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21 English version I.

2010
Dear Readers,

In 2009, iGuzzini began celebrating its first half-century in business.


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

Adolfo Guzzini
21 Incontroluce I. 2010

Summary

II Editorial

The Marches
2 1959

Design
4 Questions and answers: Leni Schwendinger

Projects
8 The Sala dei Mesi in the Palazzo Schifanoia
10 Aquaniene
12 Frank O. Gehry since 1997
14 Pierre-Joël Bonté High School,
Higher Institute for building
16 Dot Baires Shopping
20 Pangu Plaza Hotel
22 Lights on the Aalborg waterfront
24 The Dhoby Ghaut Park
26 Blue Water Black Magic
28 An award-winning wine store

Corporate culture
30 Zaha Hadid at Padua
34 New LED fixtures
for street and public lighting
38 4th edition of the Architecture Competition
Sponsored by “Pasajes de Arquitectura y Crítica”
and iGuzzini illuminazione
42 Dancing with Light:
“Framed”
44 Sharing knowledge
46 LightMapping NYC
47 “LED - Light Exhibition Design”,
2009 edition
The Marches 1959

Fifty years have passed since the incorporation of Harvey Guzzini - now iGuzzini
illuminazione.
There have been significant milestones in the evolution of the company logo, along
a journey that has taken us from being a small craft business, producing decorative
lamps, to become a major industrial concern manufacturing technologically
advanced lighting fixtures and collaborating regularly with top architects on projects
everywhere in the world.

Logo used between 1959 and 1964. Logo used between 1965 and 1977. Logo used between 1974 and 1981, designed
Inspired by the 1950 film “Harvey”, This logo was designed by Luigi Massoni. by Advema G&R Associati. This logo embodied
starring James Stewart The architect Massoni was invited to work the company’s entire output, which was
with Harvey as the company’s art director, marketed under other brands such as DH, Doma
a move that gave further impetus to the and Atelier.
idea of collaborating with designers. It was during this period that the company began
Between 1967 and 1971, Ennio Lucini making technical products, spot and flood lights
designed the catalogue for the DH brand, under in particular.
which lamps for home lighting were marketed.

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Logos and pictures
taken from the iGuzzini archive

The DH brand, in use between 1972 and 1976, The current logo, in use since 1982. It was in In 1999, Pierluigi Cerri - the company’s current
was designed by Mimmo Castellano and recalled 1982 that an iGuzzini catalogue with this logo graphic design coordinator - designed the general
the optical culture of the 1970s. first appeared, presenting the company’s entire catalogue in collaboration with Studio Conti.
range of products.
In 1986, the coordinated graphic design of the
general catalogue was entrusted to Ennio Lucini,
and fixtures for indoors and outdoors were
presented in two separate books.

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Design Questions and answers:
Leni Schwendinger

Leni Schwendinger What do you think about the relationship between daylight and artificial light?
Light Projects Ltd creates lighting environments
And again, what do you think about the relation between light and architecture?
all over the world. For over a decade, Leni
Schwendinger’s Light Projects studio has been a The relationship is very basic. As all people are affected by light - I think the real
magnet for multi-disciplinary collaborations with question is “what is light? How does it influence our life?” As a designer, because
project-specific design teams including architects,
engineers and graphic designers, all committed we’re so into the minute details of light and lighting I don’t ask myself that question,
to her vision of what lighting should be about. because I’m so busy thinking about it… Light influences what we feel, where we
Balancing technological sophistication, solid look, where we direct our gaze. It gives us a sense of warmth, and a sense of every
project management and artistic verve, the Light
Projects methodology has produced a series of atmosphere, so the lack of light even on a grey and rainy day is also very special.
interactions with clients ranging from public sector And then moving into the evening, the sunset and that kind of magical phenomena,
agencies and architectural and engineering firms to logical influence on our life which is colour and the sky, and whatever topography...
museums and events planners. Recently completed
projects include Chroma Streams, Tide and Traffic, then to move into these artificial worlds at night time in the cities… and of course,
a site-specific installation that explores the relation that’s my subject. For instance, I was on a ferry last Friday for a big event in Staten
between traffic flow and changes in tidal flows at Island; we came by a nontraditional ferry route (it was a private ferry, so it was a
the Kingston Bridge in Glasgow, and the Coney
Island Parachute Jump Tower, a local landmark different route from Staten Island), and going along the entire waterside, the shore
in the Brooklyn district of New York. line of NYC from Wall Street to mid-town, just being reminded once again of the
Leni Schwendinger has lectured and taught widely spatial, perspectival relationship of the buildings, first they were flat, then we went
throughout the United States, Europe and Japan,
and is currently on the teaching staff of the
by and saw the cross streets where the angles of the buildings appear, then you go
Department of Architecture, Interior and Lighting by and they’re flat again. The true physical form of the city at night is revealed by
Design at Parsons School of Design in New York City. the building lights which enthrall us.

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Text adapted from an interview Photos: ArchPhoto.
with Leni Schwendinger.
1.2. Pictures of the ‘Triple Bridge’ project
The designs presented by the Lighting Designer
are created using appliances made
by various manufacturers.

So you don’t see artificial light as a distortion of the natural course of daylight? Just
a natural process of…

I actually have a theory about “Shades of Night” as I call them. We have an


understanding of the shades and the zones during the day. It starts with breakfast, and
it goes to tea-time at 11:00, and it goes to lunch at 12:00, and dinner… and then you
begin to get into the darkness in public spaces, which is my biggest concern. People
go out with their friends right after work, this is the first zone of night, the first Shade
of Night; it continues and is very site-specific to every district and neighbourhood.
How the activity in the street changes throughout the night depends on the inhabitants,
it a commercial zone? A residential zone? Is it institutional? Is it a park? What are the
buildings on the edges? Each zone, each Shade of Night characterises the activity on
the street. So when the shops close at 8:00 pm and the restaurants close at 10:00 pm,
the streets become dark. What can we do with the knowledge of the Shades of Night
with our understanding of the daytime? This is the question for me. And it goes deep
into the night: the clubs, with people who work on a nightshift, with people who wake
up and are commuters - who wake up at 4:00 am, at 5:00 am getting on the
commuter’s train. So my interest is: how do we light these streets to counterpoint or
to be sympathetic with the street traffic, the sidewalk traffic of the night? For me this
is the future of lighting design and urban design, and the way in which they interact
with each other: to have changeable lighting throughout the night.
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Design Questions and answers:
Leni Schwendinger

Which one of your projects is the most impressive or the one that you remember
the most?

I think our project in Seattle, ‘Dreaming in Colour’, is very important. It is composed


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

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3.4. Pictures of the ‘Dreaming in Colour’ project

This question is about energy. How can lighting design support the environment in
a period when energy resources are short? What can you do, and what can the
lighting manufacturing sector do?

