Incontroluce XIII / The Marches: The universities and the territory Design: The lighting designer’s 13 I.

2006
toolbar 2005 Projects: Memoria e Luce. World Trade Center Memorial / Reflections in stone Egypt
illuminated by Dante Ferretti / Extension of the High Museum of Art in Atlanta / A Roman history
museum / Illumination of the Victoria & Albert Museum garden / The Town Hall of Sant Antoni de
Portmany / Melbourne Arts Centre / Shigeru Ban and the Beaubourg / Zaha Hadid and the Ordrup-
gaard museum / Sign of light for the Cathedral of the Resurrection / New light on the Nevsky
Prospect Corporate culture: Second edition of the competition “Pasajes arquitectura y crítica -
iGuzzini illuminazione” / iGuzzini Travelling Award 2005 / The Snow Show. Turin 2006 Winter
Olympics / iGuzzini illuminazione creates a new showroom concept / Lightcampus: new laborato-
ries / Turin 2006 Winter Olympics / iGuzzini hosts ELDA and IALD / Light Conference / Intelligent
Lighting Design / iGuzzini lights up the Toti submarine

9.1901.000.0
Editorial Incontroluce 13 I. 2006

Dear readers,
Incontroluce
for iGuzzini, relations with schools - especially Six-monthly international journal
with schools in and around our home base - on the culture of light
have always been a key element in the
Editorial office
company’s development strategy. iGuzzini Study and Research Centre
Operating at the local level, in particular, the Fr.ne Sambucheto, 44/a
company is able on the one hand to support 62019 Recanati MC
+39.071.7588250 tel.
students and their families by offering +39.071.7588295 fax
training courses linked to job opportunities email: rc@iguzzini.it
in the area, whilst on the other, the school
iGuzzini illuminazione spa
is afforded scope to expand its educational 62019 Recanati, Italy
offering. And so, in this number we have via Mariano Guzzini, 37
decided to initiate a dialogue with the rectors +39.071.75881 tel.
+39.071.7588295 fax
of universities here in the Italian Marches,
email: iguzzini@iguzzini.it
and hear their thoughts on the relations www.iguzzini.com
between the universities and local industry. video: 071-7588453
Also in this issue, generous coverage is given
both to projects delivered in collaboration Graphic design
Studio Cerri & Associati
with famous architects, and to competitions
for architecture students promoted by our Publisher
Spain and UK branches. iGuzzini illuminazione spa
Another way to sustain and foster
Contributors to this issue
architectural culture. iGuzzini illuminazione Deutschland GmbH
iGuzzini illuminazione DK
iGuzzini illuminazione España S.A.
Adolfo Guzzini iGuzzini illuminazione France S.A.
iGuzzini illuminazione UK LTD
OOO iGuzzini illuminazione RUSSIA
Peyan Oy, Finland

Cover photo
Gabriele Basilico

Printed: March 2006

Tecnostampa, Recanati

The Editorial staff is not responsible for inaccuracies

and omissions in the list of credits relating
to projects and provided by colleagues.
Completions or corrections will be included in the
next issue.

II III
 Incontroluce 13 I. 2006

Summary

II Editorial

The Marches
2 The universities and the territory

Design
4 The lighting designer’s toolbar 2005

Projects
8 Memory and Light.
World Trade Center Memorial
12 Reflections in stone.
Egypt illuminated by Dante Ferretti
16 Extension of the High
Museum of Art in Atlanta
18 A Roman history museum
20 Illumination of the
Victoria & Albert Museum garden
22 The Town Hall of
Sant Antoni de Portmany
24 Melbourne Arts Centre
26 Shigeru Ban and the Beaubourg
28 Zaha Hadid
and the Ordrupgaard museum
30 Sign of light
for the Cathedral of the Resurrection
34 New light
on the Nevsky Prospect

Corporate culture
36 Second edition of the competition:
“Pasajes arquitectura y crítica
- iGuzzini illuminazione”
40 iGuzzini Travelling Award 2005
44 The Snow Show
Turin 2006 Winter Olympics
46 iGuzzini illuminazione creates
a new showroom concept
48 Lightcampus: new laboratories
50 Turin 2006 Winter Olympics
iGuzzini hosts ELDA and IALD
Light Conference
Intelligent Lighting Design
La iGuzzini lights up
the Toti submarine

52 Opinion
The Marches The universities and the territory

Interview with Marco Pacetti,

Rector of the Marches Polytechnic University

The university has experienced far-reaching

changes under recent and current reforms.
Have these reforms affected relations between
the university and the territory? Ours is
an area - the Marches - with a lot of small
businesses? Have the reforms helped?

With the recent institutional changes introduced,

the Marches Polytechnic University has been
propelled further along a line of development
it had already decided to pursue many years
ago, and which is identifiable in our adopted
slogan of the “3 T’s”: Talent, Technology and
Territory. These fundamental planks of the
university’s strategy have caused attention to
be focused on the dense network of SMEs
underpinning the production base of the region,
orienting the selection of professional profiles
toward those least represented and deploying
many study courses over the territory, so that
university training is brought to the centre
of the main manufacturing centres (Fermo,
Fabriano, Pesaro, San Benedetto del Tronto…).

In what way does the Marches Polytechnic

University invest in research?
Are there research projects ongoing?
Which sectors are being targeted in particular
by the University in this area? With what
collaboration agreements?

The Marches Polytechnic University has always

believed that, without a high level of scientific
research on which to build, a respectable level
of university education can never be achieved.
This reflects the conventional “Humboldtian
model” of university by which our actions are
inspired - actions involving significant invest-
ments in scientific research quantifiable at
around 30 million euros annually, of which
10 million euros/year are spent on equipment,
materials, computing etc… These considerable
sums, funded with resources secured in a
context of national and international competi-
tion, and from the university’s own resources,
are spent on over 400 lines of research, shared
with businesses, universities and research
institutes in some twenty and more OECD
member countries, and in emerging South-
East Asian nations. The selected topics range
across alI disciplines typical of the faculties
of Engineering, Medicine, Agriculture, Biology
and Economics.

2

Has this research activity also translated into
technological innovation? If so, applied in
which sectors? Has it triggered new entrepre-
neurial activities?
The outcomes of research projects and the
experience of specialist contributors involved
have often been channelled into technologi-
cally innovative solutions, through close
collaborations with companies in Italy and
abroad, which enter into agreements with
and commission searches and studies from
university departments. Naturally, this type of
situation will arise more frequently in sectors
connected with industrial engineering and
information, also with business management.
Close interactions of this type also benefit the
primary agriculture and agrifood sectors,
whereas Medicine and Science faculties tend
by their very nature to be involved more in
basic research, or research applied to health
and environmental problems.
3
Now, the university has decided to move
beyond this traditional model of collaboration,
having identified the need to espouse a
third mission, the first two being the historical
remits of producing new knowledge
(research) and disseminating that knowledge
(teaching). The new third mission is one of
becoming directly involved in the economic
exploitation of new knowledge developed
in our laboratories, and accordingly, the
university will on the one hand complete its
task of spreading enterprise culture by sup-
porting business competition as “e-Capital”,
favouring, rewarding and fostering the
emergence of new generations of entrepre-
neurs, while on the other hand giving life to
new business activities by encouraging the
start-up and contributing to the share capital
of new spin-off companies operating mainly
in hi-tech sectors. A dozen or so of these
spin-offs have been started up in recent
years.
Photos provided by the Marches Polytechnic University
1. Mikhail Gorbachev gives his inaugural lecture on receiving
an honorary degree from the university.
2. Rita Levi Montalcini with Rector Magnifico Pacetti.
The Marches Polytechnic University has long
enjoyed favoured relations with iGuzzini
illuminazione and the Guzzini group.
Any thoughts on this collaboration?
For years now, the Guzzini Group - and iGuzzini
illuminazione especially - have been fellow
travellers in many of the most innovative experi-
ences of our university-business association,
which include cooperating on European
research and technological innovation projects,
piloting the introduction of e-learning tools,
sponsoring spin-off businesses, and designing
professional training programmes normally
difficult to find on the labour market. In short,
it can be said that between the Marches
Polytechnic University and Guzzini, there exists
a well-established and preferential collaborative
rapport that stands as emblematic, in a positive
sense, of how the overall share capital of a
territory can be increased through a network of
trust-based and selected liaisons between
businesses, and institutions of higher education
and research.
incontroluce 13
 Design The lighting designer’s toolbar 2005

