Florence Lam Florence Museums Fit Future Better Future a Create Demetrio Sonaglioni Digital technologies for illuminating past masterpieces Nick Turpin Candid Public Photography Culture 02
2019 02
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Editorial Adolfo Guzzini
04 10 Photo Essay Interview Candid Public Photography Digital technologies Nick Turpin for illuminating past masterpieces Demetrio Sonaglioni
Projects 20 98 106 Cultural heritage Vision International projects Future Fit Museums Create projects a Better Future Florence Lam
Products 136 Smart lighting expands the experience
Knowledge 146 156 162 Conversations Meetings Corporate Homo Faber “Arcipelago Italia” at Via Brera 5 Alberto Cavalli the International The Light Gate Alessandro Pedron Architecture Exhibition Alfonso Femia Jean Blanchaert Mario Cucinella
170 Research Fiat Lux: biological light efects Massimo Bracci Maria Fiorella Tartaglione
Lighthinking Editorial office: Centro Studi e Ricerca iGuzzini; Fr.ne Sambucheto, 44/a: 62019 Recanati MC; tel. +39.071.7588250; The editorial office is not responsible International magazine fax +39.071.7588295; iGuzzini illuminazione spa; 62019 Recanati, Italy; via Mariano Guzzini, 37; for inaccuracies or missing information of light culture tel. +39.071.75881; fax +39.071.7588295; [email protected]; www.iguzzini.com; 071-7588453 video in the list of credits for the projects Graphic project: Daniele Ledda; xycomm (Milan) Layout: xycomm (Milan) and supplied by collaborators. Publisher: iGuzzini illuminazione spa Cover photograph: Archivio iGuzzini Any integrations or corrections will year XX, 02 Printed: February 2019; Tecnostampa - Pigini group Printing division; Loreto - Trevi be included in the next issue. Editorial
Dear readers, Our contribution is also involved in this difficult It is my great pleasure to present the second edition of balance between exhibiting works and preserving Lighthinking that focuses on cultural heritage from various them, and every project we complete helps to increase perspectives. The fact that this magazine features so our practical and technological expertise in this many of our latest projects is a great personal satisfaction. precious context. iGuzzini has been committed to cultural heritage for over This edition includes projects we have completed on Italian twenty years, because it is an ideal sector for applying monuments, in archaeological areas and in sacred places the concept of light as an instrument for social innovation as well as ones where we have worked together with that can improve quality of life for both people and the important institutions, like the Royal Academy. We have environment. This is evidenced by the company’s historic even gone as far afield as Nepal, to celebrate with lighting Beaubourg and Ermitage projects, but the projects you the resurrection of the Boudhnath stupa, a UNESCO World will find in this magazine are extremely Heritage Site, from the ruins of the 2015 recent. 2018 was a year full of earthquake. Lighting is our element satisfaction and excitement. We worked and we want to achieve social on masterpieces that are universal innovation through it. works of art, like Michelangelo’s Light, innovation and cultural heritage Pietà and Tintoretto’s paintings in the are the three elements analysed in Scuola Grande di San Rocco. The year the article by Florence Lam - the Arup before, we had the honour of working Global Lighting Design Leader, who on Giotto’s splendid frescoes in the thanks to her international experience, Scrovegni Chapel. In these projects the tells us about how the role of museums company always participates as a technical sponsor, and will develop in the context of a continuously evolving therefore the equipment and human resources are provided social panorama. completely free. The results achieved depend on constant In the magazine there is a specific article dedicated work based on research and the sharing of knowledge to the digitalisation of artificial lighting instruments, between the various skilled professions involved in cultural and a number of the projects featured include application heritage. I am not talking just about historians, art critics examples of these new digital technologies. or restoration and conservation experts, The opening of Lighthinking is graced with the ironic and but about the physicians, engineers and lighting, entertaining images of Nick Turpin, who captures people’s ventilation and purification plant installers that allow relationships to the environment they exist in, with an artworks to be displayed to the highest number exceptional level of observation. As people are the real of people without damaging them. focus of all our work. Lighting innovation for people.
Adolfo Guzzini
02 02 03 Photo Essay
04 I am primarily known as a Street button with which I choose the moment. themselves and the art, it’s a connection Photographer but that name doesn’t I believe that in a good photograph both that I make when I ‘curate’ the elements really describe my photography very those decisions are made well. in my frame to imply an interaction accurately, I prefer the phrase Candid This kind of photography is very time or humour that isn’t really there. Public Photography. This is partly consuming, I will spend days walking Sometimes I can’t help smiling or because I like to make pictures, not just the same few rooms seeing how people laughing when I’m pushing the button. in the street, but wherever the public interact with the art works and which Most galleries have security guards come and go freely like parks, shopping pieces of art have the potential for a who sit for hours in one room, the public developments and of course museums good picture eventually. Sometimes I will come and go, drifting in and out but and galleries. I first started taking not get a picture all day and then I’ll walk I and the security guard remain, each pictures in art galleries 25 years ago after through a doorway and be presented of us there doing our different jobs all seeing the work of the American with a perfect ready made scene and the day. Sometimes the security guard photographer Elliot Erwitt, I loved the picture virtually takes itself. People bring makes it into one of my picture. simplicity of his humorous juxtapositions art alive, when they walk into a room In recent years my work has been and the way that the clean and sparse there is suddenly a relationship between exhibited internationally and I go to the environment of the gallery allowed for them and the sculpture or painting, opening of the exhibitions but instead clean and graphic compositions. a dialogue between their form and that of taking photographs, I stand with This work is about looking and of the artwork in the space. I just hover a glass of wine just close enough to observing, the camera and lens are very on the periphery with my camera trying my pictures to hear what people are small and simple, the only tools I have not to ‘bruise’ the scene. In many of the saying about them, what they like, are the rectangle I throw around the pictures the subjects are not actually what they don’t like, how they interpret scene when I frame it and the shutter aware of the visual connection between what I have shown them•
Candid Public Photography Nick Turpin
Nick Turpin
Nick Turpin is a London based Street Photographer, in 2000 he was the founder of the in-public street photographers group which played a significant role in the modern resurgence of interest in Street Photography as an approach. Nick is the Art Director of STREET LONDON and creator of the the #canpubphoto initiative to identify candid public photography online. Nick is also an experienced advertising, design and editorial photographer with major campaigns under his belt for brands such as IBM,Toyota, Barclays Bank and Jaguar. His recent book On The Night Bus explores the lives of London Bus commuters travelling home in the winter months. Nick has taught Street Photography for The Tate Gallery, Sony World Photography Organisation and Apple.
02 05 Photo Essay
06 Nick Turpin
02 07 Photo Essay
08 Nick Turpin
02 09 Interview
Detail of The Doge visiting the Church and Scuola di San Rocco, by Antonio Canal, also known as Canaletto, about 1735, London, National Gallery.
10 Interview Lighthinking meets Demetrio Sonaglioni, Rector of the Scuola Grande di San Rocco. A conversation that focuses on how lighting contributes to the complexity of an art heritage project.
Digital technologies for illuminating past masterpieces Demetrio Sonaglioni
You are the Rector of the Scuola Grande also only closed once and even then, personally on a day-to-day basis by di San Rocco Can you tell us the for a very short time, during Napoleon’s the Grand Guardian, Rector and a history and organisation of this occupation of the city in 1806. Chancellor who helps the Chancellery confraternity? What responsibilities do The Statute currently in force dates back and as “head of office” takes you have? And what is your personal to 1913. This stipulates that the School responsibility along with the Directors for view of this role? should be governed by a General carrying out the orders given. Assembly (Convocato) through a As far as my own role as Rector is DS The Scuola di San Rocco is one of Chancellery (Cancelleria) made up of 15 concerned, in addition to standing in the six confraternities that have boasted members chosen from the confraternity for the Grand Guardian, when absent, the title Scuola Grande or Grand School itself. The Chancellery is headed by the I also supervise our 13 employees, from as far back as 1500. The institution “Guardian Grando” (Grand Guardian or organise and set the dates for events was founded when Venice was hit by a President) who is assisted by a Rector regarding the direct or indirect use of the severe outbreak of the plague in 1478 who stands in when necessary. School’s halls and the church attached and a group of Saint Roch’s devotees The Chancellery is therefore a sort of to it. I also take care of communications, became popular with local people by board of directors that makes decisions advertising and relations with national flogging themselves during processions regarding what the institution does, and international companies and and charitably burying victims’ bodies. and refers any important or delicate institutions. What I am basically trying In fact, the confraternity's first official situations to the next General Assembly. to do, is to play an innovative role in statute (known as a Mariegola in Venice) In the Chancellery itself, there is no order to attract new generations to this dates back to 1478. Since then, the specific division of responsibilities. ancient institution by opening its doors School has continued to offer its charity Instead, certain tasks are assigned to to modernity and new technologies to confraternity members and the city’s individual members according to their and communication media, as these poor and homeless in line with Venice’s professional skills and experience. are the instruments that most young welfare policies. The confraternity has Current activities are organised people use these days.
02 11 Interview
This edition of the Lighthinking staff. The artworks must be properly that acts as an ideal backdrop to over magazine is dedicated to the culture displayed and the information provided 60 paintings by Jacopo Tintoretto sector and everything that entails. So (leaflets, audio or video guides etc.) must and other masters. how do you think visitors’ approach to be as precise, easy-to-understand and Up until 2011, the lighting system and experience of culture has changed? comprehensive as possible. used was the one designed by Mariano We also clearly have to talk about the Fortuny in 1937 when electric light was DS In recent years the public’s approach “visibility” of what we are displaying. installed for the first time here. Fortuny’s to art heritage has changed considerably. Visitors’ eyes play a fundamental role, so “standard lamp” design was very Interest in culture has also become everything that is on display should be effective for that period, but since then widespread amongst the social classes illuminated in a way that allows it to be it has become necessary to adapt and that previously weren’t involved in it at enjoyed properly. integrate it with the options offered by all. Websites and, above all, social media Since I was made rector, I have laid the new technology. We therefore decided now play an enormous role in influencing greatest possible emphasis on this issue. to renovate the entire lighting system, people’s choices as visitors want more The Scuola Grande can be divided into starting from the Sala Terrena, on the information and have certainly become three main environments: the entrance ground floor, in 2011. more demanding. hall on the ground floor, which includes In 2014 the important Sala dell’Albergo Once they have decided to visit an impressive staircase that leads was renovated by inserting new LED an art venue, they want to enjoy the up to the Sala dell’Albergo and the spotlights in Fortuny’s “standard lamps” very best experience of it. larger Sala Capitolare (Chapter Hall). as they are now of historic interest too. They must be given an impeccable The staircase and all three halls feature And now it is the turn of the grand welcome by both ticket and security grandiose renaissance architecture Sala Capitolare!
“The staircase and all three halls feature grandiose renaissance architecture that acts as an ideal backdrop to over 60 paintings by Jacopo Tintoretto and other masters.”
Axonometric section of the building.
12 Demetsrio Sonaglioni
02 13 Interview
With the sponsorship of iGuzzini only rare, but unique. Today, DS Yes, it’s true. In the Sala dell’Albergo, and the cooperation of the Heritage all the works are effectively in the same where a new lighting system was Authorities we are currently renewing positions the artists created them installed in 2014, we conducted an the entire main lighting system using the for (Tintoretto for the paintings, interesting experiment using new digital experience we gained from the similar F. Pianta and G. Marchiori for the technologies. but much smaller Sala dell’Albergo. wood carvings, etc.). I’m talking about what is known as a This means that designing a new lighting “dynamic lighting set-up” designed to In your opinion, how does changing system requires exceptional attention highlight an individual painting or even a lighting system alter the perception, and care from the customer too, a mere detail of it, via a remote control not just of a work of an art work, but in order to highlight the individual works that allows various spotlights in the of an entire museum context? What without sidelining the beauty of the system to be turned on selectively. contribution does the customer make renaissance stonework in the various In this way, for guided tours, special to the lighting design? environments. “light scenarios” highlighting only certain things, can be set up that allow DS To fully enjoy any work of art in In the Sala dell’Albergo you also guides to attract visitors’ attention to a closed environment, a particular tested the possibilities offered certain details. focus is required that can concentrate by the Internet of Things. Mapping the hall using high definition the viewer’s attention completely. Can you give us a brief summary photographs also allowed us to take In the Scuola Grande both the paintings of the results and tell us how another step forward and experiment and the sculptures are fixed permanently you think that IoT applications with ways of showing members in their environments, which is not can be developed in this sector? of guided tours, certain curious,
“Fortuny’s “standard lamp” design was very effective for that period, but since then it has become necessary to adapt and integrate it with the options offered by new technology. ”
Mid section of the Sala Capitolare and details of Fortuny’s lights and standard lamps.
14 Demetrio Sonaglioni
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1. Adam and Eve 2. Moses Strikes Water from the Rock 3. God Appears to Moses 4. The Pillar of Fire 5. Jonah leaves the Whale's Belly 6. Miracle of the Bronze Serpent 7. The Vision of the Prophet Ezekiel 8. Jacob's Ladder 9. The Sacrifice of Isaac 10. The Fall of Manna in the Desert 11. Elisha Distributes Bread 12. Elijah is Fed by the Angels
13. The Passover
Walls
I. St Roch II. St Sebastian III. The Adoration of the Shepherds IV. The Baptism V. The Resurrection VI. The Prayer in the Garden VII. The Last Supper VIII. The Miracle of the Loaves and Fishes
IX. The Resurrection of Lazarus X. The Ascension XI. Probatica piscina XII.. Christ Tempted by Satan
02 15 Interview
but minute and less obvious details generation museum experience. necessary it is, today, to offer young of the paintings. The system, designed and created by people the option of an artistic vision, In this experiment, each participant is a group of young professionals headed whether virtual or in some form given a tablet linked to a master tablet by the architect Alberto Pasetti, allows of augmented reality, by exploiting carried by the guide. The master tablet different lighting combinations to be the vast potential of modern allows the guide to both control light selected in order to explore even the technological systems. scenarios and display images on the tiniest details of a particular artwork. When light is carefully designed and tablets given to the visitors. More in general, in terms of improving calibrated, it always succeeds in giving In this way, the guide’s commentary the visitor’s experience, how do you a magical touch even to the poorest can be followed more closely by each think the management of art heritage will work of art. So, if the works in question member of the group. develop in the future and what role do are historical masterpieces, as is the This project which received an you think light will play in it? case at the Scuola Grande honorary mention at this year’s di San Rocco, I believe that it is our ADI Compasso d’Oro awards, DS I think I have already emphasized duty to seek to develop any option that integrates lighting, domotics and in previous answers, what I think is will lead to the visitor saying: multimedia communication in required to optimise lighting systems “I have seen something unique, a single platform to create a latest in museum environments and how my eyes are sated with beauty!”•
Demetrio Sonaglioni
A graduate in Electronic Engineering at the University of Padua, Sonaglioni gained experience at various companies in the sector of applied scientific research, before joining the RAI in search of a stimulating and wide-ranging job. At RAI Radio Television he began coordinating the technical part (filming and transmission) by collaborating with the journalistic and programming sector. Then, as a top executive in Rome, he worked in the sector of radio broadcasting by coordinating the management and operation of all the transmission systems in Italy. After his experience at the RAI, he focused on teaching university students studying complicated physics, mathematics and telecommunication engineering exams. For several years now, with great enthusiasm and passion, he has acted as Rector of the Scuola Grande di San Rocco that allows him to have relations with Art and the World.
1616 Demetrio Sonaglioni
02 17 Projects
18 20 54 86 Lighting revives Tintoretto’s art Rome Metro C Line – Boudhnath Stupa Venice \ Italy San Giovanni Station Kathmandu \ Nepal Rome \ Italy 28 90 Restoring the perception 60 Yakushiji Temple of the frescoes The Museum of the Dancing Satyr Jikido Hall in the Scrovegni Chapel Mazara del Vallo \ Italy Nara \ Japan Padua \ Italy 68 92 36 Lighting for the Arch of Janus The Louvre Museum in Tehran The Ancient Theatre of Taormina inspired by the Roman gods Tehran \ Iran Taormina \ Italy Rome \ Italy 95 40 72 The Zeitz Museum of Alternative light scenarios 16· International Contemporary Art Africa - for Michelangelo’s Pietà Architecture Exhibition Zeitz MOCAA Vatican City Venice \ Italy Cape Town \ South Africa
48 78 98 Moonlight for the The new Victoria & Albert Museum Future Fit Museums Colle dell'Infinito Dundee \ Scotland, United Kingdom Create a Better Future Recanati \ Italy Florence Lam 82 Royal Academy of Arts ProjectsLondon, United Kingdom 106 116 128 The Palais de Justice Soft lighting for Station F, the biggest Paris \ France Changi Airport startup campus in the world Singapore \ Singapore Paris \ France 112 The Block – D3 Creek Park 120 Dubai \ UAE Lighting the stunning Blue Lagoon Grindavík \ Iceland
02 19 Projects
20 Alberto Pasetti Bombardella illustrates the project designed for the Sala Capitolare at the Scuola Grande di San Rocco.
Lighting revives Tintoretto’s art Venice \ Italy
The main objectives involved in the already existed - the interiors of Mariano flows that uplight the works to avoid project for enhancing the Sala Capitolare Fortuny’s historic floor lamps and the uncomfortable reflection effects and through a new artificial lighting system floor next to the altar railing - plus a new consequent matt haloes. The decision were the conservation of the artworks linear and longitudinal position above to install miniaturised electrified tracks and the creation of an innovative the ridged wooden panels for lighting on both the longitudinal sides of the visiting experience offering new benefits the large, vertical paintings, the stone hall has allowed new luminaires to including an overall view of the room. mullioned windows and the wooden be installed and concealed at an At the same time, the perception of the allegories. All the new technical elements intermediate height just under the large most important details of the individual of the lighting system were designed Tintoretto canvases depicting scenes works would be restored thanks to to minimise their spatial invasiveness from the life of Christ. These extruded a livelier quality of light with a richer and ensure they blended into the hall’s aluminium luminaires have been spectral composition. architecture and decorative elements. engineered by iGuzzini to satisfy strict, To achieve this, the project was divided The lighting solutions combine the precise project requirements by using into two macro spheres of enhancement: photometric characteristics of light elliptical optics and relative accessories Tintoretto’s great paintings plus the beams suited to the size of these great to distribute the light flow over the entire wooden and stone artworks, on one paintings with high quality, spectral pictorial surface with a semi-grazing hand, and the hall’s architecture and characteristics that bring out all the effect. On the other hand, with regard decorations on the other. chromatic and figurative beauty of to the 13 paintings with biblical themes The new system therefore has three Tintoretto’s highlights and brushstrokes. on the ceiling, the lighting has been main installation areas. Two of these This goal has been achieved with reinforced on the three
02 21 Projects 2018 – Venice \ Italy
22 Scuola Grande di San Rocco
02 23 Projects 2018 – Venice \ Italy
The previous lighting system.
“All the new technical elements of the lighting system have been designed to minimise their spatial invasiveness and ensure they blend into the hall’s architecture and decorative elements.”
main ones in order to guarantee an the previous incandescent lighting by Palco Framer shaper spotlights, also increase in visual perception thanks system was replaced by accent lighting mounted on the Low Voltage track, to projectors positioned in the historic that uses very small Palco projectors to enhance Giovanni Marchiori’s bas standard lamps. In fact, rectangular mounted on a Low Voltage track. reliefs on the doors. Lastly, the lighting and round View projectors, fitted with The track is supported by brackets that of the mullioned windows, the wooden, Optilinear optics, have been inserted to detach it by about 45 cm from the walls pedestal-mounted statues and the provide indirect ceiling lighting with the and criss-crossed beams are used architectural details on the altar is the former and precise accent effects thanks to emphasise the plasticity of the result of a careful analysis of the form to 16°, 28° and 46° optics with the latter. sculpted wood. and contoured relief of the elements and Francesco Pianta’s 23 refined wooden The cabinets on either side of the the width and aiming of the light beam. allegorical sculptures also required altar are lit by a floor-mounted double The historic lanterns that hang around precise and delicately balanced light light flow system. On one hand, Palco the perimeter of the room are another flows with criss-crossed focuses projectors with 42° optics beam a diffuse characteristic feature of the architectural that enhance the expressive, three- veil of light over the entire vertical surface, context . In this case, customised circular dimensional nature of the figures while, on the other, an accent effect is lamps featuring an opal screen and represented. To achieve this effect, created on certain specific areas RGBW technology were inserted in them
24 Scuola Grande di San Rocco
The new lighting system.
to replace the previous lamps that had Whereas on the dark wood details, only limited energy efficiency. The white where there is no gold leaf or light light emitted has a warm, 2500 K colour colours, a temperature of 2700 K Year 2018 \ Customer Confraternita della Scuola temperature that evokes the bygone was chosen to emphasise the plasticity Grande di San Rocco \ Lighting design Studio Pasetti lighting - Arch. Alberto Pasetti Bombardella incandescence of candles. The coloured of the sculpted wood. The light scenarios \ Photos Archivio iGuzzini light effect of these luminaires is used for the hall are managed and controlled only during special events or ceremonies. by a DALI protocol digital system To light the artworks in the rest of the that allows a flexible level of light intensity room, two main colour temperatures are to be created by both the individual used with a colour rendering index light points and the luminaires of over Ra 90. that are grouped together for In fact, to enhance Tintoretto’s homogeneous areas. paintings and the golden ceiling, the This means that the artworks and colour temperature of 3000 K, officially decorations can now be viewed recommended by the Ministry of Cultural and interpreted in new ways thanks
Heritage and Activities, has been used. to differentiated power ups•
02 25 Projects 2018 – Venice \ Italy
Accent lighting for Francesco Pianta’s allegories and a detail.