First of all, I don’t think lighting is the worst thing. I think that air conditioning and
systems that burn fossil fuels are the worst thing. So I have to say that I’m just
angry at the press, as they’re trying to make lighting into this devil, this evil thing.
That said, I think that optics and light control are essential in helping to save
energy. Let’s say we talk about street light because I’m interested in this sort of
thing. Five or six years ago I envisioned flexible night time street lighting. Now this
can be done. Now control systems are coming to market. Soon public lighting will
have software, the light sources - with the proper optics will work together as a
system. I’m very interested in systems, more than I am in just the light. We ask
ourselves: when should the lights go dimmer? After everything is closed down? Or
should they actually get brighter when everything closes down? This to me is a very
important question. If we have what I call ‘found’ light, which is in part, light from
the shops illuminating our sidewalks, we may need less public light. Also, I think
sustainable lighting design is not only about saving energy.
I think it’s also about people. I think sustainable cities, sustainable places, are
places where people like to be. Because we will have less crime, less graffiti, less
vandalism, fewer muggings, because people are having a better life. So to me, good
lighting that is responsive - controlled properly throughout the night to help the
environment where people live - is just as important as saving energy.
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Projects The Sala dei Mesi Client
Municipality of Ferrara

in the Palazzo Schifanoia Lighting design


Piero Castiglioni

Ferrara, Italy

During the second half of the 15th century, Borso imposing in every sense (materials, dimensions,
d’Este commissioned a cycle of frescoes from the and decorations). It is flooded uniformly with
leading painters of the officina ferrarese, which natural light, at low levels of illuminance,
are among the foremost examples of profane art entering through the windows and reflected
originating from the Italian courts of the off the floor. A system of light-diffusing curtains
Renaissance. has been installed to eliminate the projection
The Sala dei Mesi is a rectangular hall with a of the window shadows onto the floor and give
notably high coffered wood ceiling (6.2 m approx). the entire interior a quiet sense of order.
The predominating feature overhead is a The solution proposed by architect Piero
succession of large historiated transverse beams. Castiglioni for the general lighting of the Sala,
The longitudinal walls - one with well preserved and of the frescoes which represent the cycle
frescoes, the other showing only faint traces of of months and scenes of life at the Estense
the former decoration - are punctuated by a set court, consists of a single, direct lighting
of windows. appliance, specially created and produced by
The frescoes on the transverse walls - one with iGuzzini. Light sources are housed in a column
an entrance door, the other with a door leading 85 cm high with a rectangular base, made of
to adjacent rooms - are severely degraded at titanium (a metal with little or no heat
one end of the room, and in a better condition conduction properties), balanced with a lead
at the other. The space enclosed by the room is counterweight to ensure stability, and anchored 1

2 3

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Photos: Giuseppe Saluzzi

1. The main door of the Palazzo Schifanoia


2. Detail of the product created especially
for this installation
3.4. Views of the Sala dei Mesi illustrating the integration
of artificial and natural light

to the floor with a masonry plug. It also has a (28 columns) around the periphery with
rubber foot to create friction and increase stability. no break, and the appropriate directional
The columns are interconnected by the power orientation of the light sources - completely
cable not only electrically, but also visually - concealed from the visitors’ view - guarantee
thereby giving continuity in space. In addition, illuminance values of around 150 Lux on
the columns and cable have a security function, the walls. The light is evenly distributed,
serving as an effective barrier to ensure visitors with colours and paint shown to her optimum
stay at a safe distance from the vulnerable advantage, with no shadows or reflections,
frescoes. The distribution of the luminaires while generating minimal visual impact.
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Projects Aquaniene Client
Aniene Rowing Club

Architectural design
Luca Braguglia with
Aniene Rowing Club Marco Gigliotti, Alessandra Prezzi,
Maria Antonietta Motta
Rome, Italy

At the time of the FINA World Swimming


Championships held in July 2009 in Rome, the
Aniene Rowing Club submitted a bid in response
to a notice from the event’s organising committee
announcing the construction of a brand new
aquatic sports centre that would provide the city
with swimming facilities for the world
championships. An area was selected - a plot
of some 21,800 m2 - and the AquAniene was
built in around 17 months: a complex offering
10,000 m2 of floor space on three levels, in
1 an envelope of 55,000 m3.

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General contractor Pool and filter systems Photos: Sergio Grandi
Technorestauri srl Piscine Castiglione
1. View of the facility by day
Lighting consultants Electrical, heating and plumbing systems 2.3. Pictures taken at the opening ceremony
Luciano and Marco Stignani NCS srl

The architecture is typified by a sense of selecting white as the dominant colour were two by the public. In the reception area, the designers
weightlessness, enhanced and emphasised of the basic principles on which the designers selected Reflex Wall Washers with metal halide
everywhere by the quest for translucence based their approach to the lighting scheme. To lamps to guarantee optimum vertical lighting in
between exterior and interior. The design is obtain the right architectural balance, a minimal combination with good visual comfort.
almost obsessive in its pursuit of osmosis - number of product families and light sources Accent lighting on the counter is provided by
visual and functional - between activities were used therefore reducing maintenance track-mounted Lux units with QR111 halogen
carried on inside and outside the building. and relamping costs as far as possible. Fixtures lamps and ellipsoidal lenses giving a soft
The building is designed on three levels, housing from the iRoll family were selected with various projection of light onto the worktop and ensuring
the facilities AquAniene has to offer: indoor wattage, light emission and IP specifications. average illuminance of 500 Lux. General lighting
pools, an outdoor pool and two gymnasiums - These are installed outdoors, with metal halide in the refreshments area is provided by recessed
one on the first floor looking out onto the woods, lamps of between 35 and 70 W, giving emphasis LineUp fixtures, with recessed Deep Frame
and one directly overlooking the pools - plus to the architecture of the building and lighting dichroic units selected for accent lighting on the
all the features of a modern sports centre… the access ways that link the indoor and outdoor tables and the service counter.
pro shop, cafeteria, offices, fitness room, environments. The atrium is lit by iRoll pendants The sculpture “Uomo galleggiante” (1984)
games room, athletes’ accommodation, indoor with 70 W lamps, which guarantee average by Mario Ceroli, displayed in the hall, is lit by
and outdoor leisure spaces, changing rooms illuminance levels of around 500 Lux even in a single surface-mounted Le Perroquet spot
on two levels, and a wellness centre. double-height interiors. The same fixture, with overhead.
Maximising the influx of natural light and a fluorescent lamp, was selected for stairs used
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in collaboration with
Projects Frank O. Gehry since 1997 Frank O. Gehry
and Gehry Partners LLP

and thanks to
Guggenheim Museum of Bilbao
AGO - Art Gallery of Ontario,
Montreal
Milan Triennale, September 2009 - January 2010 DAC - Dansk Arkitektur Center,
by Germano Celant Copenhagen

In September 2009, the Triennale dedicated the DZ Bank Building in Berlin, the Art Gallery
an exhibition to the recent work of Frank O. of Ontario, the Jay Pritzker Pavilion in Chicago,
Ghery, selecting 1997 as the symbolic year - the Interactive Corporation Headquarters in
the year the Canadian architect unveiled his New York, the Atlantis Sentosa resort in Singapore
Guggenheim Museum in Bilbao. It was a and the Guggenheim Museum in Abu Dhabi,
project that also brought him to the attention which is still under construction. To provide
of a public with no special interest in the the lighting for these varied items, Studio Cerri
world of architecture. & Associates selected Le Perroquet fixtures.
In consultation with the architect, curator Winner of the Pritzker Architecture Prize in 1989,
Germano Celant selected photographs, film Frank Owen Gehry was present at the opening
clips, drawings and models of his designs: of the exhibition on the 26 September 2009.

