortimo LED luminaires. The foyer has been litwith Bespoke. The double-height reception andlift areas are fitted with the new Reflexprofessional recessed luminaires using metalhalide lamps. Operations offices have pendantLens luminaires with controlled luminance. In the connecting zone corridors (from the 32nd to the 35th), Reflex Professional recessed luminaires were used.The design by Pei Cobb Freed & Partners of New York, Caputo partnership and SistemaDuemila (both based in Milan) won the 2004international design award. The winner was chosen from among ten designs presented by those allowed entry to the competition, who were in turn selected from a total of 98 candidates from prestigiousarchitectural firms all over the world.

3

34

Projects Colonial style in Sihlcity: lighting for the new Colonys store

Zurich, Switzerland

Clientits COMPANYS AG

Concept/Architecture/DesignIvo Tschümperlin/retailpartners

The Colonys store, specialising in footwear andaccessories, opened in Zurich to offer a buyingexperience inspired by the colonial period. Theinauguration of the Colonys store at the Sihlcityshopping centre in Zurich in April 2011 was alandmark event. The Colonys brand belonging to“its Companys AG” offers a wide range of footwearand fashion accessories, ideal for business, leisureand active time use, aimed at both male andfemale customers. “When they step into our store,we’d like customers to feel enveloped in the well-being of an environment inspired by southerncountries and the colonial period, so that for a

moment they can forget the frenetic pace ofeveryday life”, said Ivo Tschümperlin, CEO ofCompanys. Retailpartners AG, a shop-fitting,interior architecture and interior design company,developed, working closely with Ivo Tschümperlin, a strong architecture and sophisticated lightingset-up which was implemented by iGuzzini. The aim was to make the Colonys styleperceptible. The design drew inspiration from theatmosphere of colonial countries, where the hotrays of the sun penetrate shutter slats to light updark interiors, creating an absolutely unique lightand shade effect.

1

35

incontroluce 24

Photographs: Günter Laznia

1.2. The interiors

Lighting designretailpartners

Partners AssistanceiGuzzini illuminazione Schweiz AG

The pleasantness of the setting comes thanks tothe use of colonial furniture and high output LEDlamps. The store’s very muted basic lighting isfrom ceiling-recessed “Reflex Professional”luminaires with Fortimo LEDs. Since the lampsare operated at just 40% of capacity, visitors don’teven notice the ceiling lights. The ceiling is gentlylit with backlit ornamental images using motifswhich recur continually throughout the store. Contrasting with the muted ceiling light, thespotlights light up products on the wall shelvesand display surfaces, placing just the rightemphasis on them. Display furniture, such as theshowcases and shelves, are lit using X26 lamps. At the back of the shop there is a lounge and thecash desks. While the rest of the store’s surfacehas warm, dark colours in keeping with thecolonial style of southern nations, here lightmaterials and white furniture dominate. In thisarea the background lighting is slightly paler. It comes from two Ledstrip rows arranged along the wall above the cash desk and the lounge. A mounting device hides the lamps fromcustomers. They only see the light coming from a slit between the ceiling and the lateral walls,considerably enhancing the sense of depth of the premises. The Colonys Shop interior, lit exclusively usingLED lamps, can only be seen by those who gointo the store. Slatted shutters in the shop windowsand a strategically placed partition wall at theentrance prevent those outside from seeing in.

2

36

Projects Repower Shop

Ilanz, Switzerland

ClientGruppo Repower

Architectural designDaniel Huber

Partners AssistanceiGuzzini illuminazione Schweiz AG

The Repower group, operating in the electricitysector, has opened a new customer centre inIlanz, in the Grigioni canton. The centre, called“Repower Contact”, was designed by architectDaniel Huber. In these premises Repowerprovides customers with advice and informsthem about topical matters in the energy sector.The centre boasts a modern design, innovativetechnology and is lit entirely by LED lights. As lighting partner, Daniel Huber selectediGuzzini luminaires. Thanks to his design, thearchitecture and lighting blend seamlessly. The “Repower Contact” centre is split into three

modular islands, each with different functions:customer service, interactive Info-Centre andsales. Above the modular islands is a cubecovering the counters below. Deep Minimal LED luminaires, adjustable and recessed in the cube, guide the customer to the counter.These recessed luminaires also provide targetedlighting on the Info-Centre’s interactive panels.To prevent the light from being reflected belowin the displays housed in the counters, thearchitect reduced the number of light points andpositioned the lights by shifting them relative tothe schemes.

