I. 2010 21 English version - iGuzzini

I. 2010 21 English version - iGuzzini

I. 2010 21 English version - iGuzzini


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21 English versionI. 2010

Dear Readers,In 2009, iGuzzini began celebrating its first half-century in business.The company was founded back in 1959 by my elder brothers Raimondo,Virgilio and Giovanni, and we the younger ones - Giuseppe and Giannunzio -were soon involved and playing our part in its expansion. Trading initiallyunder the name of Harvey Guzzini, the company was among the leadingstandard-bearers of the Made in Italy revolution - indeed of the whole cultureembodied by Italian design.I take great pride in seeing how far we have come since those early days.We made innovative choices, most notably that basic decision taken duringthe 1970s, to switch from the manufacture of home lighting products toengineered lighting systems: we were among the first to raise awareness inItaly as to the importance of light in adding value to architecture, and oneof the first to insist on the need for lighting design and promote the professionof Lighting Designer. These commitments led to others, notably the campaignagainst light pollution in the early 1990s, and the efforts being madecurrently to curb energy consumption and reduce CO2 emissions.In this issue, we have decided to look at some of the visual elementsassociated with our history: our logos, our catalogues, our general style ofcommunication adopted down the years, since it is through these media,not least, that we can be seen as keeping pace with the culture of design -or in reality staying slightly ahead, by that finest of margins allowing ideasand their originators to be contemporary yet unique.It is a strategy that characterises our company, but equally the industrialgroup created by our generation - the sons of Mariano Guzzini - anorganisation existing since 1982 under the umbrella of the family holdingcompany FIMAG (Finanziaria Mariano Guzzini), which owns Fratelli Guzzini,Teuco and Gitronica, as well as iGuzzini. And it is thanks to FIMAG that themember companies, while operating independently, are able to maintain acommon cultural identity based essentially on: a sensitive and eco-sustainableapproach to growth and technology, constant attention to the performanceof the newest materials, a vocation for innovation in technology and design,an awareness of the central role played by design in responding to the needsof users, and a healthy respect for the market, and the value of human resources.For iGuzzini, in particular, these are the guidelines that have led us to wherewe are today, celebrating our first half-century - “50 light years” - in business.Adolfo Guzzini

21 IncontroluceI. 2010SummaryII24810121416202224262830343842444647EditorialThe Marches1959DesignQuestions and answers: Leni SchwendingerProjectsThe Sala dei Mesi in the Palazzo SchifanoiaAquanieneFrank O. Gehry since 1997Pierre-Joël Bonté High School,Higher Institute for buildingDot Baires ShoppingPangu Plaza HotelLights on the Aalborg waterfrontThe Dhoby Ghaut ParkBlue Water Black MagicAn award-winning wine storeCorporate cultureZaha Hadid at PaduaNew LED fixturesfor street and public lighting4 th edition of the Architecture CompetitionSponsored by “Pasajes de Arquitectura y Crítica”and iGuzzini illuminazioneDancing with Light:“Framed”Sharing knowledgeLightMapping NYC“LED - Light Exhibition Design”,2009 edition

The Marches1959Fifty years have passed since the incorporation of Harvey Guzzini - now iGuzziniilluminazione.There have been significant milestones in the evolution of the company logo, alonga journey that has taken us from being a small craft business, producing decorativelamps, to become a major industrial concern manufacturing technologicallyadvanced lighting fixtures and collaborating regularly with top architects on projectseverywhere in the world.Logo used between 1959 and 1964.Inspired by the 1950 film “Harvey”,starring James StewartLogo used between 1965 and 1977.This logo was designed by Luigi Massoni.The architect Massoni was invited to workwith Harvey as the company’s art director,a move that gave further impetus to theidea of collaborating with designers.Between 1967 and 1971, Ennio Lucinidesigned the catalogue for the DH brand, underwhich lamps for home lighting were marketed.Logo used between 1974 and 1981, designedby Advema G&R Associati. This logo embodiedthe company’s entire output, which wasmarketed under other brands such as DH, Domaand Atelier.It was during this period that the company beganmaking technical products, spot and flood lightsin particular.2

Logos and picturestaken from the iGuzzini archiveThe DH brand, in use between 1972 and 1976,was designed by Mimmo Castellano and recalledthe optical culture of the 1970s.The current logo, in use since 1982. It was in1982 that an iGuzzini catalogue with this logofirst appeared, presenting the company’s entirerange of products.In 1986, the coordinated graphic design of thegeneral catalogue was entrusted to Ennio Lucini,and fixtures for indoors and outdoors werepresented in two separate books.In 1999, Pierluigi Cerri - the company’s currentgraphic design coordinator - designed the generalcatalogue in collaboration with Studio Conti.incontroluce 213

DesignQuestions and answers:Leni Schwendinger1Leni SchwendingerLight Projects Ltd creates lighting environmentsall over the world. For over a decade, LeniSchwendinger’s Light Projects studio has been amagnet for multi-disciplinary collaborations withproject-specific design teams including architects,engineers and graphic designers, all committedto her vision of what lighting should be about.Balancing technological sophistication, solidproject management and artistic verve, the LightProjects methodology has produced a series ofinteractions with clients ranging from public sectoragencies and architectural and engineering firms tomuseums and events planners. Recently completedprojects include Chroma Streams, Tide and Traffic,a site-specific installation that explores the relationbetween traffic flow and changes in tidal flows atthe Kingston Bridge in Glasgow, and the ConeyIsland Parachute Jump Tower, a local landmarkin the Brooklyn district of New York.Leni Schwendinger has lectured and taught widelythroughout the United States, Europe and Japan,and is currently on the teaching staff of theDepartment of Architecture, Interior and LightingDesign at Parsons School of Design in New York City.What do you think about the relationship between daylight and artificial light?And again, what do you think about the relation between light and architecture?The relationship is very basic. As all people are affected by light - I think the realquestion is “what is light? How does it influence our life?” As a designer, becausewe’re so into the minute details of light and lighting I don’t ask myself that question,because I’m so busy thinking about it… Light influences what we feel, where welook, where we direct our gaze. It gives us a sense of warmth, and a sense of everyatmosphere, so the lack of light even on a grey and rainy day is also very special.And then moving into the evening, the sunset and that kind of magical phenomena,logical influence on our life which is colour and the sky, and whatever topography...then to move into these artificial worlds at night time in the cities… and of course,that’s my subject. For instance, I was on a ferry last Friday for a big event in StatenIsland; we came by a nontraditional ferry route (it was a private ferry, so it was adifferent route from Staten Island), and going along the entire waterside, the shoreline of NYC from Wall Street to mid-town, just being reminded once again of thespatial, perspectival relationship of the buildings, first they were flat, then we wentby and saw the cross streets where the angles of the buildings appear, then you goby and they’re flat again. The true physical form of the city at night is revealed bythe building lights which enthrall us.4