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Installation and graphics Technical sponsor Photos: Fabrizio Marchesi
Studio Cerri & Associati iGuzzini illuminazione
Pieluigi Cerri 1. Installation
Alessandro Colombo
2. Model of Atlantis Sentosa project
architects

in collaboration with
Francesca Ceccoli
Marta Moruzzi
Francesca Stacca

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Projects Pierre-Joël Bonté High School Client
Regional Council of Auvergne

Higher Institute for building studies Technical director


Ophis Puy-de-Dôme

General contractor
Groupement Sobea Auvergne
Eiffage Construction Auvergne

Supervisory office
Riom, Puy de Dôme, France Groupement Socotec / Veritas

1 2

The design of the higher institute for building Public access areas, including classrooms
studies has various objectives. On the one hand, and laboratories, are places of learning and
it is a place of learning that looks to affirm the experimentation, as well as being representative
nobility of professions connected with the world of the building institutionally: the architecture
of building, and therefore seeks to interest young itself is didactic, physically demonstrating the
students in taking up these professions. link between knowing how to think and
The construction of the building itself is intended knowing how to act - an instructional tool
as an advertisement for the effectiveness and available to the teaching staff. Particular
versatility wood in the erection of large public attention has been given to the interaction
buildings. And finally, the building itself is a with the external environmental conditions and
significant element in town planning initiatives with the landscape. The design of the building
being implemented in the southern sector of Riom. ensures minimal exposure to the fierce winds
There are paths taking the students through the typical of the region. Rainwater is abundant, and
different areas, and every room has a particular harvested. The distant views of the mountains of
atmosphere: controlled lighting in the classrooms, the Auvergne blend agreeably with the outlook
soft lights for the documentation centre, and onto the courtyard and its internal gardens.
brighter lighting for the dining room. Public and In short, here is proof that architectural and
private areas are clearly differentiated: living environmental quality are interlinked, and
quarters are cosy, and the surroundings pleasant. must keep pace one with another.

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Building procurement Laurence Javal, Jéròme Fuzier, VRD Photos: Didier Boy de la Tour
Mazet & Associés Bruno Dumontet, Laurence Damour, Cap Vert
Muriel Bacher 1. Exterior
Coordinator Acoustics 2. Corridors and hall
SPS Ingerop Structural design J.P. Lamoureux
A. Verdier 3. Documentation centre
Architectural design Signage
Emmanuel Nebout Wood design and construction Laurence Ravoux
Architect 3B
Bruno Berthier - head architect Landscaping
Baptiste Lebihan - assistant Fluids / SSI Agence Laure Quoniam
Auvertech

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Projects Dot Baires Shopping Client
Grupo Irsa

Architectural design
Studio Pfeifer y Zurdo

Buenos Aires, Argentina

Dot Baires Shopping is the biggest and most From the engineering standpoint, the lighting Leds also feature on the lateral frontages, yellow
modern shopping facility in Buenos Aires: design was conceived making use of the very in this instance, and arranged in bands dotted
with 189,000 m2 of indoor floor space and latest fixture and lamp technologies, and randomly over the entire surface. Other Led
an exceptional location - on the city's most concentrating particularly on the question of fittings are installed throughout the shopping
important road intersection - it is a complex energy efficiency. The lighting scheme makes centre as part of the emergency lighting system.
project offering the community not only a extensive use of Leds, and low power fittings Similarly, recessed Led units of the latest
shopping centre, but also a meeting place. with electronic components. One example is generation are used in the service areas, emitting
The lighting design was developed in tandem the main façade, visible from the crossroads, controlled beams of warm white light. All levels
with the architectural design, at every stage of where red Leds were used to create a pinpoint of the shopping areas afford a view onto the
the project. The light lends dynamism to the effect on the curved surfaces of this complex outdoor spaces, which are terraced and picked
geometrical shapes of the building, with dots, geometrical composition, giving the building out by bands of Leds following the curved
lines and accents. a singular luminous consistency at night. contours of the flowerbeds and benches.

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Lighting designer Photos: Francisco Nocito
Pablo Pizarro
1. Main entrance
Partners Assistance 2. Grazing light on the fountain
Iluminación Sudamericana S.R.L.

The cavernous multi-level atrium is like a huge glass façade is accentuated by continuous lines
window, through which visitors can enjoy an of warm white light from T5 fluorescent tubes.
unparalleled view of the world outside. Each of the three malls is identifiable by the
This high concourse is the pivotal point of lighting: a succession of segments with fluorescent
the design, and Leds are used here too, with tubes in the first; curved lines with a coloured
Ledplus units in the risers of the main staircase, paper background in the second; wall-mounted
and MiniWoodys in the columns, as well as and recessed units with metal halide lamps in
MaxiWoody, Woody and iRoll fixtures. the third. The passages between the malls
The entire shopping area is lit by fixtures with are differentiated using large translucent fixtures,
electronic ballasts, using low power light sources complemented by randomly interspersed recessed
(80% of lamps are 35 W, and there are none fixtures with 35 W 24° beam lamps designed to
more powerful than 70 W). The curve of the create pools of light on the floor.
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Projects Dot Baires Shopping Photos: Francisco Nocito

3. Large cones with Gem fixtures at the centre


4. Effects created with Led lighting

Along the walkways, there are large double-


height sections interconnecting all levels of the
building visually, with ample skylights overhead.
From the third floor, where the restaurants are
located, visitors can appreciate the size of the
four large natural light inlets, which function
in the same way even after dark, thanks to the
use of Gem pendant fixtures with induction
lamps. The suspended ceiling segments
resembling large triangular sails - some matte
finish, others gloss - provide visual interest
above the restaurant area.
The matte sails are illuminated indirectly
by small strip lights with T5 14 W tubes,
concealed in the structure. In addition, there
are fixtures with 35 W 30° beam metal halide
lamps installed in suspended containers
positioned above the sails. With these light
sources, the area occupied by the tables can
be accented, creating a warm and welcoming
space to sit. The parking areas are also
thoughtfully illuminated. The main transit areas
are lit by suspended strip units with white
fluorescent tubes, and coloured dots identifying
each of the three levels. Similarly, colour is
used to distinguish the garage area from other
areas; the lighting is provided by ceiling units
with high pressure sodium lamps. A proximity
sensor located in each garage indicates whether
the space is free or engaged, by switching
on green or red Leds.
The outside areas are designed as attractive
extensions of the building. The main patios
(forecourt and fountain) are laid out with
flowerbeds, fountains pergolas. MiniWoody
floods installed in each flowerbed are equipped
with wall washer screens to illuminate the
palms. Continuity between the indoor and
outdoor areas is achieved using Radius fixtures
positioned along the façade. Pencil bollards
line the access ramp to the car parks.