1

37

incontroluce 24

Photographs: Günter Laznia

1.Modular islands

2. Display area

At the centre of the three islands is the displayarea, lit by track-mounted Primopiano LEDspotlights. In this way, Repower can easily movethe spotlights and adjust the number of them foreach display. The lounge area is lit by pendant Le Perroquetluminaires, creating a cosy, welcomingatmosphere.Against an initial investment that was higherthan for conventional lighting, the use of LEDluminaires resulted in a reduction from the 15-20 kW normally needed to light the 133square metre space to just 2 kW. The LEDlights also last much longer, bringing downmaintenance costs. Added to that is the indirectadvantage of reducing the heat produced by the lighting and therefore cutting air-conditioning costs.

2

38

Projects Niemeyer Cultural Centre

Avilés, Spain

ClientPrincipality of Asturias

Architectural designOscar NiemeyerRoberto Alonso MartínezJavier Blanco García CastañónJair Rojas ValeraAlmudena Fernández Menéndez

The Niemeyer Centre is a project promoted bythe Spanish government and the Principality ofAsturias, whose main aim is to build a culturalcomplex of international importance which willdrive the economic and urban relaunch of anentire region in the midst of industrialtransformation, the “ria”, typical river valley with fjords, of Avilés. The complex transformedwhat was a contaminated industrial zone intoan area dedicated to excellence and creativity. It has already become a symbol of modern andprosperous Asturias of the future, a land which,without losing its industrial roots, is backingsustainability, technology, teaching and cultureto drive development. The Centre is the heart of what will one day become the “Isla de laInovación”, one of the most ambitious urbanregeneration projects contemplated in Spain,assigned to the team led by Norman Foster,through an international invitation to tender.

Brazilian architect Oscar Niemeyer has come up with a design that aims to make the placean international focal point in the production of culture, dedicated to teaching, culture andpeace. It’s his only work in Spain and, in hisown words “the most beautiful and best lovedone that I’ve done outside of Brazil”. The Centre also has an international consultationcommittee which works with the managementteam to define objectives and prepare content.The committee is made up of high profileinternational figures: currently film-maker WoodyAllen, scientist Stephen Hawking, author PauloCoelho and the creator of the internet and vice-chairman of Google, Vinton Cerf. The Centrewas opened to the public for the first time on25 March 2011.The cultural complex consistsof five independent areas which complementeach other: the Auditorium, the Dome, thebelvedere tower over the “ría” and over the city,

1

2

39

incontroluce 24

Photographs: 274 Km

1. Belvedere tower and dome

2. Plastic without the multi-purpose Centre

3. Dome and multi-purpose Centre

Technical architectsManuel Gutierrez TorralbaJaime Vila

Plant designEuring IngenierosFelipe Cicujano CarriónEverprojectJosé Manuel Fernández Arrufat

StructuresJosé María Macías Canocivil engineeringFhecor Ingenieros Consultores S.A.structures

Partners AssistanceiGuzzini Illuminazione España S.A

the multi-purpose building and the open Square. The 26 metre high auditorium is the tallestbuilding in the Niemeyer Centre and was themost difficult to build due to the complexity ofthe shapes. It has 961 seats and the architect’strademark feature: there are no boxes, just thestalls, forming “democratic tiered seating”. A key feature is the “large window”, providing a view of events. This is the most unique aspect of the building. It can be opened ontothe Square for open-air shows, extending theentertainment outwards for the enjoyment ofthousands. This is a place for big events: concertsand international meetings and cultural gatherings. The lighting consists of Optica recessedspotlights with compact fluorescent lamps anddimmers, which combined with the lightinglines built into the acoustic ceilings allow the set up of the atmosphere best suited to thenature of the event being held.

