Incontroluce XVII / The Marches: National Institute of Architecture - Marches section / 17 English version I.

2008
Design: The power of light - part two / Projects: New lease of life for the Exhibition Palace /
The Basilico perspective / Serra Piacentini / Decadence and renewed splendour of an
historic hotel. Hotel Risorgimento / Hong Kong Science Park / A majestic light. Seu Vella /
National Centre for the Performing Arts / An Eco HQ. The Nicolas Hulot Foundation / The
light of culture. Champs Libres / A light line for the Aalborg University Park / A quality break / The
best lighting conditions for research / A beacon for peace / Light for engineering. New head-
quarters of Industrial Project Services-IPS / 12 storeys of light. New Eczacıbaşı Group head-
quarters / Corporate culture: Ecodesign. Responsible product design, from conception to
demolition / Adolfo Guzzini - Doctor Honoris Causa / Third edition of Pasajes-iGuzzini
Architecture Competition / At last, the Design Museum / PizzaKobra Tour / Lightlab

9.1921.000.0
Editorial 17 Incontroluce I. 2008

Dear Readers, Incontroluce

Six-monthly international magazine
on the culture of light
Issue number 17 of incontroluce is packed with news about projects year X, 17
undertaken all round the world, reflecting the vocation of our company
as a pocket multinational. Editing
iGuzzini Study and Research Centre
Internationalization has been the watchword for the growth of our company Fr.ne Sambucheto, 44/a
since the earliest days, and is the reason why the University of Macerata has 62019 Recanati MC
+39.071.7588250 tel.
seen fit to confer on me an honorary degree in International Business and +39.071.7588295 fax
Economy. This editorial provides me with the perfect opportunity to thank email: rc@iguzzini.it
the university once again, and to reiterate that the company could never have iGuzzini illuminazione spa
achieved what has been achieved had I not been surrounded by colleagues 62019 Recanati, Italy
via Mariano Guzzini, 37
and co-workers willing to contribute to the common purpose. So, many thanks +39.071.75881 tel.
once again to all the men and women who have accompanied me, and who +39.071.7588295 fax
are still my companions on this great journey. email: iguzzini@iguzzini.it
www.iguzzini.com
video: 071-7588453

Adolfo Guzzini Graphic Design

Studio Cerri & Associati

Publisher
iGuzzini illuminazione spa

Contributors to this issue

iGuzzini illuminazione Benelux Bvba/Sprl
iGuzzini illuminazione Danmark
iGuzzini illuminazione España S.A.
iGuzzini illuminazione France S.A.
iGuzzini illuminazione Schweiz AG
iGuzzini illuminazione China
iGuzzini illuminazione Norge A.S.
GH Lighting Ltd
Tepta Aydınlatma

Cover photo
Didier Boy de la Tour

Printed: April 2008

Tecnostampa, Recanati

Errata Corrige
Incontroluce 16

Nhow Hotel
Lighting design
Piero Castiglioni

The Editors are not responsible for inaccuracies

and omissions in the list of credits relating to
projects and supplied by contributors.
Any additions or amendments will be included
in the next issue.

II III
17 Incontroluce I. 2008

Summary

II Editorial

The Marches
2 National Institute of Architecture
Marches section

Design
4 The power of light - part two

Projects
10 New lease of life for the Exhibition Palace
14 The Basilico perspective
18 Serra Piacentini
20 Decadence and renewed splendour
of an historic hotel.
Hotel Risorgimento
22 Hong Kong Science Park
24 A majestic light.
Seu Vella
26 National Centre for the Performing Arts
30 An Eco HQ.
The Nicolas Hulot Foundation
32 The light of culture.
Champs Libres
36 A light line for the Aalborg
University Park
38 A quality break
40 The best lighting conditions for research
42 A beacon for peace
44 Light for engineering. New premises
of Industrial Project Services-IPS
46 12 storeys of light.
New Eczacıbaşı Group headquarters

Corporate culture
48 Ecodesign.
Responsible product design,
from conception to demolition
52 Adolfo Guzzini - Doctor Honoris Causa
54 Third edition of the Pasajes-iGuzzini
Architecture Competition
58 At last, the Design Museum
59 PizzaKobra Tour
Lightlab
 The Marches National Institute of Architecture
Marches section
by Maria Luisa Polichetti Canti
At a meeting of the General Assembly on 15
September 2004, the Marches section of the
National Institute of Architecture came into being,
and I was elected President of the section.
The Assembly also approved a three year
programme setting out the initial objectives,
which would reflect those of the National Institute
as a whole, tailored in this instance to the
particular context of the Marches.
These are the main aims pursued by the section:
1 architecture in the Marches, on research projects
- to promote contemporary architecture and
contemporary architectural culture;
- to promote “quality” in works of every description
undertaken across the Marches: architecture,
landscape, town planning and urban
development, reutilization of existing assets;
- to bring about a more and more useful and
productive dialogue between designers and other
parties, public and private, involved in the active
and passive transformation of the territory.
The cultural context surrounding this activity
derives from the urban system of the Marches
and the Adriatic, which plays a pivotal role both
in the general development of the Adriatic region
and in the search for new architectural forms
and models able to meet new urban challenges.
The new section - Inarch Marche - can be a real
workshop generating proposals and ideas through
which to export this culture far and wide: “urban”
is about more than large administrative centres;
just as important are small communities with
an already vibrant cultural and planning outlook.
The programme is implemented through activities
that include exhibitions of work by architects
operating in the Marches, so that projects of
superior quality can be given exposure and
promoted, also the organization and promotion
of architecture exhibitions at national and
international level, spreading the word on state-
of-the-art architectural research and favouring
the exchange and circulation of ideas between
our region and abroad; trips and meetings
arranged at studios and major development
sites, with prices discounted for young architects,
which can provide an occasion not only for
cultural enrichment but also for socialising and
cementing relationships between associates;
preparation and promotion of publications on
of greatest interest in the region, and on the
contemporary city - News Inarch Marche for
example, and there is also a website - and finally,
the promotion and organization of local, national
and international architecture competitions.
At an annual general meeting of Inarch Marche
in September 2007, when my appointment as
President was reconfirmed, certain proposals
2

2 3
were put forward for the programme of activities
that would take us through the next term, ending
in 2009. Among these was the promotion of
initiatives at regional level similar to the one
implemented jointly with the Municipality of
Fabriano and sponsored by CARIFAC, Ardo
Elettrodomestici di Antonio Merloni SpA, and
Associazione Accendiamo Fabriano, designed to
set up “ideas competitions” aimed at regenerating
important urban areas in the main towns and
cities of the Marches, with the involvement of the
Association of Architects right from the early
stages. The logic to be adopted must be that of
renewing the incentives and aims of the initiative
“Good architectural practice” - launched jointly
by Inarch and ANCE Marche - which has met
with gratifying success. In this draft programme,
the intention is also to provide worthwhile input
to the content of building regulations (RET -
Regolamento Edilizio Tipo) currently being
prepared by the Marches Regional Authority.
The document is edited by government offices,
but Inarch cannot remain outside the loop;
3
Photos: Inarch archive
1. Building designed by Guido Canali for the Prada
headquarters in Montegranaro, winner of the Inarch-Ance
award in 2006
2.3. Proceedings of the Inarch AGM held during September
at the premises of iGuzzini
indeed the Institute must find ways to ensure
its voice is heard, so that it can make an impact
on decision-making. In order to set in motion
the processes of physically transforming our
cities, attentive to the notion of pervasive
architectural and building quality, focus must
be placed on the fundamental role that can be
played by designers and by the regional system
of building contractors, working in synergy.
Regarding this last important aspect, town
planning - supramunicipal in particular - has
not offered any guidance hitherto on improving
architectural and landscape quality, having been
limited conventionally to matters of regulation
on how land can or cannot be used, without
addressing the theme of “design centrality”.
A renewal of interest in the theme of the city
is a priority, as cities are the most important
physical infrastructures the region possesses.
The ANCE proposal regarding a “target law for
cities” could undoubtedly provide a significant
reference in this respect, as we seek to make
up ground.
incontroluce 17
 Design The power of light
part two

An opinion piece by Jonathan Speirs

In the previous issue of incontroluce Jonathan Speirs gave an account of his passion Barajas Airport, Madrid, Spain
for light, and of an apprenticeship that included working with rock bands and on Architect: Richard Rogers
theatrical productions. Partnership / Studio Lamella
His “Made of Light” education project, developed together with Mark Major, is also
touring the world as an exhibition. In the second and final part of his piece, Speirs A significant project in which lighting and
reflects on a number of concepts surrounding the profession of lighting designer, architecture are intrinsically integrated to create
a harmonious environment. The aspiration was
which can pose problems, but can also provide stimulus for further progress.
to comfortably illuminate the passenger areas
For the future of lighting design and our emerging profession we have great
as well as expressing the dynamic architectural
optimism, albeit tinged with a few concerns, and primarily...
form of the roof structure, all within a restricted
lighting budget. The lighting solution that
… visual value evolved was to use a system of mirrors designed
It is fascinating that, even as the professional ranks of lighting designers grow to redirect uplight into the crowns of the roof
steadily in number, we still believe that a considerable number of owner/clients and and back onto the floor areas. The client fully
their project managers do not appreciate the true visual value that creative lighting supported our idea of reducing light levels as
design can bring to a project. We estimate conservatively that there is a minimum the distance to the glazed façade gradually
of ten times more visual value in lighting, compared to any other physical expenditure decreases, in order to help save energy and
such as marble or stone or other materials, in terms of investment by an owner. make for a more pleasing space. Overall there
This is of great interest to many of our clients who also believe in this value added are very few lamp types, and this achieves a
aspect of lighting design, but it is also an important and valuable message that holistic simplicity, within the scheme, which
needs to be passed on to more clients. It is up to the lighting design community was important in such a huge project.
to deliver this visual value for their clients, in order that the clients themselves can
truly appreciate the value they are getting from this key member of their Design Team.