Text adapted from an interviewwith Leni Schwendinger.The designs presented by the Lighting Designerare created using appliances madeby various manufacturers.Photos: ArchPhoto.1.2. Pictures of the ‘Triple Bridge’ project2So you don’t see artificial light as a distortion of the natural course of daylight? Justa natural process of…I actually have a theory about “Shades of Night” as I call them. We have anunderstanding of the shades and the zones during the day. It starts with breakfast, andit goes to tea-time at 11:00, and it goes to lunch at 12:00, and dinner… and then youbegin to get into the darkness in public spaces, which is my biggest concern. Peoplego out with their friends right after work, this is the first zone of night, the first Shadeof Night; it continues and is very site-specific to every district and neighbourhood.How the activity in the street changes throughout the night depends on the inhabitants,it a commercial zone? A residential zone? Is it institutional? Is it a park? What are thebuildings on the edges? Each zone, each Shade of Night characterises the activity onthe street. So when the shops close at 8:00 pm and the restaurants close at 10:00 pm,the streets become dark. What can we do with the knowledge of the Shades of Nightwith our understanding of the daytime? This is the question for me. And it goes deepinto the night: the clubs, with people who work on a nightshift, with people who wakeup and are commuters - who wake up at 4:00 am, at 5:00 am getting on thecommuter’s train. So my interest is: how do we light these streets to counterpoint orto be sympathetic with the street traffic, the sidewalk traffic of the night? For me thisis the future of lighting design and urban design, and the way in which they interactwith each other: to have changeable lighting throughout the night.incontroluce 215

DesignQuestions and answers:Leni Schwendinger3Which one of your projects is the most impressive or the one that you rememberthe most?I think our project in Seattle, ‘Dreaming in Colour’, is very important. It is composedof nine metal-mesh scrims of very thin interlocking wire. They are almost transparentand very few lights are used - twenty-two on the whole project. It is about 450 feetlong (137 metres) and 50 feet tall (15 metres). I have to say that my deepest dreamwas to create pure colours in air. That’s why I am here, to create colours in air.And as soon as I turned the lights on for this project - even before focusing - thescrim caught the light huge planes of colored light were captured in the air. So it’sa very abstract project. What is really nice is that the light comes down in angles,and they’re captured by the first scrim; then the light continues to the next scrim.Then the light reaches the ground. Whenever people walk through it, they’re coveredwith light, and they’re breathing in the light. The planes of light become giganticbackdrops and at the same time the project is very immersive and very experiential,as well as something you can see in the distance.So that project is almost like it should have been my last project, not my first.I’ve done other projects, but this has been the most ‘milestone’, ‘landmark’ project.But I think also the “Triple Bridge”, the project of the Port Authority of New Yorkand New Jersey Bus Terminal is another important one. The reflections createdby our “Triple Bridge Gateway” are an homage to the perfect quintessential urbanlight - that which is reflected from buildings - is created by mirrors of high-polishedstainless steel, bringing the light to the ground. Up until the very end of theinstallation we didn’t know truly if the Port would allow it - the light covering theroad: so that was nine years worrying, because it took nine years to be installed.6

3.4. Pictures of the ‘Dreaming in Colour’ project4This question is about energy. How can lighting design support the environment ina period when energy resources are short? What can you do, and what can thelighting manufacturing sector do?First of all, I don’t think lighting is the worst thing. I think that air conditioning andsystems that burn fossil fuels are the worst thing. So I have to say that I’m justangry at the press, as they’re trying to make lighting into this devil, this evil thing.That said, I think that optics and light control are essential in helping to saveenergy. Let’s say we talk about street light because I’m interested in this sort ofthing. Five or six years ago I envisioned flexible night time street lighting. Now thiscan be done. Now control systems are coming to market. Soon public lighting willhave software, the light sources - with the proper optics will work together as asystem. I’m very interested in systems, more than I am in just the light. We askourselves: when should the lights go dimmer? After everything is closed down? Orshould they actually get brighter when everything closes down? This to me is a veryimportant question. If we have what I call ‘found’ light, which is in part, light fromthe shops illuminating our sidewalks, we may need less public light. Also, I thinksustainable lighting design is not only about saving energy.I think it’s also about people. I think sustainable cities, sustainable places, areplaces where people like to be. Because we will have less crime, less graffiti, lessvandalism, fewer muggings, because people are having a better life. So to me, goodlighting that is responsive - controlled properly throughout the night to help theenvironment where people live - is just as important as saving energy.incontroluce 217

ProjectsThe Sala dei Mesiin the Palazzo SchifanoiaFerrara, ItalyClientMunicipality of FerraraLighting designPiero CastiglioniDuring the second half of the 15th century, Borsod’Este commissioned a cycle of frescoes from theleading painters of the officina ferrarese, whichare among the foremost examples of profane artoriginating from the Italian courts of theRenaissance.The Sala dei Mesi is a rectangular hall with anotably high coffered wood ceiling (6.2 m approx).The predominating feature overhead is asuccession of large historiated transverse beams.The longitudinal walls - one with well preservedfrescoes, the other showing only faint traces ofthe former decoration - are punctuated by a setof windows.The frescoes on the transverse walls - one withan entrance door, the other with a door leadingto adjacent rooms - are severely degraded atone end of the room, and in a better conditionat the other. The space enclosed by the room isimposing in every sense (materials, dimensions,and decorations). It is flooded uniformly withnatural light, at low levels of illuminance,entering through the windows and reflectedoff the floor. A system of light-diffusing curtainshas been installed to eliminate the projectionof the window shadows onto the floor and givethe entire interior a quiet sense of order.The solution proposed by architect PieroCastiglioni for the general lighting of the Sala,and of the frescoes which represent the cycleof months and scenes of life at the Estensecourt, consists of a single, direct lightingappliance, specially created and produced byiGuzzini. Light sources are housed in a column85 cm high with a rectangular base, made oftitanium (a metal with little or no heatconduction properties), balanced with a leadcounterweight to ensure stability, and anchored 12 38

Photos: Giuseppe Saluzzi1. The main door of the Palazzo Schifanoia2. Detail of the product created especiallyfor this installation3.4. Views of the Sala dei Mesi illustrating the integrationof artificial and natural light4to the floor with a masonry plug. It also has arubber foot to create friction and increase stability.The columns are interconnected by the powercable not only electrically, but also visually -thereby giving continuity in space. In addition,the columns and cable have a security function,serving as an effective barrier to ensure visitorsstay at a safe distance from the vulnerablefrescoes. The distribution of the luminaires(28 columns) around the periphery withno break, and the appropriate directionalorientation of the light sources - completelyconcealed from the visitors’ view - guaranteeilluminance values of around 150 Lux onthe walls. The light is evenly distributed,with colours and paint shown to her optimumadvantage, with no shadows or reflections,while generating minimal visual impact.incontroluce 219

ProjectsAquanieneAniene Rowing ClubRome, ItalyClientAniene Rowing ClubArchitectural designLuca Braguglia withMarco Gigliotti, Alessandra Prezzi,Maria Antonietta Motta1At the time of the FINA World SwimmingChampionships held in July 2009 in Rome, theAniene Rowing Club submitted a bid in responseto a notice from the event’s organising committeeannouncing the construction of a brand newaquatic sports centre that would provide the citywith swimming facilities for the worldchampionships. An area was selected - a plotof some 21,800 m 2 - and the AquAniene wasbuilt in around 17 months: a complex offering10,000 m 2 of floor space on three levels, inan envelope of 55,000 m 3 .210

