I. 201225 English edition

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Editorial

Dear readers,

Does light have its own shape or does it give shape to other things? This is a dilemma that has always been discussed by lighting professionals, but without ever arriving at a clear conclusion. More than a dilemma it is in fact a case of different ways of interpreting reality.Rather than just a philosophical issue, it represents a tangible guide for those whose job is to define the features of an architectural space. This edition of Incontroluce includes examples in which the matter seems obvious. The work of Dean Skira, with its lines of light and colours,unambiguously contributes to giving the constructed space its own specific image and dimension, just as Satoshi Uchihara’s work transforms architecture: “architecture is square and light makes it round”.These two different approaches: creating a space or reinstating its shape, can also take on greater importance, extending beyond architecture to become a landscape. The hill on which Assisi rises at night also shows off the magnificent great basilica of St. Francis, which thanks to artificial light emphasises not only its physical presence, but above all its history and cultural significance in the vertical Umbrian landscape. In the same way, the late Baroque architecture of the Peterhof monumental complex stands out even more at night-time, casting a shadow over the great Italian-style garden opposite. In a very different way, light turns the Lynetten incineration plant into aluminous sculpture, transforming the harbour landscape around it, meaning that there light takes on its own form irrespective of the object it interacts with. In other cases light adopts a tangible physical form because it isconcrete, as in the Timber Wave, a sculpture which is the solidification of light vibrations projected beyond the facade from the entrance to theVictoria and Albert Museum.I also believe that, in defining the architectural form of the iGuzzini premises in Barcelona, architect Josep Mias wanted to shape the light both through the intricate contrast between light and shadows of the structures and through the transparent features of the facade, creating an important landmark on the landscape too.In contrast, in Recanati, light alters the shape of the Light Laboratory: closed and impermeable by day, it becomes open and transparent at night.Perhaps the most obvious example of the dilemma which prompted this article is: does light have its own shape or does it give shape to other things?

Adolfo Guzzini

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Contents

I. 2012

Editorial

DesignThe pleasure of lighting(Dean Skira)

Interview with Satoshi UchiharaPart one

ProjectsNew headquarters for the company Legendre

Tarazona Cathedral

Dover Esplanade: breathing new life into the city’s sea front

Rosenberg shopping centre

Light for the architectural complex of the Kutna Hora Jesuit College

New outside lighting for the Sacred Convent of Assisi

Peterhof monumental complex

“Lynetten” incineration plant

Marttiini store: the most beautiful “Puukko” store in the world

Light Laboratory

“Il Cielo”the new iGuzzini España premises

DesignItalia AAA

Company cultureTimber Wave

Pasajes Competition - iGuzzini

Archilede: tests and applications

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Design The pleasure of lighting

by Dean Skira

Light is the invisible form which reveals all other forms and creates another that wecall shade. Understanding these relationships helps us to remember that lightingdesign isn’t just a question of calculation or specifications; it involves imagining thespace, volumes and atmosphere and is linked to the architecture and distinctivespirit of a place, to create positive emotions for those who live and carry out variousactivities in that space. Satisfying all of these principles allows lighting design to be integrated with the architecture, requiring close collaboration between architectsand interior designers. I have had the good fortune and immense pleasure ofworking on projects which allowed us to inspire each other and create lightingdesign and structural installations in spaces where lighting became an integral part of the architecture, irrespective of whether or not it was switched on. These creative solutions and the use of lighting control systems with good energyefficiency to obtain valid long-term visual, biological and emotional experiences are probably important qualities which we transfer to our projects. At the time of choosing general lighting fixtures for the Novamed general hospital, the decision went mainly in favour of fluorescents, keeping the focus on the specificcolour temperature of each environment and on the performance of the luminaires in order to meet the most stringent standards.

Hotel & Spa Novi, Novi Vinodolski, CroatiaThis luxury resort required a particularlyshrewd lighting design, due to the complexityand variety of the spaces that needed lighting.The lighting design for the corridor tunnellinking the hotel to the spa was quite achallenge because no daylight ever enters the tunnel and it is rather long. So, wedecided to create continuously alternatingcolours and to change the shapes. Client: Hotels Novi Ltd.Architect: Ante Nikša BilićLighting design: Dean Skira, Dean MatikaPhotographs: Sandro Lendler

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The basic idea for this project was to create a space that was entertaining and dynamic, full of colour and welcoming, with a continuously evolving lighting design that changes the perception of the space, altering and emphasisingparticular aspects of it, where the patient is unaware of the pressure andformality of a medical facility. In the reception area, an organically-shapedchannel winds along the plasterboard ceiling and extends to the cafeteria where it meets the opposite semi-circular glass wall. Hidden along this channel there is linear LED RGB lighting, in addition to the downlight luminaires recessed in the upper ceiling. The idea for this architecturalpiece came from an image of brain cells published in a local newspaper.Transforming the basic image of these cells into a curved organic illuminated form was a challenge not just in terms of presenting the idea, but also in regards to actually implementing it. We had to identify the precise location of the continuous curve, since there are many different installations in the ceiling. To reduce the number of visible elements, we would have had to use some existingsolutions such as recessed multi-lamp luminaires which support three or fouradjustable spotlights in the housing. Thanks to the well-designed height of theheating, ventilation and air conditioning systems, we were able to integrate thelighting dome in the ceiling, at a depth of 350 mm, to supply the amount of light