… developing the profession

We also believe that with an increasing interest from owner/clients in employing
professional lighting designers, our profession is not ready to handle the quantity
of major and challenging projects that are currently being offered. It is to be hoped
that the increasing number of design schools offering lighting design under-graduate
courses will begin to provide trainee designers for lighting design practices.
This is only the beginning of their training in the world of lighting design: it takes time
and experience - you need to learn to walk before you can run, as the saying goes.
Our concern is that, as larger and more complicated projects call for the design
input of a lighting designer, there will not be enough experienced and qualified
designers able to do a wonderful project.

4
 Text and images provided Photos: Manuel Renau, Tim Soar, James Newton,
by Speirs & Major Associates. Edward Sumner
Projects can be implemented
with products not made by iGuzzini 1. Barajas Airport

1
incontroluce 17

5
 Design The power of light
part two
… sustainability
Genuine concerns over carbon emissions around the world cannot go ignored,
and the lighting design community must do its part in addressing the problem
and educating building users as to what this means where illuminated buildings
are concerned. It is also important to appreciate that architectural lighting is not
generally the major culprit; there are many others, but one notable example is
wasteful highway illumination. A look at any satellite image of the earth at night
clearly identifies the culprits. Whilst safety groups support the illumination of our
motorways and highways, the energy expended is considerable. Would it not be
more sensible to impose slower speed limits and save all this energy?
Currently, we are working on a series of sustainable projects around the world and
are beginning to see positive results, even in the energy-hungry Middle East.
We are developing proposals for a new HQ project in the UAE that will have a fully
sustainable exterior lighting design, with a photovoltaic array providing all the power
for this lighting. On a major 9 square kilometre project, also in the UAE, we have
obtained the agreement of the Municipality highways authority to let us use
European lighting standards rather than the existing local standards, which are
much higher. This is progress!
We have a concern that the lighting design community is not a party to the massive
reductions in power consumption being mandated for buildings by the authorities,
which in some cases is bound to mean that the lit environment will not be up to the
standards and quality that many people expect and deserve. We all know that there
are larger aspects of power consumption in buildings than lighting, which should
also be addressed. I suppose we are all still conditioned by the fact that it is very
easy just to throw a switch and know that the lights will go off!
We are obviously dependent upon the resourcefulness of the lamp manufacturers
to develop better and more efficient lamp efficacies and colour rendering sources
to assist in this effort, though this can have negative consequences, like the LED
disease - the “solution to everything” (!) - which is a definite concern. In effect,
disreputable manufacturers selling unreliable products could in the not too distant
future create a situation where a lot of clients will have a negative reaction to the
idea of LEDs being used on their projects. This will penalise the manufacturers who
are producing first class products and impact on projects in terms of the potential
end results obtainable.
To finish this opinion piece, I would ask the reader to consider the incredible fact
that all we see is reflected light!
Without light there is no vision, no materiality, no form, no three-dimensionality -
there is no life …
Light is indeed powerful.
St. Paul’s Cathedral, London, UK
Architect: Martin Stancliffe
The relighting of the interior of St. Paul’s
Cathedral was carried out as part of a wider
project to clean and repair the overall fabric.
The brief was to develop a flexible lighting
solution that would meet the day-to-day
operational needs of the building, which include
worship, tourism, state occasions and events.
Another requirement of the project was to update
security, cleaning, maintenance and access
arrangements. The design was based on
providing several “layers” of light: general lighting
is provided by a series of new and refurbished
chandeliers, converted gasoliers, stall lights and
lanterns using dimmed incandescent sources
combined with a series of specially designed
spotlighting racks and bars that can be folded
away to restore the look of the space.
Architectural lighting is provided using concealed
metal halide, linear xenon, cold cathode and
tungsten-halogen sources, and includes the
uplighting of the main vaults, the dome, the
transept windows, the organ and other major
features. The overall scheme has a low energy
daytime setting as well as a series of evening
scenes. Liturgical lighting is provided by local
lighting to the various altar positions.
Supplementary theatrical lighting serves the main
altar in the crossing. There were significant
constraints. These included securing permission
from various official bodies to carry out “the
largest single intervention in the history of St.
Paul’s”, which meant extensive research into
minimising damage to the fabric and the careful
crafting of each detail, as well as many mock-ups
and tests. Other issues included requirements for
disabled access, the illumination of precious
artworks, the limited availability of power and
the need to develop a sustainable solution.
6
 2. St. Paul’s Cathedral

2
incontroluce 17

7
 Design The power of light
part two

Sackler Crossing, Royal Botanic Gardens Kew,

United Kingdom
Architect: John Pawson

The Sackler Crossing is a walkway that spans a

lake in the Royal Botanic Gardens, Kew, to the
west of London. The architectural concept sets
the walkway at the minimum possible distance
from the surface of the lake allowing those
crossing to feel they are “walking on the water”.
The lighting concept maintains the simplicity
of this concept, reinforcing the play of solidity
and transparency and providing a “lit context”
through the illumination of the landscape on
an adjacent island.
Carefully recessed and integrated 1 watt high
output white LED uplights gently wash up the
inner faces of bronze balustrade members and
reflect light onto the deck and people crossing
the span. The composition reflects in the water
of the lake, which in turn is reflected in the
bronze uprights of the bridge. As a result, the
appearance of the structure changes constantly
by day and after dark.

8
 3. Sackler Crossing, Royal Botanic Gardens
4. Burj Al Arab
5. Bridge of Aspiration, Royal Ballet School

Burj Al Arab, Dubai, UAE

Architect: Atkins

The iconic project that first launched Dubai

on the worldwide tourist destination map has
a very considered external lighting design.
The design seeks carefully, and respectfully,
to illuminate the structural form of the building
by illuminating the inner faces of the exoskeleton
structure. This balances the illumination of
the PTFE fabric façade, which has a series of
programmed lighting sequences that generate
hypnotic or dynamic colour shifts on a major scale.
The island is connected to the mainland by a
bridge that has no street lighting poles, to avoid
disturbing the view in the direction of the tower,
and is itself lit by downlights reflected back from
water and sand, softly illuminating the curved
underside of the bridge structure.

Bridge of Aspiration,
Royal Ballet School, London, UK
Architects: Wilkinson Eyre Architects

A competition prize-winning architectural and

structural solution to connect the Royal Ballet
School with the Royal Opera House in Covent
Garden, London. The lighting design ethos
was to capture and reinforce the dynamic form
and innovative drama of the bridge: an external
presence, but primarily an experience for its
intended users. The lighting design was
conceived initially at the Competition stage,
and with no lighting budget: accordingly, the
solution had to be economical in terms of both
equipment and running costs. The concept,
simple and graphically, was to “draw” these
twists with light - a heliotropic response to the
bridge design. On the inside, a succession of 57
custom-designed L-shaped acrylic luminaries
with LED sources were integrated into the corners
of the extruded aluminium frame members.