by Julle Oksanen

When I started my lighting career 25 years Tool 1: concept

ago I found out that people working in this
sector tended to concentrate their efforts on “Concept” includes the soul of your project. It is a thin red thread that has to be
the aspects they knew best and were most followed through the entire design process. It is the same whether the project is
familiar with. Architecturally oriented people small or large. It has to have a soul - it has to Rock and it has to Roll…!
would tend to focus on design aspects and Design is an attitude, and if it has soul, then you have the chance of producing
some of them almost hated calculations and something that will be good.
the technical elements of design.
Engineering oriented people concentrated
more on calculations, “hardware stuff” and
generally avoided or did not understand the
architectural and artistic elements of design.
Even 25 years ago, I sensed somehow that
this was the opposite of how things ought to be.
The aim should be to solve problems and
understand the things that are not clear to us:
this is the best way to develop as a designer.
And so, I began slowly to collect tools that
would help me to understand the whole
package of what makes a good lighting design.
After 25 years and a great many educational,
research and lighting design projects, I think
I am now mature enough to open up my
personal toolbar, and in this way encourage
readers to analyze their own lighting design
skills and tools. Remember that you do not
have to do it all by yourself. Create a network,
or hire people to handle the tools you may
not be familiar with. I have never met anyone
capable of using all the tools on their own. In
short: good lighting design is also teamwork.
When I introduce a tool in this article, I also
give examples of how I or my team may have
used the tool. I have minimized text in the
photos to leave space for the reader’s own
imagination, intelligence and creativity.
1

“100 million lumens of white light floats down

on the ground, wrapping the whole area in its
embrace. There is no glare. A blue line 6 km
long follows the outline of the harbour. Strong
and simple. Huge in scale. On the left side of
the blue celebration beam is a train. 1st Prize
in lighting design competition. Project in
progress. Design team: Artto Palo Rossi Tikka
Architects Ltd and Julle Oksanen Lighting
Design Ltd. We gave this project the name
AZUR. The hint of our Blue Harbour”.
2

4
 Photos provided by Julle Oksanen

1.2. Porto Azzurro

3. Rendering for a bridge illumination project

Tool 2: master plan

Master Plan is the phase of design where the selected concept will be dressed
up. It is also important to be sure that the selected lighting solutions function
properly and fulfil all of the designer’s demands. This phase of the design often
includes demonstrations and mock-ups. It is good policy to inform the client at
the offer stage that the Master Plan does not include details of the design or
working drawings. It really is a master plan in the general sense.

Julle Oksanen
Professor and teacher at various universities and
faculties of architecture in the United States, the
United Kingdom and Finland (including Cornell
University, NY, USA, Rensselaer University, Troy, NY,
London University, UK, Helsinki University of
Technology, etc.), he delivers the course “Light &
Space Academy, The Finnish Travelling University”
jointly with architect Hannu Tikka.
He has completed projects worldwide, including the
Opera House and Amphitheatre in Ankara (Turkey),
a Cathedral and Concert Hall in Germany, a Museum
in Estonia, office buildings, parks, streets, shopping
centres. Oksanen is a member of all the major lighting
industry associations, and the author of more than
30 books, leaflets and articles for international journals.
He is editor-in-chief of the Finnish magazine Valo
(“light”).

Julle Oksanen
Julle Oksanen Lighting Design Ltd
Jahtimestarintie 10 B
02940 Espoo
Finland
julle.oksanen@jold.net
http://www.kolumbus.fi/jold

“Philosophy of Black and White. Kinetic
lighting. Huge amount of white light within
the bridge elements. No light at all on the
outer elements. Street-lighting and bridge
create a mystical effect on the surface of the
sea. Strong solution. Team: Julle Oksanen
& Oliver Walter.”
“Master Plan includes material analyses,
computing, calculations, sketches, hand
drawings, luminaire design, documentation,
etc. Lighting designers collect a library of
ideas in their heads. From that library they
then take a lot of ideas, apply them to the
project and start to compare and analyze
different solutions. Funnily enough, the
final solution is often super simple, but at
the same time “strong”. Lighting design:
Julle Oksanen.”
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5
 Design The lighting designer’s toolbar 2005

Tool 3: the lighting design process

There are different kinds of processes, created in order to ensure that light and
space can be handled properly. And there is also one particular reason why these
processes are very important: it is often the case that everyone involved - building
and interior architects, electrical system designers, contractors, owners, clients,
managing directors, etc. - wants to be a lighting expert. A selected lighting designer
introducing elements like Richard Kelly’s “Ambient Light”, “Focal Glow” and
“Play of Brilliance” to the project team and client, has the opportunity to “lift”
himself, or herself, to the same professional level as other recognized designers,
like the architect, the interior designer and electrical system designer, and so on.
It is a good way to enhance your status in the design team.

6

7 8
“New museum of art in Estonia, named KUMU.
Conceptual ideas are expressed with computer
manipulations. Huge glowing glass wall for
general lighting. Illuminated trees create
mystical feeling with constantly changing time
and seasons. Directionally adjustable ground-
recessed luminaires are like glowing stars on
the earth. Companion lights to the illuminated
glass wall. Architect: Pekka Vapaavuori,
lighting design: Julle Oksanen”.
7
4. Cutaway of the German cathedral
5.6.7. Rendering for a new museum in Estonia
8.9. Daylight view and computer simulation of a Gothic
cathedral
Tool 4: computers
Even if computers are great tools for demonstration purposes, we have to remember
that the most important thing in design is what runs from your head to your
drawing hand. In reality, only the result is significant. My personal opinion is that
a designer with soul and passion is more “valuable” to the team than a person
loaded with dazzling computer skills, but soulless and with no passion.
At any rate, we have certainly found out that you can show many different kinds
of things with computers.
9
Cathedral in France. Computer conversion
from daylight digital photo to vision of night-
time illumination. After manipulation, we
showed how it could be done by calculation
of contrasts and evaluation with Hopkinson’s
diagram. Computer manipulation Oliver
Walter, calculations Julle Oksanen.
incontroluce 13
 Projects Memory and Light.
World Trade Center Memorial
Padua, Italy
On 29th May 2004, Daniel Libeskind presented
his proposal for a memorial commemorating
the victims of 9/11 - Memoria e Luce - to the
Veneto Region and to the press. The monu-
ment created by Libeskind revolves around a
joist from the Twin Towers that was donated
to the Veneto Region, and in turn by the
Region to the city of Padua, after being
exhibited in the American Hall at the Venice
Biennial. Memoria e Luce is located in the
Porte Contarine area of Padua and forms part
of an urban redevelopment scheme for the
district, which was once a basin providing
berths for pleasure boats. The installation
site lies along the east-west axis of the Porte
Contarine gardens.
Client
Veneto Region,
in collaboration with
the Municipality of Padua
The perimeter to the west of the area is
delimited by an ancient wall. A straight concrete
ramp leads up to the structure, affording
access to able-bodied and disabled visitors
alike. This same ramp also leads to the ‘book’,
and to an open-air space where people may
like to spend time reflecting quietly on the
tragedy. The installation has no impact on the
topography or vegetation at the site; there is
simply a glass wall running zigzag through
the ensemble, terminating in a wedge formed
by two glass walls that form the leaves of the
book. A page detached from the book carries
the joist from the World Trade Center and is
oriented toward the Statue of Liberty in New
York. IGuzzini was involved in designing the
illumination for the memorial.
8
 Designer of architecture Photos: Gabriele Basilico and Veneto Region Archive
and lighting scheme
Daniel Libeskind 1. The Memoria e Luce memorial in its urban setting
with Attilio Terragni 2. Detail of the appliances utilized
Technical sponsor
iGuzzini illuminazione