The “Dome” houses a 2,000 square metreexhibition area. It is a sprayed concrete half-sphere, inside which a lamp designed by the architect is a stand-out piece. This lamp, which is like an architectural design, usesrecessed Pixel luminaires combined with built-in indirect light luminaires that light thetwo-storey space featuring the helical staircasewith great plastic value and provide perimeterambient lighting for the entire space. In thelower level exhibition section the installation of tracks and use of Tecnica spotlights withvarious accessories allows the lighting to beadapted to the requirements of each exhibition.The 20 metre high tower is the Centre’sbelvedere and is dedicated to gastronomyunderstood as a form of culture comparable to cinema, literature or painting. There aretwo different zones: the restaurant and thecocktail bar.

3

40

Niemeyer Cultural CentreProjects 4. The entrance to the Auditorium

5. The Belvedere Tower

In both we find a radial arrangement of pendantAction luminaires supplying general light withfluorescent lamps and accent lighting withhalogen lamps so as to obtain the most suitablesetting, by using a control system, from arestaurant with general lighting to a lounge withmore intimate light. The multi-purpose buildinghouses the “Cinema”, the only permanent screenin Asturias for original version films. Woody Allenis the honorary president of the Cinema and aconsultant for content.

In addition to other screening rooms, the buildingcontains administrative offices and the bar andrestaurant. Precisely because it’s a multi-purposebuilding, the lighting design has different featuresdepending on the functions of the various areas.Deep Frame recessed luminaires allow correctoperation of the screening rooms. The shop has general lighting combined withaccent lighting and the possibility of includingspotlights, all integrated in a single lightingsystem, Action.

4

42

Niemeyer Cultural CentreProjects

The administration area has lighting suited tothe visual requirements in that environment. The entire building acts as a single space inwhich floor-recessed Light Up luminairesemphasise the cornices and envelop the wallsthanks to the possibility of combining variousoptical solutions in the same group of lights. Oscar Niemeyer designed the Square for socialoccasions: “A big square open to all the menand women of the world, a great theatre stageover the “ria” and over the old city of Avilés”. The characteristic white finishes of Niemeyer’sarchitecture are provided with a perfectcounterpoint in the lighting design solutionswith metal halide lamps or if necessaryfluorescent or LED lamps with neutral colourtemperature. So the light which bathes thespaces is complemented by the accents of thefloor and the groups of Maxiwoody spotlightsallow light with great impact to be obtained,which brings the square to life. The columnssupporting the walkway which connects theAuditorium and the Dome are laterallyhighlighted by Linealuce lamps, while floor-recessed LED spotlights wrap soft light aroundthe base of the belvedere. Finally, Comfort wall-mounted luminaires areused in corridors and connecting zones, Pencilway-marker lights in the car park and the Plateasystem at the road access point.

6

7

43

incontroluce 24

6. Cocktail Bar in the Belvedere Tower

7. Exhibition area in the Dome

8. Dome interior with the lamp designed by the architect

8

44

Company culture More light? Less light? Better light!Triennale architecture gallery12-17 April 2011

Gallery set-up design Studio Cerri & Associati

This is the second in a cycle of exhibitionspresented by iGuzzini relating to currentprogress, which can be seen in the science and art of illumination. The 2009 “Light-in-progress” explored thesystemic approach in urban lighting innovation. In that case, the main question was “how do we provide better lighting at a lower cost?”. A lower cost sustained both in economic and,above all, ecological terms: an effort requiring a different approach from all parties involved,that is to say, more lighting culture. The 2011 “Light-in-progress” exhibition sawiGuzzini invite visitors on a 3D journey inGoogle Earth. Starting from Turin’s VenariaReale palace and passing through Hamburg and L’Aquila, finally reaching Beaune in France.Four different international teams, made up ofdesigners, architects and lighting designers, tellus about and guide us through their projects,giving practical examples of how they applylighting in public urban areas. It is a highlyevocative virtual journey in which new lightingsystems specially designed for those areasreveal technical and design innovations. Maxi-screens project videos of interviews with the architects and designers.