5
incontroluce 17

9
 Projects New lease of life
for the Exhibition Palace
Rome, Italy
Erected between 1880 and 1883 to house
exhibitions, as its name implies, the Palazzo
has been a singular building ever since on
Rome’s urban landscape, by virtue both of its
appearance and of its location in the heart of
the city, behind the Campidoglio, on a busy
shopping thoroughfare that was built at the end
of the 19th century to connect the Rail Station
to the Forum sites. Restoration work on the
architecture, begun more than ten years ago,
Client
Azienda Speciale Palaexpo
Preliminary and definitive design
Architect Firouz Galdo -
Azienda Speciale Palaexpo
provided the ideal opportunity for a strategic
and functional rethink of the interiors used for
cultural entertainment purposes. The imposing
nature of the structure - its size, stylistic perso-
nality and architectural decoration - tended to
overpower the works on display. The absolute
symmetry on all axes also had the effect of
disorientating the visitor and regimenting
the material on show, making any kind of
supposedly logical tour difficult to understand.
10
 Art direction
Lighting, signage and furnishings
Architect Michele De Lucchi
with Enrico Quell
Final design of Palazzo and Serra
Architect Paolo Desideri - ABDR - SAC
2
11
Works contractor Photos: Gabriele Basilico
SAC and IGIT
1.2. Interior views
Design of underpinning works
Architect Paolo Rocchi
Design of Cinema and Auditorium
Architect Maurizio Pascucci
In the light of these difficulties, and with the
aim being to convert the traditional gallery
structure into a place of entertainment, the
ground floor of the Exhibition Palace was
reorganised along the lines of a mall, with
coffee shop, book store and arcades: other
works included refurbishment of the first floor
conference hall and projection room, and
rebuilding of the old Serra Piacentini
conservatory to include a high-end restaurant.
Multiple entrances reflect the new philosophy
of the Palace, which now seeks to be an open
space, ready to embrace a wide diversity of
programmes. The project takes in all the tried
and tested building innovations now widely
adopted in this type of facility, especially
technological improvements in HVAC, safety,
lighting and flexible exhibition systems.
The biggest challenge was that of giving the
exhibition spaces a suitable balance, and the
kind of equipment that would reconcile the need
for conservation of the Palace with maximum
flexibility of use. The main entrance is located
under the Triumphal Arch: the symmetrical
entrance hall leads from either side into two
large and free open areas that can be used to
unquestionable advantage for vertical displays.
The ticket office is located in the niche on the
right hand side of the entrance hall, a similarly
high interior decorated with pilastered walls
and a coffered ceiling.
To promote the exhibitions and describe the
Palace, banners are placed above and in front
of the ticket counter, and directory boards in
the spaces between the columns. The panels
and floor are downlit by four clusters of
directionally adjustable spotlights.
incontroluce 17
 Projects New lease of life
for the Exhibition Palace

The great central hall is effectively the heart of

the building, and embodies all the exhibition
potential of the Palace: it is two floors high, with
a large central skylight that had been obscured
for many years. The light enters directly from
overhead, a true zenithal source: a superb light,
but at the same noticeably rigid due to the
particular nature of the effect and the difficulty
in modulating its brightness. The central hall
also provides a route into and away from the
exhibition rooms on both the first and the
second floors, all accessible from the balcony
that overlooks the large central void.
The hall communicates laterally, left and right,
with further rooms: three on each side, all long
and narrow, very high, and with light entering
from directly overhead along their full length.
The transept and the room leading from the
great central hall to the north hall is entirely
similar to the side rooms, having the same
shape, the same openings and the same
proportions. This perhaps is the area most
difficult to set up, and as such, the one offering
the greatest scope for solutions with a strong
visual impact.
The upper rooms all communicate with the
balcony encircling the central void, and present
a more modern appearance, being more
comfortably proportioned in plan and elevation.

12
 Design of Atelier and Forum
Architect Daniele Durante
studiobv36 and Architect Adele Savino
Contractor for Atelier and Forum
Barth Innenausbau, Bressanone
4
13
Design of coffee shop 3.4. Interior views
Architect Luca Braguglia
Design of book store
Architect Firouz Galdo
and Architect Gabriele Pierluisi
The rooms of the second floor afford access to the
conservatory at the rear, which houses the large
coffee shop designed by architect Paolo Desideri.
The lighting system is the element that chara-
cterises the recent refurbishment more than any
other; it features a set of long, slimline suspended
ceiling modules that house the lighting fixtures,
as well as the technical equipment needed for
exhibition rooms, such as smoke alarms, electrical
components and loudspeakers. More exactly, the
system utilises suspended and motorised height-
adjustable panels, each equipped with tracks and
Tecnica spots positioned along the sides, and
recessed downlights along the middle. Essentially
a movable false ceiling, this type of arrangement
is guaranteed easy to operate and maintain - a
key consideration for a contemporary exhibition
structure that needs to rely on total, nonstop
efficiency at low running costs.
For connecting areas, on the other hand, the
designers specified a cylindrical luminaire
providing both general and emergency lighting.
By integrating these two functions, it becomes
possible to eliminate UPS units and streamline
the electrical system structurally. The fixtures
were produced in close collaboration with the
De Lucchi studio.
incontroluce 17
Projects The Basilico perspective

14
incontroluce 17

15
16
 Photos: Gabriele Basilico

incontroluce 17

17
 Projects Serra Piacentini Client
Azienda speciale PALA EXPO

Architectural design
ABDR Architetti Associati

Design team
ABDR
S.A.C. Spa
Exhibition Palace, Rome, Italy IGIT

The design for rebuilding of the conservatory

on the roof of the Exhibition Palace in Rome
(the original structure, known as the “Serra
Piacentini”, was demolished in the 1930s)
stands out for the innovative choices made in
the areas of materials, functional characteristics,
and overall efficiency of the building complex.
From an architectural standpoint, the languages
adopted are geared to a simplification aimed at
minimising all direct comparison with the historic
forms and languages of the Palace, while also
ensuring that the technologies employed are
not paraded gratuitously.
The main objective of the project is to achieve
a full inclusion of the conservatory structure in
the institutional programme of the Palace, and
its definitive functional, technological and formal
integration into the architectural organism
envisaged by Pio Piacentini.
The “Ex-Serra Piacentini” affords the main
opportunity for urban reconnection with Via
Piacenza, and an instrument with which to
initiate a process of recovery focusing on a part
of the city too long thought of as “at the back”
of the Palace. Contributing to the realization of
these objectives are the organic essence of the
architectural design, and the volumetric planning
approach with its characteristics of transparency 1
and of functional and technological propriety.
Externally, the succession of materials from the
masonry base, up through the intermediate
travertine-clad elements to the glass enclosure
and the delicate roofing solution, creates an effect
such as to suggest a measured and progressive
shedding of weight from the volume of the new
conservatory.
And to this - thanks to the complete volumetric
linearity and simplicity of the design solution,
and the minimal bulk of the structural solutions
adopted for the suspended glazing - can be
added the remarkable effect of a light-mediated
and symbolic switch between daytime and
night time use.

18
 Team members Consultants Photos: Courtesy of Studio ADBR
Arch. Angela Arnone and Arch. Maria Ing. Valerio Calderaro (bioclimatics)
Persichella (general technical coordination), Arch. Stefano Tiburzi (fire prevention) 1.2.3. View of the conservatory
Arch. Steffen Ahl, Arch. Alessandra Gobbo,
Arch. Marta Petacco, Arch. Alessio Scarale,
Arch. Giancarlo Vaccher

Structures
Prof.Ing. Mario Desideri
Ing. Odine Manfroni

A large, solid-looking glasshouse by day, the

diaphanous and luminescent prism becomes a
captivating “urban lantern” after dark, by which
the exhibition functions and communication
potentialities of the Palace are amplified and
integrated into the newly emerging urban
frontage of Via Piacenza.
This effect was made possible thanks to a
collaborative effort between ABDR (Maria Laura
Arlotti, Michele Beccu, Paolo Desideri and
Filippo Raimondo) and iGuzzini illuminazione,
the company having developed a special product
for the project, namely a suspended fixture with
8 light points able to handle different wattages
(Master Colour CDM-R111 halide sources from
35 to 70W). These suspended units provide
diffused light to illuminate the different levels
internally of the Serra, which houses a coffee
shop and the Open Colonna restaurant.

3
incontroluce 17

19
 Projects Decadence and renewed
splendour of an historic hotel.
Hotel Risorgimento
Lecce, Italy
1 2
In planning the refurbishment and extension
of the Hotel Risorgimento in Lecce, architect
Luca Scacchetti took his lead entirely from
impressions and notions formed during initial
surveys of the site. For example, still hanging
from two rusty joists - sole survivors following
the collapse of the suspended ceiling - were
two giant clear crystal chandeliers, ghost-like
under a coat of dust and debris, which hinted
at the spatiality of the new hall, suggesting
rhythms and proportions. A work of imagination,
recounting a place of decorations and clear
lights, where Eastern promise rubs shoulders
with Renaissance certainty, 17th century flights
of fancy and the vagaries of time, eating away
at soft stone as keenly as a contemporary sculptor.
The furniture, colours, fabrics, upholstery and
lights all combine to conjure up the image of
a quarry with stone faces indented, scored
and shaped by a thousand cuts.
Client
Vestas Hotels & Resorts
Architectural design
Luca Scacchetti
Brilliant daylight is reflected in the near-white
floor, contrasting with the red of the entrance
hall, which leads in cool shade to lounges on
the right and the restaurant on the left; here,
the eye is met by a sculptural interplay between
the dark tones of wood and the light of white
ceilings, recalling the light and shade, the
projections and recesses, of Lecce’s baroque
church façades. The designer’s vision of the
project looks to take in the contemporary and
the traditional, together with memory and
location… an inclusive approach, intended as a
small contribution to the search for different ways
of redesigning the Italy of today and tomorrow.
iGuzzini was involved in all aspects of the lighting
installation, both for interiors and for external
areas of the hotel. A special version of the Y Light
was produced for the guest rooms, as well as
standard and table lamps made to designs by
the architect, Luca Scacchetti.
20
 Photos: Marino Mannarini

1. Exterior of the building

2. Sun lounge
3.4. Rooms

Recessed LED fixtures were also created for the

bedside tables of the guest rooms. With a view
to minimising the visual impact of lighting
fixtures, recessed Light Shed-units were also
installed in the bathrooms.
In the entrance hall, recessed Pixel Plus units
are concealed in the wood cladding. Another
new feature: the entire ground floor lighting,
including hall, sun lounge and conference room,
is managed using the “Scene Equalizer” system.
The sun lounge is also lit biodynamically, using
Sivra Compact sources, whilst for the skylight,
ColourWoody fixtures are used to produce
coloured light. The restaurant and wine bar
are fitted with recessed floor units: Light Up
Walk Professional and Linealuce. The façade
is illuminated using Linealuce with Led
sources, having a warm colour temperature.
All elements combine to create bright sunlight
and dark shadows, together with the ethereal
morning glow typical of the Salento region.