Light is given a fundamental role in Daniel

Libeskind’s design as an enhancer of the
memorial and the surrounding space, serving
at the same time to highlight the materials,
the architectural and structural solutions and
the different aspects of form that the
installation can assume when lit dynamically.
In other words, the illumination succeeds not
only in revealing the structural and architectural
aspects of the memorial, but also in
underscoring the message it seeks to convey.
From the very first stages of the collaboration
with architect Libeskind, the idea was to use
coloured light to give emphasis to the
contemporary nature of the memorial and give
a clear definition of the urban setting in which
it has been placed.

2
incontroluce 13

9
 Projects Memory and Light.
World Trade Center Memorial
Colour is used as a way of drawing attention
to the two distinct parts of the composition: the
joist set against a background of translucent
material, and their different modes of interplay
with changes in the coloured light.
The appliances utilized are Colourwoody for
coloured and variable light, and profession
Light Up Walk for illumination of the
surrounding area. The light sources include
metal iodide lamps, and Led arrays.
The colour variation cycles have been
programmed to mark certain dates important
both to a European and to a US public.
The memorial is illuminated normally by white
light, with colour and variation introduced in
one-hour loops on a number of dates symbolic
in Europe and the United States, naturally
including 11th September. Others are 25th and
31st December, 1st January, 25th April (Italian
Liberation Day) and 4th July.
10
 3.4. Memory and Light by night
5. From left: Daniel Libeskind, Minister Enrico La Loggia,
President of the Veneto Region Giancarlo Galan, Mayor
of Padua Flavio Zanonato, US Vice Consul General.
Back: representatives from the band of the New York Fire
Department.

5
incontroluce 13

11
 Projects Reflections in stone.
Egypt illuminated by Dante Ferretti
Egyptian Museum, Turin
3rd February - 30th June 2006
The Museo Egizio in Turin is the only museum in
the world, other than Cairo, dedicated exclusively
to Egyptian art and culture. With the institution
of the Fondazione Museo delle Antichità Egizie in
October 2004, the second most important
collection of Egyptian artefacts after that of the
Museum of Cairo passed into private hands.
For the first time in Italy, the governance of a
state museum, the Museo Egizio di Torino, was
entrusted to a privately run Foundation: an event
marked on 19th December by a ceremony with
Client
Fondazione Museo Egizio
Gallery set-up concept
Dante Ferretti
the Minister for Culture, the Hon Rocco Buttiglione,
in attendance. The founding members of the
Fondazione include two banks - the Compagnia
di San Paolo and the Fondazione Cassa di
Risparmio di Torino - the Piedmont Region, and
the Turin Provincial and Municipal Authorities.
The President of the Fondazione is the
well-known writer and journalist Alain Elkann.
The extraordinary collection of large statues
personifying sovereigns, divinities and princes is
among the main attractions of the Museo Egizio,
12
 Lighting design
Mekanè – Riccardo Buzzanca
Technical sponsor
iGuzzini illuminazione
and in February 2006 these pieces were pre-
sented in a completely innovative interpretation
by Dante Ferretti, architect and world-renowned
film set designer. Not since 1852, the time of
its original installation, had the statuary under-
gone any significant rearrangement, and the
existing set-up was strongly conditioned by a
diffused light - natural and artificial - falling
uniformly on the neutral walls and tending to
render the statues featureless, looking almost
as if they were “in storage” (Ferretti’s own
13
remark), there in the vaulted rooms. Dante
Ferretti focused his treatment of the subject on
a sense of mysticism, and on that sort of
reverential awe he professes to feel when con-
fronted with the remains of ancient Egypt. For
the new gallery set-up, accordingly, he decided
to encase the exhibits in a medium that would
give the public some perception of the sacred.
With this in mind, the light that envelops the
statues is carefully metered, and reflections have
been created that cancel out the empty space
Photo: Gabriele Basilico
1.2. Accent lighting for the statuary
surrounding them, enhancing the plasticity of
the shapes. His concept has been transformed
into reality thanks not least to the extensive
experience of Mekanè in this line of work.
In the new layout, a dark red coloured skin
covers the walls and the roof, and within this
lining, accent lighting provided by Le Perroquet
beam-shaper spots enhance the exhibits by
bringing them up out of the murky depths.
The first step was to conduct a study and
assessment of the existing situation.
incontroluce 13
 Projects Reflections in stone.
Egypt illuminated by Dante Ferretti
A record was made of every statue: size, plinth,
material, photographic documentation.
From the measurements taken, a model was
obtained on which Dante Ferretti was able to
study and test his ideas for the set-up.
On the practical level, the design had to
reconcile artistic preferences with the technical
difficulties presented by the site, and the
sensitive context. Given also that this was a
temporary exhibition, all the solutions adopted
4 had to be reversible. The exhibition is com-
3-5. Details of gallery set-up
4. Inauguration of the museum.
From left, Mayor of Turin Sergio Chiamparino, with microphone.
Alongside, Eleni Vassilika, Director of the Museo Egizio,
Alain Elkann, President of the Museo Egizio Foundation,
Dante Ferretti, Adolfo Guzzini.
3-4. Particolari dell’allestimento
pleted by images projected onto the walls, new
captions and an atmospheric sound accom-
paniment. All lighting effects were obtained
with Le Perroquet fixtures, which with various
optical assemblies and suitable accessories
provide both background and accent light.
The interplay of light and shadow augmented
by mirrors, the particular illumination of the
statues, the slow-moving images and, not
least, the soundtrack, all accompany the
visitor on a truly fascinating visual journey.
14
incontroluce 13

