14 English version II.

2006
Editorial

Dear Readers,

this is the fourteenth issue of our journal,

now in its sixth year. A big issue, in which
we present a variety of projects and events
to which the company has contributed in
the role of lighting consultant. These include
projects of undoubted importance like the
Morgan Library in New York, the Gentile
da Fabriano exhibition, the SIEEB building
designed by Mario Cucinella - the first
building erected in response to the energy
saving programme initiated jointly by the
Italian Ministry for the Environment and
Land protection and the Ministry of Science
and Technology in China - the new Palace
of Justice in Antwerp designed by Richard
Rogers, and many others. We also continue
our dialogue with rectors of universities in
the Italian Marches, exploring topics linked
with relations between education and local
industry. Generous space is also dedicated
to the “Conoscere la Forma” (Appreciating
Form) project launched by iGuzzini’s Study
and Research Centre in collaboration with
the Istituto Centrale per il Restauro (Central
Restoration Institute). Behind this particular
project is a research programme aimed at
identifying methods of analysis, and lighting
design application, that will provide curators
of museums and shows with a greater
awareness of how three-dimensional
exhibits can be illuminated to best advantage.

Adolfo Guzzini

II
14 Incontroluce II. 2006

Summary

II Editorial

The Marches
2 The universities and the territory

Projects
6 SIEEB Sino-Italian Ecological
and Energy Efficient Building
12 Light for the Morgan Library
expansion
16 Gentile da Fabriano and the other Renaissance
20 The Palace of Justice in Antwerp
22 Relocation of the Egyptian Collection
in the Altes Museum
24 Reorganization of the Picasso Museum
26 New headquarters of the Calem Wineries
28 Thales Research and Development Centre
30 “Words”
Work by Alfredo Pirri
32 New illumination
for the Mitchell Library
34 A new building
for the Welsh National Assembly

Design
38 The lighting designer’s toolbar 2005
(part 2)

Corporate culture
40 “Conoscere la forma” project
44 iGuzzini and the America’s Cup
The Barrajas airport project
Contemporary art along the motorway
The Highway 4 Monument
Nordic Light Award for the Blue
Lagoon Medical Centre
45 Visionitaliane. Architecture and design
for a sustainable environment
46 ATP Guzzini Challenger final
“50+2Y Italian Design” exhibition
“Concurso” for young architects
47 Venice Architecture Biennial
for Croatia
iGuzzini illuminates the G8 venue for 2006
“Tracks. Founding an Industrial
Heritage Museum”

48 Opinion
 The Marches The universities and the territory

Interview with Fulvio Esposito,

rector of the University of Camerino

2

2 3
The university has undergone huge changes
under recent and current reforms. Have these
reforms also affected the relationship between
the university and its local environment, the
Marches, where there are so many small
businesses? Has it been made easier?
Well, even when interpreting “straightforward”
laboratory experiments, the most difficult thing
is to establish causal links between two
phenomena, as there are always confusing
variables, some known and foreseeable, others
not. Just think then, how much this kind of
difficulty is magnified when trying to interpret
trends and events involving complex entities
like human beings! So yes, the university has
indeed been hit by change, in fact far more
than a change: a genuine revolution. Look
at words like productivity, competitiveness,
benchmarking and - of course - quality
(as a concept associated with all the various
activities of a manufacturing concern); these
were notions foreign to the world of academe,
but now they are recognized and shared by
everyone. These new developments - not least
in vocabulary - have helped the dialogue
between business and university enormously:
at long last we speak the same language, and
though there may be one or two here who have
yet to realize it, our sums have to add up at the
end of the year too! For example, I would never
have dreamed, even just 10 years ago, that an
3
establishment like ours would be engaged in
the demanding process of incorporating a Quality
Management System into the fabric of its every-
day operations. And yet, this is now a reality in
three of our five faculties, affecting all our
crossover services (vocational guidance, tutorage,
training, placement, internazionalization…),
for which Certification to ISO 9001 has been
issued (and confirmed now for three years in
succession) by the prestigious AFAQ-AFNOR
International organization. Thorough-going
comparisons made with exponents of the major
manufacturing concerns, and from the world of
labour and professions, have led to the design
of a wide-ranging and diversified prospectus
of training programmes, with the emphasis on
both cultural content and professional skills.
The teaching approach seeks to combine
theoretical training with “slices” of real work
experience, in pursuit of the two key objectives
in higher education: “knowing” and “knowing
how to”. In collaboration with Confindustria
Marche, for example, the University of Camerino
has set up “UnicamSTAGE” and “UnicamJOB”,
two Web services designed to bring together
businesses, students and graduates. In essence,
these are suitably user-friendly databases
accessible from our site, www.unicam.it, which
offer important employment and recruitment
opportunities both to our students/graduates,
and to businesses. The system works: agree-
ments for scientific projects and arrangements
Photos: University of Camerino,
Giuseppe Saluzzi; other material supplied by Pippo Ciorra
1. Metamorphosis.
Exhibition: “Tracks. Founding an Industrial Heritage
Museum” Recanati, June-November 2006
Display by the University of Camerino
2.3. New home for the Department of Molecular Biology.
Design by architects Pippo Ciorra and Massimo Perriccioli
with businesses increased from 200 in 2002 to
around 900 in 2006; and there was a similarly
enormous boost given to training schemes for
UNICAM students, which rose from just under
60 in 2002 to 600 in 2005. But there is more
besides: I think the biggest challenge facing
business and university partners in the Marches
is in the move toward internationalization, in
other words creating an active, vital, visible and
effective presence on the European and world
stage. With this in mind - exploiting the margins
afforded by the reform - UNICAM responded
last year by setting up Degree Courses and
Specialist/Honours Degree courses conducted
entirely in English, in an attempt to attract
students from other countries. In addition, all
activities of the UNICAM School of Advanced
Studies are conducted strictly in English.
And the result is already plain to see: in terms
of foreign student enrolment, the University of
Camerino is top of the table among state-run
universities of general studies, with 8% (and
up to 20% in the case of research doctorate
courses).
incontroluce 14
 The Marches
To what extent does the University of Camerino
invest in research? Are there research projects
in progress? Which sectors does the university
target particularly in this area? What collabora-
tions have there been?
The University spends around 40% of its
“outgoings” on research, which in money terms
is around 25 million euros: no mean sum, when
one considers that incoming funds actually
“earmarked” for research amount to some 7 million
euros. This means that a substantial proportion of
“free” resources (the operating fund the university
receives from the Ministry, and student fees) is
invested in research. In any case, our researchers
deserve the backing: they represent 0.5% of all
researchers in Italian universities, and yet they
are responsible for 0.8% of Italian scientific output
recognized at international level. Success indeed!
Another gratifying result is that of the financing
for Research Projects of Significant National
Interest (PRIN - Progetti di Ricerca di Rilevante
Interesse Nazionale): in 2005, pro-capita financing
of UniCam researchers was the highest among
state-run universities for general studies, registering
at a value (5560 euros/researcher) almost double
the national average (2930 euros/researcher).
The figures I am quoting have all come from
external sources, which is another sign of the
changing times: the end of self-referentiality and
the introduction of assessment, applied to all
aspects of university performance. In this context,
the practice of assessment by an outside body -
the Committee for Evaluation of Research (CIVR -
Comitato d’Indirizzo per la Valutazione della
Ricerca) - is a “historical first” for the university
system in Italy.
The universities and the territory
As part of a fairly complex procedure, CIVR methodology too. The “sale” of products derived
assessed 102 institutions (including 77 from research with immediate application
universities) engaged in research activities. generates resources, and these are used to finance
Here again, the University of Camerino was well curiosity-driven research, which in turn will spawn
placed. Remember that we are not actually a the products of the future. Perhaps it is an
Research Agency, and that a substantial proportion approach that ought to be adopted by the nation
of our resources must be allocated to teaching as a whole: look around and ask yourself, how
and training; nonetheless, the University of many of the hi-tech products in your home are
Camerino sets great store by research, for the made in Italy? Not many, in fact too few, because
status and prestige it carries. You ask what kind we do not invest enough in basic research, the
of projects. One thing I can say: we have decided kind that generates innovation further down the
to end the debate once and for all on dualism line; we need to start over again, and quickly, or
between basic and applied research. As far as the decline will be inevitable! We are playing our
we are concerned, there is only good research part, at any rate. And then there is the third
and bad research. Good, we are interested in, mission of the university (in addition to Training
bad, we are not. Certainly, we are well aware and Research), which we want to fulfil. Innovation.
that our research can lead to products in a The exploitation of knowledge and its conversion
number of sectors - environment and energy, into economic resources for the country. If readers
agrifood, architecture and design, biodiversity, would like to see a list of current research projects,
bio-pharmaceutical sciences, information I would recommend a visit to the university’s
technology and computerization - and that some website: www.unicam.it.
of these will find a commercial outlet more easily
than most. And there is research in other sectors
- chemical, physical and geophysical, mathematical,
biomolecular, historical, legal, social and economic
sciences, international and constitutional law -
which today present challenges mainly in terms
of the creativity and imagination of researchers,
but nonetheless provide the basis for products
of tomorrow’s market. An example: back in the
1950s, when Townes, Bassov and Prokhorov
(Physics Nobel Prize Winners in 1964) began
experimenting with what we know today as the
laser, they certainly never imagined that 50 years
on, eye surgeons would be using that little “toy”
of theirs to remove cataracts. It is a piece of
history we should never forget. And this is our
4
 4. The Scialoja Hall
5. Enrico Loccioni is presented with an Honoris Causa
degree in Innovation Technologies
6. May 2005. Mario Clementoni is presented with an Honoris
Causa degree in Architecture