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21
 Projects Hong Kong Science Park
Hong Kong
The Hong Kong Science Park is a large new
centre of technology set up in Hong Kong.
It occupies an area of 22 hectares and includes
buildings with 330,000 m2 floor space.
The facility is being developed in 3 stages, with
completion in 2009. There are 70 Chinese and
foreign companies currently resident, working
in electronics, biotechnology, engineering,
Architects/Consultants
Architectural Services Department
(Hong Kong Government)
Lighting design
Simon Kwan & Associates,
Tino Kwan Lighting Consultant
Information Tecnology and telecommunications.
The Science Park offers companies support
services across the board, through technical
and assistance structures and infrastructures.
Lighting systems for the first stage of the
development were installed using iGuzzini
products: these included Nuvola, Le Perroquet,
Platea, Linealuce, Reflex and Greenwich fixtures.
22
 Partners Assistance Photos: Archivio iGuzzini
iGuzzini China
1. Exterior of the building
2. Detail of the roof

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23
 Projects A majestic light.
Seu Vella
Lleida, Spain
The old cathedral complex of Seu Vella is the
most important symbol of Lleida, capital of the
province having the same name, in the western
part of Catalonia. Situated on a hilltop, dominating
both the city and the broad plain of the Segre
river, its outline is the very emblem of the city.
By virtue of its size and colour, it can be seen from
considerable distances. It was built between 1203
and 1431. In 1707, the Seu Vella risked being
destroyed, but instead was converted into a
barracks and ceased to be used as a place of
worship in 1797. The cathedral is Romanesque
but with a Gothic roof, making it transitional in
style. The plan is based on a Latin cross, with
three naves, a large octagonal crossing sur-
mounted by a lantern, and five apses. The bell
tower stands 60 metres high. The entire Seu Vella
is carved and decorated, with all parts plainly
in evidence during the day, but requiring
illumination after dark. The first step was one of
conducting an analysis on the various parts of
the Cathedral, to establish priorities and divide
the project into stages.
Client
La Paeria, Ajuntament de Lleida
Tomás Ferré, Ing.
Carles Sáez, Arq.
Architects
Marta Trullàs i Huguet
Noelia Albana
The main façades and the bell tower required
attention first. The tower is seen as an important
landmark for the city of Lleida. With the need to
identify strategic areas where light points could
be positioned, the octagonal shape of the tower
suggested a geometrical approach. The designers
picked out four corner angles on the tower, from
which beams would be thrown onto the two
adjoining faces and the octagon thus enveloped
in light. Bearing in mind the yellow ochre colour
of the stone from which the tower is built, it
was decided to install Maxi Woody units with
superspot optical assemblies, using and 250 W
and 400 W sodium vapour lamps. The fixtures
were specified with Fresnel lenses and
directional louvres in order to generate an
elliptical beam that would illuminate the full
surface of the tower and avoid casting light
where there is no need, in the interests of
minimising light pollution. The buttressed
façade of the cloister is illuminated by floods
with asymmetric optical assemblies, positioned
in existing niches.
24
 Partner Assistance Photos: José Hevia
iGuzzini illuminazione España
1. The cathedral complex viewed by night
2. Illumination of the buttresses
3. Detail

The architectural forms and reliefs are highlighted

with accent lights using metal halide sources,
designed to create pinpoint contrasts with the
yellow sodium floodlighting. Accents were needed
on the flanks of the buttresses, the bays, and the
top of the tower. The tower terminates uppermost
in a Gothic cluster of spirelets, finials and cusps,
picked out by bright light that grows dim gradually
as it spreads down toward the lower floors.
The accent illumination adopted for the cloister
façade is designed to throw the buttresses into
relief, using recessed Light Up fixtures with
metal halide lamps, installed at ground level.
This blend of background and accent lighting
succeeds in creating an overall view of the Seu
Vella Cathedral that shows off its architecture
sensitively, giving deference to the surrounding
natural and cultural environment.
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 Projects
The National Centre for the Performing Arts,
(formerly the National Grand Theatre), located in
central Beijing, about 500 metres from Tian An
Men Square and the Forbidden City, is quite literally
an island of culture in the middle of a lake. The
huge ellipsoidal dome of grey titanium varies from
144 to 213 metres in width, standing 46 metres
high, and incorporates a curvilinear glass inset
creating two broad roof segments. There are three
National Centre
for the Performing Arts
Beijing, China
halls inside: one for staging operas, another for
concerts, and a theatre, as well as a number of
exhibition areas open to the public. The Opera is
the centrepiece, both physically, and in terms of
prestige attached to the project. The concert hall
and the theatre are located on either side of the
Opera. The building is connected to shore by a
transparent subway, so the public can be admitted
without any break being created in the outer skin
Client
The National Grand Theatre
Committee - Wan Siquan
Architectural design
Paul Andreu, Architect, in association
with ADPi and BIAD D
of the dome, which as a result appears
mysteriously as if devoid of any opening or
entrance. The indoor areas open to the public
give the impression of being “in town”: roads,
squares, shops, restaurants, spaces to sit and
rest, and waiting rooms. Plenty of space has
been allocated to these public access areas,
in order to reinforce the sensation of being in
a place open to all: the performing arts centre
26
Lighting design Acoustics Photos: Gabriele Basilico
Lighting Planners Associates Inc. CSTB - M. Vian
Kaoru Mende - Yosuke Hiraiwa 1. National Centre for the Performing Arts, exterior
Partners Assistance
Project Management iGuzzini China
Felipe Starling

Principal Architect
François Tamisier

is not intended for elitist shows and events.
The halls and public areas are built on a platform
able to accommodate all operational and support
structures, in a single complex designed for
maximum efficiency and economy of organization,
exactly as would be the case for any modern
manufacturing facility. And all accomplished
without ever disrupting the harmony of the public
spaces or the pleasure of visitors and theatre-goers.
A lounge on the top floor, directly beneath the roof,
affords both patrons and casual visitors a splendid
view of the city, which can be appreciated from a
new perspective. The decision to build the National
Centre on a site of such great historical and
symbolic importance reflects a determination to
ensure that culture is given its proper value, in
the light of history and in the context of the
contemporary world.
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28
 2. Area around the Opera, open to the public
3. Front view of the Opera

iGuzzini illuminazione worked with Paul Andreu

and lighting designer Kaoru Mende on the
artificial lighting for the areas open to the
public, and the foyer. The relationship between
the building and the daytime and night-time
landscape was a key factor in the design.
During the day, natural light fills the building,
making it alive and dictating its every change
of mood, whereas at night, artificial light
radiates outward from the transparent central
part of the dome, proclaiming the presence of
the National Centre on the urban landscape.
Basically two types of luminaire were used to
light the indoor areas mentioned: Le Perroquet
and Light Up.
The Le Perroquet fixtures are positioned along
the top outer edges of the internal buildings
housing the Opera, Theatre and Concert halls,
and fitted with HQI lamps rated 150 W, whereas
the Light Up fixtures are deployed at the back
of the Theatre and Concert halls, to highlight the
colour and warmth of the wood cladding selected
for the walls. The equipment also includes a
number of Zoom spots, illuminating works of
art installed along the corridors.