15
5
 Projects Extension of the High
Museum of Art in Atlanta
Atlanta (Georgia), USA
The High Museum of Art, founded in 1905 by
the Atlanta Art Association, is the main museum
of art in the south-west of the United States.
Located in the artistic and business quarter of
the city centre, the High boasts a collection of
over 11,000 exhibits.
The museum possesses an extensive anthology
of 19th and 20th Century American art,
also a significant number of European paintings
and decorative works of art, an expanding
collection of Afro-American art and a
continuously updated collection of modern and
Client
High Museum of Art
+ Woodruff Arts Center
Architectural design
Renzo Piano Building Workshop, -
M.Carroll, senior partner in charge
in collaboration with Lord, Aeck
& Sargent Inc. (Atlanta)
contemporary art, photography and African art.
In 1979, the Coca-Cola magnate Robert W.
Woodruff offered a donation of 7,5 million
dollars toward a new infrastructure, in the
form of a “challenge grant”; the management
of the museum matched and exceeded the
offer, so that a total of 20 million dollars was
raised. The foundations were laid in 1981 and
the new facility opened two years later. The
museum building designed by Richard Meier
won international acclaim, and the design has
received many plaudits in the time since.
16
 Design team
E.Trezzani (associate in charge),
S.Ishida (senior partner),
S.Colon, D.Patterson, A.Symietz with
F.Elmalipinar, G.Longoni, M.Maggi,
A.Parigi, R.Sproull, E.Suarez and
J.Boon, J.Silvester, S.Tagliacarne,
B.Waechter, M.Agnoletto, S.Chavez,
D.Hlavacek, R.Supiciche, A.Vrana;
M.Ottonello, G.Langasco HDR/WLJorden (civil engineering); Photo: Michel Denancè
(CAD Operators); D.Cavagna, Jordan Jones & Goulding (landscaping);
F.Cappellini, S.Rossi (models) Bergmeyer Associates (interiors/ 1.3. Interiors of the museum with its “funnel” ceilings
restaurant); Brand+Allen Architects 2. Exterior of the building
Consultants (interiors/retail)
Ove Arup & Partners + Uzun & Case +
Jordan & Skala (structure and services);
Arup Acoustics (acoustics); Arup
Lighting (lighting);

2 3

In 2003, to celebrate twenty years in its new
building, the High presented a series of
improvements made to its interiors and
galleries, and a new chronological ordering
of its permanent collection, then in November
2005, three new spaces were opened to the
public, creating a vibrant “arts village” at the
Woodruff Arts Center in Midtown Atlanta.
With these further buildings, designed by
Italian architect Renzo Piano, the total floor
space of the museum has been increased to
29,000 m2 (more than doubled). Atlanta’s
High Museum of Art has been made part of
an impressive expansion scheme under which
the Woodruff Arts Center, together with the
Symphony Hall (opening shortly), will become
a venue of international standing for art lovers.
Entrusted to Renzo Piano, the extension
also incorporates the natural environment -
described by Piano as “Atlanta’s DNA”. The
new complex will include a large communal
open-air space in Sifley Piazza, around which
the three new buildings are situated. A special
version of the Le Perroquet fixture was made
by iGuzzini for this project, with 70W street-
lighting optical assembly in a pole-mounted
spot, and 39W Flood, specified here for the
first time as an outdoor unit. Indoors, the works
of art are ingeniously lit by a ceiling installation
with over 1000 “funnels” filtering natural light
into the galleries for the best possible visual
experience.
incontroluce 13

17
 Projects A Roman history museum Client
City of Aalen,
Economy department
Erwi Utz

Direction of works
Tomas Sünder
Aalen, Germany

The Limesmuseum in Aalen, the biggest and

most important museum of Roman history
in Germany, is located in the area north of the
Alps most heavily fortified by the Romans
in ancient times and focuses on the Imperial
occupation of German lands in the south
during the 2nd Century AD. Built in 1964 as
a branch of the Archäologisches
Landesmuseum Baden-Würtemberg, the
Limesmuseum was enlarged in 1981 and
in 2000, and having benefited from
investments totalling 1.5 million euros has
now become an “archaeological park”. 1

As part of the most recent expansion, the

museum installed a life-size and entirely faithful
reconstruction of part of a Roman settlement,
measuring 85 x 24 metres overall. With the
enlargement accomplished, the museum now
offers a complete and significant overview
of what military and civil life was like along
the Germanic Limes. The Roman army was
superbly equipped, as witnessed by the
collection of arms unearthed and skilfully
restored, notably swords and spears, heavy
chain-mail armour, a full-scale reconstruction
of a catapult, and other machines of warfare.
Single items of everyday use and cultural
significance, on the other hand - utensils,
crockery, gold and silver jewellery, coins -
afford a glimpse of the social milieu at these
outposts. Parts of the surrounding area have
also been reorganized to optimize the
interface between the visitor routes and the
old Roman roads. Outdoor areas are
illuminated by Mininuvola and Linealuce
fixtures, which provide indirect lighting and
bathe the setting in a warm glow, free of glare.

18
 Photos: MM-Video-Fotowerbung

1.3. Exterior
2. Interior with reconstruction of the encampment

3
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19
 Projects Illumination of the Project Manager
Land Lease Projects,
Victoria and Albert Museum
Victoria & Albert Museum garden Landscape architect
Kim Wilkie Associates

London, England

iGuzzini was selected by the Special Projects

division of A.C. Lighting to supply fixtures for
the new John Madejski garden at the Victoria
and Albert Museum, in the London borough
of South Kensington. The garden is a
centrepiece of the V&A’s “Future Plan” (a
ten year redevelopment programme) for the
museum, and is named in honour of the
entrepreneur and benefactor John Madejski.
The garden was designed by the multi-award
winning firm Kim Wilkie Associates, and
opened officially by the Prince of Wales in
July 2005. 1

The new arrangement allows the garden to be

used both as a conventional enclosed courtyard,
and as a setting for exhibitions, theatre, parties
and events, providing an attractive and light-
filled space at the heart of the museum where
visitors can relax and socialize. A complete
transformation takes place after dark, when
the garden is lit up in a dramatically illuminated
setting created by KWA in collaboration with
Lighting Designer Patrick Woodroffe and with
Adam Bassett. The lighting scheme uses of
bands of light around the central ellipse area,
iridescent illuminated glass planters around
the lawn, and illumination of the museum
windows and façades overlooking the garden.
One of the biggest challenges was that of how
to light the reveals of the 137 windows along
the façades of the surrounding building.
Following a series of trials, the choice fell on
iGuzzini Radius window fittings with 3000K
70W metal halide lamps, as the powerful
blade of light emitted by this combination was
found to be most effective in highlighting the
reveals and showing off the ornate architecture
2 to best advantage.

20
 Lighting design concept:
Patrick Woodroffe & Adam Bassett
Electrical system supplier
MITIE Scotgate,
M&E consultant Arup
Seventeen MiniWoody spots were used to
uplight the recesses in the facades and pick out
the detail on the columns, as these have
adjustable beam angles found to be ideal for
the application, whilst the fixtures selected to
illuminate the two statues higher up were
Platea 5 degree spotlights.
To illuminate the 22 square glass planters
21
Photos: A.C. Lighting Special Projects
1.2.3. John Madejski Garden
around the perimeter of the lawn and the steps
of the ellipse area, A.C. installed nearly 400m
of LED strip lighting. This involved securing
88 one-metre lengths of the strip to the sides
of the planters, which would generate a glow
in the blue-green glass, and fixing a further
50 six-metre lengths to the underside of
the pool steps.
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 Projects
1 2
Sant Antoni de Portmany is one of the five
municipalities of Ibiza. Associated historically
with agriculture and with the sea, Sant
Antoni has developed recently into a leading
tourist destination of the Balearics, and
become the “capital of Chill-Out”, a musical
genre evocative of the sun dipping into the
sea at twilight.
With this recent change of scenario, the
population has found itself in need of new
municipal structures able to provide efficient
and upgraded services. It was decided to
renovate and refurbish premises opposite the
Club Náutico in Sant Antoni, at Portmany
Bay, a huge natural harbour used since ancient
times. The project involved converting a suite
of rooms on the ground floor and first floor,
adopting a functional design aimed at
openness and transparency.
The Town Hall of
Sant Antoni de Portmany
Ibiza, Spain
Spatial transparency reflects the dialogue
between administration and the administered,
based on parameters of simplicity and
efficiency, and spatial organization of the
different administrative areas likewise has
been hierarchized with efficiency in mind:
the areas visited most often by the public
(town planning, public works, land registry,
revenue) are located on the ground floor for
best possible service, nor forgetting the most
important room - the Council Chamber - open
to the public as a statement of participation
and democracy in municipal affairs.
On the upper floor are cubes of glass and
steel, delineating the different areas of the
departments and legal services, as well as
the Major’s office and the law enforcement
office. The lighting system utilizes a
combination of direct and indirect sources,
Client
Sant Antoni de Portmany
Town Hall
Architectural design
and Direction
Lina Gener, interior architect
Antonio Calvo, architect
for optimum visual comfort. Light Air luminaires
and Le Perroquet spotlights are used. The
reception is a generous size, and benefits
from the soft ambient light of the glass cubes
defining the spaces constituting the council
chamber and town planning office. This light
is complemented by the accent light from the
hanging Le Perroquet spots and Gem fittings.
With the exterior seeking to establish a
transition between town and port, certain
elements are translucent and others are
compact, painted in a strong blue and
illuminated with an evocative blue, favouring
spatial continuity from the building to the
sea. The impact of the lighting is gauged
carefully to ensure that an office building of
this type - an administration and reception
centre - can still blend easily into a
waterfront setting.
22
 Builder Photos: Toni Ramon Planells, Jose A. Porras Molina
Pepe Simon, S.L.
1.2.3. Interiors of the new premises
Systems
Badi, S.L.