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4
Projects Pangu Plaza Hotel Client
AC Morgan Investment Inc
Beijing Morgan Investment

Architectural design
C.Y.Lee Architects

Beijing, China

1 2

The Pangu Plaza is the first 7-star hotel in China. Investment. Thanks to the enthusiasm of AC
It opened during 2008 Olympic Games is part Morgan president Miles Kwok for Italian design,
of the Pangea Plaza, an architectural complex the hotel has become a splendid showcase for
near the Olympic Stadium - the ‘Bird’s Nest' - Italian companies and designers: furnishings
designed by Herzog & de Meuron. Designed by by Alberto Meda, doors designed by Antonio
C.Y.Lee, architect of the Taipei 101 building, Citterio, all coordinated by the Italo-Brazilian
the Pangea Plaza comprises an office tower, a architect Ricardo Bello Dias. iGuzzini provided
museum, a heliport, three apartment blocks, lighting for the suites using discreet and
and the Pangu Plaza Hotel with its 270 suites. extremely versatile recessed downlight fixtures -
The billion-dollar project was undertaken by Deep Frame - with multiple lamps.
AC Morgan Investment Inc. and Beijing Morgan

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Architectural design - interiors Photos: Lv Hengzhong
Ricardo Bello Dias
1. The hotel and the Bird’s Nest stadium, designed
Lighting design by Herzog & de Meuron
Studio Methis - Marinella Patetta, 2.3. Interiors of the hotel overlooking the 'Water Cube’,
BPI - Brandston Partnership Inc built to host the 2008 Olympics swimming competition

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Projects Lights on the Client
Municipality of Aalborg

Aalborg waterfront Lighting design


ÅF - Hansen & Henneberg

Aalborg, Denmark

Over the last 4 years, the Aalborg waterfront has The lighting around the kiosk and public
undergone a massive redevelopment programme, conveniences is self-activating, whilst the
with former industrial sites being transformed general lighting for the playground must be
into cheerful and pleasant leisure areas for the activated by users, operating one of the tactile
townspeople. The illumination of the new areas switches positioned at various points on the site.
located along the waterfront, including the The lighting remains on for 45 minutes, then
playground completed in late 2009, saw a switches off automatically and is replaced by
number of different lighting solutions adopted. coloured lights, which remain on until such
The lighting design company ÅF - Hansen time as the general lighting is activated again.
& Henneberg opted for a general illumination This functionality gives rhythm and variety
scheme using white light, combined with to the illumination of the area, favouring
a lively display of coloured lights for the an effective interaction with the spirit and
playground. function of the amenity.

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Architectural and landscape design Photos: SHRPA - Peter Ehlers, Ole Mikael Sørensen
C.F Møller Architects
1.2. The park, with accent lighting in operation
Installation
AKE Entreprise

The attractive coloured effects are provided by


lights applied to various distinctive elements
such as posts and wire netting, which define the
identity and character of this area, as well as
creating a unique aesthetic and visual impression.
The playground is illuminated by inclined posts
9 metres high, located near the play areas
and the wire netting, which carry MaxiWoody
foodlights with 250 W lamps and Platea
foodlights with 150 W lamps emitting a
soft light that provides indirect, glare-free
illumination in the surrounding space.
2 The fixtures are equipped with metal halide
lamps giving a warm white light and excellent
colour rendering. Each post is illuminated by
2 recessed Light Up Walk Professional units.
The wire netting is illuminated from the outside
by Light Up Walk Professional systems with
spot optical assemblies trained on different areas
of the netting. This creates an interplay of light
and shade, accentuating the profile of the wire
netting and highlighting the different angles of
the posts. These same posts also carry the colour
lighting for the playground, which accentuates
the graphic design of the pavement and picks
out the netting and posts.

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Projects The Dhoby Ghaut Park Client
URA - Urban Redevelopment
Authority

Architectural design
SCDA Architects Pte Ltd
Chan Soo Khian
Singapore

A new public space above the MRT (Mass Rapid The conceptualisation and design of the park integrating open spaces such as parks and plazas
Transit) station of Dhoby Ghaut was opened in was entrusted by the URA to Chan Soo Khian into commercial developments, so as to provide
September 2009. Known as Dhoby Ghaut Green, of SCDA Architects Pte Ltd, who in 2006, the platforms for community gatherings and events.
it is situated on Orchard Road, at the gateway to inaugural year of the President’s Design Award, To conceptualise a space that would meet
the historic Bras Basah-Bugis district, a centre of was named Designer of the Year in Architecture the programming needs of stakeholders and
Arts, Culture, Education and Entertainment, and and Urban Design, the highest accolade end-users, URA and NParks organised several
is designed both as a place where people can offered by the nation for excellence in design. meetings with arts and community groups,
meet, and an oasis of calm amid the hustle and Dhoby Ghaut Green is the latest addition to local education institutions and event organisers,
bustle of the city centre. Dhoby Ghaut Green was a series of open spaces created within the city with the aim of seeking their feedback early
developed by the Urban Redevelopment Authority through the URA's Public Spaces and Urban in the design process.
(URA) and is managed and maintained by the Waterfront Master Plan. This is a plan that aims The design of the park underscores the character
National Parks Board (NParks). to inject more vibrancy into the city centre by of the natural landscape by dividing the area into

24
Technical sponsor Photos: SCDA Architects Pte Ltd.
iGuzzini SEA Pte Ltd
1.2. The amphitheatre in the middle of the park

three main zones, each having a distinctive an open turfed field set aside for outdoor sports
atmosphere to suit different uses. The middle activities. Conveniently located on the northern
zone features a 250-seat amphitheatre inspired side of the field between the two exits of the
by the natural lines of a rattan basket, with Dhoby Ghaut MRT Station is a cafeteria where
a lighting scheme that uses Linealuce fixtures. people can eat indoors or al fresco. In the spirit
Two forecourts to the amphitheatre serve as of its development as a community project,
gathering spaces and double up as venues corporate sponsorship opportunities were made
for other community activities. The gravel area available at an early stage so that businesses
in the western zone is well shaded by the could become involved. Under these sponsorship
existing trees, providing a peaceful environment agreements, iGuzzini SEA Pte Ltd provided
that contrasts with the commotion of the lighting fixtures for the project: Woody, Ledplus
surrounding cityscape. The eastern zone is and Light Up.
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Projects Blue Water Black Magic Client
New Zealand National Maritime
Museum