1

2

45

incontroluce 24

Photographs: Archivio iGuzzini

1. Luminaire for the Venaria by Michele De Lucchi

2. Luminaire for Hamburg

3. Design by Enzo Eusebi

4. Visitors viewing the 3D film

“More Light? Less Light? Better light!” Video

Script and direction Hans Suter and Fritz Tschirren, partners STZ

Production3DSwitch

La Venaria RealeClient: “La Venaria Reale” cultural enhancementconsortiumProduct: VenariaDesign: AMDL

Mönckebergstrasse - HamburgClient: Trägerverbund Projekt Innenstadt e.V. Product: Ex-centricDesigner: Studio &PartnersLighting designer: Tom Schlotfeldt

“Church of the resurrection (308)”, L’AquilaClient: Federazione delle Banche di CreditoCooperativo Abruzzo e MoliseProduct: System 4in1 Design: Enzo Eusebi- Nothing Studio

BeauneClient: City of Beaune and Ineo (GDF-Suez group)Product: mass-produced luminaires iGuzzini illuminazione Lighting designer: Jean Francois TouchardVideo-projections: Cosmo - Jose Cristiani

3D effectDario Caramelli

Sound Design General Jingles

Interview videoMultivideo

3

4

46

Company culture We want to be modernPolish design 1955-1968from the Warsaw National Museum collectionWarsaw, 4 February - 17 April 2011

CuratorsAnna Maga, Anna Frąckiewicz,Anna Demska

Exhibition designMiśka Miller-Lovegrove with the collaboration of Małgorzata Benedek

This exhibition of 180 objects from the WarsawNational Museum collection displays theelements most representative of Polish design.The Warsaw National Museum’s post-1945collection is the best and most complete in thewhole of Poland: including the entire range ofapplied arts for the period, such as ceramics,glass, fabrics, furniture and other objects forhousehold use, magazines, photographs andfilms. The exhibition presents one of the moreexciting periods of Polish design, between thepolitical thaw of 1955 and the social changes

which took place in 1968. In just over a decade, a wealth of experiments were produced, whichwere to have a lasting impact on design formany years to come. The political thaw led to a sudden and newacceptance of modernism. But, for the leading designers, such as RomanModzelewski or Teresa Kruszewska, that didn’tmean a return to the previous mechanicalconstructivism, but rather a new art with organicshapes, paralleling the work of Alvar Aalto orCharles and Ray Eames. In experiments in the

1

47

incontroluce 24

Photographs: iGuzzini Archive

1.2. Set-up

3.4. Opening of the exhibition

Exhibition graphicsRafał BenedekAntonina Benedek / Mesmer Studio

International communicationPaulina ShearingThe National Museum in Warsaw Anna Pietrzyk-SimoneYoung Creative Poland

Technical sponsoriGuzzini illuminazione

furniture sector, metal frames were filled withmetal meshes, nylon thread, straw or wicker. The end result is more like a sculpture than a piece of furniture. iGuzzini was the event’stechnical sponsor. The lighting concentrates on the use of Lux spotlights supplementing thegeneral lighting, but above all to create accentlighting on some special pieces.The exhibition was produced in cooperation withYoung Creative Poland, an initiative by di MiśkaMiller - Lovegrove and Anna Pietrzyk - Simoneto promote Polish design.

2

3 4

48

Company culture

The dream factoriesPeople, ideas, businesses and paradoxes of Italian design factories

Triennale Design Museum, Fourth edition5 April 2011 – 26 February 2012

DirectorSilvana Annicchiarico

Scientific adviserAlberto Alessi

Set-up designand graphical design for the exhibition and catalogueMartí Guixé

PhotographsFabrizio Marchesi

To mark the fiftieth anniversary of the Salonedel Mobile (Furniture Exhibition), the TriennaleDesign Museum dedicated its fourth edition topeople, companies and designs that contributedto creating the Italian design system from thepost-war period to the present and resulted inthe success of the Salone del Mobile around theworld. A parade of iconic objects develops ahistory that aims on one hand to illustrate thepeculiar activities and profound nature of whatAlberto Alessi called “Italian Design Factories”,which move along a line oscillating between thefunctional value, sign value and poetic value ofproducts, and on the other hand to show thegreat capacity and ability of these “research

laboratories” to attract even foreign designers,who choose to work in Italy because theyrecognise the excellence of its products. MartíGuixé’s set-up makes the objects interact withthe designers and the histories of greatbusinessmen intertwine with their personalbiographies in a playful atmosphere full ofemotion and charm. That same atmosphere can also be found in the graphics linked to the exhibition and in the catalogue. iGuzzini used iconographic material to contribute to production of the catalogue, and the Lingottoluminaire designed by Renzo Piano for therenovation of the Lingotto, the first Fiat factory, was displayed at the show.