5 6

Has this research activity also translated into The University of Camerino has a collaborative
technological innovation? Applied in which relationship with iGuzzini illuminazione
sectors? Or, has it led directly to new enterprise and the Guzzini group. What can you tell us
initiatives? about this?

This is covered partly in my previous answer. For my part, I can say simply that our resear-
Still, I can add that some months ago we set up chers involved in projects with companies of
an Industrial Liaison Office (ILO), a task force of the Group are highly satisfied with the results
highly motivated young people whose job is to achieved, and with the “climate” of the rela-
handle knowledge transfer between university tionship, but, to avoid falling into the typically
and businesses. Among the aims of the ILO is academic trap of blowing our own trumpet, I
to provide support for the creation of spin-off would be happier for you to put that question...
companies. This initiative has been well flagged, to the Guzzinis!
but it is a tricky one that the Italian university
system still struggles with, after an initial period
when besides the expected and foreseeable quota
of "normal" failures, there were also instances of
bogus entrepreneurs interested only in the Ministry
grant. But the system is being refined and cleaned
up, and there are now some genuine attempts
being made to convert ideas and findings from
research into business activity. One good example
is Synbiotec, a private limited company that
specializes in the development of functional foods
containing symbiotics able to trigger positive
modulation of the intestinal ecosystem in
humans. The strains of bacteria utilized were
patented by a UNICAM research group.
incontroluce 14

5
Projects SIEEB
Sino-Italian Ecological
and Energy Efficient Building
Beijing, China
In December 2005, extensive coverage was given
in the Italian media to the Far East visit of a dele-
gation led by former President of the Republic
Carlo Azeglio Ciampi and accompanied by a corps
of businessmen looking for investment opportuni-
ties in the new China. The trip also coincided
with the presentation, in Beijing, of the SIEEB
project (Sino Italian Ecological and Energy Efficient
Building), inspired by a joint initiative of the
Italian Ministry for the Environment and Land
Protection and the Chinese Ministry of Science
and Technology in response to the Kyoto accords
on the reduction of CO2 emissions and as part
of a broad programme of measures targeting
environmental problems.
Project
Ministry for the Environment and Land
Protection, Italy
Ministry of Science and Technology,
China
Project leader
Politecnico di Milano, BEST Team
More exactly, it was on 16 February that the Kyoto
protocols on global warming became legally
binding. China emits a quantity of greenhouse
gases equivalent to 11% of the world total, but is
not bound by the protocols as the country is not
yet classified as a major power, notwithstanding
its rapid economic growth in recent times.
This cooperation between the two Ministries has
resulted in a project for a building on the campus
of the Tsinghua University, situated north-west of
the capital Beijing. The designer is architect Mario
Cucinella, working with a team from the Milan
Polytechnic. The building, which will be situated
in a particularly dense urban complex, surrounded
by other very tall buildings, has been conceived as
a leaf capable of converting sunlight into energy.
A series of south-facing garden terraces will be
planted with rich vegetation and more than 1,000
m2 of solar panels able to meet the greater part
of the electricity demand for the building.
6
 Architectural design Photos: Gabriele Basilico
MCA Mario Cucinella Architects
Rendering and drawings: MCA Mario Cucinella Architects
CAG China Architecture Design
& Research Group
1.2. Exterior of the building

2
incontroluce 14

7
Projects SIEEB
Sino-Italian Ecological and Energy
Efficient Building

8

Designed on a horseshoe style ground plan,
the building will optimize the capture of sunlight
during the winter months while maximizing
protection, likewise from sunlight, during summer.
It will also ensure a continual influx of natural
light to reduce reliance on artificial lighting,
which in China is still produced predominantly
with electricity generated by burning coal, the
main source of CO2 emissions. The morphology
of the building, its structure and orientation,
and the technological systems incorporated, are
quite simply a reflection of tests and research
conducted by the design team in identifying
optimum solutions to meet the required levels
4
9
3. Rendering
4. Study of South-East façade
of performance. The result is an energy-efficient
building with a functional layout, producing
minimal CO2 emissions. Around 40 metres high
and affording some 20,000 m2 of useful floor
space, the SEEB is home to an Italian-Chinese
research centre specializing in environmental
protection and energy conservation. It houses
departmental offices, laboratories and an
auditorium, as well as an exhibition space
dedicated to Italian technologies. The façades
facing east and west are of “double skin” type
construction, with the outer panes of glass
ground in such a way as to deflect the rays
of the sun and eliminate glare.
incontroluce 14
 Projects SIEEB
Sino-Italian Ecological
and Energy Efficient Building

10
 5. Rendering with artificial lighting
6. Cutting the ribbon
7. Side view with a clear illustration
of the semi-reflective louvres

Not only does the building save energy, it also

saves resources; in particular, water usage is
minimized and there is a rational use of
construction materials, which will be durable
and ensure low environmental impact.
An automated system monitors the presence
of staff in the rooms and opens or closes the
semi-reflective louvres making up the façade
and skylights to let in more or less light,
as effectively required. And artificial light,
similarly, is modulated according to the needs
of the moment. The centralized control system
is able to switch lights off automatically when
rooms are left empty. The same automated
control system manages temperature levels
internally of the building, utilizing a system
composed primarily of air ducts at floor level
in combination with auxiliary radiant panels
mounted overhead. The energy needs of the
building are met by a cogeneration system
(gas-fired and electric). In attendance at the
inauguration of the building on 6 July were
Shang Yong, Deputy Minister for Science
and Technology, Zhang Xinsheng, Deputy
Minister for Education, Alfonso Pecoraro
Scanio, Minister for the Environment and
Land Protection, the Director of Tsinghua
University Gu Binglin, and Assistant Director
Chen Jining. The ceremony was conducted
by Assistant Director Zhang Fengchang.

7
incontroluce 14

11

Projects Light for the Morgan
Library expansion
New York, USA
1 2
26 April 2006 saw the inauguration of the new
Morgan Library & Museum, designed by architect
Renzo Piano, following a three year construction
project costing 106 million dollars. The original
buildings are now linked by a “piazza” accessible
from the new entrance on Madison Avenue, between
36th and 37th Street, and protected by a glass
and steel structure almost 16 metres high, opening
onto the street. The decision to expand and renovate
was taken so as to provide more space and exhibit
a greater number of items from the superb collec-
tion - totalling 350,000, including manuscripts,
prints, books, drawings and seals - and create
better facilities for the storage of items not on
Client
The Morgan Library
Architectural design
Renzo Piano Building Workshop
in collaboration with Beyer Blinder
Belle LLP (New York)
display, but available to scholars and researchers.
Renzo Piano has created new galleries, a naturally-
lit reading room, a spacious underground storage
facility for works not on show and, also under-
ground, a 280-seater auditorium. Visitors will be
able to admire 300 masterpieces, including a
selection of drawings from Leonardo to Picasso,
music written by Mozart and Bob Dylan, manu-
scripts by Galileo and Poe. The challenge facing
the Genoa architect was to integrate a structure
of steel and glass - the main materials of modern
architecture - into a setting characterized by
buildings of the early 20th century, and the grand
mansions and Palladian façades of Madison Avenue.
12
 Design team
G. Bianchi (lead project partner),
T. Sahlmann, K. Doerr,
with A. Knapp, Y. Pages, M. Reale
and P. Bruzzone, M. Cook, S. Abe,
M. Aloisini, L. Bouwman, J. Hart,
H. Kybicova, M. Leon; Y. Kyrkos,
C. Colson, O. Aubert (models)
Consultants
Robert Silman Associates (structure);
Cosentini Associates (services);
Ove Arup & Partners
(systems design: heating and lighting);
Front (façade consultants);
Kahle Acoustic (acoustics);
Harvey Marshall Associates Photos: Michel Denancé
(audiovisual systems consultants);
IROS (elevator design); 1.2. Piazza: interior and exterior
HM White (landscape architect); 3. Library
Stuart Lynn Company
(cost consultants)
Sistema Lux