Architect
Pete Bossley Architects

Auckland, New Zealand

The lighting brief for the Blue Water Black Once finalised, the brief was particularly
Magic project evolved over a long period of challenging from a technical standpoint, given
gestation and development (3 years, in the totally unique interplays of light created
practice), with economic restrictions imposed on the façade by the Danpalon glazing system,
from the very outset. The original architectural which uses a relatively unknown material.
concept envisaged a full-scale glass container To test the reaction of the material to different
designed to house the boat that won the light sources, beam angles and effects, a
Americas Cup in 1995 - Team New Zealand’s demonstration model of the Danpalon façade
NZL 32 ‘Black Magic’. was constructed for experimental purposes.

26
Project Director Photos: iGuzzini archive
MPM Projects
1. General view of Auckland harbour
Lighting Designer 2. Detail of the building where Black Magic is housed
Aurecon Specialist Lighting Group
— Building Services

By Pete Bossley Architects. The decision was taken to use floodlights After dark, a total load of 315 W can be used,
The main problem was caused by the structural equispaced along the entire length (60 metres) if the façade is illuminated. Lingotto fixtures
elements and the question of how exactly to of the façades, creating a homogeneous visual were fot their ingress protection category, IP66,
position the internal light sources, with frame effect. Seven Lingotto fixtures with 150 W and consequently their capacity to withstand
members crossing vertically and horizontally. halogen lamps were used, adopting an extremely saline conditions. The tests on lighting
The back-lighting had to be gauged in such a wide asymmetrical beam pattern guaranteed to solutions were submitted for scrutiny to a large
way as to ensure that the shadows cast by internal provide a particularly simple and at the same group of stakeholders and legal representatives.
structures would not spoil the effect on the façade. time solid illumination, culminating in an overall There were lively discussions regarding the
Halogen sources were found to be the best, as light output of relatively low intensity with level of illumination desirable for the surface
these created special effect on the polycarbonate localised points of greater intensity distributed and the times for which lights should remain
Danpalon material: when back-lit from a certain along the surface. Importantly, 540 m2 of frontage on after dark, with municipal regulations and
distance, the panel gathers all of the light and can be illuminated during the hours before dusk input for other interest groups all taken into
concentrates it transversely to the direction of through to 23.00, using little more than one account. In the end, the project was delivered
extrusion, so that the remainder of the surface kilowatt of energy. well within the expenditure forecast.
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Projects An award-winning wine bar Client
Volkhardt Brothers, Münich,
wine merchants
branch of the Hotel Bayerischer Hof -
Gebrüder Volkhardt KG

Münich, Germany

Volkhardts Wein und Bistro, a hundred-plus year notion of translating two essential and apparently
old wine bar in Münich's Hotel Bayerischer Hof, conflicting characteristics of wine - simplicity
is a spacious store (3000 m2) offering over and complexity - into a spatial concept.
700 varieties of still and sparkling wines from Screens of wine bottles allow only a selective
all around the world, which customers can taste view of the interior, inviting the curiosity of
in an architectural setting that was awarded the the passer-by. Light emanating from the inside
Red Dot Award for Product Design 2009 in the and the outside creates the impression that
‘shops and displays’ class. the screens of bottles have their own source
The design of the interior is inspired by the of illumination, changing with the time of day

28
Architectural design Photos: Lothar Reichel
tools off.architecture
Eva Durant and Andreas Notter 1. Accent lighting on bottles
2. Light and shade created for the tasting area
Art work
Friederike Straub

and the seasons of the year. The materials used screens and honeycomb diffusers are used
to decorate the interior derive from elements to achieve high levels of visual comfort and
at the very heart of winemaking: soil, wood eliminate glare, even in conflict areas.
and glass. Accent lighting predominates in The interior also features touches provided
the presentation of the wines, whilst the by artist Friederike Straub, consisting of a
background lighting is kept at a comparatively selection of quotes - chalked directly onto
low level so as to create a certain dramatic the walls -about wine and the pleasures
effect.The overall scheme is implemented using of life, including the memorable saying of
track-mounted Tecnica spots with 35 W lamps. Oscar Wilde: “the only way to get rid of
Special accessories such as wall-washer temptation is to yield to it”.
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Corporate culture Zaha Hadid at Padua

Padua, Palazzo della Ragione


27 October 2009 - 1 March 2010

The exhibition dedicated to Zaha Hadid opened office, with a lighting scheme using appliances
in October 2009 during the fourth ‘Barbara made by iGuzzini, the technical sponsor of
Cappochin’ International Architecture Biennial. the event. Conceived as an urban landscape,
The exhibition occupied the entire Salone, as the show combines the fluidity of the Hadid
the huge mediaeval hall on the upper floor style and the splendour of the surroundings
of the Palazzo is known: it is the biggest sala in which the exhibits are set.
pensile in the world (measuring 81 x 27 The exhibits are displayed on hundreds of
metres, and 27 metres high). assorted blocks, each presenting a particular
The installation was designed by Hadid’s London project through a variety of media, including

30
Photos: Fabrizio Marchesi

1.2. Views of the exhibition

drawings, paintings, photographs, models,


prototypes and videos. The works on show range
from the MAXXI in Rome to the BMW Central
Building in Leipzig and from the Phaeno Science
Centre in Wolfsburg to the London Aquatics
Centre, and include design objects such as the
Mesa table for Vitra, the Genesy lamp for
Artemide, sofas for Sawaya & Moroni and B&B
Italia, and the Louis Vuitton Icone Bag.

2
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Corporate culture Zaha Hadid at Padua

The lighting scheme for the Zaha Hadid sources, providing the required levels of
personal exhibition was a complex task, given illuminance and high colour rendering.
the appreciable height of the room and the Of this number, 20 were used for general
fixed lighting points. It was accomplished using lighting of the central area, while the others
suspended tracks carrying Tecnica spots, and were trained on the various display blocks
Mini Reglette strip units. Around 130 Tecnica to provide accent lighting.
spots (with a black finish to minimise the Mini Reglette fixtures with 21 W and 28 W
visual impact in space) were installed on fluorescent lamps were installed along the
two parallel runs of standard track located skirtings and used as wall-washers. The
10 metres above floor level. lighting installation also featured luminous
The fixtures had flood type optical assemblies blocks designed jointly for the occasion by
and both metal halide and halogen light iGuzzini UK and the Zaha Hadid office.