3
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23
 Projects Melbourne Arts Centre
Melbourne, Australia
The Arts Centre is the main venue in Melbourne
for exhibitions, music and theatre, and is
composed of two buildings on the Yarra river.
The design for the construction of this cultural
centre was approved in 1960. Its architect
was Sir Roy Grounds.
In subsequent years, the project was thrown
into difficulty by problems with the geology of
the area, so that the design was revised and
the centre became an ensemble of two distinct
Architectural design
Sir Roy Grounds
Lighting Designer
Rachel Burke Lighting Design
Rachel Burke
buildings: the Theatre complex and the Hamer
Hall, inaugurated respectively in 1984 and in
1982. Kriss and Radius fittings were used for
the illumination for the Hamer Hall.
The lighting design is based on the notion of
a contrast created between the uniform
illumination of the walls with blue light, and
the yellow light from the sodium lamps of the
fixtures highlighting the window recesses.
24
 Project Manager Electrical system designer Apex Electrical Photo: McKenzie and Associates pty ltd - Ian McKenzie
Karen McKendrick Connell Mott MacDonald Stage Electrics
(the Arts Centre) 1. General view from the garden
Electrical Contractors 2. General view from the Yarra river
Technical Manager Fordham Electrical
David Campbell Indelec Industrial Electrics
(the Arts Centre) Belcher Electrical

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25
 Projects Shigeru Ban and the Beaubourg
Paris, France
This structure was erected to accommodate
the members of the team entrusted with
development of the design for the Centre
Pompidou at Metz (CPM), in France. It will
be occupied by the architects and designers
for the entire duration of preparatory work on
the new museum, and serve also to house
items for presentation to members of the
public, who can therefore keep abreast of
Architectural design
Shigeru Ban Architects
Technical sponsor
iGuzzini illuminazione
how the CPM project is evolving.
The studio appears as a tubular enclosure
34.5 m long and 4.4 m wide, and is covered
along its entire length by a semicircular vault
covered by a waterproof membrane and
panels fitted over a rib cage fabricated from
cylindrical members. The cage is composed
of 29 semicircular arches, perfectly identical
in length, and a lattice of transverse struts.
26

The ribs are fashioned from cardboard tubes of
120 mm internal diameter and 760 mm
external diameter.
The assembled vault and base section are covered
by an outer membrane of PTFE (Polytetrafluo-
roethylene), which guarantees watertightness.
The two flank frontages and the ends are timber
framed with wooden infill panels.
The temporary structure is designed to enclose
a single continuous space in which the various
27
Photos: Didier Boy De La Tour
1.2. Two views of the installation
functional areas are demarcated using room
dividers in the form of free-standing bookcases.
The space is divided into a succession of
areas: reception, conference room, work area,
relaxation area and model gallery, and is visible
in its entirety from the Pompidou Centre.
As technical sponsor for the illumination of
this interesting temporary building, iGuzzini
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illuminazione also supplied the fixtures.
Projects Zaha Hadid
and the Ordrupgaard museum
Copenhagen, Denmark
In March 2001 the Danish Culture Ministry
invited tenders for the design of an extension
to the Ordrupgaard museum, such as would
provide new display space in which to stage
special exhibitions for the permanent
collection. The aim was to improve the space
and conditions in which exhibits are kept,
and to create more space for shows and for
visitors, with the addition also of a new
foyer, a café and a multipurpose hall.
Five designers were short-listed and asked
to submit bids, presenting their ideas for the
project. The choice for the Ordrupgaard
museum extension fell on Zaha Hadid, an
architect of world renown famous for projects
of exceptionally high value featuring design
Architectural design
Zaha Hadid
Associate Architect
PLH Arkitekter A/S
techniques free of any burden imposed by
tradition and convention. The BMW
headquarters in Munich, the PHAENO
Science Center in Wolfsburg and the
Cincinnati museum of contemporary art are
some of her best known buildings. Zaha
Hadid based her design on a strategy whereby
the existing landscape is abstracted,
interpreted and translated into geometries
from which to generate structural models.
Adopting this approach, Hadid manages
to integrate the complexity of the design in
an elegant and dynamic spatial dimension
developed from contours of surprising
architectural conception.
28
 Lighting Consultants
Arup Lighting
Design Consultants
Engineering
Birch & Krogboe A/S
The original concept for the exhibition
spaces and the choice of materials, intended
to achieve the aims of camouflage and
transparency at one and the same time, are
primary elements of design that strike the
visitor from the moment of entering the
museum, where the eye is met by glass
surfaces set into concrete structures. Of key
importance, also, is the relationship of the
structure with the surrounding landscape,
2
29
given that one of the primary aims of the
Ordrupgaard museum extension was to
create a new and harmonious vista within
the architecture of the site, affording visitors
a new visual experience each time. The
outcome is a classically inspired extension to
the Ordrupgaard coexisting comfortably with
the original museum block, which has been
standing for 100 years. For general
illumination, the preferred solution was to
Photos: Ole Ziegler
1.2. Exterior of the building
use recessed downlights in the ceiling, in
combination with recessed fluorescent lighting
for pedestrian areas and in the multipurpose
hall, and Linealuce luminaires along the
walls, also recessed, to floodlight the building.
The paintings are lit by exposed directional
spots fitted with halogen lamps, to accentuate
their full expressiveness.
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 Projects Sign of light Client
Lensvet - Alexander Kuzyakin