The elevators (and stairs) - also glass and steel
- lead from the lobby area to the library proper,
where the “modern” material gives way to
traditional wood. Also on the ground floor is
a small “cube” for displays in which the light
is controlled (as throughout the museum-and-
library) by a computer that analyzes exterior
light data in real time. Still lower, 20 metres
deep into the bedrock of Manhattan, vaults
have been dug to contain books and
manuscripts of inestimable value. Renzo Piano
has extended the Renaissance style building
with its Palladian influences, erected by the
banker Pierpont Morgan, by adding a series
of modern, light-filled pavilions. As technical
sponsor on the Morgan Library project, concer-
ned with lighting installations, iGuzzini offered
suitable fixtures, and the benefit of the
company’s extensive experience in design.

3
incontroluce 14

13
 Projects Light for the Morgan
Library expansion
The lighting design for the project was entrusted
to RPBW and Arup, who focused particularly
on the interplay between two types of lighting:
natural and artificial. A regards the choice of
luminaires for the various rooms of the complex,
the designers settled fairly quickly on Le Perroquet
spots, which are used generally for accent lighting.
Natural light is extremely important, and in the
rooms able to receive it, the use of artificial
lighting is minimal. In the reading room, for
example, the only artificial light is provided by
fluorescent tubes on the bookshelves, which
serve to illuminate the spines of the books, and
table lamps for users of the facility to read by.
14
 4. Auditorium
5. Piazza
6. Detail of the window frontage on the piazza

The exhibition space afforded by the “cube”

receives natural light from the ceiling cavities,
whilst the Le Perroquet fixtures are used simply
to provide accent lighting and supplement the
natural source when demanded by the settings.
In the underground vaults where the more fragile
paper exhibits are displayed, conversely, only
artificial lighting is used; here, the level of
illumination is maintained at 30 lux, thanks to
a calibrated study of the light sources adopted
and of the number of fixtures, and to the use
of special filters. Le Perroquet fixtures are also
installed on tracks forming part of an indirect
lighting system created especially for this project.
In the auditorium, on the other hand, Le Perroquet
units are deployed in conjunction with a new
coupling system that allows them to be used
in pairs.

5
incontroluce 14

15
 Projects Gentile da Fabriano
and the other Renaissance
Credits
Under the high patronage of President
of the Republic Carlo Azeglio Ciampi
An exhibition promoted and staged
by Francesco Merloni
State Exhibition status

Fabriano, 21 April - 23 July 2006

The exhibition entitled “Gentile da Fabriano and

the other Renaissance”, promoted and staged by
engineer Francesco Merloni, was inaugurated
20 April 2006 in the presence of former President
Carlo Azeglio Ciampi. The show represents a
unique experience in terms of the high scientific
value it embodies in today’s cultural panorama.
For the first time, it reconstructs the corpus of
work by Gentile da Fabriano, presenting a number
of paintings sufficient to retrace the steps of his
complex artistic journey. Also on show, certain
of the more important polyptychs painted by the
artist, fragmented over the centuries but
reassembled here in their original form, thanks
to a successful collaborative effort involving the
promoter of the event and its scientific committee,
and the various lenders to whom the exhibits now
belong. The exhibition is set up in the buildings
of the fifteenth century Ospedale del Buon Gesù,
situated in one of the most important squares of
Fabriano: the Piazza della Cattedrale. Reorganized
especially for the occasion, the complex houses
all public services on the ground floor so as to
guarantee permanent freedom of access between
the building and the town centre, even outside of
the exhibition’s opening hours, whilst the exhibits
are all on the first floor, distributed around the
ambulatory of the beautiful late Gothic cloister.
The design of the exhibition has transformed a
historically defined location into an art venue, with
the period surroundings now incorporating a new
"internal" space circumscribed by a continuous wall
symbolically recreating the narrative continuum
that charts the evolution of Gentile da Fabriano's
work through his widespread experience in Italy,
and recombining the aspects of multiplicity and
diversity on show, like the dimensional and
material variety of the exhibits (frescoes, paintings,
drawings, jewellery, illuminated manuscripts)
and the variety of authors included.

16
 Layout design Layout implementation Systems implementation Photos: Sante Castignani
Studio Salmoni Architetti Associati Guidobaldi allestimenti Climate control
Vittorio Salmoni, Carla Lucarelli, RCGroup 1. Cloister of the Complex
Giovambattista Padalino, Alessia Systems design Tecnoimpianti 2. Detail of Room VI
Tanzie con Enrico Branchini, Giovanni Massa
Roberto Evangelisti, Alfredo Carlo Nobili Electrical and lighting systems
Filippetti, Mario Michetti, Giovanna Bruno Roccheggiani Effetto Luce
Pizzella, Carlo Giantomassi, Roberto Mancini B.C.B. Electric
Giovanna Bonasegale, Donatella Lorenzo Micozzi
Zari, Francesco Stefanori Termostudi Associati

Given the importance of preserving the single
exhibits, moreover, special containers had to be
designed, such as could be adapted in terms of
size, lighting and climate parameters to meet the
particular recommendations offered by restorers
in this regard. A key element in the design of the
exhibition is colour. Following a careful chromatic
analysis of Gentile’s paintings, the designers were
able to define a limited range of colours that would
characterize the overall layout of the exhibition
while offsetting the gold of the paintings and
the splendid frames, the items of jewellery, the
powerful colouring of the illuminated manuscripts,
and the delicate precision of the drawings. The
walls and the floor, treated identically throughout
to underscore the fluidity of the space, are
modulated in varying shades of grey.
incontroluce 14

17
 Projects Gentile da Fabriano
and the other Renaissance
Exhibits are mounted or hung on panels of an opaque
and absorbent azure blue selected to highlight the
characteristic splendour of the late Gothic works on
show, and to show off their rich colouring. The
lighting system is based on a delicate counterpoint
between background lighting, designed to enhance
the exhibition space, and localized pools by which
attention is focused on the single exhibits. Shuttle
spots and floods were used, with different optical
assemblies and power ratings, selected to comple-
ment the quality, colour characteristics and size of
Automation and safety systems
Siemens
Building
Gruppo Stella Costruzioni Generali
Tenso One Design
Mag92
the individual items, and their inherent receptive-
ness to light. The facility of dimming all the rooms
was guaranteed by the continuous wall, which
ensures both that natural light cannot penetrate and
that the internal climate can be kept under constant
control. With the erection of a large canopy in the
cloister, and a specially designed tension membrane
structure in the historic garden adjoining the
Ospedale, the open spaces are also furnished, and
the various sections of the architectural complex
drawn into a single unit.
18
 Scientific curatorship of the exhibition Promoting Bodies The Marches Region 3. Room IV
Keith Christiansen Ministry for Cultural Heritage Office for Cultural Heritage 4. Part of Room III
Andrea De Marchi and Activities and Activities - Office for
Laura Laureati Office for Historical, Tourism Province of Ancona
Lorenza Mochi Onori Artistic and Municipality of Fabriano
Ethnoanthropological Mountain Community
General Organization Heritage of Esino-Frasassi
CIVITA in the Marches

Studio Salmoni Architetti Associati

The Salmoni firm of architects won a competition

in July 2005 set up by Kind Art srl, calling for ideas
on how to stage the Gentile da Fabriano exhibition.
The studio has been operating since 1954 in the
fields of strategic land planning, urban design,
architecture, the restoration of historic architectural
and monumental heritage sites, and the design
of museum installations and temporary exhibitions.
Recent restoration projects include the former con-
vent of San Domenico, now the Civic Museum
of Camerino; the Villa Salvati in Monteroberto
(Ancona), and numerous churches in the Macerata
area; the Villa Favorita in Ancona, now the offices
of ISTAO (Adriano Olivetti Institute); also the old
Jewish Cemetery in Ancona, and Ancona’s Theatre
of the Muses, a project cited by the Architecture
and Art Department of the Cultural Heritage Ministry
(DARC) as being among the most important works
of architecture erected since the Second War.
The studio has designed many urban renewal and
action plans, including the Recovery Plan for the
Palombare quarter of Ancona. With Aldo Aymonino,
Cino Zucchi, Alberto Ferlenga and Pippo Ciorra,
Salmoni handled the completion o of the Q3
Montedago quarter of Ancona and the design for
a residential building in the Viale dei Pini district
of Senigallia, which was nominated for the Inarch
2005 award. The partnership recently curated
preparations at the Diocesan Museum of Camerino,
the Pinacoteca of Visso, and the Maria Sofia
Giustiniani Bandini Museum at the Castello di
Lanciano in Castelraimondo. Since 2001, Salmoni
has been the promoter of initiatives concerned with
City Lighting and collaborated with artists such as
Mario Sasso, Carlo Bernardini, Raffaella Nappo,
Denis Santachiara, Studio Azzurro and Jacopo
Foggini, and with various designers.