General contractorTechnorestauri srlLighting consultantsLuciano and Marco StignaniPool and filter systemsPiscine CastiglioneElectrical, heating and plumbing systemsNCS srlPhotos: Sergio Grandi1. View of the facility by day2.3. Pictures taken at the opening ceremony3The architecture is typified by a sense ofweightlessness, enhanced and emphasisedeverywhere by the quest for translucencebetween exterior and interior. The design isalmost obsessive in its pursuit of osmosis -visual and functional - between activitiescarried on inside and outside the building.The building is designed on three levels, housingthe facilities AquAniene has to offer: indoorpools, an outdoor pool and two gymnasiums -one on the first floor looking out onto the woods,and one directly overlooking the pools - plusall the features of a modern sports centre…pro shop, cafeteria, offices, fitness room,games room, athletes’ accommodation, indoorand outdoor leisure spaces, changing roomson two levels, and a wellness centre.Maximising the influx of natural light andselecting white as the dominant colour were twoof the basic principles on which the designersbased their approach to the lighting scheme. Toobtain the right architectural balance, a minimalnumber of product families and light sourceswere used therefore reducing maintenanceand relamping costs as far as possible. Fixturesfrom the iRoll family were selected with variouswattage, light emission and IP specifications.These are installed outdoors, with metal halidelamps of between 35 and 70 W, giving emphasisto the architecture of the building and lightingthe access ways that link the indoor and outdoorenvironments. The atrium is lit by iRoll pendantswith 70 W lamps, which guarantee averageilluminance levels of around 500 Lux even indouble-height interiors. The same fixture, witha fluorescent lamp, was selected for stairs usedby the public. In the reception area, the designersselected Reflex Wall Washers with metal halidelamps to guarantee optimum vertical lighting incombination with good visual comfort.Accent lighting on the counter is provided bytrack-mounted Lux units with QR111 halogenlamps and ellipsoidal lenses giving a softprojection of light onto the worktop and ensuringaverage illuminance of 500 Lux. General lightingin the refreshments area is provided by recessedLineUp fixtures, with recessed Deep Framedichroic units selected for accent lighting on thetables and the service counter.The sculpture “Uomo galleggiante” (1984)by Mario Ceroli, displayed in the hall, is lit bya single surface-mounted Le Perroquet spotoverhead.incontroluce 2111

Projects Frank O. Gehry since 1997Milan Triennale, September 2009 - January 2010by Germano Celantin collaboration withFrank O. Gehryand Gehry Partners LLPand thanks toGuggenheim Museum of BilbaoAGO - Art Gallery of Ontario,MontrealDAC - Dansk Arkitektur Center,Copenhagen1In September 2009, the Triennale dedicatedan exhibition to the recent work of Frank O.Ghery, selecting 1997 as the symbolic year -the year the Canadian architect unveiled hisGuggenheim Museum in Bilbao. It was aproject that also brought him to the attentionof a public with no special interest in theworld of architecture.In consultation with the architect, curatorGermano Celant selected photographs, filmclips, drawings and models of his designs:the DZ Bank Building in Berlin, the Art Galleryof Ontario, the Jay Pritzker Pavilion in Chicago,the Interactive Corporation Headquarters inNew York, the Atlantis Sentosa resort in Singaporeand the Guggenheim Museum in Abu Dhabi,which is still under construction. To providethe lighting for these varied items, Studio Cerri& Associates selected Le Perroquet fixtures.Winner of the Pritzker Architecture Prize in 1989,Frank Owen Gehry was present at the openingof the exhibition on the 26 September 2009.12

Installation and graphicsStudio Cerri & AssociatiPieluigi CerriAlessandro Colomboarchitectsin collaboration withFrancesca CeccoliMarta MoruzziFrancesca StaccaTechnical sponsoriGuzzini illuminazionePhotos: Fabrizio Marchesi1. Installation2. Model of Atlantis Sentosa project2incontroluce 2113

ProjectsPierre-Joël Bonté High SchoolHigher Institute for building studiesRiom, Puy de Dôme, FranceClientRegional Council of AuvergneTechnical directorOphis Puy-de-DômeGeneral contractorGroupement Sobea AuvergneEiffage Construction AuvergneSupervisory officeGroupement Socotec / Veritas1 2The design of the higher institute for buildingstudies has various objectives. On the one hand,it is a place of learning that looks to affirm thenobility of professions connected with the worldof building, and therefore seeks to interest youngstudents in taking up these professions.The construction of the building itself is intendedas an advertisement for the effectiveness andversatility wood in the erection of large publicbuildings. And finally, the building itself is asignificant element in town planning initiativesbeing implemented in the southern sector of Riom.There are paths taking the students through thedifferent areas, and every room has a particularatmosphere: controlled lighting in the classrooms,soft lights for the documentation centre, andbrighter lighting for the dining room. Public andprivate areas are clearly differentiated: livingquarters are cosy, and the surroundings pleasant.Public access areas, including classroomsand laboratories, are places of learning andexperimentation, as well as being representativeof the building institutionally: the architectureitself is didactic, physically demonstrating thelink between knowing how to think andknowing how to act - an instructional toolavailable to the teaching staff. Particularattention has been given to the interactionwith the external environmental conditions andwith the landscape. The design of the buildingensures minimal exposure to the fierce windstypical of the region. Rainwater is abundant, andharvested. The distant views of the mountains ofthe Auvergne blend agreeably with the outlookonto the courtyard and its internal gardens.In short, here is proof that architectural andenvironmental quality are interlinked, andmust keep pace one with another.14

Building procurementMazet & AssociésCoordinatorSPS IngeropArchitectural designEmmanuel NeboutArchitectBruno Berthier - head architectBaptiste Lebihan - assistantLaurence Javal, Jéròme Fuzier,Bruno Dumontet, Laurence Damour,Muriel BacherStructural designA. VerdierWood design and construction3BFluids / SSIAuvertechVRDCap VertAcousticsJ.P. LamoureuxSignageLaurence RavouxLandscapingAgence Laure QuoniamPhotos: Didier Boy de la Tour1. Exterior2. Corridors and hall3. Documentation centre3incontroluce 2115

ProjectsDot Baires ShoppingBuenos Aires, ArgentinaClientGrupo IrsaArchitectural designStudio Pfeifer y Zurdo1Dot Baires Shopping is the biggest and mostmodern shopping facility in Buenos Aires:with 189,000 m 2 of indoor floor space andan exceptional location - on the city's mostimportant road intersection - it is a complexproject offering the community not only ashopping centre, but also a meeting place.The lighting design was developed in tandemwith the architectural design, at every stage ofthe project. The light lends dynamism to thegeometrical shapes of the building, with dots,lines and accents.From the engineering standpoint, the lightingdesign was conceived making use of the verylatest fixture and lamp technologies, andconcentrating particularly on the question ofenergy efficiency. The lighting scheme makesextensive use of Leds, and low power fittingswith electronic components. One example isthe main façade, visible from the crossroads,where red Leds were used to create a pinpointeffect on the curved surfaces of this complexgeometrical composition, giving the buildinga singular luminous consistency at night.Leds also feature on the lateral frontages, yellowin this instance, and arranged in bands dottedrandomly over the entire surface. Other Ledfittings are installed throughout the shoppingcentre as part of the emergency lighting system.Similarly, recessed Led units of the latestgeneration are used in the service areas, emittingcontrolled beams of warm white light. All levelsof the shopping areas afford a view onto theoutdoor spaces, which are terraced and pickedout by bands of Leds following the curvedcontours of the flowerbeds and benches.16