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29
 Projects
1 2
The Nicolas Hulot Foundation for Nature and
Humanity was set up in 1990 and recognised
as an agency for the public good in 1996.
It is a non-governmental, non-political and
non-confessional organization, whose mission
is to promote environmental education and
awareness and which is committed to scientific
and cultural education in the name of humanity’s
natural heritage.
Recently, the headquarters of the Foundation was
moved and underwent a renovation aimed at
delivering improvements in terms of its functional
efficiency, identity and environmental quality,
all on a limited budget.
The offices are organised in an open-space
setting around a central block housing the service
functions, surrounded by a plant wall designed
An Eco HQ.
The Nicolas Hulot Foundation
Boulogne-Billancourt, France
and erected in collaboration with botanist Patrick
Blanc. This area receives plenty of natural light.
The design of the artificial lighting focuses on
energy saving - in keeping, not least, with the
mission of the organization - hence the selection
of Light Air fixtures with fluorescent and metal
halide sources. These suspended luminaires are
able to direct light upwards, creating a diffused
output such as will guarantee visual comfort for
the 25 workstations used by staff and co-workers
at the Foundation, which occupy a floor area
of around 450 m2.
Some of the Light Air fixtures also have green
uplight filters. Green conjures up the idea of
nature and the nature-oriented vocation of the
building, which is reflected in the plant wall
and in the use of certain types of materials.
Client
Nicolas Hulot Foundation
for Nature and Humanity
Architectural design
Nicolas Favet Architectes
Plant wall
Patrick Blanc
The materials selected are natural or raw, and
preferred for reasons of performance: floors are
natural linoleum, all furniture is made from fir
plywood, used generally for assembling moulds
and for shuttering in which concrete is cast,
the walls of the coffee shop are clad with panels
obtained from recycled milk containers, and the
ceilings are a wood fibre and cement composition
giving optimum acoustic performance.
30
 Partners Assistance Photos: Didier Boy de la Tour
iGuzzini illuminazione France SA
1. Façade
2. One of the rooms
3. Rest area

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31
 Projects
Occupying a surface of 35,280 m2 overall, the
Champs Libres is the new cultural centre of Rennes
Métropole, created with essentially a single broad
aim in view: to make culture accessible to all.
The idea was that three cultural facilities in the
city of Rennes, all occupying premises they had
long outgrown, should be brought under one roof:
the Public Library, the Musée de Bretagne and
the Espace des Sciences (a centre of scientific,
engineering and industrial learning). A competition
was launched for the design of the new building,
and won by architect Christian de Portzamparc.
The light of culture. Client
Rennes Métropole
Champs Libres Maître d’oeuvre
Christian de Portzamparc
Museography
Elisabeth de Portzamparc
Rennes, France
The design was based on a concept of space as an
element favouring circulation between and around
large volumes. On the ground floor, the routes have
the flavour of a downtown quarter. The use of
transparent media gives clear visibility to the three
different sections, which are connected by overhead
walkways. Also important was that the three
facilities should be identifiable from outside the
building. The Musée de Bretagne has 5,663 m2
of floor space and is laid out on a single storey,
resembling a girdle that extends fully around the
other two structures: the “Espace des sciences”,
32
 Lighting design Photos: Didier Boy de la Tour
Spectaculaire
1. Library entrance
Partners Assistance
iGuzzini illuminazione France SA 2. View of exterior

2
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 Projects The light of culture.
Champs Libres

34

4 5
a giant zinc cone, its largest room on the ground
floor, which terminates uppermost in a spherical
planetarium with a seating capacity of 99; and
the Library, a six-storey building conceived as an
upturned pyramid and affording 7,942 m2 of floor
space, which includes a reading room of 3,850 m2.
The lighting for the different areas is provided by
iGuzzini fixtures able to meet the various needs
of a multipurpose venue such as this. Recessed
Optica and Pixel Plus are installed in the library,
to give both background and accent lighting.
35
3. Espace des Sciences entrance
4. Library
5. Museé de Bretagne
The museum is equipped predominantly with
Le Perroquet and Le Perroquet professional units,
to ensure maximum flexibility of use.
The lighting in the conference hall uses recessed
Reflex units, whereas the fixtures in the dome
of the planetarium are Lingotto spots. Transit
and entrance areas are lit by a combination
of Linealuce wall fixtures, recessed Optica
(asymmetric) and Pixel Plus downlights and
Le Perroquet Professional.
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 Projects A light line for the Aalborg
University Park
Aalborg, Denmark
The “university park” is one of many projects
currently under way in the Danish city of Aalborg.
There is a plan to develop the area between the
university and the city of Gug, building 1500
new homes and a 170,000 m2 shopping centre.
The architects’ guidelines required that the street
lighting should match the characteristics of the
residential development, in terms of the visual
impact created by the appliances not only in
daylight, but equally, during the hours from dusk
to dawn. The quality of the illumination in the
university park should emulate the natural
daylight, so that the floodlit environment will
afford a pleasurable experience for local
residents. The main access route to the
area is from “Einsteins boulevard”.
Client
Municipality of Aalborg
Architectural design
KHR Architects, Møller and
Grønborg Architects
Engineering calculations
Rambøll Aalborg
The architects specified that the light provided
by lamp-post fixtures should be indirect, and
that these same appliances should create a
“string of pearls” effect at night. The effect
was achieved with row of 22 Nuvola units.
These establish the site as a landmark, while
contrasting with the widely spaced planting
scheme at the entrance area. The fixtures are
installed at a height of 10 metres, spaced
30 metres apart and equipped with 250 W
metal halide lamps. The lighting for the
underpass to the “Einsteins boulevard” was
designed with meticulous attention to detail.
The underpass is built using prefabricated
sections with a prism by which the light
is refracted in the middle of the road.
36
 Installer Photos: Ole Ziegler
AKE Entreprise A/S
1. Twilight view of the “string of pearls”
Partners Assistance 2. Plan and views
iGuzzini illuminazione DK

View 1 View 2 View 3

View 4 View 5 View 6

View 7 View 8 View 9

2
View 10 View 11 View 12 Overview

The prism works both with daylight, and with

artificial light, in this instance provided by
recessed Walky fixtures.
A fundamental requirement for the quality
of the underpass and its everyday use, is that
the quality of the lighting along the passage
should be no less than that of the adjoining
roads and walkways.
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37
 Projects A quality break Architectural design
Germann & Achermann AG

Systems
Altdorf power company

Partners Assistance
iGuzzini illuminazione Schweiz

Shattdorf, Switzerland

The Schattdorf diner, located on the north-south

stretch of the St Gotthard motorway, has been
redeveloped to a new design by the Altdorf firm
of architects, Germann & Achermann AG.
Particular care was taken over the lighting for
the new interior, especially in the dining areas.
With intensity and colour temperature varying
at different times of the day, the light needed
to be attuned to the metabolism of the patrons.
The imaginative architecture of the main building
is eye-catching, especially to motorists emerging
from the St Gotthard tunnel.
On the inside, warm tones predominate. Large
expanses of glazing afford a spectacular view of
the Uri mountains peaks.
The lighting concept for the interior - a room
almost 72 metres long, between 10 and 12.5
metres wide and rising to 12.5 metres high -
was developed by the architects and the Altdorf
power company in collaboration with iGuzzini.

The lighting scheme interconnects the single
areas within the building optically.
To ensure the lighting would create a sensation
of wellness, iGuzzini used Pixel Plus and Lineup
fixtures in conjunction with the Sivra biodynamic
light system, which can be programmed to
reproduce the variations in intensity and colour
temperature characteristic of natural light.
Accordingly, time spent in any part of the building
will promote well-being and assist the capacity
of motorway users to drive safely.
With the lamps downlighting the floor, intensity
and colour temperature are controlled at mid room
height, though not in response to the light outside.
Rather, according to the time of day. To exploit
the height of the interior optically, iGuzzini
utilised a continuous modular fluorescent fitting
of relatively low wattage to uplight the ceiling.
The different areas - entrance, shop and diner -
are not demarcated by the light, but connected
by effects that remain the same throughout
the interior.
The lighting of the Free Flow layout on the
lower level is designed to guide customers into
the self-service diner using the brightness and
intensity of the illumination. Products on sale
are lit selectively by high performance spots,
using a warm toned light, so as to create

38
 Photos: Günter Laznia

1. Exterior
2.3. Different intensities and colour temperatures in the diner

2 3

a clear distinction between merchandise and

surroundings.
On the outside, iGuzzini fixtures highlight the
architecture of the diner: approaching from
the south, travellers see a conspicuously large
glass front in the projecting part of the building.
The illuminated windows are set in relief by
the weak lighting of the façade, which on the
side nearest the road is shown up less strongly
as the external floods cast only a small amount
of light on the building. In this instance, the
fixtures employed are Light Up Walk
professional and MaxiWoody.
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39
 Projects The best lighting conditions Architectural design
Liechti, Graf and Zumsteg

for research Electrical system design

Gähler und Partner

Partners Assistance
iGuzzini illuminazione Schweiz

Villigen, Switzerland

In July 2007 Switzerland’s biggest research centre,

the Paul Scherrer Institute in Villigen, inaugurated
new headquarters designed by architects Liechti,
Graf and Zumsteg of Brugg.
When tenders were invited for the project in 2005,
the Brugg practice submitted a winning bid drawn
up jointly with Gähler und Partner of Ennetbaden,
designers of the electrical system. As envisaged in
the successful bid, the building appears as a ring
of offices enclosing a coffee shop on two floors and
a control room, from where the main research
installations of the centre are monitored round the
clock: the synchrotron light source (Synchrotron-
Lichtquelle Schweiz SLS), the spallation neutron
source (Spallations-Neutronenquelle SINQ) and
proton accelerator, and the Proscan radiotherapy
equipment.
As the control room is a 24/7 work environment,
iGuzzini specified biodynamic lighting provided
by suspended Light Air fixtures.