4
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19
 Projects The Palace of Justice in Antwerp Client:
Regie Der Gebouwen

Architectural design
Richard Rogers & Partners

Architectural Collaboration
Antwerp, Belgium VK Studio

20
 Structural engineering
Arup - VK Engineering
Engineering consultants
Arup - VK Engineering
Main Contractor Façade Photos: Giuseppe Saluzzi
Interbuild - KBC - Artesia Lesos Engineering
1. Indirect roof lighting
Lighting consultants Acoustics consultant 2.3.4. Exterior of the building. Daytime and nocturnal view
Arup Arup Acoustics

Cost consultant Landscape architect

VK Studio Wirtz International BV

2 3

March 2006 saw the official inauguration of the

new Palace of Justice, a secular cathedral of metal,
glass and wood measuring 78,000 m2. It was
created by architect Richard Rogers, winner of
an international design competition launched in
1999. The design features six wings arranged
around a public space at the hub - the concourse
- and interleaved with fingers of landscaped
garden. The façade, with large expanses of glass,
admits plenty of natural light that floods all of the
rooms, maximizing transparency both effectively
and symbolically. Rogers has come up with a
building that does not dominate the city skyline:
in reality, the structure rises no higher than the
surrounding buildings, and the inclined crests of
the architect’s novel roof design are reminiscent
of Flemish church bell towers, or the sails on the
nearby Escaut river. Indeed it is the wave-like
appearance of the roof that characterizes the
Palace of Justice: a complex three-dimensional
structure composed of triangular sections, resulting
from a close collaboration between Richard Rogers
& Partners, Ove Arup and VK. The distinctive
superstructures are of hyperbolic paraboloid
geometry, with each individual roof structure,
in practice, comprising four interconnected
quadrants. Each quadrant appears as a hyperbolic
paraboloid on a square base. The linear elements
that fill the quadrants are “woven” from wood, 4
each consisting in an assembly of struts secured
to a main rib. This method of construction allows
the formation of a cladding with faultless curves.
The wooden structure remains visible from inside
the building, so that the visitor can appreciate
the interaction of the different components.
The lighting system for the new Palace of Justice
includes Nuvola fixtures, made by iGuzzini, which
blend perfectly into the architectural context of
the building.
incontroluce 14

21
 Projects Relocation of the Egyptian Collection
in the Altes Museum
Berlin, Germany
The Egyptian Collection in Berlin is one of
the most renowned collections in the world.
Its transfer to a new location in the summer
of 2005 coincided with the 175th anniversary
of the Preußischer Kulturbesitz. It was decided
in January 1991, as part of a master plan for
the Museumsinsel (Museum Island), that the
Ägyptisches Museum (Egyptian museum) and
Papyrussammlung (Papyrus collection) would
return from Charlottenburg to their historic
home in the Neues Museum (New museum),
following renovation and refurbishment.
The first step in this transfer was to equip
the top floor of the Berlin Altes Museum
(Old museum) temporarily, to receive the
Egyptian Collection. The rooms radiate from
the main staircase around an open space
at the centre of the building. For the purposes
of the new layout, the rooms having side
windows and skylights were considered as
lateral light sources. Daylight entering through
each window is filtered through a white
Client
Bundesamt für Bauwesen
und Raumordnung,
Direction
Brigitte Rüger
diffuser screen. The exhibition layout utilizes
around 179 display cabinets (2 m - 2.5 m
tall), freely arranged. The lighting design is
based on the use of directional spots that can
be trained on the exhibits. Strong accent
lighting shows up the fine relief structures and
the quality of the materials. The artificial lights,
installed only on the ceiling, also serve as
general downlighters. Display lighting fixtures
are recessed into the suspended ceiling
structure. The ceiling area is divided into bands
running at right angles to the façade, 1.90 m
approx in width. This division of the ceiling is
accentuated by the use of electrified tracks.
The basic arrangement adopted is a three-phase
track carrying Metro spots with dimmers,
using low voltage halogen lamps (QR111/12V)
available in various wattages. Around 40% of
the spots are equipped with beam control
accessories or fitted with diffuser lenses.
22
 Beneficiary:
Staatliche Museen Berlin, Ägyptische
Sammlung - Dietrich Wildung
Architectural design
Hilmer & Sattler und Albrecht,
Gesellschaft von Architekten mbH,
Direction
Frigga Uhlisch
Architectural design - execution Photos: Juergen Lippe
GMH- Architekten
Galen Meyer Hintze - Franz Galen 1. Room in the Altes Museum dedicated to Egyptian art
2. Bust of Queen Nefertiti
Layout
Scala - Günter Krüger
Lighting design
LichtVision GmbH - Carla Wilkins

The choice of fixture was determined by the

decision to use narrow bands of light and by
the facility of rotation through 365°. The light
from the spots is also adjustable by means
of a rotary potentiometer type control. Colour
rendering in the display areas is Ra>90. Heat
was also a factor in the design of the lighting
system, given that when defining the climate
conditions for the different rooms, a maximum
2 or 3 spots were allocated to each cabinet or
exhibit. Emergency lighting would be provided
by separate lamps (QR38/12V 20W 32°)
recessed into the gap of the suspended ceiling
structure. Besides the many fine masterpieces
on show, the temporary enlargement of the
Altes Museum on the Museumsinsel has
created space for the famous bust of Queen
Nefertiti, of which the paint has survived,
unrestored, from the Amarna period (around
1340 B.C.) to the present day. Having completed
the tour, the visitor can take a last look at
Nefertiti across the large rotunda and enjoy the
view of the Lustgarten, over which the Queen
looks out every day. The final transfer of the
Collection to its definitive home on the
Museumsinsel - the renovated and refurbished
Neues Museum - is planned for 2009.

2
incontroluce 14

23
 Projects Reorganization
of the Picasso Museum
Malaga, Spain
The Picasso Museum in Malaga is the outcome
of a wish on the part of the artist’s heirs, Christine
and Bernard Ruiz Picasso, to set up a permanent
exhibition in the place of his birth. The idea was
made possible thanks to the support of public
bodies, principally the Autonomous Government
of Andalusia. The museographic project is structured
around a total of 155 works by Picasso, released
or donated to the museum by the two family
members. The building selected to house the
collection is the Palacio di Buenavista, for which
1
Client
Christine e Bernard Ruiz Picasso
the location and the typically Andalusian style
were key factors in making the choice. Given the
scale of the project, it was deemed appropriate to
purchase adjacent properties, enabling the creation
of a cultural complex integrated into the urban
fabric of the historic city centre. The task of
planning and designing the complex, and adapting
it to the purpose in hand, was entrusted to Richard
Gluckman, of Gluckman Mayner Architects, and
to Isabel Cámara and Rafael Martín Delgado
of Camara/Martín Delgado Arquitectos, with the
assistance of the engineering concern ARUP.
The Palacio di Buenavista is the main building
of the museum, and the home of the permanent
collection; accordingly, a significant amount of
work was needed to incorporate all the services
and systems that must form part of a modern
museographic environment, lighting included.
After numerous trials and studies, the choice fell
on the Parallel fixture, fitted with low voltage 12V
halogen lamps, type QT12 (50/75/90/100 W).
In addition to the usual directional flexibility,
the Parallel can also be used in conjunction with
both spot and flood optical assemblies, with
cylindrical shields, so that the light output can
be adapted to the effective requirements.
The fixtures used for the permanent exhibition
area have a black finish, integrated completely
into the restored panels of the building, with the
control gear positioned remotely from the source;
this meant designing a special mechanical fixing
assembly and an electrical connection. The
positioning of the single fixtures was conceived
and defined on the basis of the “quasi permanent”
placement of the exhibits. In the temporary
exhibition rooms, on the other hand, the installa-
tion was decidedly more flexible and dynamic,
allowing adaptability to the various layouts.
In this instance the fixtures have a white finish
and are mounted to multiphase electrified tracks;
each is equipped individually with its own light
intensity control and electromechanical adapter.
24
 Planning, design and adaptation Lighting design Photos: A. Rubio & Asociatos
of building complex Roberto Bergamo
Gluckman Mayner Architects - and Paul M. Schwartzbaum 1.2. Picasso Museum, interiors
Richard Gluckman,
Isabel Cámara e Rafael Martín
Delgado di Camara/Martín Delgado
Arquitectos,
with the collaboration of ARUP