“Precise and delicately balanced light flows with criss-crossed focuses enhance Francesco Pianta’s exquisite wooden allegories.”
Alberto Pasetti Bombardella
Having graduated with distinction in Architecture in 1990, at the IUAV in Venice, Pasetti spent a number of years gaining experience in museography and exhibition lighting in the United States at the Paul Getty Conservation Institute. In this period, he published numerous specialised articles on the issue of exhibition lighting as well as working as lecturer in the Faculty of Arts and Design Lighting Course at the IUAV in Venice, between 2001 and 2012. Since 1995, at his own “STUDIO PASETTI lighting” firm, he has worked as a professional lighting designer for Heritage Authorities, Museums and Foundations, combining research and experimentation, focused on new forms of visual communication via lighting design. The enhancement of cultural heritage is one of his most important tasks and has allowed him to develop an in-depth knowledge of how light quality can be used to optimise the emotional and functional value of the visual experience.
26 Scuola Grande di San Rocco
02 27 Projects
28 In the Scrovegni Chapel Tunable White LEDs have been combined with IoT to create a solution that integrates artificial light with natural light.
Restoring the perception of the frescoes in the Scrovegni Chapel Padua \ Italy
The Scrovegni Chapel in Padua is The dominant position of the Virgin installed in 2002, consisted of bespoke an absolute masterpiece of medieval immediately indicates Her leading role fluorescent and metal halide luminaires, art. Currently being considered as an in the chapel’s fresco cycle, as She is in line with the most advanced UNESCO World Heritage site, the chapel the intermediary between Her Son and technology available at the time. hosts Giotto’s most complete series mankind and, therefore, the path to The new project was developed by of frescoes. Painted at the peak of his Salvation. The central role of the Virgin combining Tunable White LED and IoT artistic career, these frescoes are, without Mary is further reinforced by the depiction technologies in a solution that integrates doubt, his greatest works. of the Annunciation on the triumphal artificial light with the natural light that iGuzzini committed to adopting this arch. Here, the episode of the “Mission”, enters the chapel through the large masterpiece in an agreement signed that is to say, the moment in which God windows in the south wall and the with the Interdisciplinary Scientific entrusts the Archangel Gabriel with the three-mullioned window in the façade. Commission for the Conservation and task of telling the Virgin Mary the news The requests and goals set by the Management of the Scrovegni Chapel. (which is painted on the lunette of the Municipality of Padua were: Since September 2017 the rich colours, triumphal arch), is unusually large and to improve the microclimate conditions beauty and remarkable details of Giotto’s very rare. so as to facilitate the conservation of the masterpiece have been enhanced by The depiction of the Last Judgement frescoes; improve colour perception; a new lighting system, featuring IoT on the front wall instantly conveys the to reduce the glare created by the technology that allows artificial light to relationship between the beginning windows on the south wall; and to lower be controlled and integrated with natural and the end of the main event in the energy consumption. An improvement light to ensure the frescoes can be experience of every good Christian, in energy consumption was registered viewed properly throughout the day. namely salvation. The agreement immediately, as the new system achieves The chapel is dominated by a star- between iGuzzini and the Municipality energy savings of approximately 60% spangled vault, divided into perfectly of Padua regarding the technological compared to the energy consumed by equal halves, both with a painting of adaptation of the lighting system at the the previous system. One of the project’s the Queen and Virgin Mother Mary and Scrovegni Chapel in Padua was signed constraints was the need to maintain the a Blessing Christ Child in the centre. on 5 July 2016. The previous system, position of the floor-based lighting
02 29 Projects 2017 – Padua \ Italy
system by replacing the old luminaires limit in the previous system) to over 740 permitted by current standards. while keeping the metal profiles that nm, thereby improving sensitivity in this The really innovative aspect of this covered the luminaires in the old system, colour range to a correct level that can project is its use of IoT protocols and the even if the compact size of the 15-cell be perceived by the human eye. The creation of a communication network Laser Blade luminaires used in the new discharge luminaires used in the 2002 including sensors. This network of inter- system would have reduced its visual system included a UV component that connected elements means a number impact considerably. Palco projectors has been significantly reduced in the of options can be used to improve the were used to illuminate certain specific new system, so optimal conservation visitor’s vision of the frescoes. These areas, like the triumphal arch, the fresco conditions are guaranteed for both include differentiating the lighting of walls of the Last Judgement and the apse. the pigments in the frescoes and the with windows from the walls that receive Using Tunable White LEDs, controlled products used to restore them. The direct sunlight in order to compensate by a system that constantly regulates Scrovegni Chapel is open to the public for and reduce the glare produced by the mixture of the continuous spectra of 10 hours a day for 363 days a year, which the windows. At the same time, the risk the individual LEDs, allows an optimal amounts to an estimated 3500 hours of of over-lighting due to the natural light emission spectrum to be defined on illumination required to light the frescoes on the opposite wall is reduced and site both by measuring the variation in so they can be seen by visitors. The the colour temperature of the artificial colour purity and by directly comparing average illumination value on both walls light sources is matched to that of the the visual experience of the artwork. is 87 lux, equivalent to a value of 304,500 natural light. The sensing unit developed The artificial light extends the chromatic lux/hours/year produced by the artificial by WiSense for the Scrovegni Chapel is perception of red tones from 690nm (the light alone. This is about 50% of the value incorporated into each node
30 Scrovegni Chapel
02 31 Projects 2017 – Padua \ Italy
The 2002 lighting system.
32 Scrovegni Chapel
The new lighting system.
02 33 Projects 2017 – Padua \ Italy
of the IoT Wireless Sensor Network with the natural light in order to achieve (WSN) which is based on an IPv6 the pre-defined values. The contribution (Internet Protocol version 6) structure of artificial light is therefore adjusted Year 2017 \ Customer Municipality of Padua \ of sensor nodes designed to measure in real time according to the sensor Lighting design Central Institute for Conservation the illuminance and colour temperature. measurements and related information and Restoration (ISCR) - Fabio Aramini, Head of the Photometry Division, with the The core of this solution is a WSNode, sent by the control system control unit. technical assistance of iGuzzini, Antonio Stevan \ which is a technological hub that allows The lighting system is connected to the Scientific committee Interdisciplinary Scientific any object to connect to the Internet Wireless Sensor Network Border Router Commission for the Conservation and Management of the Scrovegni Chapel \ by associating a globally unique IP (collector node) and transmits data to Photography iGuzzini Archive address to it. Each sensor node is the the control unit, which is programmed constitutive unit of a mesh network that to adjust the luminous intensity and self-configures and auto-installs without correlated colour temperature of each the intervention of specialised staff and individual luminaire. can host a range of sensing and function A detailed report of the monitoring activation units In the Chapel, the sensors system entitled “The Scrovegni Chapel detect both the intensity and the spectral Moves into the Future: an Innovative characteristics of the light based on the Internet of Things Solution Brings New data acquired. Then the lighting system Light to Giotto’s Masterpiece” was automatically varies the quantity and published by the IEEE Sensors Journal quality of artificial light to be integrated in September 2018•
The really innovative aspect of this project is its use of a network of inter-connected elements.
Pre-existing 3800K LED Pre-existing 3800K LED
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0,0 0,0 LT RT arm halo halo halo Sky 1 Sky 2 cross cross cheek cheek Saint’s mantle mantle mantle mantle Christ’s Christ’s Blue sky Baptist’s Lt Saint’s Lt Saint’s RT Saint’s RT Saint’s RT Left Saint’s Centurion’s breastplate irgin Mary’s irgin Colour purity variation between the Colour purity variation between the previous and LED lighting system, previous and LED lighting system, Christ’s baptism. Crucifixion.
34 Scrovegni Chapel
02 35 Projects
Here, the lighting underlines certain architectural and archaeological features, like the ruins surrounding the summa cavea (upper auditorium), so they appear as site highlights, combining historical education and emotion.
The Ancient Theatre of Taormina Taormina \ Italy
36 The lighting design for the ancient even at night. An increased number were not available at the time. A specific theatre of Taormina was commissioned of visits and lower management costs request was made to use compact and by the Department of Cultural Heritage were also considered in the project hidden luminaires, wherever possible, and Sicilian Identity in order to extend plan, as resources to help define the and to reutilise the existing installation visiting hours at the site into the evening simple and programmed maintenance system to avoid attaching more brackets Operating in collaboration with the of the archaeological site and as ways to the ancient walls. The overall aim Energy Service Company Metaenergia of bringing other benefits to the area. to create a realistic effect that would (ESCo), with whom an agreement was Replacing all the existing lighting reproduce the atmosphere of dusk signed for the provision of electrical units with new DALI LED elements inevitably led to a choice of warm colour energy and services from 2013 to 2017, resulted in an 80% reduction in energy temperatures (2900-3000 K) as when this Department opted to use iGuzzini consumption. The project designed they are combined with optimal colour technology for the new project. by Engineer Roberto Sannasardo from rendering (a CRI of 90) the perfect The project had two general aims: on the Department of Cultural Heritage saturation of the site’s various materials one hand, to use light to enhance the and Sicilian Identity involved updating with the required range of colours is site's splendid classical architecture, the existing lighting system (installed in guaranteed. To ensure that the theatre and, on the other, to allows visitors to 1999 by the French studio Roland Jeol) and archaeological area can be visited in access the theatre in perfect safety with new technological solutions that perfect safety at night, the exit
02 37 Projects 2017 – Taormina \ Italy
The overall aim to create a realistic effect that would reproduce the atmosphere of dusk inevitably led to a choice of warm colour temperatures.
38 The Ancient Theatre of Taormina
routes are lit with linear lighting Underscore InOut Side Bend luminaires is highlighted by the Miniwoody created by Underscore InOut luminaires installed in the handrail guide visitors spot optics and the skene is illuminated recessed in the handrails and by towards the orchestra and light evenly by Maxiwoody projectors homogeneous, diffuse lighting produced becomes a pure, geometrical sign. with Wide Flood optics• by Woody series projectors that also Underscore InOut luminaires, mark out the theatre entrance. The chosen for their reliability, guarantee Woody series is used widely at the site constant, long-lasting, high performance because it offers formal continuity and even in extreme weather conditions a wide variety of installation systems and are therefore perfectly suited and uses, which range from highlighting to the site's climate. details to landscaping. The site's Continuing up to the orchestra, viewing platform also boasts a rhythmic the cavea (auditorium) and paraskenia procession of pole-mounted iTeka (side wings) are lit with wide beam luminaires. Woody downlights illuminate Maxiwoody luminaires, while Woody both the vaulted portico and the luminaires guide visitors towards Year 2017 \ Customer Siciliana Metaenergia ESCo.\ open portico, emphasizing the structure the skene (backstage) where the Lighting design Roberto Sannasardo \ of the steps. From there, proskenion (area in front of the skene) Photos Mario Tordini
02 39 Projects
40 A new, more refined and immersive lighting system for one of the most famous artworks in the world.
Alternative light scenarios for Michelangelo’s Pietà Vatican City
Michelangelo’s Pietà is one of the the tide, the obvious one being his has been interpreted in various ways. most famous works of art in the world, decision to portray the Virgin Mary as Christ’s head has fallen backwards achieving the same level of popularity a young woman. Christ’s mother holds and his right arm has dropped by that perhaps only The Last Supper and the body of her dead son in her arms. his side. Michelangelo’s portrayal of the Mona Lisa enjoy. She looks much younger than Christ the two protagonists and of Mary’s The Fabric of Saint Peter estimates because the sculptor took his inspiration feelings is profoundly humanised. that the sculpture is visited by between from Dante Alighieri and St. Bernard’s According to the words of Cardinal 40,000 and 50,000 people every day. prayer in the last canto of the Paradiso: Comastri, Michelangelo’s portrayal of Following the restoration of perception “Vergine Madre figlia del tuo figlio, the Virgin’s face succeeds in merging projects completed for The Last Supper termine ultimo di eterno consiglio, tu sei two feelings that seem irreconcilable: and the Scrovegni Chapel, iGuzzini has colei che l'umana natura, nobilitasti si, pain and serenity. This absolute met the wishes of the Fabric of Saint che il suo fattore non disdegnò di farsi masterpiece is also the only work signed Peter, represented by Cardinal Angelo sua fattura.” (O Virgin Mother, daughter by Michelangelo. The band that runs Comastri, who expressed a desire for of your Son, fixed aim and goal of the around the Virgin Mary’s bust, bears a new, more refined and immersive eternal plan, You are the one who lifted the following engraving: Michel.A [N] lighting system to allow its thousands of human nature to such nobility that its Gelvs Bonarotvs Florent [Invs] Faciebat visitors to fully appreciate the work, and own Maker did not disdain to be made (Made by the Florentine Michelangelo for exceptional scenarios to be created of its making.) So Christ’s mother is Buonarroti), which uses the imperfect for special occasions and visitors. The his mother, but also the daughter of in accordance with Pliny the Elder who work, made of Carrara marble, has God, the Creator. In Christian tradition, wrote that a work is never perfect but remarkable dimensions: a height of 174 the theme of Compassion was usually always perfectible. The sculpture is cm, a width of 195 cm and a depth represented by an image of the Virgin currently housed in the first chapel of of 69 cm. Because of its limited depth, Mary sitting upright with the body of the right hand side nave of the immense some art historians believe that Christ portrayed as rigid and unmoving. St. Peter’s Basilica, but it has not always it was originally designed to be located In Michelangelo’s Pietà, Mary wears a been located there. inside a niche. dress with many folds and her head is It was really designed for the Chapel of Completed in1499, the sculpture was covered by a draped veil. She holds Saint Petronilla, the French church next one of Michelangelo’s first commissions Christ’s head with her right hand, her to the transept of the old St. Peter’s at the court of Pope Alexander VI. fingers squeezing the ribs under his Basilica. Then, according to Vasari, And even if the artist was extremely right shoulder and protects his body it was moved to the Church of Santa young - just 24 years old - and this was with a flap of her cloak. Conversely, her Maria della Febbre, again in St. Peter’s, one of his very first sculptures, left hand is turned palm upwards at the and was only moved to its current he still made choices that ran against height of Christ’s knee, a gesture that position in the 18th century.
02 41 Projects 2018 – Vatican City
The sculpture is protected by a thick, The project, which involved completely No extra masonry work or feeding shatterproof glass screen following the removing the previous lighting points were required and maximum lengthy restoration required as a result installation, features four different visual comfort was achieved when of an attack by a mentally disturbed lighting scenarios that can viewing the sculpture through the safety individual in 1972. accommodate different activities glass, either from inside the chapel As such, the large number of visitors and visual requirements. or from a distance. The light intensity can only view the sculpture from a fixed The individual scenarios were defined of the individual luminaires is also distance and well-defined positions. according to the general criteria and adjustable which is an indispensable Since October 2018 the Pietà has had requirements that determined the choice requirement when it comes to defining a new lighting design created by the and layout of the new luminaires. and choosing between the different Rossi Bianchi Lighting Design studio. The installation consists of latest scenarios. The lighting system was This was revised and implemented generation LED sources with a warm designed not only for the sculpture, through constant and constructive white tone (3000 K colour temperature), but also for the entire context of the collaboration between all the parties high colour rendering, a long life span Crucifix Chapel. The luminaires used are and professionals involved, who were and low energy consumption. They Palco projectors with 12° and 26° optics extremely conscious of the enormous are extremely compact and are either and the Palco Framer profiler all installed responsibility undertaken by working on totally concealed or have a minimal on low voltage tracks. Underscore linear such an invaluable work of art. visual impact. High efficiency projectors lighting illuminates the vaults. The design studio’s main aim was with focused emissions and carefully The luminaires, all DALI-controlled, to create a consistent overall vision controlled opening beams illuminate both are divided into groups, each with that would allow visitors to see and enjoy the marble sculpture and the chapel. its own power unit, so that the levels the expressive intensity of every detail Track lighting was also installed vertically of light intensity emitted can be in this masterpiece. on either side of the pilasters in front calibrated in order to create different This required a measured and composed of the sculpture to allow the projectors lighting scenarios in line with a range lighting design that would illuminate the to be positioned at ideal heights of visual requirements and tasks. contours of the sculpture and the glow for aiming the beams and controlling Everything is managed by a single of the marble. the luminance. control system.
The design studio’s main aim was to create a consistent overall vision that would allow visitors to see and enjoy the expressive intensity of every detail in this masterpiece.
Designers Nicoletta Rossi and Guido Bianchi illustrate the project to Pietro Zander, Director of the Vatican Necropolis and Classical Antiquities Department.
42 Pietà
02 43 Projects 2018 – Vatican City
44 Pietà
02 45 Projects 2018 – Vatican City
The project defines a series of the sculpture with a blade of light effect The West scenario - daily uses alternative lighting situations named coming from a projector mounted track-mounted projectors with 12° after the four cardinal points: on the lateral capital on the east side optics mounted on either side of the ‘North scenario - sculpture focus’; of the sculpture. pilasters. Their beams crisscross at ‘East scenario - light blade‘; ‘South The incidence angle is clear and there symmetrical angles to highlight the scenario - full light’ and ‘West scenario is a sharp contrast with the surrounding sculpture’s plasticity. The background, - daily’, in order to clarify their different shadow. The recumbent face of the illuminated from the bottom up, display effects. Virgin Mary is also illuminated by balances the contrasts. The central vault a soft upward streak of light. The is evenly illuminated with values that The North scenario - sculpture focus subdued lighting of the vaults and gradually decrease towards the capitals. uses track-mounted Palco projectors backdrop creates a frame around The side arches and barrel vaults are installed either side of the pilasters. the sculpture and vibrant reflections homogeneously illuminated with less There is no overriding directionality enhance the shine of the marble to intense light. The Crucifix is highlighted and the balance of the chiaroscuro create a powerful visual effect with by a projector located at a distance to effects enhances the sculpture’s a strong emotional impact. reduce shadow effects. The chiaroscuro plasticity. Visitors can appreciate every accents create a consistent and unitary individual detail while also enjoying The South scenario - full light overall perception of the sculpture with a sense of overall harmony. is designed for special events and values that allow it to be viewed close The central vault, featuring frescoes activities which require higher lighting up, from inside the chapel, as well as by Giovanni Lanfranco, is also evenly values that allow clear visibility from a greater distance through the lit with values that gradually decrease of the sculpture from the central nave safety glass• towards the capitals. The arches and of the Basilica. Compared to previous lateral barrel vaults are illuminated scenarios, the lighting of the central homogeneously with less intense light. vault, arches and lateral vaults The Crucifix is illuminated diagonally is more sustained. Frontal projectors by a projector mounted on the cornice, also enhance the light grazing effect. at a considerable distance. The altar is bathed in soft light. The Crucifix is highlighted Year 2018 \ Customer Fabric of Saint Peter \ The East scenario - light blade emits from above by a Palco projector Lighting design Rossi Bianchi a narrow light beam that illuminates with 26° optics. Lighting Design \ Photos iGuzzini Archive
The new lighting design helps the viewer to better appreciate the masterpiece, while also highlighting its theological elements and devotional character so it can be fully understood.
46 Pietà
North East
South West
02 47 Projects
Dante Ferretti has created an emotional experience in which artificial light is used to evoke a nocturnal landscape in line with the site’s Leopardian spirit.