40

2 3
This special type of lighting benefits staff working
the three shifts, given that artificial light not only
serves to ensure optimum vision, but also - like
natural ligh - has an important impact on the
physical and psychological stability of individuals.
Natural light regulates our biological clock and
influences important physiological functions, like
the production of hormones, cognitive powers, and
mood. For the purposes of setting the different light
intensities, shifts 1 and 2, from 06.00 to 22.00
hours, were treated as a 16-hour day.
This means that at the start of the 6 a.m. shift,
the Light Air fixtures emit minimal warm light,
41
Photos: Günter Laznia
1. Part of the control room
2.3. Different intensities and colour temperatures in the room
then half-way through the shift, the intensity
increases and the light is colder. Approaching
10 p.m., the light becomes softer and warmer.
During the third shift, the light output is managed
in such a way as to simulate an 8-hour day.
The lighting system is designed to ensure
compliance with requirements for rooms where
video terminals are in use, in respect of
luminous density and dispersion angle.
The single lighting modules can be combined
one with another in different ways, allowing
their adaptation to environments of different
geometries and proportions.
incontroluce 17
 Projects
Since 9 October 2007, a column of light has
shone on the Icelandic island of Videy, visible
from the capital Reykjavik, to remind everyone
of world peace and its importance. The initiator
of this work of conceptual art was Yoko Ono, she
and John Lennon having originally had the idea
as long ago as the 1960s. Now, the work has
finally been realised. It was Yoko Ono herself
who wanted the Imagine Peace Tower to be at
Reykjavik, because Iceland has never had an
army, and is also an example to the world in
matters of environmental awareness. After an
extensive testing process, during which Space
Cannon was indicated by iGuzzini as the company
best equipped to address the numerous technical
difficulties involved in the realization of this novel
A beacon for peace Architectural design
PK Architects
Fixtures
Space Cannon VH S.p.A.
Construction and systems
VST, Jón Otti Sigur∂sson
´
Videy Island, Iceland
beacon, the designers settled on the fixtures best
suited to the purpose. iGuzzini Light Up Walk
professional fixtures were selected to illuminate
the structure of the tower. The beacon itself is
generated by nine Space Cannon Leukos 7000W
Xenon lamps.
In addition to the beacon lamps, six Leikos
fixtures with 2000W lamps were positioned
in the light tunnels around the tower.
As a practical extension of the Imagine Peace
Tower project, every two years in Reykjavik -
and always on 9 October - Yoko Ono will present
the LennonOno Grant for Peace, set up in 2002
to promote peace, truth and humanity in the
world and to help people who promote these
values in carrying on their work.
42
 Partners Assistance Photos: Hakon Halldorsson
iGuzzini Norge
GH Lighting Ltd 1. Videy Island, view of the bay
2. Final stages of installation
3. Yoko Ono during the inauguration ceremony
4. Ringo Starr during the inauguration

2 3

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43
 Projects Light for engineering.
New premises of Industrial
Project Services - IPS
Nivelles, Belgium
Industrial Project Services (IPS) is a multidisciplinary
engineering company, that is to say, an organization
that handles every aspect of an industrial project,
from cost management to engineering calculations.
Incorporated in 1992, IPS recently created a
Competence Centre at Nivelles, which opened
in 2006. This is an international training facility
set up to pursue synergy development between
sectors of the company engaged in different areas.
Client
IPS
Architectural design
IPS - Giuliana Matucci
Partners Assistance
iGuzzini Benelux
The centre also aims to connect IPS with the
territory in which it operates. iGuzzini provided
consultancy and supplied equipment for the
lighting in the new premises.
The fixtures for the installation were selected
on the basis of certain key words suggested by
Giuliana Matucci, Junior Project Engineer at IPS.
The foyer, arranged on two levels with glass walls
to the front and rear, is a multifunctional space
44
 Photos: Paul Van Den Brande

1. IPS family day

2. Foyer
3. One of the work rooms, equipped and furnished

overlooked by a conference room, as well as being

a relaxation area. Stairs on either side of the foyer
lead up to doorways in windowless flank walls,
beyond which there are offices, meeting rooms,
design workshops and multimedia laboratories.
The foyer provides the only route up to the first
floor, and as such, it is seen as the true concourse
and discussion forum for the company. The key
words suggested for this area were: lightness,
space, transparency, mobility, effervescence.
The diffused light and transparency of the Gem
fixture, suspended at different heights, appeared
to meet these requirements perfectly. In the case of
the conference room - nicknamed the “aquarium”,
given its visibility from the foyer - the simple decor
and minimalist furnishings are lit fluorescently by
2
a Cestello fixture, suspended centrally and in
parallel alignment with the table.
The space set aside for relaxation and refreshment
has modern furniture, consisting of round tables
and high upholstered chairs. Here, it was felt that
the lighting should have elegance and sparkle:
qualities offered by the Microcestello fixture.
The design and multimedia labs and the meeting
rooms all have fluorescent lighting, provided by
suspended Cestello fixtures assembled in square
or letter-U configurations. These luminaires create
the kind of uniform lighting desirable for work
areas where thought and concentration are
all-important.

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45
 Projects
Certain companies of the Eczacıbaşı group,
a major player in the Turkish economy, have
moved to a new building at the Kanyon business
centre located in Instanbul’s Levent district.
The layout is the same on all levels of the
12-storey block, which affords 13,420 m2
floor space overall.
The lighting scheme for the offices, featuring
a modern design by Tabanlıoğlu, needed to
be elegant, but also simple and functional.
12 storeys of light. Architectural design
Tabanlıoğlu Architecture
New Eczacıbaşı Group headquarters Partners Assistance
Tepta Aydınlatma
Istanbul, Turkey
The Hub system was identified as the most
suitable, designed as it is to incorporate optical
assemblies, fire sprinklers, smoke alarms and
loudspeakers in a single fixture. The individual
offices are lit by a special version of the modular
Hub system, using 3-metre units fitted with two
54W fluorescent tubes. Hub modules used in the
corridors leading to the lifts are 2.4 m in length,
installed parallel one with another and with the
timber cladding panels.
46
 Photos: Engin Gerçek

1. Reception and offices

2. Relaxation area
3. Executive office

Each Hub module houses all of the additional

components mentioned, together with two 24W
fluorescent tubes. Certain devices include
emergency lighting, activated in the event
of power failure.
Recessed Ledplus fixtures were installed
opposite the lifts to indicate the location.
The downlights recessed into the timber-clad
ceilings of the office corridors are square Laser
fixtures lamped with 12V 50W dichroic sources,
some of which provide emergency lighting.
Waiting areas are lit by a special Hub system
with polycarbonate filters.

3
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47
 Corporate culture Ecodesign.
Responsible product design,
from conception to demolition

Products that operate by consuming energy have

an impact on the environment that can take
various forms: at worst, the practice of burning
fuels and the consequent effect on climate change,
also the depletion of natural resources caused by
extracting the materials they contain; at best, the
recovery of waste from manufacturing processes,
and the recycling of used materials wholly or in part.
Ecodesign - where environmental considerations
are built into the design process - is presumably
the best way to mitigate the impact that products
have on the environment.
And with the introduction of ecodesign measures,
stating requirements intended to make products
more efficient, an important and lasting contribution
can be made in the struggle to combat climate
change. European Council Directive 2005/32/CE
EuP (Energy-using Products) seeks to establish a
framework for the incorporation of environmental
factors into the design of appliances and equipment
that use energy, particularly electrical power
and fossil fuels. The VHK research institute was 1
appointed by the EU Commission on Implemen-
tation Measures to develop a methodology study The product groups are: development, and the expansion of electrical
for the purpose of assessing which groups of - Electric motors, water pumps, ventilation fans; power grids into rural areas. It is no surprise that
products could be covered by the new measures. - Personal computers and monitors; the envisaged growth rate should be higher in
In December 2005, following the completion of - Imaging equipment: copiers, faxes, printers, the developing countries of Asia and the Pacific,
the VHK study, the Commission appointed a scanners, multifunctional devices; Eastern Europe, Africa, the Middle East and Latin
number of outside consultants to carry out - Consumer electronics, typically televisions; America. It is expected that the demand for lighting
preliminary studies on certain groups of products, - Battery chargers; appliances will increase in western European
with the involvement of Businesses and of - Lighting appliances; countries by 4.0% per year, well above the growth
National and European Associations. - Air-conditioning equipment; rate of 2.9% recorded during the period from
- Refrigerators and freezers (including domestic), 1998 to 2003.
display cabinets and vending machines Overall annual expenditure on lighting in the 25
Consultants are tasked to identify specific and countries of the European Union (EU25) area
mandatory limits for single products, in respect of amounts to 4.3 billion euros, of which 2.3 billion
certain significant environmental parameters such (or 55%) is spent on electricity, 1.5 billion on
as, for example, energy efficiency, water products, 0.2 billion on labour and relamping
consumption, etc. General standards will also be services, and 0.125 billion on new lamps.
defined for the overall environmental performance The sectors identified by implementation study
of the product, in this instance without setting groups as being priority areas for setting specific
any limit values. limits and general performance standards are
The IEA study entitled “Lights Labours Lost” (IEA, street lighting and office lighting.
2006) forecasts increasing growth in the global As regards the use of artificial light, an analysis
market for lighting installations and appliances, was conducted to establish which sectors of
driven by higher levels of production and increased application consume the higher percentages of
building activity, these factors in turn reflecting electrical energy for lighting, in relation to total
growth in the world economy, continuing urban energy consumption.