2
incontroluce 14

25
 Projects
With a tradition stretching back some 150
years, the House of Calem is among the most
famous names in Port Wine history. Founded
in 1859 by Antonio Alves Calem, the firm
has collected a great number of awards and
acknowledgements. In the late 1990s, the
Caixanova Bank bought into the Calem company,
acquiring a 20% share of the capital that would
increase subsequently to 99%. High on the list
of priorities for Caixanova was to renew the
image of the brand and initiate an ambitious
plan that involved renovating and refurbishing
the historic buildings where the casks are
housed. The winery premises offer modern
services to cater for the many tourists who visit
Calem - typically more than 100,000 every
year. The process of renovating the buildings
was concluded in 2004, and there is now a
New headquarters Architectural design
Jose Luis Pereiro Alonso
Simón Pereiro López-Quecuty
of the Calem Wineries
Oporto, Portugal
section specially equipped to host cultural,
social and business events. The three main
public areas are the museum, where visitors
can learn all about the Douro region, the
making of Port Wines, and the history of the
House of Calem; the cellars, where the wines
are aged in special conditions, protected from
light and heat; and the tasting and sales salon.
In this context, the approach adopted for the
lighting design was one of maximum respect
for the architecture of the buildings, and for
the particular needs presented by each set of 2
surroundings. The Kriss appliques, with
100 W high pressure sodium vapour lamps
(HST - white), offer a low, warm emission
that enhances the features of the walls and
provides a common point of reference
throughout the premises.
26
 Furnishing Museography
Sofía Pernas Pablo Bustillo
Micaela Neira Rufo Fernandez
The lighting for the museum is suitably museo-
graphic, using Le Perroquet fixtures mounted on
tracks. In the tasting and sales area, the light
emission of the Le Perroquet units is widened
to provide direct lighting on the horizontal
surface of the tables. The offices are equipped
with suspended Berlino luminaries and
HIT150W metal halide lamps, which provide
direct-indirect lighting. The auditorium, which
forms part of the cellars, can seat 120 people.
The grazing light projected onto the walls by
the Kriss fixtures comes in this instance from
27
Photos: Manuel Vicente
1. Tasting salon
2. Detail of casks
3. Cellar
halogen lamps, and is complemented by direct
light from Le Perroquet fixtures with halogen
lamps and flood optical assemblies. Dining
rooms with seating capacities from 14 up 150,
exhibition rooms, private meeting rooms, the
culture of the House of Calem and of its
wines... all combine to offer a high quality
facility for cultural and social events.
The architectural renovation project at the
Calem winery received the “Best of Wine
Tourism Award” for 2006.
incontroluce 14
 Projects Thales Research
and Development Centre
Palaiseau, Francia
The multinational Thales Group is a global
electronics concern serving the aerospace, defence
and information technology sectors. It became
known by its present name in 2000, following
an acquisition. The company is currently state
owned in part, and operates in 30 countries.
The Group recently built a Research and
Development Centre at Palaiseau, of which the
design was entrusted to Frédéric Tomat and
Alain Dupont, two young members of the SERAU
studio of associated architects and engineers.
Client
Group Thales
Architectural design
Studio Serau
Frédéric Tomat and Alain Dupont
Their design was based on an attentive analysis
looking both at the functional expectations of
those who would be users of the projected
building and, more especially, at the personality
of the client. The Centre would have an overall
surface area of 32,000 m2 and include a building
to house offices and optical laboratories, also a
"reception” block with conference facilities, a
building with laboratories, research centres, white
rooms and equipment rooms, and a technical
platform.
28
 Photos: Didier Boy De La Tour

1. Exterior of the building

2. Main hall

The concrete and glass structure contains a

conference room and features a imposing
monolithic staircase, suspended in space and
affording a window on the world outside. The
inner garden is laid out with set pathways and
provides a further meeting place. In addition to
these areas, onto which all routes through the
building converge, there are also “vertical cores”
conducive to conviviality, with their glass frontage,
open staircase and balcony overlooking the
landscape, and areas for relaxation on each
landing. As to other components of the design,
these serve to fulfil mainly functional requirements.
The prefabricated structure consists in a system
of prestressed uprights and cross members, with
standard infill panels, for comprehensive flexibility
of application. The façades in particular are
worthy of note: the shimmering surfaces of the
parapets, screenpinted glass and blinds reflect
the lights of the optical research building, its
southernmost wing faced along the two upper
floors (the lower level presents a plinth of smooth
concrete), with a timber cladding that provides an
effective barrier against the sun and is punctuated
at intervals by square see-through voids.

Certain occupants of the centre would spend

most of their time in laboratories (some necessarily
without windows), effectively in isolation, and to
facilitate personal contact between these people,
the designers decided to create two open-view
areas. The reception hall is a glass cube placed
at the crossing of two large wings (the office
and optical lab block, and the laboratory and
white rooms building) and becomes a general
meeting place. A recreation room. Somewhere
to exchange ideas.
incontroluce 14

29
 Projects “Words”
A work by Alfredo Pirri
Une historie privée:
a private history - contemporary Italian photography
in the Anna Rosa and Giovanni Cotroneo collection
Paris, 21 June -15 October
The Maison Européenne de la Photographie
(MEP) offers a selection of photographic works
from the collection of two Italians, Anna Rosa
and Giovanni Cotroneo, who have been art
lovers for over 30 years. The starting point of
their photograph collection is a view of Naples,
by Mimmo Jodice. The selection presented by
MEP director Jean-Luc Monterosso includes a
“classic” section (with pictures by Vincenzo
Castella, Antonio Biasiucci, Franco Fontana,
Mimmo Jodice, Francesco Jodice, Luigi Ghirri,
Donatello Spaziani and Raffaella Mariniello,
Claudio Abate, Elisabetta Catalano, Ferdinando
Scianna, Mario Giacomelli, Silvio Wolf and
Gabriele Basilico), and a further section dedicated
to young photographers. In addition to the pho-
tographs, there is an installation entitled “Parole”
(Words) by Alfredo Pirri, dedicated to photogra-
phy and light and realized in collaboration with
Adnkronos, for which iGuzzini provided lighting
consultancy and equipment. Pirri’s creation is
not a work of photography, but a homage to
photography, which etymologically means
“writing of light”. As news from the Adnkronos
press agency is networked, the light of the
installation changes. Brighter when the news is
good, dimmer when bad. The technique adopted
for the floor level installation, measuring 4 x 8
metres, is typical of the artist’s work: slabs of
white Carrara marble and shards of red glass
make up a landscape that could be considered
as a metaphor for the world we live in.
The element that animates the piece is light,
although to speak of "lighting effects" would be
30
 Photos: Didier Boy De La Tour

1.2.3.4. Variations in light, linked to the news stories

arriving at Adnkronos.