32
3.4. Views of the exhibition

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Corporate culture New LED fixtures
for street and public lighting

1 2

Environmental awareness and a responsible, A new fixture, the Archilede, has been developed
intelligent use of electrical energy have always for the Enel corporation under a framework
influenced the design of lighting appliances agreement that also covers the marketing and
manufactured by iGuzzini, whose 2009 catalogue sale of the product.
offers a broad selection of Led fixtures for street The Archilede has already been installed in Italy.
and public lighting. According to Enel, “the fixture has been on the
The range of certain floodlights and street market for one year, and results have been very
lamps already in production has been extended encouraging: more than 250 municipalities,
with the introduction of new Led light sources. including Arezzo, Vasto, Alessandria, Erba and
The municipal authority of Lleida is currently Lodi, have opted for the new Led systems,
replacing its older fixtures in the historic centre having immediately recognised the advantages
of the town, adopting Lavinia and Argo units provided by a technology now leading the way
with Led sources. Improvements in the area internationally. The strong interest shown
of Rambla Aragò and Avenida Catalunya will by local authorities and leading private sector
lead to a reduction of electrical power organisations in the new Enel Sole technology
consumption from around 117,000 kWh to is the best possible testimony to the compelling
75,000 kWh, while achieving an increase market innovation introduced by our Archilede
of 26% in illuminance levels. product which - if adopted on a wide scale -

34
Photos: iGuzzini archive

1.2. Piacenza
3. Alessandria

will place Italian cities firmly at the forefront


in the field of sustainable public lighting and
energy saving”. The impact of the Archilede
product will be appreciated by considering a
few numbers on the energy saving front: with
the first 400 fixtures installed, the 4 pilot cities
of Alessandria, Lodi, Piacenza and Monza have
saved some 90,000 kWh per annum on public
lighting, which is equivalent to about 55%
of the relative electrical energy consumption,
benefiting also from a marked increase in
luminance, lower bills, and around
45.5 tonnes less CO2 produced every year.
Accordingly, if all municipalities in Italy were
to adopt this new Led lighting system, using
it correctly and exploiting its brightness and
controllability to the full, the country could save
between 2.5 and 3 billion kWh per annum,
while at the same time reducing harmful CO2
emissions to 1.5 million tonnes, and complying
with the cost constraints and energy saving
policies to which local authorities are now
giving more and more importance.”

3
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Corporate culture New LED fixtures
for street and public lighting

Installations in Zurich and Geneva even attracted


the interest of Switzerland’s national television
news channels. In Finland, the Archilede has
been added to the portfolio of the Finnish Road
Administration Association as the only Led
fixture approved for public lighting. Without
this approval, fixtures cannot be installed for
street and public lighting purposes in Finland.
In the Czech Republic, the Archilede is one of
a number of products being tested in 6 pilot
projects set up by Eltodo, the company responsible
for street lighting in Prague. Eltodo is currently
designing a complete reorganisation of street
lighting across Prague, and these pilot schemes
are also being used to test the products of 5
other companies. The Archilede was selected
for the trial on the strength of its energy efficiency,
reliability and minimal maintenance costs.
These same characteristics have already won two
international awards for the product: The iF 2010
Award, and the FX International Interior Design
Award 2009.
4

36
4.5. Lleida
6. Tests conducted in the Czech Republic
7.8. Range of Led products for street and public lighting

7 8
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Corporate culture 4th edition of the Architecture Competition Sponsored
by “Pasajes de Arquitectura y Crítica”
and iGuzzini illuminazione

In October 2009, jury members adjudicating in


the fourth edition of the Pasajes de arquitectura -
iGuzzini architecture project competition met
at the headquarters of iGuzzini illuminazione
España to select and judge the merits of 139
entries, first assessing the projects individually,
then comparing the assessments with each another.
This initial selection process reduced the
number of entries from 139 to 57.
Scrutiny of all the projects submitted for this
year’s competition revealed an optimum level
of proficiency among new architects in Spain.
The variety of subject matter, designs, graphic
representations and trends would appear to
suggest an increasingly wide range of career
paths being pursued by new architects in
Spain; a variety not linked necessarily - as
was once the case - to a future spent teaching
at schools of architecture, or as a super-
charismatic tutor. The architecture on display
in this selection reflects a strong personal
commitment on the part of students who
entered. It is the result of a conviction - now
widespread - that their way of doing things
and what they are learning can be embodied
in projects of great maturity, commitment
and forward-looking vision. These are projects
by architects who are already designing the
architecture of tomorrow. Notwithstanding all
the entries were very realistic, practically
speaking, the judges were at pains to highlight
the great quality of projects seeking to solve a
problem in a professional manner. Equally one
project that avoided practising cultured
architecture, instead looking to solve a problem
in Africa using limited available resources,
without the cerebral design element implicit
in the other projects submitted.
After a further selection reducing the entries
to 31, the jury members short-listed a group
of 14 finalists from which they then decided
unanimously on the award of the first prize,

38
Jury Jose Luis Penelas José Ballesteros and Josep Masbernat Photos: iGuzzini archive
Javier Jiménez architect, lecturer in design representing Pasajes de Arquitectura
architect, winner of the third edition at the School of Architecture, and iGuzzini illuminazione 1. First Prize - worksheet of the winning entry
of the competition; European University, Madrid Gala Martínez 2. The jury at work
Piergiovanni Ceregioli Josep Miàs secretary to the jury.
architect, director of the iGuzzini architect, head of Studio MiAS
Research Centre, Recanati Arquitectes, Barcelona

After a thorough comparison of the other


entries, they resolved not to award the second
prize in view of the difficulty in separating
any one project clearly from the remainder,
and the lack of objective arguments
on which to base an order of preference.
The members of the jury pointed out that there
is demonstrably more to the entry selected for
the first prize, than simply an architectural project.
Josep Miàs gave his personal reflection on this
project in a written statement: “Undoubtedly,
the winner is unaware of many magazines,
and more interested in books. In reality, her
architecture is not understood simply by looking
merely at illustrations or photographs, but by
reading and visiting locations, discovering and
imagining the architectures and the occupants.
She intends to weave a new web over the ruins
near Alcoy that have for so long been forgotten.
What a fabulous place! Enveloped as if in a
new dress, on which the inhabitants appear,
winged and crawling. A new place to live, 2
unrecognisable as a place already known,
much less imaginable. The references will terms of development and of presentation,
belong only to the world of the author, or addressed the aspect of lighting design with
places shared with the authors of the books thoroughness and actually used light as a
she has read. Not to all the things we can design tool, considering its interaction with
recognise easily - too easily. spaces and materials.
It is wonderful to play, not without a certain In the case of the “New Cordoba airport”
effort, at finding complicity with her drawings, project, the jury appreciated the formal
her signs, her sketches, her tattoos, and complexity of the project and its complete
becoming voluntarily spellbound by this magic. geometry, but equally, the sense of optimism
Certainly, we give the prize to someone who at a time of crisis, when the prevailing mood
invites us into an imaginary world, who is is one of austerity. The entry entitled “Multi-use
struggling to find her project, as the project buildings: International Conference Centre of
does not yet exist - but the true architect Almada” displays an ambition to resolve all
does already exist”. issues in a wide-ranging project that actually
As regards the special prizes in the lighting goes as far as to convert a final test design
section - in accordance with the competition into a definite project plan.
rules - the jury selected those projects among The prize-giving ceremony was held in Madrid,
the entries short-listed as finalists which, in 12 November, at the Matadero cultural centre.
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39
Corporate culture 4th edition of the Architecture Competition Sponsored
by “Pasajes de Arquitectura y Crítica”
and iGuzzini illuminazione