for the Cathedral of the Resurrection Lighting design

Piero Castiglioni

Technical sponsor
St Petersburg, Russia iGuzzini illuminazione

The new iGuzzini-sponsored illumination MaxiWoody spots with reeded glass optic
system designed by Architect Piero Castiglioni installed on poles or positioned at roof level
for the Church of the Resurrection in on the buildings facing the Griboedov canal
St Petersburg highlights the imposing radiate elliptical light beams overlapping one
Russian-Byzantine style architecture of the with the next to throw a uniform light on the
building, as well as underscoring the façades. The lateral domes and the spires are
dramatic event that the cathedral itself illuminated by the beams from further
commemorates: the assassination of 1 st MaxiWoody fixtures, in this case superspots.
March 1881, in which Tzar Alexander II Cast shadows - which even in daylight can
lost his life. For this reason, it is also known detract from the splendid onion dome of the
as the Church of St Saviour on Spilled central tower - are cancelled out at night by
Blood. A building unique in St Petersburg, the light from 4 Platea floodlights positioned
it is clad in coloured mosaic and surmounted on the roof of the Cathedral.
by splendid onion domes, recalling the
Cathedral of St Basil the Blessed in Moscow.
Castiglioni’s project is based on replacing
the light sources utilized hitherto, and
increasing the number of fixtures installed.
The new system utilizes metal halide light
sources emitting warm white hues, with a
high colour rendering index and lower
power output than the optical assemblies
installed previously. The lighting system
designed by Castiglioni also envisages the
use of various iGuzzini luminaires both
mounted on poles and attached directly to
the building. Using these different appliances
in combination, it becomes possible to
obtain a general illumination of the façade
surfaces with an appreciable uniformity of
lighting values and maximum control over
cast shadows.

30
 Photos: Gabriele Basilico

1. Front view
2. Detail of the onion domes

2
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31
3

32
 Projects Sign of light 3. View from the canal
4. Photo of the inauguration
for the Cathedral of the Resurrection
5. Valentina Matvienko, Governor of St Petersburg,
Piero Castiglioni, Paolo Guzzini

Radius spotlights with a special device allowing

variation of luminous flux provide dynamic
lighting for the bell tower on the west side,
above the Chapel of the Crucifixion. The general
illumination upgrade for the Church of
St Saviour on Spilled Blood is completed by
counterbeam lighting of the historic perimeter
railing around the cathedral and its grounds,
for which Radius spotlights were selected.
5
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33
 Projects New light Client
Lensvet - Alexander Kuzyakin

on the Nevsky Prospect

St Petersburg, Russia

The Nevsky Prospect is the main thoroughfare The lighting design implemented along the
of St Petersburg, a busy place, and the traditional avenue aimed at rendering the illumination
centre of city life. By reputation, St Petersburg visually homogeneous on what is such an
is one of the few European capitals to retain important arterial route through the city.
the perhaps rather provincial concept of a town Different fixtures are used, combining to
centre. Locals and tourists alike congregate produce various effects. Linealuce units are
there: Gogol described the Nevsky Prospect as mounted on cornices, Radius fittings throw
Petersburg’s universal point of convergence. blades of light onto windows, whilst Platea
The central character of the place has precise and Maxiwoody floods are used as wall
historical connotations. In 1737 a special town washers.
planning committee was set up to rule on how
the city would develop around a central location
- the Nevsky Prospect of today. So it was
that the nobility began building fine palaces,
although none of these was permitted to
exceed the Winter Palace in height. Since the
Nevsky Prospect took shape over a relatively
long period of some 150 years, it is lined by
buildings in different styles, from baroque to
modern, and a stroll along its 4.5 km offers
what amounts to a potted course in the history
3 of Russian architecture.

34
 Photos: archive iGuzzini

1.4. Simulation of the entire Prospect

2. An exterior by night
3. Plan of St Petersburg
5. The Marian Peretjatkovich building, formerly the HQ
of Aeroflot

5
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35
 Corporate culture Second edition of the competition:
“Pasajes arquitectura y crítica - iGuzzini illuminazione”
Barcelona, October 2005, Spain
The jury met in Barcelona during October 2005
and the task of selection was especially difficult,
given the high level of quality displayed by the
entries presented. Following a preliminary
selection based on joint analysis by all members
of the panel, the field was narrowed to 105
entries, from which 38 were then chosen to
form part of the exhibitions held in the course
of 2006. Of the 38 contenders, 14 finalists were
short-listed, and from these came the winners,
with the second prize awarded ex-aequo.
As regards the first prize, the jury wanted to
favour the kind of approach identifiable with a
system of planning measures aimed at
reutilizing urban spaces. The winning project
would be one that sought to bring about social
and relational improvement through
architectural solutions without any of the
extravagance or self-importance that generally
takes over these competitions. The winning
candidate would show a commitment to
finding ways of engaging in communication
and dialogue with the public institutions
responsible for planning these solutions.
36
 Jury
Piergiovanni Ceregioli - Director of the
iGuzzini Study and Research Centre
Mónica García - Architect, winner
of the inaugural competition
Santiago Cirugeda - Architect,
Director of the Recetas Urbanas
studio, Malaga
2 3
37
Enric Ruiz-Geli - Architect, Secretary to the Jury Photos: iGuzzini archive
Director of the Cloud 9 studio, Barcelona Gala Martínez
Xavier Costa, Architect, Director 1. Winning entry – 1st prize
of the Escola Elisava, Barcelona 2.3. Commended entries – 1st and 2nd accessit
José Ballesteros - Director
of “Pasajes Arquitectura”
Josep Masbernat
iGuzzini illuminazione Spain
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 Corporate culture Second edition of the competition:
“Pasajes arquitectura y crítica - iGuzzini illuminazione”

Such a policy is not common in schools, where

competitions are lauded customarily as being
the only way to manage architecture. Entries
receiving the second prize ex-aequo presented
a number of different features, but all had in
common a strong gestural component and
intelligent use of resources. In the case of the
accesit commendations, in keeping with the
spirit of the competition, the selected entries
were those that stood out for their careful use
of light. The two entries selected were notable
respectively for their use of light as tool and
material in creating the landscape, deploying
a series of changeable systems in which
lighting is seen as a fabric, and for their
extreme sensitivity in the use of artificial
lighting, not merely as an element subordinate
to architecture with clearly delineated
functions, but as an important aid to comfort,
acclimatization and a correct interpretation of
spaces. There were also mentions for selected
projects with criteria similar to those already
described, which together with the prize-
winning entries provided the basis for a lively 4
debate, and for this very reason must be
considered worthy of inclusion in the roll of
winners.

38
 4.5. Winning entries – 2nd prize ex aequo
6. The prize-winners
7. The competition jury

Winning entries

1st Prize Intergenerational

Beatriz Sendín. reactivation centre
2nd Prize ex aequo Aeronautical and
Jesús Muñoz. astronautical museum
3rd Prize ex aequo Landscape of events seen through
Eduardo Jiménez. archaeological remains
Accesit - commended “Imprimiendo Trazas”
Natalia Ibáñez.
Accesit - commended Ave - Albacete
María Navascués.
Mention Spa + Hotel in the new
Luis A. Alonso. Talavera centre
Mention Visigothic museum at
7 Irma Coello Muñoz. Emérita Augusta
Mention Social and sports centre
Julio De la Fuente. - Madrid city centre
Mention Tourism development
Juan Galbis. in the Strait
Mention Aula litorale.
Irene Pérez. Seafront development
at Toyo - Los Arenales
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39
 Corporate culture iGuzzini
Travelling Award 2005
RIBA, Royal Institute of British Architects
London, England
For the second time, iGuzzini was involved
recently as sponsor in the President’s Medals
Student Awards 2005. The winners were
announced during a ceremony held at the Royal
Institute of British Architects (RIBA) on
Wednesday 7th December. These awards are
intended to promote excellence in the study of
architecture, reward talent and encourage
architectural debate, and iGuzzini, sharing in
a willingness to support the work of young
graduates, has become an active member of
1 3
the jury assessing the design projects, offering
a prize of its own: the iGuzzini Travelling Award.
The jury met on 8th November 2005 at the
iGuzzini offices in the Business Design Centre,
Islington. The panel included lighting designers
Jonathan Speirs and Mark Major of Speirs &
Major Associates, and the Italian architect Doriana
Mandrelli, wife and associate of Massimiliano
Fuksas. All the projects submitted were of high
architectural quality, and the jury had a
particularly arduous task making their decision.
40
 Photos: Amanda Clay Photography, Jonathan Syer
1. Competition participants
2. Martha Schwartz, jury member
3. Jack Pringle, President of RIBA
4. A moment during the party
5.6. The jury at work:
Doriana Mandrelli Fuksas, Jonathan Speirs, Mark Major.
Coordination of the iGuzzini jury: Stefania Venerito Evans