2 3

wrong, and indeed Alfredo Pirri is first to say so, run by engineer Giovanni Parise, has coupled to
explaining: “The composition is backlit by large its news streams by way of an algorithm that will
lamps positioned facing the observer, like a big extract a pair of values from each news item in
window. The projected light changes irregularly, real time. These values are then used to pilot
influenced by two sets of values: the power of the variable output of the lamp. In practice, a
the light, and its colour temperature - in other processed signal is relayed to a personal computer
words warm light and cold light. The changes at the MEP - connected via the internet to the
are generated by the normal activity of Adnkronos, Adnkronos central information systems at
responding to a stream of around 2000 news Piazza Mastai in Rome - and applied to the
items per day registering on a terminal not seen lamp illuminating the exhibit, producing an
by the visitor. The stream of news is filtered instantaneous response. 4
through a grid of 100 words: 50 for power and
50 for quality. A small monitor screen is positioned
alongside the installation, on which visitors can
read only the titles of the agency news reports
and the two associated key words”. If Adnkronos
circulates a news item, for example, with the
words “people” and “peace” - belonging respecti-
vely to the lists governing quantity of light and
colour temperature - the installation will be
illuminated with light of a stronger, sunnier nature.
Conversely, when news reports contain words
such as “blood” and “defeat”, the landscape will
appear in a feebler and cooler light. The system
uses Sivra technology, developed by iGuzzini,
which the technical department of Adnkronos,
incontroluce 14

31
 Projects New illumination Client
Glasgow City Council

for the Mitchell Library Architectural design

Glasgow City Council
Building Services

Glasgow, Scotland

Situated on North Street in the central Charing

Cross district of Glasgow, the Mitchell Library
was built between 1906 and 1911.
This imposing Edwardian baroque building has
a fine marble and stone staircase and spacious
reading rooms, with elaborate joinery and plas-
terwork. 2006 saw the implementation of a full
renovation and refurbishment project that
included the renewal of the illumination to the
North Street frontage. In line with a recent
commitment of the Glasgow City Council to see
that the town’s more important buildings are
fittingly illuminated, the North Street frontage of
the Mitchell Library has been newly lit up with
iGuzzini fixtures. As part of an overall sponsor-
ship, in collaboration with the Glasgow City
Council’s Heritage and Design Department, its
Building Services, and lighting designers Light
Folio, iGuzzini provided a lighting solution capa-
ble of meeting the expectations and wishes of
the design team. The proposal submitted to the
client was different to the kind of illumination
adopted in 1990, which utilized suspended
fixtures. The new system gives the building
added depth, revealing its architectural features 2

to maximum effect and, not least, showcasing a

finial statue by Thomas Clapperton on the dome;
the figure represents Literature, personified also
as Minerva, the Roman goddess of wisdom and
learning.

32
 Lighting design
Light Folio
Technical sponsor
iGuzzini illuminazione
Great care was taken over the illumination of
the statue, which is picked out distinctly by a
Maxiwoody with superspot optical assembly.
Another imposing statue, also representing
Wisdom, overlooks the North Street entrance:
here too, iGuzzini found a way of highlighting
the feature, using a concealed Mini Woody spot.
The entire system of façade fixtures was designed
in such a way as to provide a source of
illumination that would be invisible by day and
highly effective at night. All products used for
the installation were selected specifically with
33
Photos: Paul Zanre Photography
1.3. Façade
2. Detail of the dome
performance and durability in mind.
The iGuzzini fixtures utilized include: Radius,
Linealuce, Woody, Light Up Professional and
Platea. The former St. Andrews entrance on
Granville Street was destroyed by fire in 1962.
In 1980, an extension was added to the Mitchell
Library, behind the original façade, and this
building also incorporated the Mitchell Theatre.
Thanks to the successful collaboration on the
Mitchell Library illumination, iGuzzini was
also selected as supplier of lighting fixtures
for subsequent phases of the refurbishment.
incontroluce 14
 Projects A new building for the Welsh
National Assembly
Cardiff, Wales
In March 2006 (St. David’s day, 1st of March),
Her Majesty the Queen opened the Senedd building
for the National Assembly for Wales (NAfW).
The project, originally conceived and won in
competition in 1998 with Architects Richard
Rogers Partnership (RRP), BDSP Partnership
and ARUP to provide a new home for the
Assembly, was re-tendered in 2001 under a
‘design and build’ procurement route with the
same design team lead by the Main Contractor
Taylor Woodrow Construction. The Clients Brief
required that the new Assembly Building meet
the Assembly's constitutional responsibilities for
sustainable development and achieve "Excellent"
rating under the Building Research Establishment
Client
National Assembly for Wales
Project director
TPS
Architectural design
Richard Rogers Partnership
Environmental Assessment Method (BREEAM).
In response, the environmental design strategy for
the building as a whole was one first and fore-
most of reducing energy demand, followed by the
application of renewable energy sources and only
then covering any residual demand by using
highly energy efficient technologies. This philoso-
phy is also reflected in the lighting design and
could broadly be described using the following
three step approach:
1. Maximise and control natural daylight penetration;
2. Use of energy efficient light sources;
3. Link controls to deliver the best cross-over
between natural and artificial.
34
 Quantity supervisor
Northcroft
Transmission Consultant
Roger Farmer Associates
Main Contractor
Taylor Woodrow Construction
2
35
Civil and Structural engineers
ARUP
Environmental and construction
service engineers
BDSP Partnership Ltd.
Lighting consultants
BDSP Partnership Ltd.
DPA Lighting Consultants
Set Advisor Photos: Redshift Photography - Dave Thrower
Department Purple
1. Exterior
M&E Contractor 2. Assembly chamber
MJN Colston Ltd.
A predominant feature is the Debating Chamber,
located in the heart of the building. This space,
where proceedings will be broadcast live, is
unmistakably meant to be read and perceived
as a daylit space by both Assembly Members
and the watching public. The vision of the
design team was to allow internal conditions of
the Chamber to vary naturally with the passage
of time, thus providing a vital psychological
connection with the outside. The space is
enclosed and daylight can only enter via a
glazed lantern that is seated on the domed roof
beneath a rotating wind cowl and a horizontal
glazed ring around the base of the funnel in
the main hall events area. The most prominent
daylight aperture is the glazed lantern. Daylight
is reflected into the heart of the Chamber below
via a combination of light shelves around the
base of the lantern, a suspended conical mirror
and a series of concentric aluminium rings
which make up the chamber funnel.
incontroluce 14
3

36
Projects A new building for the Welsh National 3.4. Assembly chamber

Assembly

The artificial lighting design for the debating

chamber required that the artificial lighting
achieve a horizontal illuminance of 500lux with
a colour temperature of 5000K and colour ren-
dering of 1A/1B, suitable for colour balancing by
the host broadcaster, televising the proceedings
during daylight hours. As with the daylighting
studies, numerous computer modelling simula-
tions assessing various artificial lighting strategies
and luminaire configurations were undertaken by
BDSP Partnership to achieve both a technically
compliant and an architecturally simple yet ele-
gant solution. Following some early investigations
on CTB filters, the installed design is based on the
use of 70W 4200K ceramic discharge metal
halide CDM-T lamps. The fixture - Pixel Plus -
was modified to accept the 70W CDM-T lamp.

This meant prototyping a new fixture, on which
photometric and thermal tests were conducted in
Italy at the IGuzzini laboratory. The result is a
Chamber lit by a single ring of 80 fixtures with
70W CDM-T metal halide lamps, recessed into
the base of the funnel and set at oblique angles,
with the aluminium rings starting immediately
above. A further eight floodlights are installed
higher up between the tubes to illuminate the
surface of the funnel. In addition, at the perime-
ter of the chamber, circular T5 fluorescent lamps
are recessed into the acoustic panels. As the
metal halide lamps cannot be dimmed, the flood-
lights were arranged in four banks (i.e. 25%) to
achieve daylight compensation. In this manner
they could be switched according to the daylight
levels. In conclusion, the artificial lighting design
coupled with daylight successfully complements
the overall low energy concept for the whole proj-
ect, enabling the Senedd to set new standards in
environmental performance.

incontroluce 14

37
 Design The lighting designer’s toolbar 2005
(part 2)
by Julle Oksanen

In issue 13 of Incontroluce, Julle Oksanen dealt with the first four tools that need
to be used, and which serve as guides to lighting design: Concept; Master plan,
the Lighting Design process, and Computers.
Having already looked at these, he now discusses further tools, with the aid of
photographs from his own portfolio.

Tool 5: Calculations

“Lightprisms in Helsinki - Vantaa airport. Permanent

lighting for the European flights terminal.
22 x 2200 kg glass prisms, each equipped
with adjustable aluminium wings, and 6 lumi-
naires providing the electric light. 200 lx
Ehor- was the level selected for general lighting
purposes. During the daytime, natural comes
into the terminal through the aluminium wings
and glass side walls. Daylight creates so-called 1
“Accidental lighting architecture”. The computer
was used to calculate the lumen package in
light directed from luminaires through the glass
panels to the wings and then down to floor
level within the terminal. The computer did not
resolve everything, but helped a lot. Our own
calculation formula was used. Architect Pekka
Salminen, lighting designer Julle Oksanen.

2 3

Tool 6: Recommendations

Thousands of pages have been written with of
all kinds of recommendations on lighting.
Some are fine, others make me smile. For 10
years or so I was very excited about creating
them with different teams, like with the CIE
and other voluntary associations. After 10 years
of superactive personal involvement I started to
lose my 100% trust in recommendations and
standards. But I would like to introduce a very
good practical example to everyone: Grand
Central Station in New York City..
Grand Central Station in New York City has
beautiful lighting inside the building. It is the
work of lighting designer Charles Stone.
This is the best part: according to the recom-
mendations there ought to be Ehor = 200 lux
at floor level. Grand Central Station has only
Ehor = 15 lx and it is beautiful. Less than 8%
of the recommended value, and yet people
come from all over the world to see it and enjoy
the atmosphere.