49

incontroluce 24

Company culture

French Touch presents at iGuzzini France the “2010 Optimiste d’Architecture” annual

On 23 June, the French Touch Architecturegroup was the guest of iGuzzini France for thelaunch of the 2010 Annuel Optimisted’Architecture (Architecture Optimist Annual).The initiative’s success - more than 400 peopleincluding architects, journalists, students andopinion leaders took part in the event whichhas reached its fourth year - confirms the levelof interest in the principles of the group, fullyshared by iGuzzini which has supported it as a partner since it was formed.

French Touch Architecture was created in 2007with the intention of bringing together Frencharchitects and setting up discussion tablesabout projects in progress or completed,favouring team work over individualism.Since 2008, French Touch has published anannual entitled OPTIMISTE D’ARCHITECTURE,a selection of projects implemented inaccordance with the group’s principles whichfavour popular, shared architecture whichrespects the environment.

50

Company culture

New premises for the dealer in Bulgaria

During 2011 a series of initiatives boostediGuzzini’s presence in Sofia and across Bulgaria.The most recent are linked to the inauguration of the new premises of the exclusive dealer,Synthesis Design and sponsorship of the NunzioBibbò exhibition at the Italian Cultural Institute in Sofia. The new Synthesis premises coverapproximately 60 square metres in acontemporary building on Bulgaria Boulevard, inthe area of Sofia which is turning into the city’scommercial core. Synthesis Design and iGuzzinihave been working together for a decade now. Gregory Markov, company director, hasundertaken many high-profile lighting jobs in thecity. He created the lighting designs for the ItalianEmbassy in Bulgaria and the square in front ofthe church of St. Sofia, a place of huge historicimportance. This new space is, rather than just a showroom, a meeting place for sharing andspreading the culture of light and the successfulinauguration showed how interested people are.

Photographs: Daniel Ahchiev

51

incontroluce 24

Company culture

“Genesis of a Dialogue: Italy - Bulgaria”

Museum of Foreign Art, Sofia6 June - 8 August 2011

iGuzzini was the technical sponsor of the“Genesis of a Dialogue: Italy - Bulgaria”exhibition held in the main hall of the Museumof Foreign Art in Sofia in collaboration with theItalian Cultural Institute.The exhibition is part of the Venice Biennale,which is linked to other initiatives outside theVenice site: the Biennale in the Regionals andno less than 89 exhibitions at the premises ofItalian Cultural Institutes in the main capitalcities around the world, linked to Venice’sArsenale via video, to create the “Italy aroundthe world hall at the 54th InternationalExhibition of Art for the 2011 Venice Biennale”in the Italy Hall set up for 2011 by Italianarchitect and Barcelona resident BenedettaTagliabue Miralles. Nunzio Bibbò was selectedas an Italian artist living in Bulgaria and 15 ofhis sculptures plus 10 preparatory sketches ofthe works and a video about the artist wereused. The lighting was provided by 12 Cestellounits, 4.5 m high, with 100W QR111 lampsand 6°, 24° and 45° optics depending on thespecific requirements.

Exhibition presentation press conference with Nunzio Bibbò and Anna Amendolagine, director of the Italian Cultural Institute in Sofia.

Boosted cooperation with the Troy Lighting Research Center

The Lighting Research Center is part of theRensselaer Polytechnic Institute of Troy, N.Y. and it is the biggest university research centre forthe lighting design sector. Since 1988 the LRC has built its internationalreputation as an authoritative source of informa-tion about lighting design technologies, applica-tions and equipment. The LRC also runs trainingprogrammes for government agencies, buyers,lighting designers and other professionals in thelighting design sector. Cooperation between the company and LRCbegan in 1988, for SIVRA research. In February 2011 iGuzzini joined the LRCPartners Program promoted by the RensselaerPolytechnic Institute Lighting Research Center(LRC) for coordinating the efforts of public andprivate organisations in the development ofresearch, education and technology in the ligh-ting design sector. The LRC Partners Programincludes: AES Latin America, California EnergyCommission, Con Edison, GE Lighting, New YorkState Energy Research & Development Authority,OSRAM SYLVANIA, Inc., Philips Lighting, PhilipsProfessional Luminaires North America, SwedishEnergy Agency, United States EnvironmentalProtection Agency, WattStopper, and Xcel Energy.