The selection criteria favoured those projects

in which light was used creatively, both as
a tool and as a material for the construction
of space. Winners of the competition in Part
One (open to students who have completed
an initial three year degree course) and Part
Two (open to students who have gained a
post-graduate diploma or masters degree),
who received their award personally from
Adolfo Guzzini, CEO of iGuzzini, secured
themselves a training course at the company’s
headquarters in Italy. The winning Part One
entry in the 2005 edition of the iGuzzini
award was: “Harmonic Proportion” by
Benjamin Koren of the Architectural Association.
The jury gave the reasons for their choice
as: “Light is used in an artistic way, works
with both artificial and natural light.
Presents conceptions of light and shade
that are unusual and singular”. The reason
given for selection of the winning entry in
Part Two, “The Royal Victoria Colourworks”
by Johan Berglund of Bartlett/UCL was:
5 “From the lighting standpoint, this project
has great potential that could be developed
in remarkable ways.

6
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41
 Corporate culture iGuzzini
Travelling Award 2005

“Harmonic proportion in Amorphic

Form: A Music Pavilion”
by Benjamin Koren

Winning project - iGuzzini Travelling Award

Part 1
Reason: “A very good piece of work, resulting
from fundamental principles”

Koren developed graphic lines constructed

utilizing Fibonacci harmonic numbers, adding
a dimension and transforming them into curves
with continuous surfaces.

42
 Images of the winning projects

“The Royal Victoria Colourworks”

by Johan Berglund

Winning project - iGuzzini Travelling Award

Part 2
Reason: “A thoughtful study of light and shade
- a sensitive response to the peculiarities of a
complex area.”

The project deals with the point where ground

meets water. The site is a former mooring bay
near the Royal Victoria Docks, now turned into
a paintworks.
In addition to a laboratory, there are studios and
accommodation for three resident artist painters,
who also test and evaluate the oils and
watercolours produced. The studios lie below
ground level in an empty dry dock, and light is
directed down into the sunken area in a number
of ways.
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43
 Corporate culture The Snow Show Curator
Lance Fung

Turin 2006 Winter Olympics Project Director

Jeffrey Debany

Project Manager
Noémie Lafaurie
Sestriere, 5th February - 19th March 2006

The Snow Show is an international exhibition

addressing the theme of collaboration and
crossover between art and architecture.
Contributors are invited to work with media
they would not normally use: snow and ice.
International artists and architects worked
together, interacting with the landscape, with
a cultural environment, with ephemeral
materials. The show presents six architectural
installations covering over 100 square
meters and rising to heights of 6 metres.
2 3

44
 Construction Manager
Gianni Talamini
Lighting design
Isometrix - Arnold Chan
Technical sponsor
iGuzzini illuminazione
5 6
45
Photos provided by Isometrix
1.4. Night-time and daylight view of composition
by Jaume Plensa and Norman Foster
2.3. Installation by Yoko Ono and Arata Isozaki
in daylight and by night
5.6. Installation by Carsten Holler, Tod Williams
and Billie Tsien by night and in daylight
Artists and architects working in pairs: Daniel
Buren & Patrick Bouchain (France), Carsten
Höller (Belgium) and Williams &Tsien (USA);
Italians Paola Pivi and Cliostraat; Jaume Plensa
(Spain) and Norman Foster, Japanese Yoko
Ono and Arata Isozaki; Americans Kiki Smith
and Labbeus Woods. The further pairing of
Lot-Ek and Francesca Roatta designed the
pavilion entrance. The lighting design was
entrusted to Isometrix, whose principal Arnold
Chan engaged the London branch of iGuzzini
as technical consultant. The show’s curator is
Lance Fung, director of Albion Project. iGuzzini
was technical sponsor for the event, providing
the fixtures needed to provide the right kind of
lighting control for these fascinating and highly
original installations.
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 Corporate culture iGuzzini illuminazione creates
a new showroom concept

iGuzzini Partner Assistance

The new iGuzzini showrooms have been

designed as facilities in which to present the
changeable expressions of artificial light:
biodynamic light systems, control panels of
the latest generation, colour and dynamic
spots, recessed LED units, designer appliances
offering more and more crossover performance
features.
Architects, interior and lighting designers,
and professionals with an interest in lighting
engineering generally will be able to familiarize
themselves with the most innovative tech-
nologies, and the possibilities afforded by
iGuzzini products, as well as simply seeking
advice on the type of light best suited to their
project. The “light laboratory” will offer
comparisons between light sources, applied
to different types of material, simulations of
typical environments to be lit - a museum,
a shop, the window of a historic building -
all serving to demonstrate how light plays a
determining role in the way shapes and
colours are perceived.

1 3

46
 Photos: Gabriele Basilico, iGuzzini Archive

1. The light laboratory

2. Journalists in the light laboratory
3. View from outside
4.6. Moments during the party
5. Adolfo Guzzini and wife with Santo Versace

Significant examples selected to set up the

iGuzzini showroom as a place where visitors
can learn the language of light. The new Milan
premises were inaugurated 8th November 2005,
with a presentation to the press followed by
a reception.

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47
 Corporate culture Lightcampus: new laboratories

The Lightcampus project was launched by

iGuzzini in 2002 with the aim of promoting
the company philosophy by “spreading the
word” in matters of the culture surrounding
light and its use, in other words awareness
as to the role of correct lighting solutions and
their impact on quality of life. The initiative is
aimed at lighting professionals across a broad
range of skills, from installers to architects,
and generally not iGuzzini employees.
Four years on, a community of some 7,000
registered users has built up around the
platform. A recent upgrade implemented in
collaboration with Nautes in 2006 is intended
to widen the scope still further: the develop-
ment of communities with interests and
practices complementary or parallel to the
lighting engineering sector.
The new platform envisages an approach
opposite to that of its predecessor, which
allowed the user simply to access a structured
course of lessons and perhaps contribute
to the forum or read the news items; now, 1
the platform promotes itself to the user via
permanently active tools inviting involvement
and participation. These tools allow the
company to gain a more detailed profile of the
user accessing the virtual campus and taking
part in the initiatives, so that it can arrive at a
more accurate understanding of the intended
target and activate the right kind of loyalty
schemes.
A new section about to be added, entitled
“To Apply”, is dedicated to training through
the study of successful practical applications
and experimentation of the theories learned
from them. This will have two areas: Case
Study and Laboratory.

48
 1. Virtual environment
2. Fixture selection options
3. Incorrect lighting solution
4. Correct lighting solution

Case Study
Here the user will be able to explore a range of
interesting projects, learning from the techniques
employed and the products used in them.
The topics addressed will provide both a source
of detail for the student already familiar with
the theory, and a body of preparatory training
material for virtual laboratory participants.