48

2 3
Street lighting.
The estimate of energy consumption made during
2005, assessed in the current study, is 35 TWh
for the EU25 area, and represents around 1.3%
of ultimate electricity consumption. In one recent
study, electrical power consumption accounted for
by street lighting is related to a given number of
inhabitants, and a ratio of 0.11 fixtures per head
is identified; this gives a projection suggesting that
in Europe (which has 820 million inhabitants),
there is a total of 91 million light points installed.
Considering that lighting appliances have
an estimated service life of 30 years, many
installations currently in use will be based
on technology that is already obsolete, and
ineffective in terms of energy saving.
Indeed in the last ten years alone, considerable
49
Photos: Archivio iGuzzini
1. Example of residential lighting
2.3. Examples of lighting in public places
technological progress has been made in the area
of street lighting, and the process of innovation
continues. Accordingly, there is a sizeable market
for the replacement or renewal of these
installations. Nonetheless, new energy-saving
technologies do not always provide a known and
proven reason behind any increase in the rate
at which systems are renewed. What is more,
analysts expect that there will be more and more
installation projects connected with the growing
urbanization of rural and suburban areas, likewise
with the trend toward improving the appearance
of cities and developing urban outskirts. These
are the main reasons that have led consultants
to indicate street lighting as a priority area for
action under the EuP directive.
incontroluce 17
 Corporate culture Ecodesign.
Responsible product design,
from conception to demolition

Office lighting
The lighting fixtures that have long been installed
in the offices of industrial and service sector
premises are undoubtedly products that consume
a great deal of energy.
It is common practice to install specific appliances
for given tasks, dictated by precise technical
requirements for the workplace in service and
industrial sector buildings, as indicated in
standards or guidelines - for example EN 12464-
1(2002). More exactly, the lighting requirements
for tasks performed in these office environments
are specified in EN 12464-1(2002), entitled
“Lighting of work places - Part 1: Indoor work
places”, and the luminance typically required
in these areas is 500 lux.
The standard in question also specifies other
comfort requirements in respect of glare and
colour rendering. Fixtures installed in conformity
with these requirements over the last ten years
are based almost without exception on
fluorescent lamp technology, and it can be
expected that this technology will continue
to dominate for the next ten years. Significant
progress has been made over the last twenty
years in the technologies applied to fluorescent
lamps and their power supply components.
There is a wide range of products already
available on the market, offering high levels
of performance, though not enough are being 4
installed as yet.

50
 4. Example of lighting for office premises
5. Example of lighting for industrial premises

Contribution of lighting:
CO2 emissions produced by burning fossil fuels
Halo
Main

to generate electrical energy for lighting purposes.

gen
ly H
ome

Halogen lamps used mainly in homes and in

11%
s

the business sector consume 11% of total energy;

and

Fluorescent lamps (TL) used mainly in office

Sho

GL and industrial premises consume 41%;

ps

S 20
Ma %
inl
yH Compact fluorescent lamps (CFL-NL CFL-I)
om
es
an
used mainly in office and industrial premises
dH
OR consume 5%;
EC
A Metal halide lamps (HD) used mainly for
TL 4 outdoor floodlighting and in shop premises
1%
Main
ly Off
ice a account for 23%;
nd In
dustr
y Incandescent lamps (GLS) used mainly in the
home and in the Horeca sector account for 20%.
ps Lighting-related energy consumption in western
ho
n dS Europe is quantifiable at 426 TWh, of which
% ra
23 tdo
o CF
HD Ou L-
nl
80% derives from lighting connected with
in ly
Ma 3% manufacturing and business activities, and
CF

20% from lighting in homes.

L-I
2%

Sector Total energy Lighting-related % Sector Average annual Lighting-related

consumed energy consumed increase energy consumption
in Italy in Italy (BAU) in 2015 (GWh)
TWh/year TWh/year

Agriculture 5,4 negligible - Industry 2,80% 17.628

Industry 153,7 13,4 8,7% Service sector 3,40% 30.715

Service sector 77,7 21,9 28,2% Street 3,40% 8.527

lighting
Street 6,1 6,1 100,0% Residential 1,90% 11.312
lighting
Residential 66,9 9,4 14,1% Total 3,07% 68.182

Total 309,8 50,8 16,4%

incontroluce 17

51
 Corporate culture
1 2
On 24 October 2007 the University of Macerata
presented Adolfo Guzzini with an Honorary
Degree in International Business and Economy.
The lectio doctoralis, on the theme of the
internationalization of medium size businesses,
was delivered in the Aula Magna of the University
of Macerata, and in addition to his Honoris
Causa, Adolfo Guzzini also received the medal
of the University.
The conferment ceremony in the San Paolo
Auditorium, where more than 600 people were
gathered, including family, friends, colleagues
and members of the business community, began
with a welcome given by the Rector of the
Adolfo Guzzini - Doctor Honoris Causa
Macerata, 24 October 2007
University, Professor Roberto Sani.
He described Adolfo Guzzini as “an undisputed
protagonist in the economic life of the Marches,
and of the nation. In his long experience as an
entrepreneur, gained in a family of entrepreneurs,
he has succeeded over a period of some thirty
years in turning a small business into a full
scale industrial concern - a pocket multinational,
as iGuzzini illuminazione likes to call itself.
A European business of true excellence in its way
of interpreting innovation, managing the market,
enhancing the role both of management and
of personnel”.
The Laudatio was given by professor Mauro
52
 Photos: Esa Studio

1.2. Conferment of the honorary degree

by Rector Roberto Sani
3. Adolfo Guzzini congratulated by managers
and representatives of iGuzzini branches
4. The packed hall

Marconi, President of the Economics Faculty,

who spoke of iGuzzini’s fifty year history and
underscored the part played by Adolfo Guzzini in
the internationalization of iGuzzini illuminazione.
Internationalization of the medium size business
was indeed the theme of the Lectio delivered
by Adolfo Guzzini, who began with an attentive
analysis of the scenario, then went on to describe
- with the benefit of his own experience - how
the will to push beyond national frontiers and
seek new markets had contributed to the
company's growth and translated over time
into a position of leadership.
Alongside these considerations of a purely
business nature, and central to the theme of
the Lectio Doctoralis, Adolfo also touched on
the human aspect of the undertaking: the innate
family feeling for entrepreneurism and a keen
appreciation of design, as well as the fundamental
contribution made by the management and all
employees and co-workers, who were described
as “splendid fellow travellers”.

4
incontroluce 17

53
 Corporate culture Third edition Jury members
Piergiovanni Ceregioli - architect,
director of the iGuzzini Study and
of the Pasajes-iGuzzini Research Centre
Beatriz Sendín - architect, winner of
Architecture Competition the second edition of the competition
Martín Lejarraga - architect, director
of the Martín Lejarraga practice.