Moonlight for the Colle dell'Infinito Recanati \ Italy
“This lonely hill was always dear to me, Mount Tabor, has always been a focus of The lighting system, on the other hand, and this hedgerow, which cuts off the local identity for the citizens of Recanati was donated by iGuzzini illuminazione view of so much of the far horizon” is the and in 2018, with the aim of revitalising and designed by Dante Ferretti. For first verse of Giacomo Leopardi’s most the park on the hill, the municipal this project, the famous set designer famous poem “The Infinite”. The young authorities promoted a project financed and three-time Oscar winner used poet wrote it at the age of 21, when with MiBACT funds that included new light to create a concept based on an he left his home, crossed the Clarisse plants and trees and a new lighting emotional experience that enhances the monastery vegetable garden and sat in system. The botanical reorganisation natural beauty of the location and the front of a hedge that he envisaged as a and regeneration initiative was entrusted evocative heritage of Leopardi’s poetry. limit beyond which his imagination could to C.Re.Ha. nature, a spin-off from the The artificial light is used to create a stretch and create “endless spaces, Marches Polytechnic University, led by nocturnal landscape in line with the superhuman silences and depthless Prof. Eduardo Biondi (Department of site’s Leopardian spirit. This light does calm”. After a chequered history, the Environmental Science and Vegetable not destroy the mystery of darkness and monastery was sold to the Municipality of Production) and supervised by the FAI- can be softened, when necessary, to Recanati, who set up a Worldwide Centre appointed landscape architect Paolo emphasize the emotion of moonlight. of Poetry and Culture there, in 1998, to Pejrone. The project involved planting The new lighting design for the Colle celebrate the bicentennial of Leopardi’s new trees, flowers and bushes with a dell'Infinito Park, which was created in death. The Centre is still located in the particular focus on local species and 1937 by the architect Dossart to mark the former monastery. The Hill, also known as regenerating the plants already present. centenary of the poet’s death,
48 02 49 Projects 2018 – Recanati \ Italy
enhances the location by limiting the their light on the foliage of the trees Stephen’s Convent and the secondary visual impact of the luminaires and hiding creating a shadow effect on the avenue panoramic paths. The silhouette them - wherever possible - amongst as the lighting levels of the functional of the convent wall and cenotaph is the greenery. The system also features luminaires are lowered. This extraordinary outlined with a combination of high variable lighting regimes and a single light effect is combined with music level visual comfort, sharply defined warm colour temperature of 3000 K. and a recording of “The Infinite” read light beams and the luminous power The only exception to this is the avenue by Vittorio Gassman. of Opti Beam technology optics and that accesses the park, as this is the The lighting scenario is accompanied Palco InOut projector systems. Light Up area in which the moonlight effect is by other systems designed to highlight Earth luminaires fitted with adjustable staged. This lighting scenario is activated a range of significant spots in the Park, Medium optics illuminate the foliage of at different time spans according to while visitors’ safety is guaranteed the evergreens from below, whereas the season and for special events by pole-mounted Fiamma luminaires luminaires with Wall Washer optics evenly in the town. To create the moonlight that mark out the park entrances and illuminate the exedra in Via Monte Tabor. effect, cold lighting tones were chosen by pole-mounted Twilight luminaires Woody and MaxiWoody projectors are Woody luminaires using WGB ( White/ that guarantee even lighting on the used to light the Colle dell'Infinito and Green/Blue) technology, combining park’s horizontal surfaces. 610 and 250 the well-known inscription dedicated to a temperature of 4000 K with a small mm iWay bollards illuminate the path Leopardi’s “solitary hill”. These luminaires percentage of blue and green, project that skirts the western walls of Saint are aimed in a way that casts shadows
“What I wanted to emphasize is the romantic contrast between moonlight and artificial light, both of which simultaneously illuminate the town and its alleyways, squares, monuments and streets, all the way up to the Colle dell'Infinito. We have tried to create a poetic light that I hope can enhance the beauty of these Leopardian settings.” Dante Ferretti
One of the meetings between Dante Ferretti, the Recanati town council and iGuzzini to discuss the project.
50 Moonlight for Colle dell’Infinito
02 51 Projects 2018 – Recanati \ Italy
onto the branches of the trees, the experience of this space use optics and accessories that control creating a sense of vagueness that These technologies can be integrated parasitic light that is responsible for light Leopardi associated with the idea with safety accessory functions, pollution, a phenomenon iGuzzini has of pleasure. Wi-Fi connectivity and power points been fighting since the 1990s• The use of DALI protocol allows the for mobile devices and can be installed light intensity emitted by each individual in the lighting devices to offer services luminaire to be dimmed immediately. and information to visitors, citizens The system has also been designed and tourists. Specific environment and to implement IoL - Intelligence of Light vegetation monitoring systems can also - technologies, so every light point be installed to sustain the conservation becomes a “smart node” in a system and development of the animal and that monitors the surrounding vegetable species present in the park. environment and sends signals that can To respect and enhance the vision of the Year 2018 \ Customer Municipality of Recanati \ Lighting concept Dante Ferretti \ System DEA both adjust the light when necessary starlit sky that Leopardi often evokes S.p.A (Distribuzione Elettrica Adriatica S.p.A.) \ and communicate information to enhance in his works, all the luminaires installed Photos Giuseppe Saluzzi, Studio Buschi
Every light point becomes a “smart node” in a system that monitors the surrounding environment.
On the right, the avenue that accesses the park with the lighting effect reminiscent of the moonlight that filters through the branches of the trees.
52 Moonlight for Colle dell’Infinito
02 53 Projects
The main hall with the large ring of light and the first showcases.
54 This station demonstrates how past and present can live together and help create a sense of continuity and belonging to the history of a community.
Metro C Line – San Giovanni Station Rome \ Italy
Italy’s vast artistic and historic heritage even if the architect has recently called is unique and a great financial resource into question his own participation. in terms of tourism, for both foreign In these two stations in Naples, and Italian travellers. It is everywhere in accordance with the Heritage and often excavation and restoration Authorities, whatever was discovered works bring to light objects from during the excavation of the site was the past that the various Heritage incorporated in the structure’s design. Authorities are called on to evaluate. These exhibits are conserved in the best Often the need to protect and conserve possible way and displayed as treasures these finds clashes with that subway users can enjoy every day. the requirements of other projects, Following its success, this idea and have, in some cases, was then used in Rome at the San caused delays, interruptions and Giovanni station, a major hub in the even complete stoppages. newly constructed C Line and the first There are some examples, however, interchange node with the existing in which the remains of the past Line A. At San Giovanni all the elements have been harmoniously integrated required in a building production line into contemporary projects, like the worked seamlessly together, including escalators in the Rocca Paolina, the customer, the constructor, which carry visitors into the heart the designer, the suppliers, and of Perugia through a sixteenth century the Heritage Authority. castle. Another example is the Naples This integrated approach subway, whose Municipio station to managing a project was so successful is designed by the two Pritzker Prize that it was even awarded an Inarch winners, Álvaro Siza and Eduardo Souto prize in the RomArchitettura 6 de Moura, while the Duomo station category that promotes contemporary is designed by Massimiliano Fuksas, architecture in the Lazio region.
02 55 Projects 2017 – Rome \ Italy
San Giovanni is Rome’s first in the station with glass panels on to meet the technical requirements “museum station”, where everything which various stories are narrated. for this kind of environment The that was found during excavation is These feature a series of different colour spectacular design of this light circle exhibited in a stratigraphic format. codes that compare the history of the helps to give this space, which both As you descend physically on one of site with the changing fortunes of “The welcomes and orientates travellers, a the escalators, you also travel back in Eternal City”. Great care has also been distinctive character by creating general time, passing from one floor to the next taken over the lighting that has to meet lighting integrated with Reflex recessed with a rhythm dictated by both human safety criteria and standard subway luminaires. As you move down through inactivity and the timeline of history that specifications as well as providing the the structure, the first level you come transports you from the present day quality an exhibition space requires. At to is the ‘correspondence floor’ where back to prehistoric times. ground level, in the large hall, a number in the first century AD there was a farm. This experience begins with today’s of modern ceramics dating from the The exhibits here include a series of world in the large hall and then delves sixteenth century onwards are displayed. drainage amphorae and piping as well into the past in almost 30 metres of These artefacts once belonged to as a large basin that was originally used stratigraphy that trace the history of the San Giovanni Hospital but were to store and redistribute water. These the site all the way back to when it subsequently thrown away in the large exhibits are displayed in spacious was a prehistoric swamp. A team of hospital dump. In this area a spectacular showcases lit by high colour rendering architects from La Sapienza University, ring of light has been created with Underscore light lines installed along headed by Andrea Grimaldi and Filippo Underscore InOut luminaires fitted with black parallelepiped bases on which the Lambertucci, has covered all the walls a special low smoke emission screen amphorae are positioned.
Great care has been taken over the lighting that has to meet safety criteria and standard subway specifications as well as providing the quality an exhibition space requires.
Particular care was taken over the sign graphics.
56 San Giovanni Station
02 57 Projects 2017 – Rome \ Italy
Recessed Laser luminaires provide highlights the unearthed exhibits further lighting from above. and enhances the exhibition project, Rings, coins and gems are displayed functional lighting has also been Year 2017 \ Customer Metro C scpa \ Scientific in smaller showcases, which are also installed. For both the escalators Project The Special Department for the Colosseum and Central Archaeological Area lit by recessed Laser luminaires, whose and platform areas, this is created in Rome - Rossella Rea with Irene Baroni, light emission in certain cases is by iN60 pendant luminaires. Anna De Santis, Francesca Montella, Simona integrated by Underscore Ledstrips The handrail on the stairs next Morretta. Archaeology Cooperative - Anna Giulia cut to the size of the showcases. to the escalators is highlighted with Fabiani \ Museum exhibition design and assistance with interior desigin Metro C SCpA: The bottom floor, where the trains pass, an Underscore light line that lightens coordinamento Eliano Romani Responsabile is at a depth of 30 metres. Here the walls the impact of the feature in the same Progettazione; Dipartimento Diap, laboratorio are decorated with vegetation typical way that light is used as a graphic Re-lab della Sapienza, Università di Roma: Andrea of the swamps that were here in the element in the explanatory panels, Grimaldi, Filippo Lambertucci con Livio Carriero, Amanzio Farris, Valerio Ottavino, Leo Viola, Samuel Pleistocene period. For the platforms particularly those that narrate Quagliotto \ Works construction Metro C SCpA \ in this area, iGuzzini has produced the story of the site’s stratigraphy. Photos Luca Pietrucci \ Thanks to Atac for its special recessed fluorescent lamps The result is a station that demonstrates kind collaboration with low smoke emission levels and how past and present can live dimensions that tally exactly with together and help create a sense the sizes of the wall cladding panels. of continuity and belonging
In addition to the illumination that to the history of a community•
The bottom floor, where the trains pass, is at a depth of 30 metres. Here the walls are decorated with vegetation typical of the swamps that were here in the Pleistocene period.
As you move downwards to reach the train platforms, you also travel back in time.
58 San Giovanni Station
02 59 Projects
60 The “Dancing Satyr” is a bronze sculpture found in the Strait of Sicily, between 1997 and 1998. It has been dated to between the 4th and 3rd centuries BCE and some archaeologists claim it is an original work by the great Praxiteles himself.
The Museum of the Dancing Satyr Mazara del Vallo \ Italy
In 2006, iGuzzini, in collaboration with to touch and experience a model The project designed by iGuzzini the Central Restoration Institute and the of the sculpture that is an exact copy illuminazione for the museum is Museo Omero, created the “Conoscere of the original. Giorgio Accardo, extremely innovative, both in terms of the la Forma” (Experiencing Shape) project Director of the Central Restoration energy saved through the adoption of that was divided into two parts: “Shapes Institute Physics Laboratory had the LED luminaires and from a management to be seen” and “Shapes to be touched”. idea of making copies of the sculpture. perspective, thanks to DALI technology The project was revolutionary in two After the last edition of the “Experiencing that allows the luminaires to be operated ways. Firstly, it shifted the exhibition Shape” project held in 2009, in 2018 by a Master Pro Evo KNX control focus onto the interpretation of an art iGuzzini was asked to light the original system. This set-up means that a work, as varying the light makes a wide sculpture. The recent refurbishment basic lighting scenario can be defined range of cognitive experiences possible. of the Museum of the Dancing Satyr, for simple museum visits and, more This means that artworks can find new located in the former Church of importantly, special lighting scenarios meanings and lighting ceases to be a Sant'Egidio, a building of significant created by different people can be saved purely technical matter and becomes the architectural interest, built in the and recalled as required. Work inside result of a choice embracing freedom. sixteenth century, included a new lighting the museum was severely limited due Secondly, the project focused on ways system featuring the various possibilities to the importance of the building, which of experiencing art other than those offered by LED technology. is protected by the Heritage Authority, specifically dependent on sight. The museum conserves a number so no new plants can be installed in it. The interpretations offered in “Shapes of finds recovered from the Strait The new lighting concept was therefore to be seen” are made by people from the of Sicily, including a fragment of a bronze designed to be versatile, unobtrusive world of culture with expertise elephant hoof from the Punic-Hellenistic and capable of improving the visiting in specific areas other than the world period, a medieval bronze cauldron experience of this small museum. of illumination. The project is based and a selection of amphorae from The number of types of luminaire on research aimed at identifying ways the archaic, classical, Hellenistic, was also limited. Underscore 15/18, of analysing and installing lighting Punic, Roman and medieval periods. View (square version with Up emission) systems to offer museum and exhibition In addition to the central exhibit of the and Palco projectors mounted on curators a greater awareness of how “Dancing Satyr”, two iron cannons standard and Low Voltage tracks. three-dimensional artworks can be lit. from Torretta Granitola are also The museum ceilings feature wooden “Shapes to be touched” involves on display, as well as a collection beams that are lit in the entrance area allowing visually impaired visitors of Ionic and Corinthian capitals. by Underscore 15/18 luminaires
02 61 Projects 2018 – Mazara del Vallo \ Italy
All three visually impaired designers asked for intense, homogeneous, diffuse lighting with no shadows and therefore multi-directional. This made viewing the artwork easier.
positioned above the structure that other showcases. One of the museum’s a special device. houses the air conditioning system. In most extraordinary exhibits, the The different light scenarios are created this area various exhibits are displayed fragment of a bronze elephant hoof by a series of projectors with integrated inside showcases in which Underscore from the Punic-Hellenistic period, is also performances. To offer the utmost 15/18 luminaires have been inserted housed in a showcase lit by Palco Ø 37 versatility, two tracks - one standard and that improve the colour rendering offered luminaires mounted on LV tracks, one LV - have been installed in the four by the previous system. Scaled-down which are inserted along the edges of corners of the room with Palco projectors versions of the Satyr sculpture have also the showcase, thanks to the mounted on them. These are fitted with been positioned in the long niches in the miniaturization of the luminaires. a range of spot and profiler optics, in walls to allow visually impaired visitors The exhibition path inside the museum two different colour temperatures: 3000 to experience the work through touch. culminates in the room dedicated K and 4000 K. The back wall is lit evenly There are also a number of amphorae entirely to the Dancing Satyr, which by Linealuce Compact RGBW luminaires and other finds recovered from the is currently mounted on an earthquake- that are also positioned inside the central Mediterranean Sea. All the niches are resistant pedestal. At regular intervals, niche. Lighting this wall helps certain illuminated by track-mounted Palco the Satyr is bathed in a video projection visually impaired visitors enjoy a better projectors, some of which have been that recalls the sea bed and reconstructs sense of the statue. In past experiences, fitted with Wall Washer optics to ensure the various steps in the sculpture’s in fact, certain visually impaired visitors that the captions positioned on the back rescue. The lighting design for the described how they gained a better wall of the niche can be read properly. sculpture is an example of how a control perception of the sculpture by reading The showcases located in the centre of system can be used. It includes various it as a dark silhouette that contrasted the first room are lit by Palco projectors lighting scenarios created by three with a background that could also be (Ø 37) mounted with rods on Low visually impaired designers and coloured. The basic lighting scenario Voltage tracks fixed to a higher structure a Regional Councillor, Sebastiano Tusa. that is used before the visitors choose that acts as a partition that divides These have all been saved and they from the different interpretations, has the area, creating space for can be activated by visitors using a deliberately low intensity light that is
62 The Museum of the Dancing Satyr
Adjustments made to the different lighting scenarios by Councillor Sebastiano Tusa (left), with Roberto Sannasardo and Pietro Catalano, President of the Trapani Division of the Italian Union of the Blind and Partially Sighted, Angela Milazzo and Vincenzo Bologna, Council Members of the Trapani Division (right).
reinforced by the indirect emission wanted less intense lighting on the back also believes that this work was created of the wall-mounted View luminaire and wall, so it is was slightly dark, whereas by Praxiteles himself because it is clearly is reminiscent of the Satyr’s immersion Angela Milazzo’s vision improved with designed to be seen from different in the waters of the Mediterranean. bright lighting on the back wall. During perspectives. It was, after all, Praxiteles the tests carried out to achieve optimal who freed sculpture from immobility The interpretations solutions, it emerged that contrasting by introducing the idea that it could be Pietro Catalano, President of the Trapani light was extremely detrimental. enjoyed from more than one viewpoint. Division of the Italian Union of the Blind Sebastiano Tusa, Regional Councillor The sculpture was probably made in and Partially Sighted, Angela Milazzo and for the Department of Cultural Heritage the period that marked the transition Vincenzo Bologna, Council Members and Sicilian Identity. Tusa created two between late classicism and early of the Trapani Division. The three visually different interpretations. In the first he Hellenism, i.e. towards the end of the 4th impaired designers who took part in adopted an archaeologist's approach century BCE, when the canons of late this project, Pietro Catalano, President with a scenario that evokes the classical rigidity had begun to shatter of the Trapani Division of the Italian sculpture’s original location. According under the growing influence of Hellenistic Union of the Blind and Partially Sighted, to Paolo Moreno, the sculpture was art. In this period, sculpture ceased to Angela Milazzo and Vincenzo Bologna, created in Greece and displayed in seen as a highly static art form and, Council Members of the Trapani Division the street of the Choreghi in Athens. instead, viewers were encouraged approached the question of lighting In this location, during the day, to move around the work and view in similar ways but with very different it would doubtless have been bathed it from all sides as every detail was effects depending on their type of visual in dazzling sunlight. important. According to Tusa, the impairment. All three asked for intense, But at sundown or dawn the sculpture sculptor also captured in this work homogeneous, diffuse lighting with no would have been viewed in greater another transition: that of adolescence shadows and therefore multi-directional. comfort and with a higher level of to adulthood, in which the human body This made viewing the artwork easier. shadow definition. combines the physical rotundity of Pietro Catalano and Vincenzo Bologna Like Paolo Moreno, Sebastiano Tusa adolescence with the greater muscle
02 63 Projects 2018 – Mazara del Vallo \ Italy
A view of the daily lighting of the Dancing Satyr from above; adjustments made to the lighting system by visually impaired designers; on the right, the scenario created by Councillor Tusa that evokes its display in a domus.