Laboratory
This area provides access to a series of virtual
laboratories allowing the user to work in a
simulation environment where theories learned
previously can be put into practice and tested.
The user is able to view the virtual environment
from inside, through a full 360°, effectively
“entering” and taking up a stance from which
to study spaces, furnishings and materials.
The user can also load a set of parameters
(Fixtures, Sources, Optical assemblies) that will
define the lighting for the environment.
During the creation procedure, help is available
step by step from instructions that appear 3
alongside the representation on the screen.
In addition, this part of the Lightcampus
platform provides a theory support tool contex-
tualized to the theme of the simulation, giving
the user fast access to basic theoretical
information on the particular theme so as to
enable further progress even when in difficulty.
Once all the parameters have been entered,
the system will indicate the outcome of the
exercise: if the judgement is negative, the user
can go back and try again with different
parameters; if the outcome is positive, it will
be possible to download a PDF document
containing data relative to the work completed
within the virtual environment.

4
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49
Corporate culture

Turin 2006 Winter Olympics

The 2006 Winter Olympics afforded the city of
Turin an opportunity to run a number of
projects aimed at improving its appearance.
iGuzzini contributed to many of these as con-
sultants on lighting-related matters. We were
involved in the illumination of Gae Aulenti’s
Palavela (where the figure skating and short-
track competitions were held) and the Hockey December 2005 was privatized, passing from
dome designed by Arata Isozaki. state ownership to the Fondazione per il
We also designed a special fixture for the Museo Egizio (see the “Projects” feature for
Olympic Village in Sestriere. Another project on more information).
which we collaborated, together with lighting
designer Mekanè and architect Dante Ferretti,
was the lighting for the Museo Egizio, which in

iGuzzini hosts ELDA and IALD

On 21st January 2006, iGuzzini UK hosted

a joint meeting of ELDA (European Lighting
Designers Association) and IALD (Interna-
tional Association of Lighting Designers)
in its offices at the Business Design Centre,
in the London borough of Islington.

50
Corporate culture
Light Conference
Copenhagen, 29th September 2005
The “Light Conference”, first held in 2003, is a
biennial event organized by the Danish branch
of iGuzzini Illuminazione.
The Copenhagen Light Conference was held as
part of the international design festival INDEX
2005. Among those taking part in the discus-
sions were Jonathan Speirs of Speirs & Major,
Charles Stone and Paul Marantz of Fisher
51
Marantz Stone, the architect Jan Edler of
Realities United, Berlin, the architect, lighting
designer and lighting appliance designer Vesa
Honkonen, and Maria Widell Christiansen of
the Volvo design department.
Intelligent Lighting Design
London, 7th March 2006
On 7th March 2006, a meeting was held at the
Cavendish Conference Centre under the title
"Intelligent Lighting Design", promoted by the
Architect's Journal in collaboration with iGuzzini.
Various topics were addressed during the
discussions - enhancing the urban environment
through lighting design, innovative lighting
design and light technologies.
Among those taking part were certain of the
premier lighting design studios, notably Speirs
& Major Associates, BRE, Hoare Lea Lighting,
DPA Lighting, Arup Lighting, and Pinniger &
Partners.
iGuzzini lights up
the Toti submarine
On 7th December 2005, members of the public
were finally able to see a piece of history, the
Italian Enrico Toti class submarine S-506.
iGuzzini contributed as technical sponsor to
the illumination of the submarine, which now
stands in front of the main entrance to the
Leonardo da Vinci Museum of Science and
Technology in Milan.
incontroluce 13
Opinion

The great challenge - and opportunity -

offered to industry today must surely be
that of nanotechnology: the chance to exploit
technologies based on a scientific discipline
envisaging the utilization, at industrial
level, of matter 200,000 times smaller
than the thickness of a hair, measured in
millionths of one millimetre, i.e. in nano-
metres. One of the new areas of technology
being explored currently by our company is
precisely that of nanotechnologies applied
to the control of light radiation.
The aim is to create optical systems such
as will improve the performance of lighting
appliances from the standpoint of energy
efficiency, and in terms of visual comfort.
Research is being conducted in close
collaboration with one of the top national
agencies in this sector, the Nanotechnology
Research Group of the Physics Department
at Lecce University. This is an example of
how centres of excellence in the area of
scientific research can offer an important
resource to operators in industry, for whom
innovation is a key factor in achieving
success on international markets. In effect,
a virtuous circle is created, whereby the
country’s basic scientific research effort
can be sustained financially, and the
enterprise system is given the intellectual
help it needs to compete successfully in
the global market.

Giannunzio Guzzini

52
Editorial Incontroluce 13 I. 2006

Dear readers,
Incontroluce
for iGuzzini, relations with schools - especially Six-monthly international journal
with schools in and around our home base - on the culture of light
have always been a key element in the
Editorial office
company’s development strategy. iGuzzini Study and Research Centre
Operating at the local level, in particular, the Fr.ne Sambucheto, 44/a
company is able on the one hand to support 62019 Recanati MC
+39.071.7588250 tel.
students and their families by offering +39.071.7588295 fax
training courses linked to job opportunities email: rc@iguzzini.it
in the area, whilst on the other, the school
iGuzzini illuminazione spa
is afforded scope to expand its educational 62019 Recanati, Italy
offering. And so, in this number we have via Mariano Guzzini, 37
decided to initiate a dialogue with the rectors +39.071.75881 tel.
+39.071.7588295 fax
of universities here in the Italian Marches,
email: iguzzini@iguzzini.it
and hear their thoughts on the relations www.iguzzini.com
between the universities and local industry. video: 071-7588453
Also in this issue, generous coverage is given
both to projects delivered in collaboration Graphic design
Studio Cerri & Associati
with famous architects, and to competitions
for architecture students promoted by our Publisher
Spain and UK branches. iGuzzini illuminazione spa
Another way to sustain and foster
Contributors to this issue
architectural culture. iGuzzini illuminazione Deutschland GmbH
iGuzzini illuminazione DK
iGuzzini illuminazione España S.A.
Adolfo Guzzini iGuzzini illuminazione France S.A.
iGuzzini illuminazione UK LTD
OOO iGuzzini illuminazione RUSSIA
Peyan Oy, Finland

Cover photo
Gabriele Basilico

Printed: March 2006

Tecnostampa, Recanati

The Editorial staff is not responsible for inaccuracies

and omissions in the list of credits relating
to projects and provided by colleagues.
Completions or corrections will be included in the
next issue.

II III
Incontroluce XIII / The Marches: The universities and the territory Design: The lighting designer’s 13 I. 2006
toolbar 2005 Projects: Memoria e Luce. World Trade Center Memorial / Reflections in stone Egypt
illuminated by Dante Ferretti / Extension of the High Museum of Art in Atlanta / A Roman history
museum / Illumination of the Victoria & Albert Museum garden / The Town Hall of Sant Antoni de
Portmany / Melbourne Arts Centre / Shigeru Ban and the Beaubourg / Zaha Hadid and the Ordrup-
gaard museum / Sign of light for the Cathedral of the Resurrection / New light on the Nevsky
Prospect Corporate culture: Second edition of the competition “Pasajes arquitectura y crítica -
iGuzzini illuminazione” / iGuzzini Travelling Award 2005 / The Snow Show. Turin 2006 Winter
Olympics / iGuzzini illuminazione creates a new showroom concept / Lightcampus: new laborato-
ries / Turin 2006 Winter Olympics / iGuzzini hosts ELDA and IALD / Light Conference / Intelligent
Lighting Design / iGuzzini lights up the Toti submarine

9.1901.000.0