Lighting designerPablo PizarroPartners AssistanceIluminación Sudamericana S.R.L.Photos: Francisco Nocito1. Main entrance2. Grazing light on the fountain2The cavernous multi-level atrium is like a hugewindow, through which visitors can enjoy anunparalleled view of the world outside.This high concourse is the pivotal point ofthe design, and Leds are used here too, withLedplus units in the risers of the main staircase,and MiniWoodys in the columns, as well asMaxiWoody, Woody and iRoll fixtures.The entire shopping area is lit by fixtures withelectronic ballasts, using low power light sources(80% of lamps are 35 W, and there are nonemore powerful than 70 W). The curve of theglass façade is accentuated by continuous linesof warm white light from T5 fluorescent tubes.Each of the three malls is identifiable by thelighting: a succession of segments with fluorescenttubes in the first; curved lines with a colouredpaper background in the second; wall-mountedand recessed units with metal halide lamps inthe third. The passages between the mallsare differentiated using large translucent fixtures,complemented by randomly interspersed recessedfixtures with 35 W 24° beam lamps designed tocreate pools of light on the floor.incontroluce 2117

ProjectsDot Baires ShoppingPhotos: Francisco Nocito3. Large cones with Gem fixtures at the centre4. Effects created with Led lightingAlong the walkways, there are large doubleheightsections interconnecting all levels of thebuilding visually, with ample skylights overhead.From the third floor, where the restaurants arelocated, visitors can appreciate the size of thefour large natural light inlets, which functionin the same way even after dark, thanks to theuse of Gem pendant fixtures with inductionlamps. The suspended ceiling segmentsresembling large triangular sails - some mattefinish, others gloss - provide visual interestabove the restaurant area.The matte sails are illuminated indirectlyby small strip lights with T5 14 W tubes,concealed in the structure. In addition, thereare fixtures with 35 W 30° beam metal halidelamps installed in suspended containerspositioned above the sails. With these lightsources, the area occupied by the tables canbe accented, creating a warm and welcomingspace to sit. The parking areas are alsothoughtfully illuminated. The main transit areasare lit by suspended strip units with whitefluorescent tubes, and coloured dots identifyingeach of the three levels. Similarly, colour isused to distinguish the garage area from otherareas; the lighting is provided by ceiling unitswith high pressure sodium lamps. A proximitysensor located in each garage indicates whetherthe space is free or engaged, by switchingon green or red Leds.The outside areas are designed as attractiveextensions of the building. The main patios(forecourt and fountain) are laid out withflowerbeds, fountains pergolas. MiniWoodyfloods installed in each flowerbed are equippedwith wall washer screens to illuminate thepalms. Continuity between the indoor andoutdoor areas is achieved using Radius fixturespositioned along the façade. Pencil bollardsline the access ramp to the car parks.318

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ProjectsPangu Plaza HotelBeijing, ChinaClientAC Morgan Investment IncBeijing Morgan InvestmentArchitectural designC.Y.Lee Architects1 2The Pangu Plaza is the first 7-star hotel in China.It opened during 2008 Olympic Games is partof the Pangea Plaza, an architectural complexnear the Olympic Stadium - the ‘Bird’s Nest' -designed by Herzog & de Meuron. Designed byC.Y.Lee, architect of the Taipei 101 building,the Pangea Plaza comprises an office tower, amuseum, a heliport, three apartment blocks,and the Pangu Plaza Hotel with its 270 suites.The billion-dollar project was undertaken byAC Morgan Investment Inc. and Beijing MorganInvestment. Thanks to the enthusiasm of ACMorgan president Miles Kwok for Italian design,the hotel has become a splendid showcase forItalian companies and designers: furnishingsby Alberto Meda, doors designed by AntonioCitterio, all coordinated by the Italo-Brazilianarchitect Ricardo Bello Dias. iGuzzini providedlighting for the suites using discreet andextremely versatile recessed downlight fixtures -Deep Frame - with multiple lamps.20

Architectural design - interiorsRicardo Bello DiasLighting designStudio Methis - Marinella Patetta,BPI - Brandston Partnership IncPhotos: Lv Hengzhong1. The hotel and the Bird’s Nest stadium, designedby Herzog & de Meuron2.3. Interiors of the hotel overlooking the 'Water Cube’,built to host the 2008 Olympics swimming competition3incontroluce 2121

ProjectsLights on theAalborg waterfrontAalborg, DenmarkClientMunicipality of AalborgLighting designÅF - Hansen & HennebergOver the last 4 years, the Aalborg waterfront hasundergone a massive redevelopment programme,with former industrial sites being transformedinto cheerful and pleasant leisure areas for thetownspeople. The illumination of the new areaslocated along the waterfront, including theplayground completed in late 2009, saw anumber of different lighting solutions adopted.The lighting design company ÅF - Hansen& Henneberg opted for a general illuminationscheme using white light, combined witha lively display of coloured lights for theplayground.The lighting around the kiosk and publicconveniences is self-activating, whilst thegeneral lighting for the playground must beactivated by users, operating one of the tactileswitches positioned at various points on the site.The lighting remains on for 45 minutes, thenswitches off automatically and is replaced bycoloured lights, which remain on until suchtime as the general lighting is activated again.This functionality gives rhythm and varietyto the illumination of the area, favouringan effective interaction with the spirit andfunction of the amenity.122

Architectural and landscape designC.F Møller ArchitectsInstallationAKE EntreprisePhotos: SHRPA - Peter Ehlers, Ole Mikael Sørensen1.2. The park, with accent lighting in operation2The attractive coloured effects are provided bylights applied to various distinctive elementssuch as posts and wire netting, which define theidentity and character of this area, as well ascreating a unique aesthetic and visual impression.The playground is illuminated by inclined posts9 metres high, located near the play areasand the wire netting, which carry MaxiWoodyfoodlights with 250 W lamps and Plateafoodlights with 150 W lamps emitting asoft light that provides indirect, glare-freeillumination in the surrounding space.The fixtures are equipped with metal halidelamps giving a warm white light and excellentcolour rendering. Each post is illuminated by2 recessed Light Up Walk Professional units.The wire netting is illuminated from the outsideby Light Up Walk Professional systems withspot optical assemblies trained on different areasof the netting. This creates an interplay of lightand shade, accentuating the profile of the wirenetting and highlighting the different angles ofthe posts. These same posts also carry the colourlighting for the playground, which accentuatesthe graphic design of the pavement and picksout the netting and posts.incontroluce 2123

ProjectsThe Dhoby Ghaut ParkSingaporeClientURA - Urban RedevelopmentAuthorityArchitectural designSCDA Architects Pte LtdChan Soo Khian1A new public space above the MRT (Mass RapidTransit) station of Dhoby Ghaut was opened inSeptember 2009. Known as Dhoby Ghaut Green,it is situated on Orchard Road, at the gateway tothe historic Bras Basah-Bugis district, a centre ofArts, Culture, Education and Entertainment, andis designed both as a place where people canmeet, and an oasis of calm amid the hustle andbustle of the city centre. Dhoby Ghaut Green wasdeveloped by the Urban Redevelopment Authority(URA) and is managed and maintained by theNational Parks Board (NParks).The conceptualisation and design of the parkwas entrusted by the URA to Chan Soo Khianof SCDA Architects Pte Ltd, who in 2006, theinaugural year of the President’s Design Award,was named Designer of the Year in Architectureand Urban Design, the highest accoladeoffered by the nation for excellence in design.Dhoby Ghaut Green is the latest addition toa series of open spaces created within the citythrough the URA's Public Spaces and UrbanWaterfront Master Plan. This is a plan that aimsto inject more vibrancy into the city centre byintegrating open spaces such as parks and plazasinto commercial developments, so as to provideplatforms for community gatherings and events.To conceptualise a space that would meetthe programming needs of stakeholders andend-users, URA and NParks organised severalmeetings with arts and community groups,local education institutions and event organisers,with the aim of seeking their feedback earlyin the design process.The design of the park underscores the characterof the natural landscape by dividing the area into24