For more information, go to: www.lrc.rpi.edu

52

Company culture

Light & Fashion Competition

Moscow, Italian Embassy, 14 July 2011

On 14 July the Italian Embassy hosted theprize ceremony for the Light & Fashioncompetition which was held in the spring of2011 and was open to architectural andlighting design firms and to students. The event was included in the Italian Week in “Krasnyj oktjabr”, (Red October), a formerchocolate factory in central Moscow, now amulti-purpose centre which also houses theStrelka school of architecture and design. More than fifty works were submitted for thecompetition by professionals and twenty bystudents. The Italian - Russian jury headed byAldo Colonetti, Director of the European DesignInstitute, and including lecturers from Moscow’sFaculty of Architecture, viewed the designs andassessed the solutions proposed for lighting aprestigious boutique, a single-brand store,international franchising chain and large-scaledistributor.In the “Professionals” category prizes went to:Irina Alexeeva, with the Yutti Lamp biodynamiclight system consisting of two versions, ceiling-mounted and pendant, both using LED lampsand with up/down lighting. The different modules can be combined andproduce special lighting ceilings, transformingthe light into a proper furnishing element forthe store. The other prize winner was ElinaShindler, with two lighting solutions, male andfemale: the former black and square, the latterwhite and rounded. In the “Students” category,the winner was Olga Dmitryeva with her BLISSluminaire, a two-version system - wall-mountedor pendant - able to create infinite colourcombinations. The study which the student ofMoscow University’s Institute of Electronics and Technology proposed for the system usedto control the colour changes was particularlyinnovative. Another student awarded a prizewas Oksana Bazanova, who came up with avery original application for LED light: Tag’s, a small light label that lights up on the item itrests on.

53

incontroluce 24

Company culture

“2011 Olivetti Entrepreneur” Award

Studies and Experiences Centre Ivrea, 30 May 2011

This is the reason why on 30 May 2011 AdolfoGuzzini was presented with the 2011 OlivettiEntrepreneur Award: “For guiding iGuzziniIlluminazione’s development with a constantcommitment to innovation and the search forbeauty in open architectures and design, makinglight a part of our culture.The world-wide success achieved is the result ofan entrepreneurial style which combines passionand institutional roles for architecture and designwith a strong commitment to collaboration andprofessional growth in the company and theMarches region through responsible attention to technical training schools and guiding theAdriano Olivetti Institute”. Established in 2008 by the Olivetti Historical Archive Association, theAward is dedicated to those captains of industrywho, beyond the territory and sector in whichthey operate, have grasped and constantlyapplied Adriano Olivetti’s spirit of doing business. First, considering the company an open system,dedicated to constant interaction with the outside,responsible for the economic and social fabric inwhich it operates and produces goods, services,as well as knowledge and culture. Adolfo Guzziniwas presented with the award by Laura Olivetti,Chairman of the Adriano Olivetti Foundation, andby Bruno Lamborghini, Chairman of the OlivettiHistorical Archive Association. Together with the“2011 Olivetti entrepreneur” plaque, AdolfoGuzzini was honoured with one of the typewritersthat was a landmark in the history of Olivetti, thefamous Lettera 22. The Award was alsopresented to Gianluca Martino, founder of SmartProjects, in Scarmagno.

Photograph: Eugenio Cacciola for the Olivetti Historical Archive

Photographs iGuzzini Archive

1. From left, Paolo Guzzini, Aldo Colonetti,Italian Ambassador to Moscow Antonio ZanardiLandi and a woman2. A moment during the prize ceremony

54

Company culture

Agreement between iGuzzini and TongjiUniversity, Shanghai

In February 2011 iGuzzini and TongjiUniversity reached an agreement forcollaboration between the company’s Chinesebranch in Shanghai and the university.The collaboration will involve a scholarshipoffered by the company to the two mostdeserving students on the Chinese - ItalianCampus in the faculties of Architecture andEngineering.The university will involve iGuzzini in allacademic initiatives, even in collaboration with other universities.The university will organise annual lighting designworkshops, inviting speakers from iGuzzini. A system will also be set up for sharinginformation about students, to allow theassessment of work or training opportunities.