64 The Museum of the Dancing Satyr
02 65 Projects 2018 – Mazara del Vallo \ Italy
Work inside the museum was limited due to the importance of the building, which is protected by the Heritage Authority, so no new plants can be installed in it. Despite this limit, the new lighting system offers greater flexibility, unobtrusive luminaires and energy savings guaranteed by LED lamps.
definition of maturity. To evoke this has been taken to avoid the risk for all the lights to be switched off in the initial phase in the sculpture’s life, the of dazzling the viewer with light beams room apart from the Palco LV projectors councillor asked for a high level of from the projectors. This problem has inserted in the pedestal that supports illumination with a soft, comfortable been avoided by locating the projectors the entire sculpture, which is switched atmosphere. The architectural structure in a high position and using flaps to on at full power. In addition of the room in which the satyr is screen the light flow. to these interpretations, there is a basic, displayed contributes to this effect, The level of illumination is slightly higher neutral lighting scheme based on the as the dome channels and reflects at the front of the sculpture than it is at use of diffuse, homogeneous light with downwards, both the upward emission the back, but the effect is still diffuse illumination levels lower than those from the View luminaires mounted on and extremely homogeneous. requested by the visually impaired the side walls and the light created The second interpretation designed participants, especially for the rear by the projectors that reflects off the by Councillor Tusa is based on another of the sculpture to avoid the risk of glare. walls. In this way, the dome succeeds in theory. Tusa believes that after its initial In this scenario, the light arrives mainly softening the light cones from the various life in Athens, the sculpture was taken from the right and strikes the chest, belly luminaires and making them more even. back to Rome by a wealthy Roman, and sloping side of the Satyr’s face in Starting from the position at the end who displayed it in his villa, where it order to create a sort of natural shadow of the museum path, where the viewer remained until the city was sacked in on the other side. stands right in front of the sculpture, 455 AD by the Vandal king Genseric. Particular case has been taken over Sebastiano Tusa has based his lighting Together with other loot, the Satyr was the lighting for the satyr’s windblown scenario on an all-round vision of the then loaded onto a ship bound for Africa, hair which is one of the sculpture’s work. This allows the visitor to walk right which sank in the Strait of Sicily. main features. All these different around the sculpture and observe it from To recreate the sculpture’s location inside interpretations are recorded and saved all sides. In this case, particular care a Roman domus, the Councillor asked on the interface which is available
66 The Museum of the Dancing Satyr
Images of the opening of the new lighting system.
for visitors’ use and includes one of the Louvre, Cyrille Gouyette, asked iGuzzini to work interpretations from the previous edition on a special section next to the exhibition dedicated to the Praxiteles exhibition because it considered of “Experiencing Shape” held in Milan. “Experiencing Shape” the interactive nature of this project to be extremely In this interpretation by Gillo Dorfles, Concept iGuzzini Research and Study Centre - interesting from an educational point of view. the light is focused on the parts of the Central Restoration Institute \ “Umano Divino-Conoscere la Forma”, Special thanks to Trapani Heritage Authority for sculpture that are intact, and therefore Institute of Italian Culture in Prague, its kind permission to use a copy of the Dancing the chest and face, plus an especially 20 November 2008 – 31 January 2009. Satyr. Louvre Museum \ Scientific consulting Authors Vaclav Hudecek, violinist – Jiri Kacer, bright beam on the calf of the left leg Museo Tattile Statale Omero to emphasize its sense of movement Sculptor – Ivan Neumann, art critic and historian – • Ludvik Grym, architect – Josep Cera and Maria Publications Kunkova, visually impaired architects. “Conoscere la Forma”, Partner Assistance iGuzzini, Milano, 23 May – 30 June 2006. Authors Vincenzo Cerami, writer and screenwriter Year 2018 \ Client Department for Cultural – Gillo Dorfles, Art and Design critic and historian Heritage and Sicilian Identity, Polo Museale della – Angelo Mombelli, expert in matters relating to the provincia di Trapani \ Coordination Roberto visual difficulties of the blind or partially sighted – Sannasardo \ Foto Archivio iGuzzini Paolo Moreno – archaeologist. Moreno has studied the sculpture since it was found. “Praxiteles, connaitre la forme”, Louvre Museum. Paris, 23 March – 18 June 2007. Authors Alain Pasquier, Director of the Department of Greek, Etruscan and Latin antiquities at the Louvre – Jean Luc Martinez, Curator at the Department of Greek, Etruscan and Latin antiquities at the Louvre – Agnes Robert, impaired opera singer. The curator of the educational sector of the
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68 Vittorio and Francesca Storaro designed the lighting for the Arch of Janus donated by Alda Fendi to the City of Rome. Luminaires provided by iGuzzini.
Lighting for the Arch of Janus inspired by the Roman gods Rome \ Italy
The Alda Fendi Foundation – the God of DAY arrives: Jupiter, who forward to the future and back to Experiments Department commissioned most of all represents light, reaffirms his the past and as the God of the door, Vittorio and Francesca Storaro position among the Gods of the Origins. he can also see inside and out. to create a permanent lighting design Over the centuries, the range of colours For the Romans, Janus acted as a pater for the Arch of Janus located near created during the morning and evening divorum. He has always been immanent, Palazzo Rhinoceros. have always been regarded as having right from the beginning of everything. The two artists’ lighting concept a divine origin. Magic and religion have In his "Fasti", Ovid recounts that is inspired by the symbolism of the always astrologically connected natural he was present when the four elements Roman god, Janus. colours to the planets as well as to separated to give shape to everything. In ancient times, "The Things of the the "Gods" and the celestial spheres Janus was the god of doors (ianuae), Gods" gave the human world in terms through which their unique influence passages (iani) and bridges. He guarded of both space and time. Black is is channelled. entrances and exits and carried the the cosmic darkness that contains As the god of beginnings, Quirinus gives ianitores, a key and a stick, while his everything, protects everything and his name to the first month of the year: two faces looked in two directions, from which everything is born. ianuarius, Janus: January. Janus is indoors and out. Then, the light of sunrise breaks across therefore the God of "transition" from As he was also the "God of Events", the sky the God of dawn appears, the old to the new year, from the past the doors of his temple were thrown the JANUS of the beginning of life. to the future and from the stasis of peace open in times of war and closed in times As the heat of the sun increases, to the dynamics of war. of peace. the God of the morning, Quirinus, As the god of beginnings, Janus is one Probably the first two-faced statue the founder of Rome, asserts his of the oldest divinities in the sphere of of the god stood at the Porta Ianualis ancient power over the city Roman, Latin and Italian religion. gate, with one face looking East and And then, with his rays of sunlight, Thanks to his two faces, he looks the other looking West.
02 69 Projects 2018 – Rome \ Italy
The second was a four-faced Janus Janus of every beginning. sunset, while the second with its (with a face looking North, South, As it rises, just like the god Quirinus who white/cold tones mimics the rise of the East and West) located in the Forum of rises every morning to light the city, moon. Opposite the Arch of Janus, Domitian and then an entire arch was this colour first fades into ochre and then stands the “Rhinoceros at Saepta”, dedicated to him in the Forum Boarium, as it reaches towards the sky, it a white rhinoceros installation created where he is holding his key and stick. intensifies into a splendid, bright yellow, by Raffaele Curi for the Alda Fendi In this Arch, in the Velabrum area, the colour of Jove, the God of daylight. Foundation. The work is illuminated the keystones of the four arches are The interiors of the four arches, therefore, by a symbol of the sun at dusk with an decorated with the figures of: Rome- symbolically perform the cycle of the "Aurea" LED projector from "The Muses
Juno-Minerva-Ceres. The lighting early morning sun. of Light" series by Storaro & De Sisti• system consists entirely of iGuzzini LED The outer façades, on the other hand, architectural lights and is controlled by with their symbolic doors that are a DALI management system. It all starts opened or closed to indicate a time here, at the centre of the world, in the of peace or war, follow the light central area inside the quadrifons arch... sequence of daytime with cold or warm With the dawn of time. tones depending on whether they face A bright shade of orange appears as East/West or South/North. Year 2018 \ Lighting concept Vittorio Storaro, Francesca Storaro \ Lighting design Francesca if from the earth itself and moves up the The first white/warm tone cycle imitates Storaro \ Rhinoceros At Saepta installation inner walls of the arches, symbolising the the movement of the sun towards Raffaele Curi \ Photos Francesca Storaro
Vittorio Storaro
In 1960 he graduated in Cinematography at the Experimental Centre of Cinematography. He received 4 Honoris Causa degrees from the Universities of Lodz, Urbino, New York and Palermo and 4 Accademico Honoris Causa degrees from the Art Academies of Macerata, Brera, Frosinone and Rome. He has made 60 international films with directors such as Bernardo Bertolucci, Francis Ford Coppola, Warren Beatty, Carlos Saura and Woody Allen. He has written a first trilogy of books “Writing with Light; Colours; Elements”, and then a second, entitled: Le muses, I visionaries, I prophets. He used the ENR system created by Technicolor in Rome in all his films from 1980 to 2010. He created the Vs collection colour gels for Rosco. He applies his studies in Philosophy, Physiology, Light and Colour Drama to the psychological content of his films. With his daughter Francesca he works on permanent lighting designs for architecture as well as creating a new series of LED lighting The Muses of Light produced by De Sisti Lighting. He has received numerous international awards including three Oscars from the Academy in Los Angeles, for the films Apocalypse Now by Francis Coppola, Reds by Warren Beatty and The Last Emperor by Bernardo Bertolucci. He taught Writing with Light at the Accademia dell’Immagine in Aquila from 1995 to 2004. He gives seminars at Academies, Institutes and Universities all over the world. His aspiration is for copyright status to be legally recognised for film makers all around the world.
Francesca Storaro
In 1996 she graduated at the faculty of Architecture in Rome, with full marks. She has been enrolled in the Register of Architects in Rome since 1998. She completed an advanced masters course in Illumination Science at the Faculty of Mathematical, Physical and Natural Sciences in the University of Florence on May 9, 2000. Since 2007 she has been a lecturer at the Academy of Light (Accademia della Luce) . Since 2007 she has been a member of the AILD (Italian Association of Lighting Designers), PLDA (Professional Lighting Designer Association) and IALD (International Association of Lighting Designers). In March 2009 she was awarded a teaching post for the FSE 2nd level masters course for architectural and artistic lighting engineers at the Faculty of Architecture, Venice. In 2009, the international architectural lighting magazine Mondo Arc, on the occasion of its 50th issue, included Francesca Storaro’s firm in the top 50 Lighting Design studios in the world. In August 2015 she was awarded CLD (Certified Lighting Designer) accreditation, the first international, evidence-based certification for professional lighting designers. Her projects have been discussed on television and radio and in major worldwide Lighting Design books and magazines in Europe, India, Turkey and China. Her main projects in Italy include: Piazza del Campidoglio in Rome, Palazzo D’Arnolfo in San Giovanni (Ar), Correggio’s Domes (Cathedral and Church of St John) in Parma, Angiolo Mazzoni’s Former Post Office in Sabaudia (LT), Marcellus Exhibition in the Augustus Room, National Roman Museum in Rome, Basilica of San Bernardino in Aquila, Great Hall of the Cuirassiers in the Quirinale Palace in Rome, the Imperial Fora and the Arch of Janus in Rome. International projects: Four C Building in Beijing, UBPA Pavilion for the Shanghai Expo 2010 in China, Piazza Sant’Antonio, Visconti Castle and Madonna del Sasso Sanctuary in Locarno, Switzerland.
70 Arch of Janus
02 71 Projects
Presentation of the design project by Sauerbruch Hutton Architekten for the M9 Museum.
72 "A society grows great when old men plant trees whose shade they know they will never sit in". Greek proverb
16 • International Architecture Exhibition Venice \ Italy
The sixteenth edition of the Venice wind, gravity in ways that reveal with we have the Seismic Crater and the Biennale of Architecture was curated by the mysteries of the world. town of Camerino in the area of Central architects Yvonne Farrell and Shelley All of these resources are free.” Italy hit by the 2016 earthquake. McNamara of Grafton Architects, who This shared intent is at the heart The aim is to help define the opportunities chose “FREESPACE” as the guiding of iGuzzini’s technical sponsorship available through architecture to these theme. The concept illustrates the idea of two installations in the Arsenale territories and to outline a future vision of “free and spatial gifts” mentioned and its collaboration with the Italian, for the country as a whole. The pavilion in their Manifesto of June 2017. Irish and Mexican Pavilions. is divided into two areas. On display Several passages in the Manifesto are The most exciting – and most familiar – in the first section are eight large particularly in tune with the iGuzzini collaboration was with Arcipelago Italia, photography books on eight national vision of “Social innovation through the exhibition curated by Mario Cucinella itineraries. The second section presents Lighting”: “FREESPACE encourages in the Italian Pavilion at the Arsenale. five wooden tables featuring project reviewing ways of thinking, new ways Arcipelago Italia. Projects for the Future proposals for possible future outlooks. of seeing the world, of inventing of The Country's Interior Territories This design involved a highly creative solutions where architecture provides is a reflection on themes of current use of iPlan Easy luminaires positioned for the well-being and dignity of each interest. These include the outskirts of beneath the large round cedar table at citizen of this fragile planet [...] We see cities, abandoned areas, railway the centre of the hall. Thus, the lighting the earth as Client. This brings with it yards, mobility and above all, the reinforces the idea of buoyancy, as the long-lasting responsibilities. Architecture aftermath of the earthquake. table looks as if it were floating. is the play of light, sun, shade, moon, air, Among the five strategic areas dealt Our involvement in the Irish Pavilion
02 73 Projects 2018 – Venice \ Italy
saw us working on a space that “Echoes of a Land” exhibition curated by at the different physical aspects, the investigated the potential of the Gabriela Etchegaray presents a way of behavioural rhythms and the design marketplace as a “free space” in rural creating architecture that is an aesthetic traditions that have moulded these Irish towns. Once the economic and portrayal of the land of Mexico. A vision in oft-neglected aspects in the mega- social heart of rural Ireland, market towns which nature is extremely powerful. Nature development of the United Arab have undergone significant changes. dictates the destiny of Mexicans, giving Emirates. The space was lit using Palco An economy that is increasingly global character and meaning to social, political mains-powered spotlights. iGuzzini and online, technological developments and financial structures, but also shaping provided the Palco spotlights for the and the pervasive use of the car have all actions, from the most ordinary to the installation by Sauerbruch Hutton contributed to the marketplace losing most complex. The murals exhibited in Architekten, presented by the firm as its former status. Free Market brings Echoes of Land provide examples the design project for the M9 Museum together observations on the long of a vulnerable and conflicting reality, in Mestre, which returns to the city a history and the distinctive features of in a country that has to find solutions: military area to which the public has these spaces and puts forward possible in poverty and in education, as well as not had access for decades. Platea Pro solutions for reinventing them as venues in the know-how and transgressions spotlights illuminated the installation for interaction and community life. of quality architecture. by Niall McLaughlin Architects, creating This Pavilion, curated by Miriam The lighting for this space used spotlights uniform lighting for the six large-scale Delaney, Jo Anne Butler, Laurence from the Palco series, both in the mains models positioned on a rotating table. Lord, Tara Kennedy, Orla Murphy and the low-voltage track versions. The RGBW spotlights were calibrated and Jeffrey Bolhuis, used several Lifescapes Beyond Bigness is the and adjusted to recreate the variations types of luminaires: Front Light and exhibition in the United Arab Emirates in intensity and colour temperature of iPro spotlights, Laser Blade recessed Pavilion curated by Khaled Alawadi. natural daylight, from dawn to dusk. luminaires and the Underscore 15 lines The aim of the exhibition is to explore The variation in angle was achieved of light. The Mexico Pavilion with the the features of landscapes. It also looks by the movement of the table•
“The Exhibition is designed to reveal the qualities of the Corderie and of the Central Pavilion. The heroic dimension of the Corderie with its repeated brick structure and its moody light contrasts with the luminous quality of the zenithal light in the Central Pavilion.” Yvonne Farrel e Shelley McNamara
On the right-hand page, the Mexico Pavilion.
74 16. International Architecture Exhibition
02 75 Projects 2018 – Venice \ Italy
“We believe that the practice of architecture is about contributing, engaging and refreshing the continuity of architectural culture. We need to tend to culture, like tending to a garden.” Yvonne Farrel e Shelley McNamara
Top left, the Irish Pavilion; right, the United Arab Emirates Pavilion; right-hand page, installation by Niall McLaughlin Architects for FreeSpace.
7676 16. International Architecture Exhibition
02 77 Projects
A new museum designed by an acclaimed architect to revitalise and draw tourists to Dundee’s waterfront.
The new Victoria & Albert Museum Dundee \ Scotland, United Kingdom
The building designed by Kengo Kuma looks out over the River Tay, which flows through Dundee.
78 Since mid September, the magnificent designed to suit similar spaces of Scotland which originally inspired space created by Japanese architect all over the world; educational spaces, Kuma. The original proposal by Arup Kengo Kuma for the Scottish satellite an auditorium, offices and shops. included walls of up to 600 mm thick of London's Victoria & Albert Museum This new building, likened by some to with enormous steel rods inside them. has been open to the public. a two decks of playing cards turned on But after conducting tests using 3D According to current architectural their sides and then joined together, was models, the design team managed opinion, a new museum usually meets a technological challenge because of its to cut the wall thickness in half and two demands. On one hand, it should use of reinforced concrete. The external significantly reduce the amount of act as a kind of powerful talisman for cement walls measuring 18 m in height reinforcement needed. This was the place in which it is built, by attracting slope outwards at a series of unlikely necessary not only to save weight and visitors and investments, angles, and each bears a weight of three concrete, but also because the facades and strengthening the image of the tonnes from the 2,400 prefabricated are dotted with around sixty windows. host city. For this, it needs a design concrete elements placed on top of If the external wall had been too thick, that stand out, backed by a narrative them. Designed by acclaimed Japanese too little natural light would have made of how it was inspired by the location architect Kengo Kuma, this extraordinary its way into the spaces of the interior itself. On the other hand, it should have building looks like a ship about to set sail gallery. According to Lesley Knox, certain functional aspects in line with into the Firth of Tay, on whose shore chairman of the board of V&A Dundee, a specific model: a large foyer with it stands. However, different perspectives who is seeking to make Dundee a tourist a café; a large, flexible open space that suggest alternative images, like sails, destination, it is “one of Europe’s most can be used for temporary exhibitions, a shell or the typical rock formations interesting buildings”.
02 79 Projects 2018 – Dundee \ Scotland, United Kingdom
The V&A Dundee hosts a selection Thanks to the types of luminaires of permanent exhibitions dedicated employed and their smart management to Scottish design and a calendar of different combinations of general Year 2018 \ Customer Dundee City Council \ temporary events with international and accent lighting can be produced Architectural design Kengo Kuma & Associates \ Executive architect James F. breadth, including initiatives dedicated to suit different display requirements. Stephen Architects \ Lighting design Arup (Natural to emerging design talents. The Scottish iGuzzini also created a number and architectural lighting, Lighting for the permanent Design Galleries exhibit 300 artefacts of bespoke Palco luminaires with exhibition) Studio ZNA (Mostra “Ocean Liners: speed and style”) Arup from the collections of the V&A and from dual dimmer feature, as the client \ Structural engineering \ M & E Consulting Arup \ Photos © Hufton + Crow private collections. To light these areas, had asked for a luminaire that could Arup designed a solution that combines be dimmed directly while being more than 600 Palco spotlights with aimed, but which could then be IN30 luminaires and the Underscore controlled remotely, including by light lines. All the luminaires have DALI smartphone. The centrepiece of the technology and can be controlled via Scottish Design Galleries, to which Bluetooth or smartphone. This concept entry is free of charge, is the of applying user-friendly technology is restoration of the Ingram Street based on the example also designed by Tea Rooms designed by Charles
Arup for the Royal Academy in London. Rennie Mackintosh•
The customer asked for a luminaire that could be dimmed directly while being aimed, but which could then be controlled remotely, including by smartphone.
Scottish Design Galleries.
80 Victoria & Albert Museum
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Summer Exhibition 2018, Sackler Galleries.
82 The project for the Royal Academy was the first example of iGuzzini’s Intelligence of Light project to be implemented in the museum sector.
Royal Academy of Arts London \ UK
The Royal Academy of Arts was founded the absence of chromatic aberrations, an in 1768 by King George III to promote the aspect that was particularly important for art of design through education a museum space. Another key feature and exhibition. Based in Burlington is that individual Palco components can House, in the heart of the English capital, be replaced (such as the adapter, drive, the institution continues accessories, Bluetooth module and to be one of the world’s leading visual LED chip). This facilitates maintenance arts centres. In 2016, the Academy and the continuous upgrading of the commissioned the engineering studio technology used in the luminaires, Arup to design a refurbishment project ensuring the system is fully future- that would save energy and guarantee proofed. Palco luminaires with Flood installation versatility, while also reducing optics and elliptical lenses are used for maintenance to a minimum. the general and accent illumination The new lighting system was unveiled on of the exhibition itinerary and large-scale 23 September 2017 for the Jasper Johns works as they light surfaces evenly. exhibition, Something Resembling Truth. On the other hand, Palco spotlights with This was the first comprehensive survey Spot 10° and SuperSpot 5° optics were of the American artist’s work to be held adopted for the accent lighting on small in the UK in forty years. The project and medium-sized works. included the installation of 1500 LED The Palco Spot 10° optic spotlights Palco iGuzzini spotlights with diameters are fitted with optical and photometric of 122 mm and 142 mm and patented accessories specifically designed for Opti Beam Lens technology. Arup chose the Royal Academy to ensure complete the luminaire for its uniform beam and customer satisfaction.
02 83 Projects 2017 – London \ UK
The project involved future-proofing Exhibition Charles I: King and Collector (27 January to 15 April 2018). for the upgrade of individual products Summer Exhibition 2018 - Collection Gallery or the entire system. at Burlington Gardens.