Technical sponsoriGuzzini SEA Pte LtdPhotos: SCDA Architects Pte Ltd.1.2. The amphitheatre in the middle of the park2three main zones, each having a distinctiveatmosphere to suit different uses. The middlezone features a 250-seat amphitheatre inspiredby the natural lines of a rattan basket, witha lighting scheme that uses Linealuce fixtures.Two forecourts to the amphitheatre serve asgathering spaces and double up as venuesfor other community activities. The gravel areain the western zone is well shaded by theexisting trees, providing a peaceful environmentthat contrasts with the commotion of thesurrounding cityscape. The eastern zone isan open turfed field set aside for outdoor sportsactivities. Conveniently located on the northernside of the field between the two exits of theDhoby Ghaut MRT Station is a cafeteria wherepeople can eat indoors or al fresco. In the spiritof its development as a community project,corporate sponsorship opportunities were madeavailable at an early stage so that businessescould become involved. Under these sponsorshipagreements, iGuzzini SEA Pte Ltd providedlighting fixtures for the project: Woody, Ledplusand Light Up.incontroluce 2125

ProjectsBlue Water Black MagicAuckland, New ZealandClientNew Zealand National MaritimeMuseumArchitectPete Bossley ArchitectsThe lighting brief for the Blue Water BlackMagic project evolved over a long period ofgestation and development (3 years, inpractice), with economic restrictions imposedfrom the very outset. The original architecturalconcept envisaged a full-scale glass containerdesigned to house the boat that won theAmericas Cup in 1995 - Team New Zealand’sNZL 32 ‘Black Magic’.Once finalised, the brief was particularlychallenging from a technical standpoint, giventhe totally unique interplays of light createdon the façade by the Danpalon glazing system,which uses a relatively unknown material.To test the reaction of the material to differentlight sources, beam angles and effects, ademonstration model of the Danpalon façadewas constructed for experimental purposes.126

Project DirectorMPM ProjectsLighting DesignerAurecon Specialist Lighting Group— Building ServicesPhotos: iGuzzini archive1. General view of Auckland harbour2. Detail of the building where Black Magic is housed2By Pete Bossley Architects.The main problem was caused by the structuralelements and the question of how exactly toposition the internal light sources, with framemembers crossing vertically and horizontally.The back-lighting had to be gauged in such away as to ensure that the shadows cast by internalstructures would not spoil the effect on the façade.Halogen sources were found to be the best, asthese created special effect on the polycarbonateDanpalon material: when back-lit from a certaindistance, the panel gathers all of the light andconcentrates it transversely to the direction ofextrusion, so that the remainder of the surfaceis illuminated uniformly.The decision was taken to use floodlightsequispaced along the entire length (60 metres)of the façades, creating a homogeneous visualeffect. Seven Lingotto fixtures with 150 Whalogen lamps were used, adopting an extremelywide asymmetrical beam pattern guaranteed toprovide a particularly simple and at the sametime solid illumination, culminating in an overalllight output of relatively low intensity withlocalised points of greater intensity distributedalong the surface. Importantly, 540 m 2 of frontagecan be illuminated during the hours before duskthrough to 23.00, using little more than onekilowatt of energy.After dark, a total load of 315 W can be used,if the façade is illuminated. Lingotto fixtureswere fot their ingress protection category, IP66,and consequently their capacity to withstandsaline conditions. The tests on lightingsolutions were submitted for scrutiny to a largegroup of stakeholders and legal representatives.There were lively discussions regarding thelevel of illumination desirable for the surfaceand the times for which lights should remainon after dark, with municipal regulations andinput for other interest groups all taken intoaccount. In the end, the project was deliveredwell within the expenditure forecast.incontroluce 2127

ProjectsAn award-winning wine barMünich, GermanyClientVolkhardt Brothers, Münich,wine merchantsbranch of the Hotel Bayerischer Hof -Gebrüder Volkhardt KG1Volkhardts Wein und Bistro, a hundred-plus yearold wine bar in Münich's Hotel Bayerischer Hof,is a spacious store (3000 m 2 ) offering over700 varieties of still and sparkling wines fromall around the world, which customers can tastein an architectural setting that was awarded theRed Dot Award for Product Design 2009 in the‘shops and displays’ class.The design of the interior is inspired by thenotion of translating two essential and apparentlyconflicting characteristics of wine - simplicityand complexity - into a spatial concept.Screens of wine bottles allow only a selectiveview of the interior, inviting the curiosity ofthe passer-by. Light emanating from the insideand the outside creates the impression thatthe screens of bottles have their own sourceof illumination, changing with the time of day28

Architectural designtools off.architectureEva Durant and Andreas NotterArt workFriederike StraubPhotos: Lothar Reichel1. Accent lighting on bottles2. Light and shade created for the tasting area2and the seasons of the year. The materials usedto decorate the interior derive from elementsat the very heart of winemaking: soil, woodand glass. Accent lighting predominates inthe presentation of the wines, whilst thebackground lighting is kept at a comparativelylow level so as to create a certain dramaticeffect.The overall scheme is implemented usingtrack-mounted Tecnica spots with 35 W lamps.Special accessories such as wall-washerscreens and honeycomb diffusers are usedto achieve high levels of visual comfort andeliminate glare, even in conflict areas.The interior also features touches providedby artist Friederike Straub, consisting of aselection of quotes - chalked directly ontothe walls -about wine and the pleasuresof life, including the memorable saying ofOscar Wilde: “the only way to get rid oftemptation is to yield to it”.incontroluce 2129

Corporate cultureZaha Hadid at PaduaPadua, Palazzo della Ragione27 October 2009 - 1 March 2010The exhibition dedicated to Zaha Hadid openedin October 2009 during the fourth ‘BarbaraCappochin’ International Architecture Biennial.The exhibition occupied the entire Salone, asthe huge mediaeval hall on the upper floorof the Palazzo is known: it is the biggest salapensile in the world (measuring 81 x 27metres, and 27 metres high).The installation was designed by Hadid’s Londonoffice, with a lighting scheme using appliancesmade by iGuzzini, the technical sponsor ofthe event. Conceived as an urban landscape,the show combines the fluidity of the Hadidstyle and the splendour of the surroundingsin which the exhibits are set.The exhibits are displayed on hundreds ofassorted blocks, each presenting a particularproject through a variety of media, including130

Photos: Fabrizio Marchesi1.2. Views of the exhibitiondrawings, paintings, photographs, models,prototypes and videos. The works on show rangefrom the MAXXI in Rome to the BMW CentralBuilding in Leipzig and from the Phaeno ScienceCentre in Wolfsburg to the London AquaticsCentre, and include design objects such as theMesa table for Vitra, the Genesy lamp forArtemide, sofas for Sawaya & Moroni and B&BItalia, and the Louis Vuitton Icone Bag.2incontroluce 2131