40
Photos: iGuzzini archive

3. The winners
4. Project sheet, Juan Antonio Sosa Gallego
5. Project sheet, Javier Munoz Galàn

Prize-winning projects Honourable mention Honourable mention


Ion Cuervas - Mons Diego Ceresuela Wiesmann
1 Prize
st
Mostenses market and plaza South Street Seaport Rehab
Amelia Vilaplana de Miguel
River Moliner environmental Honourable mention
Honourable mention
and landscape recovery Lys Villalba Rubio
Beltrán Presas Javaloyes Architectural tools for the
Special prize 9 habitability strategies rehabilitation of degraded areas
Juan Antonio Sosa Gallego for the rural community of Dekiri (Ghana)
New Cordoba airport Honourable mention
Honourable mention Gad Peralta Iglesias
Special prize
Javier Santamaría Reutilisation of water mills,
Javier Muñoz Galán
Restoration of the old mill, Daular bird research and recovery centre
Multi-use buildings: International
Conference Centre of Almada

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Corporate culture Dancing with Light:
“Framed”

London, UK

For one night, on 7 March 2009, an old reconciling aspects and elements quite different
London factory became a sonic and visual from one another. iGuzzini was involved as
landscape, created by Ginger in Orange, a duo technical sponsor at the specific request of the
consisting of Christin Rauter, musician, and designer. The aim of the show was to re-create
Camilla Maling, sound designer and dancer. settings and magical, surreal atmospheres in
Lighting played a special role, being designed which music, dance and images could fuse
to give emphasis to the relationship between together. iGuzzini was active especially in the
sound and movement. ‘main hall’, where visitors where able to peer
Christin Rauter and Camilla Maling sought to through transparent curtains into other rooms
create a number of spaces that would be and see artefacts and objects, such as fluttering
evocative of as many places and times: an costumes suspended at various heights and
industrial warehouse, a turn of the century turning slowly on an internal axis, creating
living room, an atmospheric soundscape, a a continuous interplay of light and shade
costume parlour, a storybook… At given moments on the floor beneath.
of the show, the audience was invited to explore The clothes, made for the occasion by designer
its role as spectator - passive and active - Amin Philips, were lit from the inside by Led
wandering through a kaleidoscope of information: fixtures emitting an intense blue, which gave
installation and performance, live and pre- them the impression of flying through space.
recorded. The intention behind the lighting In one room, as an actor read passages from
design, by Karolina M. Zielinska, was to draw Alice in Wonderland, spectators could sit at
attention to and focus on the artists, on their the tea table on which Alice’s broken crockery
performances, or other visual objects, and the and the cakes were illuminated by a low
success of the exercise would depend on voltage Le Perroquet spot. 1

42
Invited artists performing http://www.gingerinorange.com/live-past.html Photos: Julia Burstein; Lillie Toogood
with the Framed team
Tamara Hasselblatt - painter Technical sponsor 1.3. Scenes from the show
Carmel Morrissey - actor, singer iGuzzini illuminazione UK 2. Spectators descend the narrow staircase connecting
Amin Phillips - fashion designer, DJ the rooms. Picture at the top of the stairs lit by Le Perroquet.
Gerd Schickentanz - DJ - Bing Smith
photographer, actor - Georgina Toogood 4. Spectators and musicians in the Tea room.
- photographer, graphic designer 5. Clef and stabe - a visual and musical composition lit by
Adrianne Wininsky - cellist Linealuce Uplight.
Karolina M. Zielinska - lighting design

4 5

In the corner of another room, two musicians About the lighting designer important projects such as: the new NATO
playing piano and cello accompanied the Headquarters in Brussels, the King Abdullah
Karolina M. Zielinska M.S.Arch., Dipl. Ing. Arch International Gardens in Riyadh (Saudi Arabia),
entrance of dancers and their extemporised (FH). Karolina graduated in Architecture and also winning urban/ design competition for Golden
choreographic moves, inspired by the different Urban Planning at Gdansk Technical University Square in Birmingham, the Verta 5 star Hotel
sounds they heard. in Poland, then took a degree in Architectural in London and a side-wide lighting strategy for
Installed in the space above the dancers were engineering at Hildesheim in Germany. She then Porto Montenegro - luxurious marina in Republic
moved from architecture into architectural lighting of Montenegro naming only few. She is an active
track-mounted Le Perroquet spots with 24° design, her previous activities include work for profession member of the PLDA and teaches
beams, creating accents on the floor while lighting consultants such as L-plan Lighting about lighting and design at university level
also throwing light onto the walls. in Berlin, Fisher Marantz Stone in New York, and currently working on her PhD Thesis on
Other low voltage spotlight fixtures with 10 and Speirs and Major Associates in London. Light and Architecture. She has taken part in
In January 2008, Karolina joined the Light numerous international conferences and written
degree beam angles were positioned towards Bureau as Senior Designer, later becoming an articles for lighting magazines and journals
the keyboard and the cello. There were also Associate in the business. Her work includes worldwide.
screens in the middle of the room, onto which
shots of the pianist’s hands were projected
live during the performance. In the ‘Gallery’,
photographs on the wall were designed to
represent the notes on a stave. Linealuce fixtures
were used to flood the wall with grazing light,
while also creating atmospheric shadows.
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Corporate culture Sharing knowledge