These include a narrow beam that certain areas of Burlington House, and a sense of aesthetic consistency. is particularly soft around the edges, a high colour rendering index (CRI 97) They have also been installed with used to light medium-sized paintings and even for critical tones like red (R9>90). adapters on pre-existing tracks ensure total visual comfort. Together, these features enhance to facilitate frequent scene changes, Palco Super Spot 5° spotlights the colours and nuances of the works especially in the temporary exhibition produce light cones that are extremely on display and improve the conservation areas. The system is simple enough concentrated and have clean borders conditions in the Academy by zeroing to manage via Bluetooth app, which with no double ring effect. Each of UV and IR rays emissions. The LEDs can be used, say, for dimmer control, these spotlights illuminates the smaller used also have a Mac Adam 2 index that a fact that is much appreciated. paintings with surgical precision and guarantees long-term colour uniformity It also features “beacon” technology without catching the other works around between the various luminaires installed. that sends information directly them. The selected luminaires have a All the products have been specially to visitors’ electronic devices colour temperature of 2700 K that blends painted to blend with the colours when they are standing within with the halogen lamps still present in of the exhibition halls and create the area covered by the beacon•
84 Royal Academy of Arts
Palco spotlights provide uniform surface lighting and accent lighting for small and medium-sized works of art.
Year 2017 \ Customer Royal Academy of Arts \ Lighting design ARUP \ Photos James Newton Royal Academy - The Collection Gallery.
02 85 Projects
The great Boudhanath Stupa lights up the Kathmandu landscape once again after the 2015 earthquake.
Boudhanath Stupa Kathmandu \ Nepal
86 02 87 Projects 2018 – Kathmandu \ Nepal
The great Boudhanath Stupa lights up As in all Tibetan mandalas, four Dhyāna- light pollution. This was achieved with the Kathmandu landscape once again Buddhas (constructions with Buddha MaxiWoody spotlights installed on after the 2015 earthquake Boudhanath eyes) mark the four cardinal points. The poles on all four sides of the building. is one of the main stupas in Nepal fifth Buddha, Vairocana, is placed in the The spotlights’ 12° optics fitted with and indeed the whole of South Asia centre, on the dome’s white hemisphere. cylindrical anti-glare screens are and, since 1979, has been a UN World All the numbers found in this stupa aimed at different heights so that Heritage Site. There are several legends have symbolic significance. Each they illuminate the dome and the surrounding its origins, but the first Buddha is the embodiment of one of square tower topped by a 13-step historical mention of the Boudha stupa the five elements – earth, water, fire, pyramid symbolising the ‘stairway’ date back to the fifth century AD. air and either. The nine levels represent to enlightenment. Lastly, the golden In April 2015, a 7.8 magnitude the mythical Mount Meru, the centre canopy representing air and the spire earthquake hit Nepal, destroying the of the cosmos in Hindu and Buddhist representing ether are lit at a colour stupa. Following the appeal launched mythology. The thirteen rings from the temperature of 3000 K. All present, by guru Gong Qiao to rebuild it, the base to the pinnacle symbolise the path worshippers and tourists alike, were disciples of the Guru Banma to enlightenment, or “Bodhi”, the term deeply moved when the new system
Charity Foundation took on the task which gives the stupa its name. was switched on for the first time• of providing lighting for the complex. At the bottom, the two circular plinths From above, Boudhanath looks like supporting the hemisphere of the an enormous mandala, the geometric stupa symbolise water. The goal of figure containing numerous other the project was to provide uniform geometric figures that is one of the lighting so the building would stand Year 2018 \ Customer Guru Banma Charity main symbols of Vedic culture. out on the landscape without creating Foundation Limited \ Photos Wei Shen
The goal of the project was to provide uniform lighting so the building would stand out on the landscape without creating light pollution.
88 Boudhanath Stupa
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Toyo Ito’s designs for one of Japan’s oldest temples.
Yakushiji Temple. Jikido Hall Nara \ Japan
Yakushiji temple was built by Emperor Shoji installed Laser Blade recessed Tenmu at the end of the seventh century luminaires above these panels, as an offering for the recovery with light cones emerging from of his wife. It is one of Japan’s oldest the openings between the clouds. temples and has a strictly symmetrical They are camouflaged perfectly and layout, with the main hall standing their minimalist dimensions give in the centre flanked by two pagodas. the impression of sunlight filtering
The main hall was rebuilt in the 1970s through the clouds• after being destroyed by fire, and houses a Yakushi trinity, a masterpiece of Japanese Buddhist art. The Japanese architect Toyo Ito was tasked with redesigning the interior of the temple’s Jikido dining hall and work was carried out between October 2013 and May 2017. Toyo Ito chose to install ceiling panels inspired by the illustration of the Pure Land of Amida in the middle of the room, representing clouds moving in the sky. Year 2017 \ Customer Yakushiji Temple \ The bright gold-dip anodised panels Reconstruction project Japan Cultural Heritage Consultancy \ Interior Design Toyo Ito were laser-cut then fitted together & Associates, Architects \ Lighting Lightdesign seamlessly. Lighting designer Hiroyasu Inc - Hiroyasu Shoji \ Photos Toshio Kaneko
90 02 91 Projects
First ever large-scale exhibition of Western art opened in Iran with over fifty works lent by the Louvre.
The Louvre Museum in Tehran Tehran \ Iran
92 On 5 March 2018, the National One of the masterpieces on display was March to 22 July 2018, under the Museum of Iran opened the first ever an ancient Iranian bas-relief depicting title of “The Rose Garden: Masterpieces large-scale exhibition by a major Mithras sacrificing a bull, which dates of Persian Art from the 19th Century”. Western museum in the country with back to the period between the second The lighting for the exhibition at the over fifty artworks lent by the Louvre. and fourth century AD. Unearthed in National Museum of Iran was centred This forty-day exhibition (from 5 March what is now known as Libya, the work around Palco spotlights, which satisfied to 30 July 2018) was organised to also portrays the sun and moon, the need to illuminate a diverse range of celebrate the Iranian museum’s eightieth and the twelve signs of the Zodiac, exhibits with perfect effects thanks to a anniversary, and the collection of works as it was designed to be a symbol wide variety of optics and accessories• on display included a 2,400-year-old of both the rebirth of nature and the Egyptian sphinx, a bust of Roman cyclical nature of time. emperor Marcus Aurelius, drawings To further emphasise the close bond by Rembrandt and Delacroix and a between the Louvre and Tehran, number of Greek vases and bas-reliefs. an exhibition of a vast collection The exhibition was a huge success of artefacts from the Qajar dynasty Year 2018 \ Customer Museo Nazionale dell’Iran \ and was visited by over 250,000 people (1785-1925) was simultaneously Lighting designer Horshaar Design \ from all over the country. displayed at Louvre-Lens from 28 Photos Masoud Ghadiri Far
02 93 Projects
Seen from above the atrium. The sculpture is by Nicholas Hlobo.
94 Thomas Heatherwick’s designs win the Architizer A+ Jury Award in the Museum category.
The Zeitz Museum of Contemporary Art Africa - Zeitz MOCAA Cape Town \ South Africa
The Zeitz Museum of Contemporary from the centre of the building, Art Africa (Zeitz MOCAA) is a this area provides access to the contemporary art museum housed floors organised around it. in what was formerly a distinctive Implementing this concept was grain storage silo built on the Victoria technically challenging. The roundness & Alfred Waterfront in the 1920s. of the space was reduced and the After it was decommissioned in the insides of the concrete tubes were lined 1990s, in 2015 the owners considered with sleeves of reinforced concrete. adapting the building into a site The cut edges were then polished for a major cultural institution. to create a mirrored finish that contrasts This coincided with the Zeitz with the building’s rough concrete Foundation’s search for a permanent aggregate. During the day, natural light home for its collection of contemporary floods into the atrium from the top art from Africa and its diaspora. of the tubes through facets of glass Year 2017 \ Customer Zeitz Foundation \ The greatest challenge was how that recall El Loko’s artwork “Cosmic Developer V&A Waterfront Holdings (Pty) Ltd \ to convert these immense concrete Alphabet”. MaxiWoody spotlights are Contractor WBHO \ Heritage Consultant tubes into spaces suitable for exhibiting installed inside the silos to emphasise Nicolas Baumann \ Architectural design Thomas art while retaining the building’s the texture of the material, and Heatherwick \ Local architects Van der Merwe Miszewski Architects (VDMMA), Jacobs Parkers industrial character. The answer was especially the height and remarkable Architects, Rick Brown + Associates \ Engineering to carve out an atrium. Literally scooped size of the tubes at night• Arup, Sutherland \ Photos Wianélle Photography
02 95 Projects 2017 – Cape Town \ South Africa
“When we design a new place, light is a fundamental element that brings life and soul. Our project in Cape Town, Zeitz MOCAA, was formerly an industrial silo used to store grain. When transforming it into its new use as a museum, we carved an atrium that revealed the inside of the tubes for the first time. The lighting is essential to breathing life into these tubular arteries by adding warmth, depth and atmosphere to the dramatic new space.” Thomas Heatherwick
The panes at the top of the cylinders show letters from El Loko’s artwork “Cosmic Alphabet”.
96 Zeitz MOCAA
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Acropolis Museum, Athens, Greece.
98 Vision In the paradigm shift that has affected the role of museums, passed from collecting and conservating to be experience driven, ubiquitous digital technologies play a significant role for the creation of more dynamic museums.
Future Fit Museums Create a Better Future Florence Lam
Art, culture and heritage are vital to the operate outside of standard museum poverty, protect the planet and ensure identity and enrichment of individuals, spaces, projecting its work outdoors, prosperity for all. Among these, culture community and society. They play from the V&A Exhibition Road in plays an explicit part. For the first an important role in promoting social London to the recently opened MORI time, museums and other cultural and economic goals through local Building Digital Art Museum in Tokyo. organisations have been assigned regeneration, attracting tourists, Since the turn of the millennium, there global responsibility for sustainable developing talent and innovation, has been an increased manifestation development. Specifically, SDG target improving health and wellbeing, of the visions and values of museums, 11.4 encourages everyone to safeguard and contributing to the delivery in the shaping of urban spaces, the world’s cultural and natural heritage. of public services. communities and culture. This trend It is an individual’s responsibility, A museum is an institution comprised is also spreading from the West to the as humans and professionals, of a collection of objects with artistic, East. Museums now need to cater to dedicate our time, energy, and cultural, historical and scientific for increasingly disparate visitor groups, creativity to making the SDGs a reality. importance. In the broadest sense, they from an ageing population and the With light being vital in the include art galleries, historic sites and FAMGA generation, as well as an human dimension of sustainability, other cultural facilities for exhibitions. expanding global middle class that will from securing safety and Over the last few decades, there is a give rise to a mass cultural boom. resilience, enabling equality paradigm shift in the role of museums, To be fit for the future and stay relevant, to facilitating social interaction from simply collecting and conserving museums are taking on new levels and achieving prosperity, embracing to becoming experience driven. of responsibility and outreach efforts daylight and adopting an integrated Amidst this shift, the expansion of to link cultural, economic, social and daylight/ electric lighting approach ubiquitous digital technologies political aspects of our global society. has been pivotal in shaping sustainable is playing a significant part in creating The UN Sustainable Development museums since the turn of the more dynamic museums1. Goals2 (SDGs) are a universally last century. The use of daylight Some of these even experiments to adopted set of challenges to end is a ‘social solution’, not just an
02 99 Vision
A clever balance of natural and electric light can have dramatic effects and can ensure the right degree of nuance for important exhibitions.
environmental or economic one. lighting upgrade at the Royal Academy The Acropolis in Athens is a great A skilful balance of daylight and of Arts is a good example of this. example where target 4.7 stands electric light can create drama out, offering valuable opportunities without sacrificing the sensitivity In the future, how will the role for archaeological and history required in lighting valuable exhibits. of museums evolve in the context education outside of the classroom: The variability of daylight can also of our ever-changing social landscape? “appreciation of cultural diversity be an asset. Not only does it subtly Will museums continue to evolve and of culture’s contribution enhance the ambience of gallery from capturing cultures of the past to sustainable development.” interiors during the day, providing to co-creating the present, from elitism a visual link to the outside world, to a participatory co-curation approach, The Acropolis Museum is built generous daylight flow in orientation from private spaces to public spaces? on an archaeological site in the centre spaces between galleries also provides Where can museums make a difference of the residential Mariyanni district visitors with a chance to relax in tomorrow’s world? in Athens, at the foot of the Acropolis and rest their eyes before moving on. A glimpse of the future can be seen, Hill. It was designed to accommodate New lighting and digital technologies through the new lens of the SDGs, the architectural sculptures from the leading to the convergence from a number of international Parthenon, as well as ancient artefacts of light, media and connectivity world-class museums completed from the Archaic period to the Roman are also opening up a realm in the 21st century. Empire. The building concept was of fresh opportunities supporting experience-driven, ahead of its time the dynamic nature of future museums. SDG 4 (quality education) in prioritising visitors’ interaction, The recent Bluetooth-enabled LED is an important one for museums. not only with the collection inside
100 Florence Lam
Acropolis Museum, Athens, Greece.
and the archaeological ruins underneath, but the visual connection made with the cityscape of the past to the present. Designing from the inside out, daylight adds a fourth dimension to the ancient collection as well as to the architecture.
Choreographing the play of light and shadow with both daylight and electric light, the form of each exhibit is beautifully revealed, shaping a lasting memorable experience for its visitors. The ambience throughout the museum is filled with daylight, re-creating a sense of the outdoor conditions in which its sculptures were originally viewed. As dusk falls, the dramatic, punctual, and carefully manipulated electric lighting becomes a key narrative element of the set. It gives the ancient
02 101 Vision
A number of high powered spotlights are installed between circular skylights beneath the living roof, joining forces with the natural daylight to provide the right amount of light for bioscience exhibitions.
collection a distinct presence at night dome and a series of winding ramps of culture making. and transforms the museum’s exterior which lead visitors through various Tai Kwun is Hong Kong’s largest into a giant ‘display case of jewels’. rainforest habitats. The aquarium ever historic building revitalisation tanks contain some of the world’s project, transforming the city’s former The California Academy of Sciences rarest coral reefs. High power Central Police Station compound, in San Francisco goes further and projectors are installed underneath with its 170 years of history, into has a considerable role to play in SDG the living roof between skylights a new arts and cultural centre. 15 (Life on land) and SDG 14 (Life to supplement daylight in delivering Standing in sharp contrast to the below water). As the largest double the light dosage required by the surrounding commercial towers, LEED platinum-rated building and life science exhibits. At night, skylights Tai Kwun provides a rare ‘courtyard’ the greenest museum in the world, serve as glowing beacons for the in the middle of one of the densest the Academy is a masterpiece San Francisco skyline and the rooftop cities in the world. This allows of sustainable design. Its sculptural viewing deck. the public to enjoy a bit of scenery, Living Roof serves as a habitat for tranquillity and the city’s heritage. millions of plants and variety of birds. Museums such as Tai Kwun The mission of this new Centre (the Centre for Heritage and Arts) addresses SDG target 8.2 in terms Porthole skylights are created built under a vision of revitalisation are of diversification of the economy, in the roof structure to permeate not about refurbishing or modernising including stimulating the creative daylight over the rainforest and the a piece of industrial or cultural heritage, industries, something museums aquarium exhibits. The rainforest exhibit but the creation of a new purpose have proven to be good at. Inspiring features a 90-foot diameter glazed for urban structures that are capable creativity and innovation, the lighting
102 Florence Lam
Left, California Academy of Sciences, San Francisco, USA. On this page, Tai Kwun, Hong Kong.
for Tai Kwun plays a role in supporting membrane to filter the incoming design gallery, but it maintains a great target 8.3, with a key principle daylight and create a serene ambient relationship with the environment and set to intrinsically integrate with light for the exhibitions within, keeping shipbuilding history of the city. the architecture in weaving together daylight levels to a controlled range and The vision for this project is to create the various forms and spaces. addressing art conservation concerns. ‘a living room for the city’ on the At night, electric lighting above the Dundee waterfront. This plays an The lighting design at Tai Kwun membrane takes over, maintaining the important role in SDG target 11.7, helped to merge the old with the new ceiling glow in place of daylight. which aims to provide universally in unique and subtle ways. For the JC accessible, safe, inclusive, green and Contemporary extension, the daylight At th e urban planning scale, the arrival public spaces. Museums and others in design makes full use of the aluminium of new museums is often anticipated the cultural sector often provide shared bricks to express the texture of the as a catalyst for regeneration, pivotal social spaces for the public, a role that façade. On the roof, the aluminium in turning neglected waterfront is vital for a healthy social landscape. ‘fifth’ façade takes on a further neighbourhoods into tourist destination functional form, morphing into a solar overnight and having the ‘Bilbao effect’ A key aspect of the lighting strategy shading grid designed specifically in promoting economic growth. for this museum is to consider for the site to protect the top-floor sustainability and reduce reliance gallery from direct sunlight. There is no different for the newly on electric lighting in the public opened V&A Museum of Design spaces by providing daylight to Inside the gallery space, the ceiling in Scotland. It may be a completely spaces without introducing glare is characterised by a stretched diffuse new building and Scotland’s first from direct sunlight.
02 103 Vision
Victoria & Albert Museum, Dundee, Scotland.
The façade openings are formed to where the light quality of the original of our global society are merged. ‘frame’ views out to the water and the space has been reproduced using For which light plays a prominent city of Dundee, providing good levels original glass fittings and concealed role in achieving a delicate balance of daylight at the edges of the space. high quality LED light sources. between individual fulfilment, Deeper into the space, daylight is After sunset, an array of small windows preservation, cost efficiency, provided by a series of large diameter built into the linear facade, allow and sustainability, allowing sola-tubes, which sit just above the interior lighting to glow out, museums to serve as beacons the perforated ceiling delivering giving these windows the appearance for the Sustainable Development Goals, high levels of daylight to the restaurant of small lanterns that reflect in the water and reinforcing the role of museums and the main hall. around the building. Narrow beam in creating a better tomorrow• The lighting in the galleries is sensitively uplights mounted in the reflecting pools integrated to provide comfortably lit that surround the building ‘graze’ Notes: spaces that enhance the architecture. the exterior revealing the complex 1 Museums in the Digital Age, Arup, October 2013 Track mounted projectors, equipped forms and unique texture of the façade, 2 https://www.un.org/sustainabledevelopment/ with high colour rendering LED, which represents a Scottish rock-face. are carefully aimed and focussed to model and reveal the treasures As museums increasingly assume of the Scottish Design Galleries. new levels of responsibility to meet The Charles Rennie Mackintosh’s increased expectations from Oak Room (CRMOR) is designed the individual and society, as a truly immersive space in the centre they will be a fulcrum where cultural, All the materials have been installed of the Scottish Design Galleries, economic, social and political aspects from Florence Lam.
104 Florence Lam
The openings on the facade were created to “frame” the views over the water and the city of Dundee, while bringing good levels of natural daylight to the spaces inside.
Florence Lam
Florence is an Arup Fellow and leads Arup’s global lighting design practice. Her particular expertise in daylight, visual perception and holistic lighting approach play a key role in many of her projects, from museums to airports, bridges to city precincts all over the world. She was responsible for delivering a range of lighting projects for the London Olympic Games 2012. Florence has a strong interest in visual light art as a lighting designer and has collaborated with a number of artists and architects on public realm projects including Anish Kapoor’s ArcelorMittal Orbit in London and the World’s Largest Timepiece along Bahnhofstrasse in Zurich. Her museum projects of significance include the V&A Design Museum Dundee, the British Museum World Conservation Centre and The Hepworth in the UK; Tai Kwun Centre of Heritage and Arts in Hong Kong and Dongdaemun World Design Park in Seoul; The Acropolis in Athens, California Academy of Sciences in San Francisco, the Nasher Sculpture Center in Dallas and the Royal Ontario Museum in Toronto.
Florence was named the Lighting Designer of the Year at the UK Lighting Design Awards in 2013. She is also the recipient of the Lighting Award from the Society of Light and Lighting in 2014.
02 105 Projects
View from above the Grand Foyer.
106 The new Palais de Justice designed by RPBW serves several functions under one roof and is the starting point for the regeneration of the Porte de Clichy area.
The Palais de Justice Paris \ France
Ever since Medieval times, justice Bartignolles district between Montmartre in Paris has been associated with and La Défense. Designed by Renzo the building that surrounds the Piano, the new building and its Sainte-Chapelle chapel on the Île de la ecological approach to architecture Cité. Over the centuries, however, the is part of the Grand Paris project. building’s responsibilities have outgrown After winning the competition the space available and many offices for the new Palais de Justice, Renzo have been moved to different locations Piano Building Workshop put forward a around the city. In 2010, a competition different solution to the proposed brief of was launched for the design of “a new the French government which specified courthouse in Paris”, in the Porte de the need for two separate buildings: one Clichy district. This new complex would for public purposes, such as courtrooms, bring together courtrooms and judicial and the second for offices. offices in a single place, while leaving The key idea in the Renzo Piano Building prestigious roles such as the Court of Workshop design was to combine these Assizes, the Court of Appeal and the spaces in a large, single tower that Court of Cassation at the historic would, on account of its size and status, Palais de Justice on the Île de la Cité. become a distinctive landmark Work began in May 2015 on the and starting point for the regeneration new Palais de Justice in the Clichy- of the Porte de Clichy area.