38
 Photos provided by Julle Oksanen

1.2.3. Light prisms. Lighting for the European flights

terminal at Vantaa airport, Helsinki
4. Grand Central Station, New York
5.6. Before and after. Stockmann Shopping Mall

Final example of application

using all the tools:
Stockmann shopping mall project

5 6

The building is in the process of being renovated. Briefly: The lighting is divided into 3 elements,
The Lighting Design Master Plan has been all with their own purpose and significance.
completed and the Pilot area is ready. The lighting design philosophy also included
During the one year process of preparing partly architectural design elements, as do all
a new lighting design, these tools were used: engineered systems (air conditioning, water
pipes, sprinkler system, wiring, etc.), which
– Concept were concealed behind the unobtrusive
– Master plan suspended ceiling structure. Besides indirect
– 1:1 scale model recessed lights and strip lighting, spots with a
– Calculations sharp 25° beam were used as accent lights to
– New technology pick out individual products. Spotlights today
– Teamwork do not necessarily need to be track-mounted
– Computers any more. The grid of luminaires was checked
– Lighting design process by computer in order to ensure coverage of the
– Recommendations whole sales area. iGuzzini Frame luminaires
– Luminaire design with electronic ballasts were used.
– Client Our evaluation of the Frame as a luminaire was
as follows: visually attractive black box, stylish
contours, right size and proportion for our
suspend ceiling elements, high quality materials,
good aiming angles, zero glare even if aimed
incorrectly by the client, technically high quality,
electronic ballasts = long lamp life with 35W
metal halide, easy to install, reasonably priced.
There are many designers and clients who either
fail to understand or at least underestimate the
importance of the manufacturer in a smooth and
flexible design process. As regards my own
lighting projects - be they educational, research
or design - the role of manufacturers and their
staff is especially valuable and important.
On this project, for example, the manufacturers
have created something special in terms of the
adopted luminaires, and been super fast with
their services.
incontroluce 14

39
 Corporate culture “Conoscere la forma” Ideation
Centro Studi e Ricerca iGuzzini
Istituto Centrale per il Restauro
project Thanks to
Trapani Heritage Authorities,
for their kind permission to use the
Milan, Italy copy of the Dancing Satyr

On 23rd May at the premises of iGuzzini Partner

Assistance in Milan, the press and public were
introduced to a new project, “Conoscere la
Forma” (Appreciating Form), originating from
a collaboration between the iGuzzini Study
and Research Centre and the Istituto Centrale
per il Restauro (Central Restoration Institute).
The project comes about as the result of a
conviction central to every aspect of corporate
strategy: light is an element fundamental in
acquiring knowledge of the world around us.
When used to illuminate works of art, in
particular, lighting must be properly studied,
designed and implemented, given that it
has a crucial influence on the preservation,
perception, analysis and understanding of
the work. “Appreciating form” is a project
developed along two lines:

40

4 5
“Viewable forms”
In this part of the project, a model of a work of
sculpture is considered by three professionals
in specific and different areas of expertise, for
example: a restorer; an art historian, and a
photographer Underlying this project is a research
programme aimed at identifying one or more
methods of analysis, and of lighting design
application, that will provide curators of museums
and shows with a greater awareness of how
three-dimensional exhibits can be illuminated
to best advantage. Using computer management,
designers can create a variety of settings, static
and dynamic alike, besides programming a
range of different lighting parameters such as
intensity, cone width and colour
41
Photos: Paolo Carlini, Carlo Anastasio, Archivio iGuzzini
1. Setting up the different lighting schemes 4. The Dancing Satyr, as seen by archaeologist Paolo
Moreno
2. Left to right, Adolfo Guzzini and Caterina Bon Valsassina,
director of the Istituto Centrale per il Restauro 5. The Dancing Satyr as perceived by the blind
and partially sighted, by Angelo Mombelli
3. The Satyr, installed at iGuzzini Partner Assistance
6. The Dancing Satyr, as seen by Gillo Dorfles
6
“Touchable forms”
The same model of a work of sculpture,
consistent with the original, made of material
and on a scale suitable for the purpose, is
presented for tactile exploration by the blind
and partially sighted. To enable appreciation
of the piece by the blind and partially sighted,
researchers have identified ways of preparing
the surface of copies specifically with tactile
response in mind, related for example to the
thermal properties of materials, by utilizing
different materials for certain details, and by
selective treatment of the surface.
This part of the project was developed in close
collaboration with the physics laboratory of
the Central Restoration Institute, and founder-
moulder Alessandro Fagioli.
incontroluce 14
 Corporate culture “Conoscere la forma”
project

7 9 11

The Dancing Satyr of Mazara del Vallo

The bronze statue of the “Dancing Satyr” was discovered

on the bed of the Sicilian Channel in two stages: first
the left leg, in the Spring of 1997, and almost a year
later, the armless body, without the right leg.
It represents a figure of mythology, part man part goat,
one of the orgiastic followers of Dionysius, god of wine.
The work is dated to around the end of the 4th or the
3rd century BC. Its beauty and perfection suggest
Praxiteles as the author.

10

42

12
13
The process of producing the model is character-
ized by two steps, known in industry as reverse
engineering and rapid prototyping: in the first,
the geometry of the sculpture is mapped three-
dimensionally (in 3D), using a laser scanner.
After various data post-processing and solid
modelling operations, the laboratory engineers
arrive at a Digital 3D Model, consistent with the
form of the original sculpture. Whilst this "virtual"
model is needed in order to preserve the historical
memory of the form, for study purposes and for
solving problems of restoration and conservation,
it can also be used as the template for a physical/
material model consistent with the original,
or a model of which the scale and construction
material can be selected to meet specific needs.
43
7.9.11. Three images of the installation by Vincenzo Cerami 12. A moment during the press conference.
8. Digital 3D model From left: Giorgio Accardo, Gillo Dorfles, Paolo Moreno,
Angelo Mombelli, Vincenzo Cerami, Adolfo Guzzini
10. The original of the Dancing Satyr
13.14. Other moments during the presentation of the project
15. “Touchable forms”
Tactile exploration by the blind and partially sighted
14 15
In the second step, the model is generated by
automatic machining processes using numerical
control, with the physical model of the sculpture
acquired directly from the digital model.
The scale and material are selected as appropriate.
Interpreting a copy of the Dancing Satyr of Mazara
del Vallo in Milan through the medium of their
envisaged lighting schemes were Vincenzo
Cerami, novelist and screenwriter, Gillo Dorfles,
critic and historian of art and design, Angelo
Mombelli, expert in perception difficulties
affecting the blind and partially sighted, and
archaeologist Paolo Moreno, who has been
studying the sculpture of the satyr since its
discovery.
incontroluce 14
Corporate culture
iGuzzini and the America’s Cup
Valencia, May-June 2007
The Barrajas airport project
The Estudio Lamela, a leading name in modern
Spanish architecture, is well-known as designer
of the Terminal 4 at Barrajas airport, and of the
Bernabeu Stadium, home to Real Madrid.
Lamela is the only Spanish practice present at
the “Architectural Design and Urban Planning”
show in Shanghai, this year notching up its
sixth edition. iGuzzini illuminazione collaborated
with Estudio Lamela on the lighting for Barrajas
Terminal 4.
Contemporary art along the motorway
The Highway 4 Monument
Mäntsälä, Finland
The Highway 4 Monument, by Antero Toikka,
was built along the motorway between Helsinki
e Lahti in December 2005. The full inauguration
took place early in 2006. The sculpture, installed
at Ohkola on a low hill, was erected to provide a
noise barrier between the motorway and the
railway. During the winter months, it is illuminated
by Light Up Walk Professional fixtures with
refractors and antiglare lenses, using metal halide
lamps.
Nordic Light Award
for the Blue Lagoon Medical Centre
Reykjavik, Iceland
In June 2006, a medical centre for the treat-
ment of psoriasis and eczema, inaugurated
May 2005 and operating in the Blue Lagoon
area, was given the Nordic Lighting Award for
the quality of its lighting design. The lighting
installation, which utilizes iGuzzini products,
“is perfectly in harmony with the building”
and at the same time able to create a
welcoming and pleasant atmosphere
(from reasons given by the jury).
44
Corporate culture

Since Valencia was named as host city for the

32nd America’s Cup, the commercial port area
of the city has been extensively renewed.
iGuzzini illuminazione contributed - as technical
sponsor - to the lighting systems for the two
team bases of Mascalzone Latino and Luna
Rossa. The Mascalzone Latino team base,
designed by the architectural partnership Cestaro
& Ciribì, is intended first and foremost as a
workplace where many different activities can
be carried on at any one time, but also offers
areas open to the public, and where guests
can be entertained. Le Perroquet, Light Up
Walk and Sistema Easy are the fixtures installed.
For Luna Rossa, on the other hand, the Renzo
Piano Building Workshop came up with the
simplest of structures: a parallelepiped, with
old sails, kevlar and carbon fibres among the
materials used in construction. The façade
is illuminated with Lingotto fixtures.