Selected projects María Mallo Zurdo Prize-winners

Manuel Álvarez
Ramiro Losada Amor 1st Prize
Marina Cibnerob Javier Jiménez
Alvaro Iván Gor
Ophelie Herranz Noah’s Ark (a centre of 18 architectures)
Lus Sempere
Guadalupe Hernández
Pablo Twose Valls 2nd Prize
Carlos Ruiz
Javier Jiménez María Carmona
Jose Antonio Aragüez Motel di passerella
Marcelo Ruiz Artamis
Yoama Cebrecos
Ignacio Peydro 1st Commendation
Raúl Recuerdo
Brezo Alcoceba Ignacio Peydro
Jorge Muñoz
Carlos Jiménez I.E.I.A. - European Institute of artistic investigations
Ángela Ruiz
Cándida Domingo 2nd Commendation
Alberto Álvarez
María Carmona Fco. Antonio García
Ana Peñalba
Javier Traver Interchange + Park
Álvaro Carmena
Simón Francés
Fernando Pérez
Ana Ortiz Carrasco
Alicia Bedmar
Sofía Sánchez
Fco. Antonio García
Mercedes Simón
Manuel Chirivella

54
 Andrés Jaque - architect, director
of Andrés Jaque Arquitectos and of
the Policy Innovation Office, Madrid
Pippo Ciorra - architect, professor
at the Ascoli Piceno School of
Architecture, committee member,
Casa dell’Architettura in Rome
Representatives of Pasajes and iGuzzini: Photos: Archivio iGuzzini
José Ballesteros
Josep Masbernat 1. Drawings from the project awarded First Prize
Secretary to the jury 2. The prize winners
Gala Martínez 3. Drawings from the project awarded Second Prize

1st Mention
María Mallo Zurdo
Naturist hotel on Gran Canaria island
2nd Mention
Simón Francés
Homes on the Ebro Delta
3rd Mention
Álvaro Carmena
M30 Purification landscape
4th Mention
Fernando Pérez
Multi-use cultural agronomic
station at Atocha
5th Mention 2
Ana Peñalba
Metaproject: Strategy for recovery
of the Plaza Castilla water tower

incontroluce 17

55
 Corporate culture Third edition
of the Pasajes-iGuzzini
Architecture Competition

The jury for the third edition of the Pasajes -

iGuzzini Architecture Competition met at Rubí
on 26 September 2007.
The assessment procedure was conducted as
a series of eliminatory stages. Jury members
looked at the projects independently, aiming
to identify those that merited most interest
on the basis of agreed criteria: architectural
quality, innovation an d research. At the end
of the first assessment, 73 of the entries were
eliminated. A second selection reduced the
number of entries to 34. These contended the
competition proper, and will all be represented
in exhibitions to be staged during the course of
2008. From the pool of 34, each jury member
selected 5 projects. After lengthy discussion,
a short list of the 9 finalists emerged.
The first prize was awarded to the project in
which the jury recognised an experimental
purpose, and a vision expressed both broadly
and in suitable detail.
The cultural basis, the reflection on different
worlds, the way accumulated experiences
show through, merged with rigorous technical
concepts, properly designed and measurable,
all added up to a deliverable end-product.
Also important was the communicative
effectiveness of the documentation submitted,
which allowed the adjudicators to appreciate,
discuss and evaluate the proposal in detail.
This is a project that has an engaging, end-of-
term feel about it, where humour and rigour
are combined with ease, and where the
concept of the architectural theme park takes
on confrontational nuances, suggesting
alternative and speculative ideas. The second
prize was awarded on the merit of delicacy.
With its references to the fluctuating world of
Edo, supported by a highly refined development
of the suggested architecture and an elegant
spatial organization, this project was seen by
the jury as “quiet architecture”.

56
 4. Drawings from the project awarded First Commendation
5. Drawings from the project awarded Second Commendation

Above all, the adjudicators were struck by the

creation of a shifting sensory environment, and
the technical aspects of the project, clearly
illustrated by the design choices made, as well
as the inventive capacity showing the detailed
definition of internal spaces.
Projects were selected for commendation, in
accordance with the rules of the competition,
from those entries which in the eyes of the jury
had made use of light as a design tool, an added
dimension of architecture exploitable through
n its natural-artificial combination, and through
its interaction with the very newest materials,
as a means of generating spaces with an
ambience to elicit targeted sensations in users.
In the case of the first commended project, the
positioning of light sources in an enveloping
transparent atmosphere was much admired by
the jury. In the second commendation, the jury
admired the poetry with which the natural
environment is evoked in an area used as a
transport network interchange, through the
deployment of signposting systems, vegetation
and artificial lighting fixtures identifiable with
the natural environment.
The prize-giving ceremony and inauguration
of the exhibition took place on 5 November
2007 at the Foundation of the Association
of Architects of Madrid.

5
incontroluce 17

57
Corporate culture

At last, the Design Museum

Milan Triennial, 6 December 2007

The Design Museum was finally inaugurated

on 6 December 2007, at the Milan Triennial
For many years, the city - and indeed the design
world at large - had been questioning why there
was no permanent exhibition space dedicated
to industrial design.
It was in 2004 that the Triennial began to
organise exhibition spaces, first setting up
the Design Library, Historical Archive and
Documentation Centre, then renovating the
areas earmarked for the Museum proper, which
were opened to the public in December 2007.
The architectural design for renovation of the
building and organization and updating of the
Museum is by Michele De Lucchi, creator of
the innovative entrance way featuring a bridge
that renders the Museum an integral part
of the Triennial, and at the same time, an
independent and readily identifiable venue.
The Triennial Design Museum is not only the
real centre, but also the virtual centre for a
whole network of design resources possessed
in great abundance by Italy, and by Lombardy
in particular. iGuzzini was involved in the
realization of the project as lighting design
sponsor: the main hall of the new museum
is lit by Le Perroquet fixtures.

58
Corporate culture
PizzaKobra Tour
Having visited the Guzzini showroom in Paris
during June 2007 for the Designer’s Days
event, the PizzaKobra Tour continues its tour
of other iGuzzini branches in Europe.
In September 2007, the lamp designed by
Ron Arad was presented to Italian journalists
in Milan, and in October it was the turn of
Spain. The infinitely reshapeable table lamp
was shown to everyone with an interest in
the world of light and lighting, at the FAD in
Barcelona, and at the IED (European Design
Institute) in Madrid.
Top:
installation at IED
Bottom:
installation at FAD
59
Lightlab
Brussels, 20-21 October 2007
The Lightlab trade show is an event where
manufacturers of lighting systems, architects,
decorators, installers and clients can work
together on projects of common interest.
The second edition of Lightlab, Tour & Taxi
was held in Brussels during the weekend of
20-21 October 2007. The idea was to bring
together manufacturers of lighting fixtures,
and designers. On this occasion, iGuzzini
illuminazione Benelux teamed up with
Lamborghini.
incontroluce 17
Editorial 17 Incontroluce I. 2008

Dear Readers, Incontroluce

Six-monthly international magazine
on the culture of light
Issue number 17 of incontroluce is packed with news about projects year X, 17
undertaken all round the world, reflecting the vocation of our company
as a pocket multinational. Editing
iGuzzini Study and Research Centre
Internationalization has been the watchword for the growth of our company Fr.ne Sambucheto, 44/a
since the earliest days, and is the reason why the University of Macerata has 62019 Recanati MC
+39.071.7588250 tel.
seen fit to confer on me an honorary degree in International Business and +39.071.7588295 fax
Economy. This editorial provides me with the perfect opportunity to thank email: rc@iguzzini.it
the university once again, and to reiterate that the company could never have iGuzzini illuminazione spa
achieved what has been achieved had I not been surrounded by colleagues 62019 Recanati, Italy
via Mariano Guzzini, 37
and co-workers willing to contribute to the common purpose. So, many thanks +39.071.75881 tel.
once again to all the men and women who have accompanied me, and who +39.071.7588295 fax
are still my companions on this great journey. email: iguzzini@iguzzini.it
www.iguzzini.com
video: 071-7588453

Adolfo Guzzini Graphic Design

Studio Cerri & Associati

Publisher
iGuzzini illuminazione spa

Contributors to this issue

iGuzzini illuminazione Benelux Bvba/Sprl
iGuzzini illuminazione Danmark
iGuzzini illuminazione España S.A.
iGuzzini illuminazione France S.A.
iGuzzini illuminazione Schweiz AG
iGuzzini illuminazione China
iGuzzini illuminazione Norge A.S.
GH Lighting Ltd
Tepta Aydınlatma

Cover photo
Didier Boy de la Tour

Printed: April 2008

Tecnostampa, Recanati

Errata Corrige
Incontroluce 16

Nhow Hotel
Lighting design
Piero Castiglioni

The Editors are not responsible for inaccuracies

and omissions in the list of credits relating to
projects and supplied by contributors.
Any additions or amendments will be included
in the next issue.

II III
Incontroluce XVII / The Marches: National Institute of Architecture - Marches section / 17 English version I. 2008
Design: The power of light - part two / Projects: New lease of life for the Exhibition Palace /
The Basilico perspective / Serra Piacentini / Decadence and renewed splendour of an
historic hotel. Hotel Risorgimento / Hong Kong Science Park / A majestic light. Seu Vella /
National Centre for the Performing Arts / An Eco HQ. The Nicolas Hulot Foundation / The
light of culture. Champs Libres / A light line for the Aalborg University Park / A quality break / The
best lighting conditions for research / A beacon for peace / Light for engineering. New head-
quarters of Industrial Project Services-IPS / 12 storeys of light. New Eczacıbaşı Group head-
quarters / Corporate culture: Ecodesign. Responsible product design, from conception to
demolition / Adolfo Guzzini - Doctor Honoris Causa / Third edition of Pasajes-iGuzzini
Architecture Competition / At last, the Design Museum / PizzaKobra Tour / Lightlab

9.1921.000.0