02 107 Projects 2018 – Paris \ France
The skyscraper is located on an above a subway grating. Similarly, the L-shaped lot of land between the skylights let in light and, on occasions, city ring road and Martin Luther King air to evacuate smoke and fumes. park. It stands 160 metres high, has In the evening the foyer is lit by pendant approximately 110,000 sq. m of floor luminaires specifically designed for space and an access capacity of 8,800 this project, which deliver a remarkable people a day. The tower consists of amount of light to this large space. a mainly horizontal pedestal base rising These luminaires feature two die-cast from which are three parallelepipeds aluminium optical compartments with that sit on top of each other and a plastic screen that diffuses light both decrease in size as the structure rises, up and down to minimise glare. thereby creating a stepped profile. The compartments are held together The facades are all entirely glazed. by three rigid rods that are also fitted Entry to the new Palais de Justice with a plastic disc featuring a laser- is via a roofed walkway which begins engraved design which evenly diffuses from the plaza where the French flag the light created by an Underscore can be seen flying and leads to the Ledstrip located in the centre. public lobby where visitors are welcomed The spectacular design of these and shown where to go. distinctive luminaires thus stands The 28-metre high Grand Foyer is out by day and by night. flooded with natural light which streams The sensation of a space filled with in through the glazed facade and light is enhanced by the choice the skylights which Piano calls the of interior fittings, which are all made “Marilyins”. The reference is the iconic of light-coloured wood or feature neutral scene from Billy Wilder’s film “The Seven tones. The hall provides access to Year Itch”, in which Marilyn Monroe’s all the building’s public spaces, which dress blows upwards as she stands include a conference room, a café,
Entry to the new Palais de Justice is via a roofed walkway which begins from the plaza where the French flag can be seen flying and leads to the public lobby where visitors are welcomed and shown where to go.
One of the courtrooms used for hearings.
108 The Palais de Justice
02 109 Projects 2018 – Paris \ France
public information services and ninety for ensuring the safety of all paths. courtrooms. Fitted with parquet flooring The building’s overall energy and vaporised beech wood wall panels, performance levels comply with the nearly all the courtrooms benefit from targets set out in the Paris Climate Plan, natural light during the day thanks as well as the requirements stipulated to the glass facades. The concept in the 2012 thermal standards. HQE of uniform, diffused, pervasive light certification (the French advanced is also achieved in the courtrooms environmental quality standard) is also by the merging of the light cones underway. Energy is produced in the from Frontlight spotlights and Reflex tower by horizontal and vertical recessed luminaires. solar panels that cover the east The outdoor spaces, located on different and west facades and give the tower levels, have also been carefully designed. its own special light vibration• On the eighth floor there is a 7,000 sq. m garden terrace with a staff restaurant. This area has been specially designed for people who work in the building to take a break, enjoy a walk and meet people. On the nineteenth and twenty- ninth floors are two hanging gardens which also present a harmonious marriage of greenery and architecture. Year 2018 \ Customer Établissement Public du At night, the building’s exterior spaces Palais de Justice de Paris + Bouygues Bâtiment \ Architectural design Renzo Piano Building are lit by MaxiWoody spotlights and Workshop, architects \ Lighting design iWay bollards which are responsible Cosil Peutz \ Photos Michel Denancé
The 28-metre high Grand Foyer is full of natural light that floods in through the facade and the skylights which Piano calls the “Marilyins”.
110 The Palais de Justice
02 111 Projects
Artificial light helps recreate – even at night – that sense of relaxation and congeniality that inhabitants of Dubai can now enjoy out of doors.
The Block – D3 Creek Park Dubai \ UAE
The space with walls equipped for climbing.
112 02 113 Projects 2018 – Dubai \ UAE
Dubai Creek was the first settlement Designed by Desert Ink, the main feature lighting in the park is provided by area in Dubai and today features a canal of the space is the reuse of 800 concrete pole-mounted MultiPro spotlights, connecting the land to the sea that is blocks weighing 30 tonnes each left integrated with other luminaires to meet dotted with small, traditional businesses over from the construction of the canal. the specific requirements of the different which blend in with Dubai’s modern The recycling of materials and objects is areas. Along the paths, Twilight Joburg jetties, cafés and restaurants. The area the theme that guided the entire project. luminaires with elliptical optics offer is part of the Dubai Design District The planks in the street benches safety and comfort without causing development, a global project that and the poles used in the gym and light pollution. The climbing area seeks to offer a creative, open urban parkour circuits come from the original features some very evocative lighting ecosystem to a community of young scaffolding. The metal structure used effects. Here, special sockets have design-oriented creatives. Conceived to build the refreshment area been installed in the recovered blocks as part of the 2021 Dubai Plan, D3 is is reminiscent of industrial warehouses to turn them into climbing walls. founded on Smart City principles and where containers are stored and The Trick 360° light blade luminaires offers a range of services to attract old car tyres have been recycled create a spectacular luminous innovation-focused businesses, such as as fitness equipment. choreography of routes that guide high-speed internet, reception facilities, Desert Ink chose these elements the climbers. Thus, artificial light helps 24/7 access to buildings, free use of because they are easy to uninstall and recreate – even at night – that sense meeting rooms for ten hours a month reuse. The structure is lit by Platea Pro of relaxation and congeniality and other amenities. This development luminaires which provide homogeneous that this new space sets out to offer specifically seeks to promote Dubai general lighting and illuminate the inhabitants of Dubai• as a major international destination for the containers. Great attention to detail design, art and contemporary culture. was placed in the design of the green The Dubai Design District is thus a areas. For example, date palms feature place where people can live, work and alongside Leptadenia, a common have fun. To add to the Creek’s leisure desert plant that does not normally facilities, an urban park called “The grow in the urban contexts of the Gulf. Block” has recently been completed. The plants are so important that they The park offers several children’s are given specific lighting from Woody Year 2018 \ Customer Tamdeen \ playgrounds, an outdoor gym, sports spotlights attached to the trunks of the Architectural design Desert Ink \ facilities, and food and drink outlets. palm trees. The general background Photos James Newton
Designed by Desert Ink, the main feature of the space is the reuse of 800 concrete blocks weighing 30 tonnes each left over from the construction of the canal.
One of the walking routes you can take inside The Block with Burj Khalifa in the background.
114 The Block
02 115 Projects
Terminal 4 opened in 2017 at Changi airport in Singapore, voted by air travellers the world's best airport for the sixth year running in March 2018.
Soft lighting for Changi Airport Singapore \ Singapore
116 02 117 Projects 2018 – Singapore \ Singapore
Changi is Singapore's main airport and ambient lighting, with open spaces, Thus, the airport offers an atmosphere one of the most important in South natural light and unambiguous of well-being at night, too, with no East Asia. In March 2018, air travellers wayfinding featured both inside risk of glare for travellers and soft, voted it the world's best airport for the building and airside. well-diffused comfort. the sixth year running. Terminal 4 was The focal point of the terminal is the The decision to use recessed lamps opened in 2017. It was designed by Central Galleria, a glazed, open space minimises their impact and helps make SAA Architects, one of South East Asia’s separating the airside and the building Changi the comfortable airport that most important architectural groups, structure. The design features an travellers really appreciate• and international design group Benoy. integrated retail concept in which, The goal of the two design firms was once they have gone through to make airport traffic fast, comfortable the security processes, travellers and safe. The theme of nature informed are greeted with double height shop the design of the spaces, forms and fronts which create an exciting patterns in the large, open interior, as atmosphere. The amount of natural seen in the petal-shaped skylights and daylight that enters these spaces ceiling lights, the garden relaxation is extraordinary. iGuzzini provided areas, the tree-lined lounges and green night lighting for much of the terminal: walls. The new terminal is designed check-in, passport control, arrivals hall, to ensure that, however brief, visitors’ baggage claim, gate waiting lounges, transit through the airport is a lasting toilets. Reflex COB Super Comfort experience of Singapore’s charm. recessed lamps are used in all of these Year 2017 \ Customer Changi Airport Group \ The skylights and the indoor garden areas, with two different diameters Contractor Takenaka \ Architectural design are a reminder that Singapore is a – 212 and 144 mm – and a colour SAA Architects – Architect & Design Consortium \ Concept and interior design Benoy Limited \ “City in a Garden”. Benoy’s interior temperature of 3500 K, specially Lighting design Lichtvision + WSP \ Photos Marc design celebrates soft forms and prepared for this project. Tey photography
The amount of natural daylight is extraordinary. At night, artificial lighting originates from luminaires with Super Comfort optics and a special colour of 3500 K.
118 Changi Airport
02 119 Projects
Low-impact lighting for interiors and exteriors alike at “The Retreat”, the new space at the Blue Lagoon.
Lighting the stunning Blue Lagoon Grindavík \ Iceland
120 02 121 Projects 2018 – Grindavík \ Iceland
Some of the products used were chosen because of their Comfort and Super Comfort optics and special Warm Dimming features that allow light intensity to be reduced while simultaneously warming the colour temperature.
In 2018, the stunning Blue Lagoon all the natural beauty of the lagoon, and special Warm Dimming features spa resort opened a new space that while minimising the building's impact that allow light intensity to be reduced welcomes guests looking for relaxation on its surroundings. The layout is based while simultaneously warming the and the benefits of the mineral-rich on an in-depth geomorphological study colour temperature. All this was done geothermal seawater that collects in this of the cracks and fissures that make to create “Human Centric Light”: world-famous UNESCO Global Geopark. up this volcanic landscape and the lighting for the well-being of humans. Over the years, the original Blue Lagoon construction materials were chosen The lighting designer worked closely Spa, the subsequent Silica hotel and to complement the colours and textures with Basalt and Design Group Italia, other extensions of the Blue Lagoon of the landscape. The exposed concrete who formulated the interior solutions. facilities, starting with the first public is treated to create walls with different The result was the incorporation of most bathing facilities in 1987, have been textures and tones that evoke white luminaires into the architecture of the designed by Sigríður Sigþórsdóttir, silica or grey lava. The lighting concept building or into the interiors. One really founding partner of Basalt Architects. developed by Guðjón L. Sigurðsson is important aspect of the mood of the new For the Retreat at Blue Lagoon, on which based on concentrated cones of light Blue Lagoon space is that rooms have construction began in 2014, the architect and an intimate atmosphere. The lighting direct, reserved access to small natural worked with Sigurður Þorsteinsson and levels are carefully controlled and many pools. The atmosphere in the spa area Design Group Italia. The design of the products used were chosen for is intimate, with low general lighting of “The Retreat” seeks to offer guests their Comfort and Super Comfort optics and accent effects in certain areas.
122 Blue Lagoon
The entrance corridor is given the with Laser Blade and Tecnica Pro they project a horizontal line of light highly evocative lighting of a Linealuce spotlights mounted on them that illuminates the seam of minerals Compact RGB luminaire, set to amber- to offer, where necessary, slightly more deposited along the lava rocks, creating red tones that filter through the porous homogeneous lighting, albeit at very the same “whitening” effect at night that material of the walls to create the low levels, and subtle accent touches is seen during the day. In certain transit effect of incandescent lava. The colour to highlight certain interior design details, areas between the interior and exterior temperatures used inside the spa range like vases or paintings. The vertical spaces, Underscore light lines, dimmed between 2400 and 3000 K. surfaces, most of which are in untreated to a minimum, are used, while recessed The same concept of intimate light also concrete, are illuminated from above by Laser Blade InOut luminaires have been informs the hotel's common areas. grazing light from Underscore Grazer mounted on the verandas. The zigzag corridor, which mirrors luminaires recessed in the architectural Particular care has been taken over the pattern employed to preserve gullies. Outdoors, artificial lighting the way artificial lighting is used and the privacy of the windowed side is carefully controlled and consists controlled in the bedrooms. There are of rooms overlooking the lagoon, of small signs and light lines. iWay very few light sources and even the is lit by Underscore 2700 K light lines and iTeka bollards are installed along function lights on electrical devices have placed vertically in wall recesses. the access walkways. Special use is also been removed to increase the depth Tracks in a set-back position are installed made of Trick luminaires with a 180° light of darkness. The rooms are modular. The in the reception and restaurant areas, blade: mounted under room windows, entrance door is exactly opposite
02 123 Projects 2018 – Grindavík \ Islanda
The “wow effect” is created for guests by the SoleLuna luminaire specifically designed for this project.
the floor-to-ceiling windows A specific lighting system has also been and the area on the ceiling around it. overlooking the lagoon to wow designed for the coat area, consisting The solution involved developing arriving guests, who unexpectedly find of an extruded sheet with three hooks, numerous parts, including: a 1.2 m themselves right in the heart of nature, a recessed Ø 17 mm Laser luminaire diameter ceiling-mounted luminaire, communing with the world on the other and a small Underscore 15 section. fixing plates with LED circuits and side of the panes. Artificial light must Inside the room, the second “wow a range of colour temperatures not interrupt this communication. effect” is created by the SoleLuna combining a 2100 K, 85 CRI amber, This is why there is no homogeneous luminaire specifically designed a 4000 K, 90 CRI white and a 6000 lighting diffused throughout the room, for this project. K, 90 CRI white (the latter values are only small light sources where they The lighting designer asked iGuzzini particularly significant as it is extremely are needed. to create a totally natural effect on difficult to create such high colour These include a recessed Laser the ceiling, as if there were a real sun rendering indexes with very cold colour (Ø 75mm) luminaire with warm dimming and moon in the room. Guðjón L. temperatures); cables for adjusting above the bath, which is in the bedroom Sigurðsson wanted people to look the height of the luminaire; a Clipso itself, and 2700 K Underscore light lines, at the luminaire and see the same faint acoustic ceiling covering which creates one installed in the bedhead as a reading halo that is created around the sun the blurred effect envisaged by Guðjón L. light and another inserted in the foot and moon by the earth’s atmosphere. Sigurðsson. of the bed and activated by a motion In other words, a highly natural light In order to be completely user-friendly, sensor as a courtesy light at night. effect that would blur the perimeter different light atmospheres are
124 Blue Lagoon
02 125 Projects 2018 – Grindavík \ Islanda
extremely easy to conjure up and from 0% to 90% and the colour control from the 4-button panel in the temperature from amber to 5600K, bedhead: Relaxing, with low lighting to wake guests gently and gradually, levels of approximately 50 Lux and a by light rather than sound. warm colour temperature; Energizing All this has been designed to achieve which raises the lighting levels to 350 the highest level of relaxation
Lux without the amber component; and comfort for the hotel’s guests• Day with lighting levels of approximately 120 Lux and Night where only the 4000 and 6000 K LEDs are operated and a number of circuits are switched off to reproduce the dark spots on the moon’s surface. An extremely subtle wake-up call can be added to this variable light system, Year 2018 \ Customer Blue Lagoon \ General which has to be booked at reception. contractor Jáverk \ Architectural design Basalt At the time indicated by the guest, Architects \ Lighting design Liska - Guðjón L. Sigurðsson \ Interior design Basalt Architects a five-minute dynamic light cycle is e Design Group \ Photos Gunnar Sverrisson activated, which shifts the light intensity photographer
126 Blue Lagoon
02 127 Projects
The building designed by engineer Eugène Freyssinet between 1927 and 1929 has been an incubator for innovation since the end of 2017. Station F, the biggest start-up campus in the world Paris \ France
128 02 129 Projects 2017 – Parigi \ Francia
Formally opened in 2017, Station F, concrete with an extraordinarily light which complete the building are made Paris, is the biggest start-up campus load-bearing structure based on of flat iron and create a comfortable in the world. It is the brainchild of the an innovative technique later patented environment while also matching internet and mobile phone entrepreneur by Freyssinet, who developed it. the structure’s original style. Xavier Niel who has always been Thanks to this highly original The building basically consists of a main interested in the world of start-ups. characteristic, in 2012 Halle Freyssinet central space under a vast barrel vault Niel has succeeded in attracting was officially named a historical with a large skylight in the middle of it, investments from a number of corporate monument. and a series of individual start-up boxes, giants, such as Facebook, who invested 310 metres long and 58 metres wide, created from iron structures, which run in the “Startup Garage” programme Station F consists of three parallel naves down either side and are completely for data handling companies, Microsoft, with slim pre-compressed concrete separate from the original concrete who runs the artificial intelligence arches, each of which has a specific walls. The small rooms located on the sector and Vente Privée, the French function. The refurbishment plan ground and first floors have glass fronts e-commerce colossus. designed by Wilmotte & Associés overlooking the shared central space, The facility is housed in the former is simple and effective. It eliminates while the top floor hosts a series of Austerlitz Station rail freight depot, any superfluous decoration to reveal cantilevered container boxes. built between 1927 and 1929 by the the elegance of the structure The building includes a “Share Area” engineer Eugène Freyssinet. Covering and enhance the refined proportions – a large open space for meeting and 34,000 square metres, Halle Freyssinet, of the main and secondary sharing skills and digital technologies – as it was originally known, is a splendid pre-compressed reinforced concrete as well as a “Fab Lab” that is equipped building constructed of pre-compressed elements. The new window frames with freely accessible 3D printers
Halle Freyssinet, as the station was originally known, is a splendid building constructed of pre-compressed concrete based on an innovative technique patented by Freyssinet. Thanks to this highly original characteristic, in 2012 the building was officially named a historical monument.
Halle Freyssinet, January 1930 From the journal “Le Génie Civil”.
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130 Station F
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and a 370-seat auditorium. lighting for the work spaces. For the The real heart of the facility, though, general lighting, Jean Michel Wilmotte is the “Create Zone”, a creative space used the Platea Pro floodlight, created Year 2017 \ Customer SDECN - Xavier Niel \ where all the functional start-up for exterior applications and therefore Architects for historic buildings 2B2M \ Architectural and lighting design Wilmotte & structures are located in the form perfect for the lighting effects required Associés \ Structural engineering MIZRAHI \ of twenty-four “villages” (eight on each for the structure’s considerable height. Facades ARCORA \ Sustainability engineering floor). Each village is unique and houses Two different optics were used – a TRANSSOLAR \ Photos Didier Boy De la Tour various amenities (kitchens, Skype Wide Flood and an asymmetric street boxes, meeting rooms and so on). optic – and to install the luminaires, a The shared work spaces all have an special metal bracket was designed that open design and are equipped with straddles the beams running the entire modular, connected tables. Last of all, length of the hall and create a measured is the “Chill Zone”, a relaxation area cadence along the “Share Area”. In with a restaurant and a south-facing the locker area, where the people who gallery offering a view over a multi-level work at Station F store their personal garden that is open to outsiders as belongings, recessed Ledplus luminaires well as those who work at Station F. fitted with a Floor Washer optic were The building’s new interior layout used as they create a soft homogeneous called for a lighting design split between atmosphere. The main entrance is general lighting for the large spaces illuminated with Laser Blade InOut and low luminance, more adaptable luminaires protected by a special case•
Each village is unique and houses various amenities (kitchens, Skype boxes, meeting rooms and so on). The shared work spaces all have an open design and are equipped with modular, connected tables.
Chi one Create one Share one u ic pa a e u ic pa a e
ntrance
132 Station F
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136 Smart lighting Products
136 Design So many aspects of our everyday lives have been digitised. Smart interaction in the artificial lighting sector has created a light that is increasingly responsive and delivers better visual well-being and energy savings.
