2019 02 02 Culture Nick Turpin Candid Public Photography Demetrio Sonaglioni Digital technologies for illuminating past masterpieces Florence Lam Future Fit Museums Create a Better Future 02 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.