Corporate cultureZaha Hadid at Padua3The lighting scheme for the Zaha Hadidpersonal exhibition was a complex task, giventhe appreciable height of the room and thefixed lighting points. It was accomplished usingsuspended tracks carrying Tecnica spots, andMini Reglette strip units. Around 130 Tecnicaspots (with a black finish to minimise thevisual impact in space) were installed ontwo parallel runs of standard track located10 metres above floor level.The fixtures had flood type optical assembliesand both metal halide and halogen lightsources, providing the required levels ofilluminance and high colour rendering.Of this number, 20 were used for generallighting of the central area, while the otherswere trained on the various display blocksto provide accent lighting.Mini Reglette fixtures with 21 W and 28 Wfluorescent lamps were installed along theskirtings and used as wall-washers. Thelighting installation also featured luminousblocks designed jointly for the occasion byiGuzzini UK and the Zaha Hadid office.32

3.4. Views of the exhibition4incontroluce 2133

Corporate cultureNew LED fixturesfor street and public lighting1 2Environmental awareness and a responsible,intelligent use of electrical energy have alwaysinfluenced the design of lighting appliancesmanufactured by iGuzzini, whose 2009 catalogueoffers a broad selection of Led fixtures for streetand public lighting.The range of certain floodlights and streetlamps already in production has been extendedwith the introduction of new Led light sources.The municipal authority of Lleida is currentlyreplacing its older fixtures in the historic centreof the town, adopting Lavinia and Argo unitswith Led sources. Improvements in the areaof Rambla Aragò and Avenida Catalunya willlead to a reduction of electrical powerconsumption from around 117,000 kWh to75,000 kWh, while achieving an increaseof 26% in illuminance levels.A new fixture, the Archilede, has been developedfor the Enel corporation under a frameworkagreement that also covers the marketing andsale of the product.The Archilede has already been installed in Italy.According to Enel, “the fixture has been on themarket for one year, and results have been veryencouraging: more than 250 municipalities,including Arezzo, Vasto, Alessandria, Erba andLodi, have opted for the new Led systems,having immediately recognised the advantagesprovided by a technology now leading the wayinternationally. The strong interest shownby local authorities and leading private sectororganisations in the new Enel Sole technologyis the best possible testimony to the compellingmarket innovation introduced by our Archiledeproduct which - if adopted on a wide scale -34

Photos: iGuzzini archive1.2. Piacenza3. Alessandriawill place Italian cities firmly at the forefrontin the field of sustainable public lighting andenergy saving”. The impact of the Archiledeproduct will be appreciated by considering afew numbers on the energy saving front: withthe first 400 fixtures installed, the 4 pilot citiesof Alessandria, Lodi, Piacenza and Monza havesaved some 90,000 kWh per annum on publiclighting, which is equivalent to about 55%of the relative electrical energy consumption,benefiting also from a marked increase inluminance, lower bills, and around45.5 tonnes less CO2 produced every year.Accordingly, if all municipalities in Italy wereto adopt this new Led lighting system, usingit correctly and exploiting its brightness andcontrollability to the full, the country could savebetween 2.5 and 3 billion kWh per annum,while at the same time reducing harmful CO2emissions to 1.5 million tonnes, and complyingwith the cost constraints and energy savingpolicies to which local authorities are nowgiving more and more importance.”3incontroluce 2135

Corporate cultureNew LED fixturesfor street and public lightingInstallations in Zurich and Geneva even attractedthe interest of Switzerland’s national televisionnews channels. In Finland, the Archilede hasbeen added to the portfolio of the Finnish RoadAdministration Association as the only Ledfixture approved for public lighting. Withoutthis approval, fixtures cannot be installed forstreet and public lighting purposes in Finland.In the Czech Republic, the Archilede is one ofa number of products being tested in 6 pilotprojects set up by Eltodo, the company responsiblefor street lighting in Prague. Eltodo is currentlydesigning a complete reorganisation of streetlighting across Prague, and these pilot schemesare also being used to test the products of 5other companies. The Archilede was selectedfor the trial on the strength of its energy efficiency,reliability and minimal maintenance costs.These same characteristics have already won twointernational awards for the product: The iF 2010Award, and the FX International Interior DesignAward 2009.4536

4.5. Lleida6. Tests conducted in the Czech Republic7.8. Range of Led products for street and public lighting678incontroluce 2137

Corporate culture4 th edition of the Architecture Competition Sponsoredby “Pasajes de Arquitectura y Crítica”and iGuzzini illuminazioneIn October 2009, jury members adjudicating inthe fourth edition of the Pasajes de arquitectura -iGuzzini architecture project competition metat the headquarters of iGuzzini illuminazioneEspaña to select and judge the merits of 139entries, first assessing the projects individually,then comparing the assessments with each another.This initial selection process reduced thenumber of entries from 139 to 57.Scrutiny of all the projects submitted for thisyear’s competition revealed an optimum levelof proficiency among new architects in Spain.The variety of subject matter, designs, graphicrepresentations and trends would appear tosuggest an increasingly wide range of careerpaths being pursued by new architects inSpain; a variety not linked necessarily - aswas once the case - to a future spent teachingat schools of architecture, or as a supercharismatictutor. The architecture on displayin this selection reflects a strong personalcommitment on the part of students whoentered. It is the result of a conviction - nowwidespread - that their way of doing thingsand what they are learning can be embodiedin projects of great maturity, commitmentand forward-looking vision. These are projectsby architects who are already designing thearchitecture of tomorrow. Notwithstanding allthe entries were very realistic, practicallyspeaking, the judges were at pains to highlightthe great quality of projects seeking to solve aproblem in a professional manner. Equally oneproject that avoided practising culturedarchitecture, instead looking to solve a problemin Africa using limited available resources,without the cerebral design element implicitin the other projects submitted.After a further selection reducing the entriesto 31, the jury members short-listed a groupof 14 finalists from which they then decidedunanimously on the award of the first prize,138

JuryJavier Jiménezarchitect, winner of the third editionof the competition;Piergiovanni Ceregioliarchitect, director of the iGuzziniResearch Centre, RecanatiJose Luis Penelasarchitect, lecturer in designat the School of Architecture,European University, MadridJosep Miàsarchitect, head of Studio MiASArquitectes, BarcelonaJosé Ballesteros and Josep Masbernatrepresenting Pasajes de Arquitecturaand iGuzzini illuminazioneGala Martínezsecretary to the jury.Photos: iGuzzini archive1. First Prize - worksheet of the winning entry2. The jury at workAfter a thorough comparison of the otherentries, they resolved not to award the secondprize in view of the difficulty in separatingany one project clearly from the remainder,and the lack of objective argumentson which to base an order of preference.The members of the jury pointed out that thereis demonstrably more to the entry selected forthe first prize, than simply an architectural project.Josep Miàs gave his personal reflection on thisproject in a written statement: “Undoubtedly,the winner is unaware of many magazines,and more interested in books. In reality, herarchitecture is not understood simply by lookingmerely at illustrations or photographs, but byreading and visiting locations, discovering andimagining the architectures and the occupants.She intends to weave a new web over the ruinsnear Alcoy that have for so long been forgotten.What a fabulous place! Enveloped as if in anew dress, on which the inhabitants appear,winged and crawling. A new place to live,unrecognisable as a place already known,much less imaginable. The references willbelong only to the world of the author, orplaces shared with the authors of the booksshe has read. Not to all the things we canrecognise easily - too easily.It is wonderful to play, not without a certaineffort, at finding complicity with her drawings,her signs, her sketches, her tattoos, andbecoming voluntarily spellbound by this magic.Certainly, we give the prize to someone whoinvites us into an imaginary world, who isstruggling to find her project, as the projectdoes not yet exist - but the true architectdoes already exist”.As regards the special prizes in the lightingsection - in accordance with the competitionrules - the jury selected those projects amongthe entries short-listed as finalists which, in2terms of development and of presentation,addressed the aspect of lighting design withthoroughness and actually used light as adesign tool, considering its interaction withspaces and materials.In the case of the “New Cordoba airport”project, the jury appreciated the formalcomplexity of the project and its completegeometry, but equally, the sense of optimismat a time of crisis, when the prevailing moodis one of austerity. The entry entitled “Multi-usebuildings: International Conference Centre ofAlmada” displays an ambition to resolve allissues in a wide-ranging project that actuallygoes as far as to convert a final test designinto a definite project plan.The prize-giving ceremony was held in Madrid,12 November, at the Matadero cultural centre.incontroluce 2139