Smart lighting expands experience
Smart lighting expands its experience beyond the function of for the Conservation and Management of the Scrovegni Chapel illuminating. Whether it is indoors or outdoors, LED luminaires and in close collaboration with ISCR (Instituto Superiore per can be regulated and managed by control systems which, la Conservazione ed il Restauro). It is the first smart lighting in addition to creating pre-set atmospheres, can also adjust system in the cultural heritage sector and provides a more luminous flux to suit the requirements of a specific application. emotional, truthful and evocative experience of the chromatic They can also provide adaptive light, which automatically magic of Giotto. The sensors monitor the general lighting and adjusts in real-time to specific visual tasks, depending on the interact constantly with the system which, in turn, depending conditions detected in that particular space. What separates on the input received, controls the emission of light and the “smart” lighting systems from “traditional” ones is that all colour temperature of the luminaires. components within a smart system can communicate with The use of Tunable White technology enables the dynamic each other automatically and continuously. This takes place adjustment of the tone of white light according to variations through an infrastructure that monitors and controls all in natural light, thus ensuring the best view of the frescoes hardware elements, such as sensors, actuators, controllers, at all times of day. Networked autonomy. communication interfaces, buses and software applications Adapting artificial light to the cycle of natural daylight or, that allow integrated communication, management and control in the absence of daylight, faithfully reproducing the dynamics of all elements in the system, even via smart phone of it, means developing a light that varies in intensity (Smart Light Control). This smart interaction produces and colour temperature. Discoveries made in photobiology a light that is more responsive and delivers better visual and chronobiology confirm that the human body functions well-being and energy savings. according to circadian rhythms, which adjust to levels The strategically located sensors inside a smart system gather of light and darkness and determine every individual's all sorts of data, such as the amount of natural light and / or sleep-wake cycle. Sensors can be used intelligently to detect artificial light, the colour temperature, the presence of humans. environmental conditions by communicating with the lighting These data are sent to a control unit which uses predefined system and therefore with the luminaire to create human- algorithms to make adjustments in the flux, colour temperature, friendly lighting. This is achieved by reproducing the light spectral distribution and direction of the artificial light. stimulations to which the biological clock responds, which, The “smart” feature is actually the algorithm, which is merely in addition to visual well-being, promotes all-round the translation in mathematical terms of a study carried psychological and physical welfare (Human Centric Lighting). out by experts in the particular field and incorporated into The dynamic management of lighting also means more a design by the lighting designer. emphasis can be placed on details and routes in order The 2017 design for the Scrovegni Chapel by iGuzzini was to create surprising depth and background. It is carried out in partnership with the city of Padua, under the a showcase for designing and building environments supervision of the Interdisciplinary Scientific Commission with a wealth of multiple personalities.
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Smart Light Control In September 2018 the Victoria & Albert Museum Dundee, From intelligent lighting to intelligent control. DALI technology designed by Japanese architect Kengo Kuma, was opened has opened the way for the digital control of lighting. in Scotland. The smart lighting system incorporated into An individual luminaire is part of a networked system that the design can be managed via smartphone through controls lighting levels, switching on, dimming levels, colour the Bluetooth-DALI interface. The same concept of user-friendly temperature and switching off. Using a Bluetooth-DALI technology was also applied by Arup in its designs for the interface, it is now possible to manage a system through Royal Academy in London. Thanks to the types of luminaires the Bluetooth Low Energy (BLE) protocol, a standard and employed and their smart management, different combinations irreplaceable feature of all smart phones. This makes it easy of general lighting and accent lighting can be produced to to program and manage the system at close range. suit different display requirements. They can be adapted Thus, the world of light control (DALI) and light management to the dimensions and types of the displayed works, visitor come together through any smartphone (BLE). Any luminaire flows and changes in exhibition design. or groups of luminaires or scenes can be controlled from a smartphone app via Bluetooth. They can also be controlled remotely via interfaces with IP or Wi-Fi protocols, again using a smartphone or directly online. From small systems to large systems, from close distances to networks, all it takes is access to a smartphone.
An individual luminaire is part of a networked system that controls lighting levels, switching on, dimming levels, colour temperature and switching off.
Royal Academy.
138 Automatic sensor Real-time or control programmed control via smart phone
Broadcast signal
BLE IP
Connects to the KNX system via IP technology, which in turn controls the DALI Connects directly to the individual luminaire via BLE technology (without DALI)
BLE
Connects to the DALI system via BLE technology
BLE technology IP technology enables enables close-range remote control of the control of the system system
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Smart Services This is a highly effective form of proximity marketing. Artificial light becomes the focus of new smart services based This digital infrastructure is becoming so important because on the speed of data transmission. Digital information can be the use of smartphones for IoT purposes is growing rapidly. received on a smartphone thanks to the BLE protocol and other The number of IoT connections from smartphones is set technologies like Li-Fi and VLC and beacons to reach 3.5 billion in 2023, at an annual growth rate of 30%. (Bluetooth devices that transmit and receive brief messages There are now more SIM cards in the world than over short distances). As we know, all digital devices need people. Figures in June 2018 showed 7.9 billion “mobile a power supply. This makes lighting systems a great opportunity subscriptions”, of which 60% were associated with for the “data world”. Light fittings are joined together in a smartphone capable of managing services beyond networks, which automatically turns them into a technological the basic functionalities of a mobile phone. In terms of sales, infrastructure that is ideal for linking to sensors and beacons. smartphones now account for 85% of total sales of mobile Beacon technology is a strategic aspect of the Internet devices. However, 2018 is likely to be a historic year of Things (IoT). Based on Bluetooth Low Energy, beacons for being the start of an even bigger social evolution. allow devices to dialogue with smartphones by conveying 5G and the ito promise new functionalities and uses personalised content according to the exact position of the destined to have an impact not only on consumer user. For example, beacons that are networked into the lighting services, but also on many industries involved in the digital system of a retail outlet can communicate with customers via transformation of such services. an app on their smartphones. This allows the store to determine Push notifications – which appear on a device's home the customer’s position, say, so it can send a welcome screen even if the app is not open – provide the user with message, instructions on how to get the most out of the up-to-the-minute information about the type of product service, a discount voucher or information (in writing, videos or on display or the area they are walking through, to offer reviews) about the products on the shelves near their location. a richer, more engaging experience.
Beacons that are networked into the lighting system of a retail outlet can communicate with customers via an app on their smartphones.
Li-Fi
Each product can send different information.
140 1. Download the app (museum, guide etc.)
2a. The networked 2b. Sensors beacon sends a signal networked in the to the smart phone lighting system via BLE technology
3a. The device 3b. The sensors collect receives push data in real time notifications from the web
4a. Possibility 4b. The collected to access useful data can be information used to optimise for the user spaces and flows
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Indoor positioning provides a 3D map of a product’s shelf In the park in the town of Recanati that is home to the “solitary position or simply a particular destination, by literally guiding hill” in Leopardi’s “L’Infinito”, smart technology is applied the user within the space and providing all the necessary in an open-air cultural context to recreate the moonlit information and directions. atmosphere that inspired the poet’s famous idylls, and along Sensors can be networked within the lighting system to various scenic and botanical itineraries. improve the efficiency of the system as a whole and assist The entire lighting setup is managed via a DALI control system. in the collection and transmission of data. For example, In addition to making the park more accessible, light is a vehicle they can provide real-time video surveillance information for the transmission of data. Each luminaire is a “smart hub” on urban traffic and parking, or help detect occupancy flows capable of transmitting useful information about using the in the workplace, where space has become vital. Lastly, space through BLE-networked beacons• in the retail sector, they can assist in the collection of data on purchasing behaviours. Thus, smart services have a two-fold purpose. First, they aid communication, and second, they transform communication into value, including financial value.
In the park that is home to the “solitary hill” in Leopardi’s “L’Infinito”, smart technology guides visitors along itineraries and through the moonlight effects recreated by Ferretti, who was inspired by one of the poet’s main sources of inspiration: the Moon.
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02 143 144 146 162 Homo Faber The Light Gate Alberto Cavalli Alfonso Femia Alessandro Pedron Jean Blanchaert 170 Venezia \ Italia Fiat Lux: the biological effects of light 156 Massimo Bracci 16. International Maria Fiorella Tartaglione Architecture Exhibition Arcipelago Italia Mario Cucinella
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Venetian Way © Alessandra Chemollo / Michelangelo Foundation for Creativity and Craftsmanship.
146 Conversations Homo Faber, a major exhibition organised by the Michelangelo Foundation, in the words of a promotor, a curator and an exhibition designer.
Alberto Cavalli Alessandro Pedron Jean Blanchaert Homo Faber Venice\ Italy
Homo Faber is a major exhibition a number of cultural, scientific the predefined itinerary. organised by the Michelangelo and educational programmes. Within the Discovery and Rediscovery Foundation and hosted at the Homo Faber was attended by 62,500 space (Sala Convitto), there was also an monumental complex of the Giorgio visitors and 410 master craftsmen and iGuzzini Lounge, built to a design Cini Foundation on San Giorgio Island, designers. It was intended as a journey by architect Alessandro Pedron. Venice. Both foundations are strongly of discovery of the wealth of expertise Here, visitors could admire one of the focused on training projects. and creativity of the best craftsmen finest portraits of the Flemish master The Michelangelo Foundation and designers in Europe. A journey Van Dyck, Portrait of Marcello Durazzo. for Creativity and Craftsmanship conceived as a thematic route with Various lighting scenes were designed was established with the purpose sixteen stages, each brought to life for the newly restored painting to of preserving the valuable expertise by a different curator. Twelve of these demonstrate how perceptions of a work of craftsmen, encouraging dialogue stages were illuminated by iGuzzini. can be changed. Dark colours were with designers, and promoting visibility Each curator focused on the materials rendered outstandingly, thanks to the use to create new work opportunities. and techniques used in a range of crafts of high colour definition luminaires such It was founded in Geneva by the South from the most traditional to the most as Laser Blade and Palco. These products African businessman Johann Rupert innovative and contemporary. are capable of rendering black and and Franco Cologni, President of the The various lighting set-ups designed brown modulations of the painting, while Cologni Foundation for the Métiers for the occasion had a common goal: keeping light intensity below 50 lux, in d'Art, which in turn was founded in Milan providing both functional and artistic accordance with conservation regulations. in 1995 to support initiatives aimed lighting to enhance the rooms, objects, To emphasise the valuable silk lampas at a “new Renaissance” for arts and installations and technologies on display. covering the background of the canvas crafts, especially for young people. The Palco family of LED spotlights, which made by Rubelli, an Italian expert in Its initiatives are chiefly addressed to is compatible with DALI technology and textiles, furniture and upholstery, the light the next generations of artisans and managed via a control unit, guaranteed source was chosen to enhance the warm saving the métiers d’art from the threat formal continuity from one room ruby red, gold and bronze tones, together of extinction, through the promotion, to another. Visitors could choose with an application that illuminates support and organisation of which route to take rather than follow it evenly from top to bottom.
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Alberto Cavalli while setting hearts aflutter. where the liturgies of culture, research, Executive Co-Director The first edition of Homo Faber was work and knowledge are celebrated of the Michelangelo Foundation hosted in Venice on the island of San every day. It is a place that lives and Giorgio Maggiore. Venice has always breathes the cultural life of Venice AC Homo Faber is an event organised welcomed and celebrated beauty and and we, too, wanted to synchronise by the Michelangelo Foundation for the artistically evolved. Every language our breath with it. Homo Faber is not Creativity and Craftsmanship of Geneva in the world has been spoken in Venice. the result of a rigid, immovable vision. together with the Cologni Foundation for Since the Middle Ages, since the We believe that variety and diversity the Métiers d’Art of Milan, La Triennale di Renaissance, anything that was beautiful are values, which is why we brought Milano Design Museum, the Bettencourt- has passed through her port, brought together a team of international curators Schueller Foundation of Paris and the here, exchanged and sold en route who helped us explore different points Giorgio Cini Foundation of Venice. to the courts of all Europe. of view. Homo Faber is eighteen The Michelangelo Foundation was The greatest artists and the greatest exhibitions, each of which showcases created by Johann Rupert and Franco patrons passed through Venice, a city a particular aspect of the master crafts: Cologni to promote and protect the that truly has her arms stretched wide design crafts, curated by Michele De métiers d’art and artisanship all over in welcome and her hands stretched Lucchi, interior design crafts, curated the world, and therefore to provide out for trade. This makes Venice the by India Mahdavi, fashion crafts, curated new visibility to these extraordinary ideal place to talk about the excellence by Judith Clark, Venice and Veneto, with creators of beauty and craftsmanship. of contemporary master crafts. Because, images by Susanna Pozzoli, European Homo Faber Crafting a more Human while it is true that the city of Venice has excellence, curated by Jean Blanchaert Future is an important cultural event close links to the extraordinary tradition and the space itself, designed by conceived and designed to provide of splendour, it is also true that, thanks Stefano Boeri. Different points of view visibility, recognition and new prospects to the wonderful work of the Biennale were considered, extraordinary works for master craftsmanship. and other important institutions, were admired, craftsmen were seen at We live in an era marked by the Venice is open to the contemporary. their work, the lives and destinies of the dominance of technology and the And contemporary is precisely the makers of contemporary beauty were challenges of artificial intelligence, message we want to deliver. brought together through the talent and but we believe that human hands will The decision to hold Homo Faber creativity of a new vision of handmade always have something more to offer on the island of San Giorgio Maggiore, products. We tried to ensure that each that machine cannot. Homo Faber aims and specifically, on the extraordinary work of art at Homo Faber — and to be a detailed, poetic, inspired account premises of the Giorgio Cini Foundation, we're talking about almost 900 works of everything that human hands – and was made because the foundation including artefacts, films, images indeed human hearts, minds and is a living entity and not just a venue; and so on — could live and, I would eyes – will always be skilled at creating, it is a partner in this venture. It is a place say, could soar within an extremely
“We found iGuzzini to be an observant partner, who truly interpreted our thoughts. For us it was very important to work with partners who not only execute our wishes, but interpret them; people who could get on the same wavelength as us and help us achieve the best for each project.”
Participants of the Lighthinking Event held in Recanati on 9 November 2018 on the experience of Homo Faber. From left to right: Massimiliano Guzzini; Stefano Karadjov, Director of designs and development Civita Tre Venezie; Francesca Merloni, UNESCO Goodwill Ambassador; Adolfo Guzzini; Alessandro Pedron, co-founder of APML Architects; Alberto Cavalli, Executive Co-Director of the Michelangelo Foundation; Andrea Sasso.
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DiscoveryAndRediscovery © TomasBertelsen / Michelangelo Foundation for Creativity and Craftsmanship.
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sophisticated and observant cultural there is another aspect that I like to me because I had worked with setting. I mean sophisticated in the underline: happiness. The happiness them for several years on a number noblest sense of the term; in other of the public when they came to the of exhibitions and particularly on words, “culturally evolved”, because spaces of the Giorgio Cini Foundation “Casa dei Tre Oci”, a place near we wanted to place each work in an on the island of San Giorgio Maggiore here on the island of Giudecca. extremely authentic context. and discovered a more human future, The most interesting, loveliest and For each piece to have the right a world where talent and creativity most curious thing about this project dignity and the right context lighting are the means for discovering the is the fact that every space within is fundamental. So we studied each more beautiful side of life. Hearing the Cini Foundation is very different scenario carefully, since all the rooms the comments of visitors taking the from the others. Also, the themes in the Giorgio Cini Foundation are so vaporetto after a 3 or 4-hour visit, and content chosen by all the curators diverse in terms of their size, space, chatting enthusiastically about the were completely heterogeneous. atmosphere and the sensations felt people they met, the objects they saw. It was a wonderful experience because there. We had to design specific lighting For me the curator, this scenario, it meant I could put to use my fifteen for each space, or rather, general lighting which was animated and lifted to years of experience in organising for the space as a whole and specific its highest potential by the lighting, exhibitions, not only professionally lighting for the object of focus. We found is truly the greatest satisfaction. but also for academic and university iGuzzini to be an observant partner, purposes. There before me were spaces who truly interpreted our thoughts. that were closed, dark, long, high, For us it was very important to work Alessandro Pedron narrow, more open, less open, with partners who not only execute Co-founder of APML architecture firm with a diverse range of content: from our wishes, but interpret them; cars to helicopters right down to works people who could get on the same AP My collaboration in the design of art from museums. There was also wavelength as us and help us achieve of the Homo Faber spaces began a multimedia space, with large monitors the best for each project. a couple of years ago, when Civita Tre and even a section dedicated to virtual Homo Faber went beyond our Venezie, who had been awarded reality. And finally, a fact that has expectations, with very high numbers. the entire project for 2018, called more to do with retail than with We had an average of 2000 to 2500 to ask me to join their production team. exhibitions, there was a space for visitors a day, with extraordinary With my technical expertise the entire event’s bookshop. peaks during the weekend. I would oversee the development Inevitably, the thread running through However, although the numbers were and management of the working all of this is lighting. The lighting the main reason for the international plans and the works. of open spaces, not least the Cypress community’s interest in Homo Faber, Civita Tre Venezie contacted Cloister, where the light conditions
“Inevitably, the thread running through all of this is lighting. The lighting of open spaces, not least the Cypress Cloister, where the light conditions change according to the time of day and the weather.”
150 GiancarloConversations Basili \ Maurici Ginés
Centuries of Shape © Alessandra Chemollo / Michelangelo Foundation for Creativity and Craftsmanship.
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change according to the time amount of time, an event has to The place has definitely contributed of day and the weather. It is clear be monitored and taken care of. to the success of the event. that the lighting of objects in such And the team also dealt with dismantling A magical place, a Benedictine a heterogeneous exhibition is the most the exhibition. It is something I won't monastery, founded in 900 AD, important thing. It is the connecting forget easily. In fact, it will be one which is still here for us and thread and many visitors notice the of the inspirations for my activities with us to give us this great beauty . quality of the light; so it’s not just us, over the coming years. who are, in some way, responsible To conclude, I’d like to stress the for creating this exhibition. Thus, first fact that great results like the ones we Jean Blanchaert the lighting was designed, because had with this event do not come out Gallerist, Curator, Journalist, Artist obviously even lighting has to be of thin air. It takes a significant group designed, very carefully. Then it was effort, which is based on mutual JB I am the curator of the installed with great care and great skill understanding and a specific, great Best of Europe room at the Homo by those who led this operation, idea. In our case, this was thanks to Faber exhibition, which took with the technicians and products the Michelangelo Foundation, Alberto place at the Cini Foundation on of iGuzzini. Thanks to the fact that Cavalli, who was a skilful director, Fabien San Giorgio Island in Venice. they could be changed, calibrated Lupo, who project managed the entire My task was to bring together and optimised for every situation, event, Civita Tre Venezie, who called Europe's 150 best artist-artisans. we were able to create lighting that me, and Stefano Karadjov, who was We are gallerists and we have long was almost “made-to-measure”, a great interpreter and captain of it all. been involved with this theme. as distinct from the lighting for the No one ever crossed or tried to take Although a distinction is often made general theme of the exhibition. over the work of others. between artisanship and art, As far as I'm concerned, it was Everyone shared the final objective, at Homo Faber we focused on the a fantastic professional, human and, given the extremely positive borderland between craftsmanship and experience. A team of people who didn't response of the public, it would seem art. In other words, we looked at art know each other at all beforehand, that it all went very well. that today is still created using artisanal which began as a small cluster of five Part of the event’s success is certainly skills that are sometimes extremely people two years ago at the very start down to the venue. A magical place, ancient, or craftsmanship that of this journey, and grew to include a Benedictine monastery founded is so beautiful that it is unequivocally eleven employees who joined in the in the tenth century and still here art. When selecting participants, last two months and were responsible today, for us and with us, imparting I first went to about forty names for running the work site and the event. this wonderful beauty which, when of artisans that I had already known Because obviously, over such a short all’s said, held everything. for a long time. I came to another
“The most difficult thing was finding the last forty artisans; those who work hidden away, concealed, without email, sometimes without a phone, or if they do have a phone, they often let it ring without answering.”
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BestofEurope © Alessandra Chemollo / Michelangelo Foundation for Creativity and Craftsmanship.