1 2

Towards the end of 2009, iGuzzini attended a the world to address the challenge posed by a
significant number of conferences in various need for the creation of better lighting systems,
capacities. The company was ‘Gold Sponsor’ from the energy standpoint, without sacrificing
for the second edition of the Professional the quality of our lifestyle. Tanteidan (Transnational
Lighting Design Convention organised by the Lighting Detectives) is a non-profit study group
PLDA (Professional Lighting Design Association) whose interest is in learning the culture of
held in Berlin, on the 29-31 October 2009. lighting design and engineering through practical
The convention had met with notable success methods. Established in 1990 by Kaoru Mende,
when held for the first time in 2007 (London), Tanteidan now has a 500-strong membership
and has become the main international event that includes lighting designers, teaching experts,
where lighting designers can gather to compare businesses, architects and students from all over 3
notes, discuss ideas and set new goals for their the world. From 30 November to 2 December
profession. The convention offered a programme 2009, Cuba held its 8th International Event on
of conferences covering the three days of the the planning and management of historical
event. iGuzzini contributed with a talk on its centres, with the theme: “The historical centre:
“Appreciating Form” project. Through the direct vulnerability, risks and mitigation in disaster
involvement of its branch in China, iGuzzini also situations”. iGuzzini’s contribution was in two
sponsored the ‘Tanteidan Beijing 2009’ forum, parts. The first, a presentation of the methodology
held on the 13-16 October 2009 in the Chinese behind the lighting scheme for Old Havana,
capital. The theme of the international event, developed through an international agreement in
organised by the Tanteidan Group, was “Enjoy 2007 between the Oficina del Historiador and
Lighting with Ecology”. Renowned international iGuzzini. This was explained to more than 200
lighting designers joined students from around delegates from 14 different countries, mainly Latin

44
1.2. Delegates at the Professional Lighting
Design Convention
3. The “Italian Lighting Design for Istanbul” logo
4. The seminar in Havana
5. Brochure for the Havana seminar

American, who listened to two talks and were Italian know-how in the field of professional
shown a series of images simulating the new lighting, on the Turkish market.
appearance the city will take on after dark. The event was part of a programme entitled
Following the conference, the display panels “Italian Lighting Design for Istanbul 2009”;
were set up in Havana’s Fototeca Pubblica, in addition to the seminar, this included the
so that members of the public could also illumination of selected monuments in the city,
view the proposed scheme. notably the famous Galata Tower. iGuzzini
On 7 December, a seminar was held at the presented same of the company's more
University of Havana, open to professionals of recent and significant projects in these sectors.
the Oficina de l’Historiador, architects, engineers, On 6-8 December 2009, the “Cultural
and representatives from organisations such as Heritage Cairo 2009” convention was held
5
the International Council of Museums (ICOM) in the Egyptian capital. It was attended by
and the International Council on Monuments and around 400 delegates from various cultural
Sites (ICOMOS), concerned with the protection, institutions, mainly European and African.
conservation and development of Cuba. Among the speakers was architect Piero
A talk by iGuzzini, entitled “General concepts Castiglioni, who addressed a range of topics
of architectural lighting”, provided a detailed connected with the illumination of cultural
explanation of the new methodology behind the assets and, by way of example, illustrated a
lighting scheme for the historic centre of Havana. number of lighting projects implemented in
On 3 December 2009, a seminar was held in Italy in collaboration with iGuzzini, notably
Istanbul to discuss Italian technologies for street, that of the Palazzo Schifanoia in Ferrara,
museum and architectural lighting, organised by and the illumination for the steps of Santa
the ICE as one of various initiatives to promote Maria at Caltagirone.
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Corporate culture

Light Mapping NYC

New York, November 2009

In November 2009, after the LightMapping


events in London and Rome, iGuzzini again
supported this initiative through its North
America branch, sponsor of the NY session.
LightMapping NYC - part of a global program
developed by the PLDA, staged in collaboration
with the Lighting Forum of New York (DLFNY)
and the Illuminating Engineering Society, New
York City Section (IESNY) - provides a forum
at international level for the entire community
of New York lighting designers, to discuss the
current state of night lighting in the city, its
origins, and the possible directions it could take
in the future. The event offered a number of
“Lightwalks” through areas identified as being
significant from the standpoint of lighting design
in New York. The tour guides for the walks were
lighting designers of world renown. These same
Lighting Designers then offered their thoughts
on the week’s activity during a discussion and
workshop on the final day, which was moderated
by Glenn Shrum, PLDA coordinator for the USA.
The event was open to everyone, and the
guides were: Wayne Norbeck (Gluckman Mayner
Architects), who encouraged his audience
to seek out the darkness among the lights
of Times Square; Leni Schwendinger, Ute
Besenecker (Light Projects Ltd.) and Brian
McGrath (Urban Designer), who illustrated
the nuances of night in the area around
Old St Patrick’s Cathedral; Julian Kline
(Meatpacking District Initiative), who guided
walkers through new and old architecture of
the Meatpacking District; Francis Milloy
(Terreform), who showed his party a cross
section of Midtown West, Manhattan; Nathalie
Rozot (Nathalie Rozot Planning & Design),
who explored the virtual night of Second Life
with the avatars, revealing new ways to light
the cityscape; and Stephen Horner (Tillett
Lighting Design), who rounded off the series
of walks with a view of Manhattan from the
outside, through Brooklyn Bridge and DUMBO
(Down Under the Manhattan Bridge Overpass).

46
Corporate culture

“LED - Light Exhibition Design”,


2009 edition
Milan, Italy

From 6 December to 10 January 2010, the


municipality of Milan hosted “Light Exhibition
Design” 2009 (LED), an event that saw architects,
lighting designers and artists proposing lighting
designs for various landmark architectural features
of the Milan skyline. iGuzzini participated as
technical sponsor for “A tower of light”, the tower
being the Torre Branca, Giò Ponti’s masterpiece
symbolic of Milan in the 1930s. standing 108
metres tall in the Parco Sempione, the tubular
steel tower was illuminated with Platea Led
fixtures emitting a variable coloured light and
transforming the structure into a beacon on the
city’s nocturnal landscape.
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21 Incontroluce I. 2010

Incontroluce
Six-monthly international magazine
on the culture of light
year XII, 21

Editing
Centro Studi e Ricerca iGuzzini
Fr.ne Sambucheto, 44/a
62019 Recanati MC
+39.071.7588250 tel.
+39.071.7588295 fax
rc@iguzzini.it
iGuzzini illuminazione spa
62019 Recanati, Italy
via Mariano Guzzini, 37
+39.071.75881 tel.
+39.071.7588295 fax
iguzzini@iguzzini.it
www.iguzzini.com
071-7588453 video

Graphic Design
Studio Cerri & Associati

Publisher
iGuzzini illuminazione spa

Contributors to this issue


iGuzzini illuminazione China Ltd.
iGuzzini illuminazione Deutschland GmbH
iGuzzini illuminazione España S.A.
iGuzzini illuminazione France S.A.
iGuzzini illuminazione DK
iGuzzini South East Asia
iGuzzini illuminazione UK
E.C.C. Lighting LTD, Australia
Proyecto Illuminaciòn, Argentina

Cover photo
Lothar Reichel

Printed: April 2010


Tecnostampa, Recanati

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

9.2618.000.0