Visionitaliane. Architecture and design

for a sustainable environment
Beijing, National Museum, 3-28 July 2006

iGuzzini continues to develop and strengthen its

presence in China. In addition to the lighting for
Mario Cucinella’s “Sino-Italian Ecological and
Energy Efficient Building” (see page 10), the
company’s name is associated with the lighting
for two exhibitions dedicated to Italian architecture,
also involving two major Italian publications: Domus
and Interni. Domus provided material from its
historical archive for “Visionitaliane. Architecture
and design for a sustainable environment”, an
exhibition on Italian landscape, architecture and
artefacts staged in Beijing, at the National
Museum in Tienanmen Square. The exhibition is
curated by Italian architect Mario Occhiuto and
organized by Italy’s Ministry for the Environment
and Land protection, in cooperation with the
Ministry for Cultural Heritage and Activities, the
ICE, China State Environmental Protection
Administration and the China Academy of Social
Sciences. It offers a window on landscapes,
architectures and artefacts of the 20th Century
in Italy, and a look at the cultural roots of Italian
cooperation in China. Also on show are Italian
examples of architecture linked with environmental
sustainability.
incontroluce 14

45
 Corporate culture
ATP Guzzini Challenger final
Recanati, 30 July 2006
1
July 2006. The Guzzini Challenger tennis tour-
nament was won this year for the second time
by Davide Sanguinetti, who took the title when
his opponent in the final, Simone Bolelli,
retired hurt in the second set. Events on the
Challenger circuit are administered by the ATP
(Association of Tennis Professionals), which
also runs the prestige tournaments on the main
Tour, notably the four Grand Slams (Australian
Open, Roland Garros, Wimbledon and the US
Open). The ATP Guzzini Challenger tournament
was sponsored once again this year by Fratelli
Guzzini, iGuzzini illuminazione and Teuco,
three companies of the Fimag-Guzzini Group.
1. Giannunzio Guzzini presents winner Davide Sanguinetti
with the trophy
2. The two finalists: Simone Bolelli and Davide Sanguinetti.
“50+2Y Italian Design” exhibition
Beijing, National Art Museum of China
NAMOC), 10 September - 10 October 2006
As part of the “Italy in China” year, Interni maga-
zine was approached by the Italian Embassy to
organize a design exhibition at NAMOC. The
exhibition is dedicated to the history of Italian
design over the last 50 years (1956 - 2006).
The selected exhibits would feature products
considered to be symbolic of Made-in-Italy
during the period covered. These include land-
mark iGuzzini fixtures: AM-AS table lamp,
Central 41, Lingotto applique (indoor version),
Le Perroquet (suspended version with plate),
and iWay.
“Concurso” for young architects
In collaboration with Pasajes magazine, iGuzzini
España has launched the third edition of its
architecture competition, intended exclusively
for architecture students. The closing date for
entries is 30 July 2007. The winner will receive
a first prize of € 18,000, a diploma and a trip
to iGuzzini headquarters in Italy. The second
placed candidate receives a prize of € 6,000
plus a diploma, and the third placed, a prize
of € 3,000.
46
Corporate culture
Venice Architecture Biennial
for Croatia
Lumenart, the iGuzzini distributor for Croatia,
is building a new headquarters. The design -
by the famous Croatian architect Andrija Rusan
- has been selected to represent contemporary
Croatian architecture at the Venice Biennale.
iGuzzini illuminates the G8
venue for 2006
St Petersburg, Russia, July 2006
St Petersburg provided the venue for the G8
summit in 2006, the main meetings being
held at the Mariinskij Palace. To mark the
occasion, the building was provided with
new illumination, commissioned from iGuzzini
illuminazione. This project figures alongside
those already completed for the Church of
the Resurrection, the Nevsky Prospect and
the Hermitage.
47
“Tracks. Founding an Industrial
Heritage Museum”
Recanati, June - November 2006
On 1 June 2006, a new exhibition was opened
at the Villa Colloredo Mels, entitled “Tracks.
Founding an Industrial Heritage Museum” and
promoted by the cultural association “Il Paesaggio
dell’Eccellenza” (Landscape of Excellence).
The exhibition is a first step toward setting up the
future museum of industrial heritage representing
the area between the valleys of the Musone and
Potenza rivers, and reflecting local culture and
values. Punctuating the tour of the exhibits are
certain selected “items of excellence” representative
of local industrial output and of the corporate
values of the 25 contributors involved with the
association. There are six broad themes - Art,
Design, Communication, Local/Global, Innovation
and Social Responsibility - through which the
organizers have sought to illustrate an extraordinary
and heterogeneous industrial scenario.
And alongside the exhibition, likewise in the Villa
Colloredo, there is the “Guzzini Gallery”, providing
an overview of the various companies of this
important Recanati group, and an introduction to
the Eko Guitar Museum.
incontroluce 14
Opinion

I have always been keen on sport, and I

believe sport plays a huge role in education
generally. This was always what prompted
me to set up the Guzzini Tennis Club, which
is open to everyone in Recanati - especially
youngsters - and not only to company
employees. The club has grown over the
years: in 2004 it was awarded the bronze
star for merit by CONI (the Italian Olympic
Committee), and our tournament is now on
the ATP Challenger circuit. iGuzzini has
always supported the activity of the Tennis
Club and of other sporting organizations in
the region, such as the youth football
scheme of the Unione Sportiva Recanatese.
With support from local business, these two
organizations help to coach a great number
of youngsters: every year, 300 boys and
girls of between 6 and 14 attend the tennis
and football schools created by the two
Recanati clubs. Their commitment is that
much more admirable at this particular
time, when sport seems more and more
frequently to be tainted by corruption, and
scandal generally. Helping to get youth
sports off to a healthy start is one of the
most important values underpinning social
and cultural development in society,
complementing and completing a parallel
commitment to maximize the value of our
cultural heritage in the Marches through
intelligent and imaginative technical
sponsorship.

Giannunzio Guzzini

48
 14 Incontroluce II. 2006

Incontroluce
Six-monthly international magazine
on the culture of light

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

Graphic Design
Studio Cerri & Associati

Publisher
iGuzzini illuminazione spa

Contributors to this issue

iGuzzini illuminazione Benelux Bvba/sprl
iGuzzini illuminazione Deutschland GmbH
iGuzzini illuminazione España S.A.
iGuzzini illuminazione France S.A.
iGuzzini illuminazione Norge A.S.
iGuzzini illuminazione UK
Lumenart, Croazia
Peyan Oy, Finlandia

Cover photo
Carlo Anastasio

Printed by Tecnostampa, Recanati

October 2006

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.

III
Incontroluce XIV / The Marches: The universities and the territory / Projects: SIEEB Sino-
Italian Ecological and Energy Efficient Building / Light for the Morgan Library expansion /
Gentile da Fabriano and the other Renaissance / The Palace of Justice in Antwerp /
Relocation of the Egyptian Collection in the Altes Museum / Reorganization of the Picasso
Museum / New headquarters of the Calem Wineries / Thales Research and Development
Centre / “Words”, a work by Alfredo Pirri / New illumination for the Mitchell Library /
A new building for the Welsh National Assembly / Design: The lighting designer’s toolbar
2005 (part 2) / Corporate culture: “Conoscere la forma” project / iGuzzini and the
America’s Cup / The Barrajas airport project / Contemporary art along the motorway /
The Highway 4 Monument / Nordic Light Award for the Blue Lagoon Medical Centre /
Visionitaliane. Architecture and design for a sustainable environment / ATP Guzzini
Challenger final / “50+2Y Italian Design” exhibition / Concurso iGuzzini España / Venice
Architecture Biennial for Croatia / iGuzzini illuminates the G8 venue for 2006 / “Tracks.
Founding an Industrial Heritage Museum”

9.1906.000.0