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thirty or so names with the help That area of artisanship that has The role of light of my collaborator Irina Eskenazi, weathered the storm is a bit like The role of light in an installation of this who went exploring online to discover the monk seal: protected by a few, kind is important. Because if we look them. About forty more were supplied now it has come back to life. It’s a non- around, especially in such a crowded by the Michelangelo and the Cologni confrontational alternative to computers. installation, each of these objects Foundations and craft councils in These hands, which humans have used has been brought to life and then different countries. The most difficult for a hundred million years and we circumscribed, so that onlooking visitors thing was finding the last forty artisans; no longer use for writing... can concentrate all their attention, for those who work hidden away, concealed, Perhaps it’s worth using them again, just a few seconds, for a few minutes, without email, sometimes without maybe to start writing again with pen on the piece they are looking at. a phone, or if they do have a phone, and ink. Stefano Boeri is an architect There’s no confusion and some of these they often let it ring without answering. who pays a lot of attention to others. objects were truly hard to identify. In the digital world, artisanship can If you look at this room, he's not here; This was mainly because, although the be a wonderful alternative activity, you can't see him and that's what so room was 500 sq. m, there was rather because it can be a way of having great about his project “Fiume Europa”. a lot in it. So we brought in iGuzzini, a different life from the world We see 400 objects arranged one who had already done a lot of work defined by computers, but it can next to another; they talk to each with Stefano Boeri, to take care of the have financial benefits, too. other; they are made of all sorts exhibition's lighting, actually, right up Here's an example. In the 1960s, of materials; they could come from to the very last minute. This first Homo 70s and 80s, parents encouraged any country and yet at the same Faber was a dream and came about their children to get jobs in banks time they are the absolute stars because the originators, the organisers or to go to the first computer schools. of the show. Stefano Boeri managed the curators all put in their best efforts Today, many parents encourage their to disappear; he made this table, and believed in this project. I think it is children to go to their uncle's workshop, knowing that it would be covered. quite remarkable to see 6500 people, or to their grandfather, an acquaintance, That’s a wonderful service to artisan. according to the latest figures, their third cousin twice removed. Working with him was enlightening. come here to San Giorgio every day•
Alberto Cavalli
In 1998 he graduates from the Catholic University of the Sacred Heart with a degree in International Political Science; he attends a postgraduate course in communications and begins working for a Milanese agency specialising in public relations and fashion-related events. From 2001 to 2007, he is Press Office Manager at Dolce & Gabbana. In 2007, he becomes Lifestyle and Luxury Goods Correspondent for the Russian-language financial daily Vedomosti and its supplement, How to Spend It – Russia. In the same year, he begins working for the Cologni Foundation for the Métiers d’Art on institutional relations and cultural projects. A few years later he is appointed the Foundation’s General Director. Between 2009 and 2014 he is editor of three volumes published by Marsilio Editori. Since 2010 he has been visiting professor at the Creative Academy in Milan, and since 2014 he is a lecturer at the Polytechnic University of Milan. In 2016 he becomes Executive Co-Director of the Michelangelo Foundation for Creativity and Craftsmanship, in which role he curates the event “Homo Faber: Crafting a more human future” in 2018. He is a member of the Centre du Luxe et de la Création and the jury of the Bettencourt-Schueller Foundation (Paris), the Cultural Committee of the Haute Horlogerie (Geneva) and Vice Chairman of the Noema Association for the Study and Promotion of Musical Culture (Milan).
Alessandro Pedron
The architectural firm APML is set up in Venice in 2009 by Alessandro Pedron and Maria La Tegola as the culmination of their experience in the profession since 1996. Alessandro Pedron and Maria La Tegola graduate from IUAV University of Venice with degrees in architecture. They begin their professional activity in Venice. The uniqueness of the city allows them to focus more and more on history and context, and initially to strengthen their skills and experience by working on restoration projects for historic buildings. The firm’s professional journey and its continuous research into architecture as an organism has taken them through a range of design and training experiences, including restoration, design from scratch, exhibition design, interior architecture, design, modular systems for numerous sectors.
Jean Blanchaert
Gallerist, art critic and curator, for more than thirty years, Jean Blanchaert has worked with contemporary materials. Galleria Blanchaert, founded in 1957 by his mother Silvia, has countless exhibitions to its credit in Italy and abroad, presenting the works of some of the world’s best artisan-artists. Blanchaert has also curated dozens of exhibitions in institutional settings, most recently in the fields of glass, ceramics, iron and marble. He has also curated art and photography exhibitions. Since 2008, he is a regular contributor to the monthly “Art e Dossier” (Giunti Editore) directed by Philippe Daverio. In 2017, as part of the first Venice Glass Week festival, Jean Blanchaert is co-curator, with Noah Khoshbin, of the Robert Wilson in Glass exhibition, organised by the Fondazione Berengo. In September 2018 he curates the Best of Europe room at Homo Faber, at the Cini Foundation, Venice. He is currently co-curator, alongside Adriano Berengo, of exhibition Memphis-Plastic Field at Palazzo Franchetti, Venice.
154 GiancarloCavalliConversations \ Peron Basili \ \Blanchaert Maurici Ginés
Creativity and Craftsmanship© Alessandra Chemollo / Michelangelo Foundation for Creativity and Craftsmanship.
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156 Meetings Arcipelago Italia is a manifesto which aims to present the possible routes that can be taken to highlight the value and importance of architecture. The purpose of this Pavilion is to help people discover the more invisible, wounded side of this country; but also its wealth of potential and beauty.
16 • International Architecture Exhibition Arcipelago Italia Mario Cucinella
“A space where, unlike the metropolises, following the geography laid out with Journey through Arcipelago Italia there is a different relationship between the advent of modernity. In Italy, the urban dimension and the territory, this has led to the exclusion of 60% The project to design the layout and where, even the remotest rural of the territory and more than 400 of Arcipelago Italia became a journey communities are represented. municipalities which account for 25% in which architecture itself became A polycentric settlement model, covering of the population. Thus, we have lost the instrument for discovering places, more than 60% of the territory, made the expressive biodiversity that prefers landscapes and communities. up of small towns and villages a long things done to the right degree, The aim was to convey the soul way from large cities. A territory where than through grandiose gestures. of these territories to visitors, and engage the traditional North-South divide Thus, we decided to give voice to them in an evocative and inclusive story; vanishes in the face of what we can that rich, prolific world of empathic a journey through time leading to define as Arcipelago Italia.” architecture, found in those small actions an investigation into future prospects. where the focus is on improvement and A documentary film presents the story The curatorial proposal for the Italian dialogue. Actions that can bring together of these places at the start of the Pavilion at the 16th International the yet-to-be-resolved relationship itinerary: my journey along a few Architecture Exhibition of the Venice between history, the contemporary symbolic stages of Arcipelago Italia. Biennale interpreted the FreeSpace world and the landscape. The aim is In the same section you find yourself theme by drawing attention to the to return the role of social responsibility surrounded by eight giant books. territorial archipelago that is made to the work of architects. Arcipelago These are a paper guide presenting up of urban and rural settlements and Italia is a manifesto which aims to present even more itineraries along which the landscape that connects them. the possible routes that can be taken visitors can discover the contemporary Within these cells, which defy the logic to highlight the value and importance architecture projects that were of aggregation that reigns in metropolitan of architecture. discovered thanks to our call for systems, the line between public The purpose of this Pavilion is to help submissions. The purpose was to find and private space is vague. In recent people discover the more invisible, concrete examples of contemporary years, contemporary architecture has wounded side of this country; but also architecture’s potential to regain focused on large metropolitan areas, thus its wealth of potential and beauty. a central role in the dialogue around
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the issues of society’s new needs, multidisciplinary, multiplayer and Our aim with Arcipelago Italia was historical stratification and the inclusive project coordinated by me and to give these “hybrid” spaces an landscape. A journey with a hundred my staff, in which we tried to represent aesthetic form with contemporary and three stages in which contemporary in concrete terms the idea of relaunching architecture that would add to the value architecture projects mingle with historic Italian territories through architecture, of the cultural asset and its landscape. towns, walks, landscapes and many by experimenting a “hybrid building”. This would bring a quality that other important initiatives. At the end The idea stems from debates had during is expressed as empathy with the of this section you come to the “future” the course of researching Arcipelago contexts, a sense of scale and feasibility, space, the result of research carried out Italia. One of the main drivers leading with the possibility of interpreting future by a group of experts on the themes to the abandonment of and, hence, opportunities and responding to the of transport, demographics and climate the lack of protection for a territory needs of communities. We identified change. They studied the state of things, is that essential services are reduced. five strategic areas around the then came up with future prospects The provision of such services and the archipelago. The five projects were for two different scenarios: the first for spaces needed to host them are an developed by a multidisciplinary if the current dynamics continue and expense that the welfare system cannot collective, made up of six emerging the second for if architecture were deal with, owing to ever-decreasing firms within Italian architecture, in to be incorporated into the process population numbers. Sometimes, partnership with local universities and as an instrument. The second section in certain virtuous contexts, numerous outstanding professionals. is a space that is left free and can be communities get organised on their own The areas involved were Tuscan-Emilian used as a whole. In it stands a large and set up places that can serve several Apennines with the Casentinesi Forests table which reproduces Arcipelago Italia, functions, for example as a social National park, Camerino, Matera and displaying five experimental projects. meeting place, for educational purposes, the Basento Valley, the Barbagia region
This is the result of an experimental, culture, healthcare and services. and Valle del Belice•
158 Meetings
Mario Cucinella Hon FAIA, Int. Fellow RIBA
Mario Cucinella is the founder of Mario Cucinella Architects. In over 20 years of activity, MCA has gained considerable experience in architectural planning, with a particular focus on the issues of sustainability and the environmental impact of buildings. In 2017, the American Institute of Architects (AIA) presented Mario Cucinella with the prestigious Honorary Fellowship Award. In 2016, the Royal Institute of British Architects (RIBA) awarded him an International Fellowship. He is the curator of the Italian Pavilion at the 2018 Venice Biennale. In 2012, he founded Building Green Futures, a non-profit organisation that promotes sustainable architecture and renewable energy for the improvement of living conditions and access to resources in developing countries. In 2015, he founded SOS – the School of Sustainability – which trains new professions in sustainability.
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160 Meetings
02 161 Knowledge Apertura
162 Corporate iGuzzini’s new space at 5, Via Brera, Milan, is designed by Alfonso Femia.
Via Brera 5 The Light Gate Alfonso Femia
“The Light Gate”, iGuzzini’s new designers and certain companies the addition of music, sounds and offices in Milan designed by Alfonso in the Marche region. The space a guiding voice. Next, we get a more Femia Atelier(s), opened in January at 5 Via Brera is more than just a detailed sense of these effects applied 2019. The new space strengthens the showroom or headquarters. to different contexts, and an interesting bond the company has with Milan as It is conceived as a place for the approach is used to illustrate them. an international financial and cultural co-mingling, hybridisation and sharing When a curtain opens, guests are centre, particularly in terms of the of different disciplines. It will be the faced with a room that is apparently culture of architecture and design. go-to destination, not only for contact empty, with walls bearing slashes The city joins the ranks of Paris, with iGuzzini, but also for discovering of light. These slashes of light are London and Shanghai, where iGuzzini more about the culture of light. guides for iGuzzini technicians who, already has spaces in which it receives It is a flexible, innovative space covering with magical skill, rotate, slide and lift architects and designers. 970 sq. m over two floors. On the first parts of these walls. The relationship with the city of Milan floor you have offices, meeting rooms On the other side appear objects first began in 1969 with the creation work rooms and communal areas. and materials organised into different of Centro Forme. Directed by Luigi The basement has iGuzzini’s Light sectors, such as retail, cultural heritage, Massoni, the aim of this space was Experience, which unfolds in two stages. hospitality & living and architecture. to spread a culture of light and First, we have the area dedicated to The retail wall, for example, can show to promote lighting solutions, and this examples of different lighting effects. the effects of light on fabrics. In addition led to collaborations between Milanese This is a multisensory experience with to vertical and accent lighting,
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“Imagine a space as fluid as light. Imagine a space that can be mapped out through a continuous dialogue between different dimensions of light: natural, artificial, reflected, linear, focused. Containing and narrating light through space. Containing and narrating space through light. Space takes the form of a concatenation of spaces defined by light thresholds: gateways. They take us to different worlds; they define the potential for interacting with different types of space; they define the codes and the values of iGuzzini lighting; they show us that light is grammar, semantics, language.” Alfonso Femia
Ground Floor Basement
Light x e ie ce
t a ce all
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it is also possible to see the impact The wall dedicated to architectural of different colour temperatures. lighting presents the different In the Culture, Hospitality & Living sector, applications for luminaires and Photos Stefano Anzini, we have examples of how paintings can therefore the different lighting effects, courtesy Atelier(s) Alfonso Femia be lighted and the effects on, say, as well as presenting examples marble or mosaics, i.e. materials that of materials mainly used outdoors. are often used in interiors. All this in a matter of 15 sq. m•
Alfonso Femia Atelier(s) Alfonso Femia AF517
Born in Calabria, Alfonso Femia lives and works in Genoa from where he “tos and fros” with Milan and Paris. In 1992 he obtains his degree in Architecture from the University of Genoa. He has taught Architectural Design at Kent State University, Florence, and at the Faculty of Architecture at the universities of Ferrara and Genoa. He founds 5+1 in 1995, creates 5+1AA in 2005 and 5+1AA Paris in 2007, which becomes Atelier(s) Alfonso Femia in 2017. He has won numerous international competitions and has been published in several Italian and international magazines. His “research around matter” has led him to work on design projects with international firms. With AF*design he has pursued themes related to ceramics, light, wood, glass, cardboard and biodynamic cement.
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Photo of human keratinocytes (HaCaT) taken under a fluorescent light microscope. Staining with Phalloidin, a mycotoxin extracted from the Amanita phalloides, reveals the Actin microfilaments that form the cytoskeleton. Photo Dr Massimo Bracci – Marche Polytechnic University.
170 Research iGuzzini and the Occupational Medicine Laboratory of Marche Polytechnic University are working together to investigate the effects of light on cells.
Fiat Lux: biological effects of light Massimo Bracci Maria Fiorella Tartaglione
Human beings cannot live without light. Circadian rhythms are regulated and population. Its effects include ageing But do we really know why that is? coordinated by a main internal clock and it is believed that it is involved So far, scientific research has been located between the two hemispheres in the development of age-related unable to provide a complete answer of the brain in the suprachiasmatic disorders, such as depression, to that question. This is why iGuzzini nucleus of the anterior hypothalamus. diabetes, hypertension, obesity and has teamed up with the Occupational The main internal clock receives cancer, with increasing evidence of its Medicine Laboratory of Marche information about light stimuli from implication in breast cancer. The joint Polytechnic University (UNIVPM) to the retinal cells, which have a specific research project led by iGuzzini and the investigate the effects of light in humans photopigment called melanopsin that Occupational Medicine Laboratory of and the interaction between light and is particularly sensitive to blue light Marche Polytechnic University includes health. In our “reality of the visible” (i.e. at wavelengths of 460-480 nm). a doctoral programme across three there are two different types of light, The main clock synchronises the academic years and aims to study the namely sunlight and artificial light. peripheral clocks in every cell. Several biological effects of light. The goal is A direct consequence of the Industrial scientific studies have shown that to get information to identify and test Revolution, artificial light is a key factor exposure to artificial light at night, light sources that will have a lower in the evolution of humans, together with particularly shorter wavelengths, can impact on physiological circadian sunlight. Light is the main synchroniser disturb circadian rhythms. The circadian cycles to improve the quality of life. and helps us set our circadian rhythms. rhythm is markedly desynchronised Indeed, today, it is still not clear what The biological or circadian clock – from during night shifts, when workers are type of lighting should be used in home the Latin circa “around”, dies “day” exposed to artificial light at the time and work settings. In recent years, – is a set of highly beneficial molecular- they would normally be asleep. considerable scientific evidence has level mechanisms that help our bodies However, night workers are not come to light suggesting that exposure conserve energy by ensuring that certain the only ones to be affected by the to blue light disrupts circadian rhythms physiological processes take place desynchronisation of circadian cycles; and damages retinal cells. According to at specific times of day. it involves a significant portion of the the results of this research,
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we should be using light sources of human cells exposed to different whether light radiation can protect made up principally of red wavelengths. intensities in different sections of the cells by activating enzymatic defence However, other research has shown spectrum of light radiation emitted processes. The scientific evidence that exposure to intense light with by LEDs. The tests involved in the obtained from this study will then a blue component in the middle of the doctoral programme will allow us to be tested on an animal model. day benefits the physiological circadian obtain a lot of information. Specifically, If this produces interesting results, rhythms and can help in the treatment the study will evaluate the viability it will then be tested on humans. of various diseases. Further scientific of cells, the effect of light exposure The study is of great importance evidence is needed to establish what on individual protein molecules and for all areas of life, and particularly characteristics of artificial light sources the interaction between light and the for workplace lighting (especially when are functional to human biology. biological clock through the analysis night shifts are involved). We believe To this end, the research project of the expression of specific genes that lighting should not be chosen has already led to the creation of an (clock genes). Certain toxic agents will on the basis of aesthetics alone, and experimental model that will allow us be added artificially to the light cells is increasingly becoming a challenge to evaluate the biological parameters exposed to the light in order to test for medical and technological research•
Correlation of time of day and certain physiological functions. Growth hormone and prolactin rising Body temperature minimum Melatonin maximum
11 12 Blood pressure 1 Heart rate and and heart rate 10 2 blood pressure declining 9 3 beginning to rise Adrenalina rising 8 4 Prolactin Body declining temperature 7 5 Cortisol declining maximum Heart rate PM 6 6 AM continuing to rise Body temperature 5 7 rising Blood pressure 4 8 maximum Melatonin declining 3 9 Noradrenaline 2 10 rising 1 12 11
Sympathetic nervous system activity increases until midday Body temperature continuing torise
Massimo Bracci
He holds a degree in medicine and surgery with merit and distinction and a specialty in occupational medicine with distinction from Marche Polytechnic University. He currently works at the SOSD Department of Occupational Medicine at “Ospedali Riuniti” Hospital in Ancona and is a researcher in occupational medicine at Marche Polytechnic University, where he also teaches on several degree and medical specialisation courses. He supervises the scientific esearchr conducted by the doctoral student Maria Fiorella Tartaglione.
Maria Fiorella Tartaglione
With a degree in biological science from Marche Polytechnic University, she also obtained her Master’s degree in molecular and applied biology with distinction from the same university. She is currently a doctoral student involved in the research project on the chronobiological effects of light radiation on human health, co-financed by iGuzzini Illuminazione S.p.A.
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Photo of human keratinocytes (HaCaT) carried out under an inverted microscope kept in the dark or exposed to red or blue monochromatic light radiation.
Dark Red Blue
Crystal violet (gentian violet) staining binds and highlights the DNA of the nucleus and nucleolus of the keratinocytes.
02 173 iGuzzini Icons Over the years, iGuzzini has collaborated with architects and designers, sharing the same language and transforming their ideas into reality. Established in 1959, iGuzzini originally manufactured lamps under the name Harvey Guzzini. Lamp production continued until the mid 1980s, alongside the development of luminaires, which began in the mid 1970s.
Cespuglio. Table lamp consisting of a polished or satin-finish base and sixteen 1968 Homage “leaf-shaped” methacrylate elements radiating outwards from a light source. to Gino Marotta The light strikes the edge of each of the leaf inserts giving them a luminous frill.
Design Ennio Lucini
174 Laser Blade XS The product has a square cross-section which houses the driver. 2018 Pendant Available in three different sizes – including the smallest with a 26 mm side – two heights and two optics with patented Opti Beam technology, which produces Design a well-defined beam, with no double-ring effect and provides extraordinary iGuzzini visual comfort. This version is the evolution of the Laser Blade XS, the smallest linear downlight, launched by the company in 2017.
02 175 Projects Overview
128 p. 78 92 Station F, the biggest The new Victoria & Albert Museum The Louvre Museum in Tehran startup campus in the world Dundee \ Scotland, United Tehran \ Iran Paris \ France 82 86 120 Royal Academy of Arts Boudhnath Stupa Lighting the stunning London \ United Kingdom Kathmandu \ Nepal Blue Lagoon Grindavík \ Iceland 48 112 Moonlight for the The Block – D3 Creek Park 106 Colle dell'Infinito Dubai \ UAE The Palais de Justice Recanati \ Italy Paris \ France
28 40 60 Restoring the perception Alternative light scenarios The Museum of the Dancing Satyr of the frescoes for Michelangelo’s Pietà Mazara del Vallo \ Italy in the Scrovegni Chapel Città del Vaticano Padua \ Italy 95 68 The Zeitz Museum of Contemporary 20 Lighting for the Arch of Janus Art Africa - Zeitz MOCAA Lighting revives Tintoretto’s art inspired by the Roman gods Cape Town \ South Africa Venice \ Italy Rome \ Italy 90 72 54 Yakushiji Temple 16· International Rome Metro C Line – Jikido Hall Architecture Exhibition San Giovanni Station Nara \ Japan Venice \ Italy Rome \ Italy 116 36 Soft lighting for Changi Airport The Ancient Theatre of Taormina Singapore \ Singapore Taormina \ Italy
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Studio Pasetti lighting \ Roberto Sannasardo \ Rossi Bianchi English Lighting Design \ Dante Ferretti \ Vittorio Storaro - Francesca Storaro \ Kengo Kuma & Associates \ James F. Stephen Architects \ Arup \ Studio ZNA \ Toyo Ito & Associates, Architects \ Lightdesign Inc - Hiroyasu Shoji \ Horshaar Design \ Thomas Heatherwick \ Van der Merwe Miszewski Architects (VDMMA) \ Jacobs Parkers Architects \ Rick Brown + Associates \ Renzo Piano Building Workshop \ Cosil Peutz \ Desert Ink \ Lichtvision + WSP \ Basalt Architects \ Liska - Guðjón L. Sigurðsson \ Wilmotte & Associés Nick Turpin \ Demetrio Sonaglioni \ Florence Lam 9.8420.000.0