Corporate culture4 th edition of the Architecture Competition Sponsoredby “Pasajes de Arquitectura y Crítica”and iGuzzini illuminazione3440

Photos: iGuzzini archive3. The winners4. Project sheet, Juan Antonio Sosa Gallego5. Project sheet, Javier Munoz GalànPrize-winning projects1 st PrizeAmelia Vilaplana de MiguelRiver Moliner environmentaland landscape recoverySpecial prizeJuan Antonio Sosa GallegoNew Cordoba airportSpecial prizeJavier Muñoz GalánMulti-use buildings: InternationalConference Centre of AlmadaHonourable mentionIon Cuervas - MonsMostenses market and plazaHonourable mentionBeltrán Presas Javaloyes9 habitability strategiesfor the rural community of Dekiri (Ghana)Honourable mentionJavier SantamaríaRestoration of the old mill, DaularHonourable mentionDiego Ceresuela WiesmannSouth Street Seaport RehabHonourable mentionLys Villalba RubioArchitectural tools for therehabilitation of degraded areasHonourable mentionGad Peralta IglesiasReutilisation of water mills,bird research and recovery centre5incontroluce 2141

Corporate cultureDancing with Light:“Framed”London, UKFor one night, on 7 March 2009, an oldLondon factory became a sonic and visuallandscape, created by Ginger in Orange, a duoconsisting of Christin Rauter, musician, andCamilla Maling, sound designer and dancer.Lighting played a special role, being designedto give emphasis to the relationship betweensound and movement.Christin Rauter and Camilla Maling sought tocreate a number of spaces that would beevocative of as many places and times: anindustrial warehouse, a turn of the centuryliving room, an atmospheric soundscape, acostume parlour, a storybook… At given momentsof the show, the audience was invited to exploreits role as spectator - passive and active -wandering through a kaleidoscope of information:installation and performance, live and prerecorded.The intention behind the lightingdesign, by Karolina M. Zielinska, was to drawattention to and focus on the artists, on theirperformances, or other visual objects, and thesuccess of the exercise would depend onreconciling aspects and elements quite differentfrom one another. iGuzzini was involved astechnical sponsor at the specific request of thedesigner. The aim of the show was to re-createsettings and magical, surreal atmospheres inwhich music, dance and images could fusetogether. iGuzzini was active especially in the‘main hall’, where visitors where able to peerthrough transparent curtains into other roomsand see artefacts and objects, such as flutteringcostumes suspended at various heights andturning slowly on an internal axis, creatinga continuous interplay of light and shadeon the floor beneath.The clothes, made for the occasion by designerAmin Philips, were lit from the inside by Ledfixtures emitting an intense blue, which gavethem the impression of flying through space.In one room, as an actor read passages fromAlice in Wonderland, spectators could sit atthe tea table on which Alice’s broken crockeryand the cakes were illuminated by a lowvoltage Le Perroquet spot. 13242

Invited artists performingwith the Framed teamTamara Hasselblatt - painterCarmel Morrissey - actor, singerAmin Phillips - fashion designer, DJGerd Schickentanz - DJ - Bing Smithphotographer, actor - Georgina Toogood- photographer, graphic designerAdrianne Wininsky - cellistKarolina M. Zielinska - lighting designhttp://www.gingerinorange.com/live-past.htmlTechnical sponsoriGuzzini illuminazione UKPhotos: Julia Burstein; Lillie Toogood1.3. Scenes from the show2. Spectators descend the narrow staircase connectingthe rooms. Picture at the top of the stairs lit by Le Perroquet.4. Spectators and musicians in the Tea room.5. Clef and stabe - a visual and musical composition lit byLinealuce Uplight.4 5In the corner of another room, two musiciansplaying piano and cello accompanied theentrance of dancers and their extemporisedchoreographic moves, inspired by the differentsounds they heard.Installed in the space above the dancers weretrack-mounted Le Perroquet spots with 24°beams, creating accents on the floor whilealso throwing light onto the walls.Other low voltage spotlight fixtures with 10degree beam angles were positioned towardsthe keyboard and the cello. There were alsoscreens in the middle of the room, onto whichshots of the pianist’s hands were projectedlive during the performance. In the ‘Gallery’,photographs on the wall were designed torepresent the notes on a stave. Linealuce fixtureswere used to flood the wall with grazing light,while also creating atmospheric shadows.About the lighting designerKarolina M. Zielinska M.S.Arch., Dipl. Ing. Arch(FH). Karolina graduated in Architecture andUrban Planning at Gdansk Technical Universityin Poland, then took a degree in Architecturalengineering at Hildesheim in Germany. She thenmoved from architecture into architectural lightingdesign, her previous activities include work forlighting consultants such as L-plan Lightingin Berlin, Fisher Marantz Stone in New York,and Speirs and Major Associates in London.In January 2008, Karolina joined the LightBureau as Senior Designer, later becoming anAssociate in the business. Her work includesimportant projects such as: the new NATOHeadquarters in Brussels, the King AbdullahInternational Gardens in Riyadh (Saudi Arabia),also winning urban/ design competition for GoldenSquare in Birmingham, the Verta 5 star Hotelin London and a side-wide lighting strategy forPorto Montenegro - luxurious marina in Republicof Montenegro naming only few. She is an activeprofession member of the PLDA and teachesabout lighting and design at university leveland currently working on her PhD Thesis onLight and Architecture. She has taken part innumerous international conferences and writtenarticles for lighting magazines and journalsworldwide.incontroluce 2143