Massimiliano Guzzini and professor Fang at the agreement signing ceremony.

Professional Lighting Design Convention

Madrid, 19-22 October 2011

iGuzzini will take part in the third ProfessionalLighting Design Convention organised by theProfessional Lighting Design Association withthe report “A proposal for a light plan for oldHavana” which will be presented as a poster.

A national dimension for the iGuzzini Historical Archive

In March 2011 the iGuzzini historical archivewas declared an archive of international interest. Several initiatives took shape around the subjectof company archives during 2011. To mark 150years since the unification of Italy, RaiEducational and the Ministry of Cultural Heritageand Activities Archives General Managementrediscovered the historical value of archives,documenting people’s memories, ideas and thework of the Italian people who form the basis for them, in a five-part television project, witheach episode dedicated to a different type ofarchive (screened on Rai Tre and Rai Storia from 17 March). This project was presented on 7 March at the Treccani headquarters in Rome. iGuzzini is in the first part, together with Enel,Martini e Rossi, Barilla and Piaggio. Since 24June the Company Archives Portal has beenonline, designed and promoted by the Ministry of Cultural Heritage and Activities ArchivesGeneral Management, in collaboration witharound 30 company historical archives andfoundations. The Portal is an online source of experiences of Italian public and private enterprises andenhances Italian business culture, at the sametime safeguarding its historical archives.

55

incontroluce 24

Company culture

The Portal makes available to a vast public,above all youngsters and students, an extensivecatalogue of archive and bibliographic sourcesand publishing content (themed dossiers,national and territorial chronologies from 1861 to the present, biographical profiles of more than 150 entrepreneurs), edited by a group of lecturers from the Bocconi University, incollaboration with the Italian EncyclopaediaInstitute. iGuzzini and the other companies in the group are among more than 30 partners stillcontributing to the Portal and counting amongthem the leading figures in Italian industry.iGuzzini is also part of the Archive Office Unified Information System, known by theacronym SIUSA, which presents itself as theprimary point of access for consulting andresearch related to non-state archives, public and private, kept outside of the State Archives. It describes: the archive units and how they are structured; the subjects (bodies, individualsand families) who produced the documentationwhile carrying out their activities; the subjectswho keep the archives. It also has general formsproviding historical, institutional and archiveinformation useful for understanding the context.

For more informationwww.imprese.san.beniculturali.ithttp://siusa.archivi.beniculturali.it

Sketches by Bruno Gecchelin for the Shuttle spotlight

IncontroluceSix-monthly international journalof lighting culture

year XIII, 24

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

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

Graphic designStudio Cerri & Associati

EditoriGuzzini illuminazione spa

Contributors to this issueiGuzzini illuminazione China Ltd.iGuzzini illuminazione Deutschland GmbHiGuzzini illuminazione España S.A.iGuzzini illuminazione France S.A.iGuzzini illuminazione Schweiz AGiGuzzini illuminazione UKE.C.C. Lighting LtdL.S.I. Systems Pvt. LtdTepta Aydınlatma, Turkey

Cover photographCarlo Anastasio

Printed: October 2011Tecnostampa, Recanati

II. 201124 Incontroluce

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

III

Jean François Touchard / Cubo / Arkitektfirmaet Nord / JASMAX / Jean-Michel de Poulpiquet (ARCAD) / Enric Ruiz-Geli, Cloud 9 / DV Architects / Graven Images / Lucent Consultants / StudioAnnunziata e Terzi / Tom Schlotfeldt, Schlotfeldt Licht / BAC S.A./Opendark S.A. - Karin Vásquez / Meinhard von Gerkan / StephanSchütz / Stephan Rewolle / Doris Schäffler conceptlicht GmbH /TsingHua Design Institute / Pei Cobb Freed & Partners / Caputopartnership / Sistema Duemila / Studio Voltaire - Jacopo Acciaro / Ivo Tschümperlin / retailpartners / Daniel Huber / Oscar Niemeyer /Roberto Alonso Martínez / Javier Blanco García Castañón / Jair RojasValera / Almudena Fernández Menéndez.

9.2

641.0

00.0