Corporate cultureSharing knowledge1 2Towards the end of 2009, iGuzzini attended asignificant number of conferences in variouscapacities. The company was ‘Gold Sponsor’for the second edition of the ProfessionalLighting Design Convention organised by thePLDA (Professional Lighting Design Association)held in Berlin, on the 29-31 October 2009.The convention had met with notable successwhen held for the first time in 2007 (London),and has become the main international eventwhere lighting designers can gather to comparenotes, discuss ideas and set new goals for theirprofession. The convention offered a programmeof conferences covering the three days of theevent. iGuzzini contributed with a talk on its“Appreciating Form” project. Through the directinvolvement of its branch in China, iGuzzini alsosponsored the ‘Tanteidan Beijing 2009’ forum,held on the 13-16 October 2009 in the Chinesecapital. The theme of the international event,organised by the Tanteidan Group, was “EnjoyLighting with Ecology”. Renowned internationallighting designers joined students from aroundthe world to address the challenge posed by aneed for the creation of better lighting systems,from the energy standpoint, without sacrificingthe quality of our lifestyle. Tanteidan (TransnationalLighting Detectives) is a non-profit study groupwhose interest is in learning the culture oflighting design and engineering through practicalmethods. Established in 1990 by Kaoru Mende,Tanteidan now has a 500-strong membershipthat includes lighting designers, teaching experts,businesses, architects and students from all overthe world. From 30 November to 2 December2009, Cuba held its 8th International Event onthe planning and management of historicalcentres, with the theme: “The historical centre:vulnerability, risks and mitigation in disastersituations”. iGuzzini’s contribution was in twoparts. The first, a presentation of the methodologybehind the lighting scheme for Old Havana,developed through an international agreement in2007 between the Oficina del Historiador andiGuzzini. This was explained to more than 200delegates from 14 different countries, mainly Latin344

1.2. Delegates at the Professional LightingDesign Convention3. The “Italian Lighting Design for Istanbul” logo4. The seminar in Havana5. Brochure for the Havana seminar4American, who listened to two talks and wereshown a series of images simulating the newappearance the city will take on after dark.Following the conference, the display panelswere set up in Havana’s Fototeca Pubblica,so that members of the public could alsoview the proposed scheme.On 7 December, a seminar was held at theUniversity of Havana, open to professionals ofthe Oficina de l’Historiador, architects, engineers,and representatives from organisations such asthe International Council of Museums (ICOM)and the International Council on Monuments andSites (ICOMOS), concerned with the protection,conservation and development of Cuba.A talk by iGuzzini, entitled “General conceptsof architectural lighting”, provided a detailedexplanation of the new methodology behind thelighting scheme for the historic centre of Havana.On 3 December 2009, a seminar was held inIstanbul to discuss Italian technologies for street,museum and architectural lighting, organised bythe ICE as one of various initiatives to promoteItalian know-how in the field of professionallighting, on the Turkish market.The event was part of a programme entitled“Italian Lighting Design for Istanbul 2009”;in addition to the seminar, this included theillumination of selected monuments in the city,notably the famous Galata Tower. iGuzzinipresented same of the company's morerecent and significant projects in these sectors.On 6-8 December 2009, the “CulturalHeritage Cairo 2009” convention was heldin the Egyptian capital. It was attended byaround 400 delegates from various culturalinstitutions, mainly European and African.Among the speakers was architect PieroCastiglioni, who addressed a range of topicsconnected with the illumination of culturalassets and, by way of example, illustrated anumber of lighting projects implemented inItaly in collaboration with iGuzzini, notablythat of the Palazzo Schifanoia in Ferrara,and the illumination for the steps of SantaMaria at Caltagirone.5incontroluce 2145

Corporate cultureLight Mapping NYCNew York, November 2009In November 2009, after the LightMappingevents in London and Rome, iGuzzini againsupported this initiative through its NorthAmerica branch, sponsor of the NY session.LightMapping NYC - part of a global programdeveloped by the PLDA, staged in collaborationwith the Lighting Forum of New York (DLFNY)and the Illuminating Engineering Society, NewYork City Section (IESNY) - provides a forumat international level for the entire communityof New York lighting designers, to discuss thecurrent state of night lighting in the city, itsorigins, and the possible directions it could takein the future. The event offered a number of“Lightwalks” through areas identified as beingsignificant from the standpoint of lighting designin New York. The tour guides for the walks werelighting designers of world renown. These sameLighting Designers then offered their thoughtson the week’s activity during a discussion andworkshop on the final day, which was moderatedby Glenn Shrum, PLDA coordinator for the USA.The event was open to everyone, and theguides were: Wayne Norbeck (Gluckman MaynerArchitects), who encouraged his audienceto seek out the darkness among the lightsof Times Square; Leni Schwendinger, UteBesenecker (Light Projects Ltd.) and BrianMcGrath (Urban Designer), who illustratedthe nuances of night in the area aroundOld St Patrick’s Cathedral; Julian Kline(Meatpacking District Initiative), who guidedwalkers through new and old architecture ofthe Meatpacking District; Francis Milloy(Terreform), who showed his party a crosssection of Midtown West, Manhattan; NathalieRozot (Nathalie Rozot Planning & Design),who explored the virtual night of Second Lifewith the avatars, revealing new ways to lightthe cityscape; and Stephen Horner (TillettLighting Design), who rounded off the seriesof walks with a view of Manhattan from theoutside, through Brooklyn Bridge and DUMBO(Down Under the Manhattan Bridge Overpass).46

Corporate culture“LED - Light Exhibition Design”,2009 editionMilan, ItalyFrom 6 December to 10 January 2010, themunicipality of Milan hosted “Light ExhibitionDesign” 2009 (LED), an event that saw architects,lighting designers and artists proposing lightingdesigns for various landmark architectural featuresof the Milan skyline. iGuzzini participated astechnical sponsor for “A tower of light”, the towerbeing the Torre Branca, Giò Ponti’s masterpiecesymbolic of Milan in the 1930s. standing 108metres tall in the Parco Sempione, the tubularsteel tower was illuminated with Platea Ledfixtures emitting a variable coloured light andtransforming the structure into a beacon on thecity’s nocturnal landscape.incontroluce 2147

21 IncontroluceI. 2010IncontroluceSix-monthly international magazineon the culture of lightyear XII, 21EditingCentro Studi e Ricerca iGuzziniFr.ne Sambucheto, 44/a62019 Recanati MC+39.071.7588250 tel.+39.071.7588295 faxrc@iguzzini.itiGuzzini illuminazione spa62019 Recanati, Italyvia Mariano Guzzini, 37+39.071.75881 tel.+39.071.7588295 faxiguzzini@iguzzini.itwww.iguzzini.com071-7588453 videoGraphic DesignStudio Cerri & AssociatiPublisheriGuzzini illuminazione spaContributors to this issueiGuzzini illuminazione China Ltd.iGuzzini illuminazione Deutschland GmbHiGuzzini illuminazione España S.A.iGuzzini illuminazione France S.A.iGuzzini illuminazione DKiGuzzini South East AsiaiGuzzini illuminazione UKE.C.C. Lighting LTD, AustraliaProyecto Illuminaciòn, ArgentinaCover photoLothar ReichelPrinted: April 2010Tecnostampa, RecanatiThe Editors are not responsible for inaccuraciesand omissions in the list of credits relating to projectsand supplied by contributors.Any additions or amendments will be included inthe next issue.

Leni Schwendinger / Piero Castiglioni / Luca Braguglia / Studio Cerri& Associati / Frank O. Gehry / Emmanuel Nebout Architetto / StudioPfeifer y Zurdo / Pablo Pizarro / George Berne / C.Y. Lee ArchitectsRicardo Bello Dias / Studio Methis / BPI / ÅF - Hansen & HennebergCF Møller Architects / SCDA Architects Pte Ltd / Pete Bossley ArchitectsAurecon Specialist Lighting Group / tools off.architecture / Zaha Hadid9.2618.000.0

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