Novamed General Hospital(Zagred, Croatia)Client:: Novamed General HospitalArchitects: Ante Nikša Bilić, Vanja Biščanić,Sunčica Mastelić-IvićLighting designers:Dean Skira, Maja LipovčičPhotographs: Vjekoslav Skledar

The projects presented by the Lighting Designers were created using luminaires from several manufacturers

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Design The pleasure of lighting

needed, wired for fluorescent lamps and LED RGB modules. In this way, we producedmuted and diffused lighting with controllable intensity and changeable colours. At different stages when trying to implement a project it may be the case that you simply can’t find what you need to apply the idea in its smallest details.Lun-Up is the result of specific requirements that could not have been satisfied by any existing product. The idea was created due to the need to light a column and produce a linear, even light without the usual scalloping on the lower side. The basic idea behind Lun-Up is elimination of the normal centred lamp, splittingthe typical recessed round lamp into 4 parts of the curve. One quarter of thecircumference is the basic shape from which many different configurations are derived. The lamp design is very practical and adjustable, offering many new possibilities in terms of form and function. The LED technology can be used in many variations,both indoors and outdoors. The visual effect is completely different from that of theusual round recessed luminaires. Not just in the shape of the light emitted, but alsoin the volume of the body itself, which is reduced to the actual dimensions of the lamp. Lun-Up is one of the clear examples in which “form follows functions” and I thinkthat it will be an extremely useful lighting tool for many different situations.

Product designLun-Up: Dean SkiraPhotographs: Lumenart Ltd.

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Dean Skira

Dean Skira is a lighting designer based in Croatiawith more than twenty years of experience creatinginnovative lighting design solutions for institutional, public, company, residential and hospitality projects. In 1986 he went to the United States to studyinterior design and lighting design at New York’sFashion Institute of Technologies (FIT). Sinceestablishing his lighting design firm in 1990, he has become a member of IES, The IlluminatingEngineering Society of North America, New Yorkdivision, specialising in urban and commerciallighting at Philips Corp., New Jersey. In 1995 he continued his work in Croatia togetherwith his team of professional designers andengineers through the Lumenart Ltd. and Skira Ltd.lighting design firms. He has received many awardsfor his projects. Dean Skira is also a member of the Croatian Designers Association (HDD) and vice- chairman of the Croatian Lighting Association.

For further information: www.skira.hr

The House of Light, Pula, CroatiaThe headquarters of the Lumenart Ltd. andSkira Ltd. lighting design firms won overleading architects and designers, becomingan indispensable reference point forinformation and knowledge about lighting technology, perhaps one of a kind in thewhole of Europe.Client: Lumenart Ltd.Architects: Andrija Rusan, Ljerka KabelkaPhotographs: Lumenart Ltd.

Dean Skira believes in teamwork. Every year, members of his firm together gather olives from the olive trees surrounding the House of Light. The oil obtained is then given to clients as a gift.

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Design Interview with Satoshi UchiharaPart one

What do you think about the relationship between light and architecture, and therelationship between light and space?I think many people feel that space exists in architecture but that is not completelytrue. Architecture is structure that is created to enable people’s comfortable life,and the square shape comes from a structural reasonability. As a lighting designer,the first step is to recognize space as ‘un-square’. Projecting light into a spacewhere nothing exists creates ‘round’ space. If we then create a wall in empty spacethe projected light illuminates the wall. Then people just perceive the divided areaas ‘squared’ space. The natural shape of space created by light should be, however,a feeling of a sphere or round shape. From this concept, I don’t recognize truespace as square but as a distribution of rounded energy. There is a relationship with architecture in volumes of light; dark volumes and pale volumes create layers. I think the relationship between architecture and lightis one which makes architecture with this sense of space.

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The projects presented by the Lighting Designers were created using luminaires from several manufacturers

What part does artificial light play in architecture? When I think about artificial lighting, I think it should be the element with which toproject realistic human scale into architecture. For example, imagine there is a tablein a cubic space. The type of lighting we use depends on the human activity to becarried out or what we want people feel in that circumstance. If we think abouthuman scale, psychologically it is difficult to approach that scale from architecturalmodules. Thinking about uniform illuminance, when using a downlight in a corridor,is not enough. We also have to think about people’s speed of movement and theirperception of progression through the architecture and how these elements will makea rhythm. In architectural space, lighting design has to be based on how many peopleand what kind of people will be there. In square or architectural space, lighting designshould project human energy and human scale. In theatres, indicators are mounted to fit with the pitch of the seats. This is basically for safety but it matches the scale ofa person and gives a certain level of comfort. For me designing huge spaces (stations,halls, stadiums) is interesting. Even in airports, it is important to use the human asthe scale unit.

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Photographs: Kanji Nakayama, Toshio Kaneko, Nakasa&PartnersInc., / ©2010 Tokyo International Air Terminal Corporation

1. Beautiful Fukushima Future Expo.

2. Omotesando Hills

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Design Interview with Satoshi UchiharaPart one

What is your understanding of “light culture”?I often hear the word ‘culture’, especially in China. People also talk about lightculture but there is no clear definition about light culture. I think the lighting field is always united with cutting edge technology. Therefore, lighting culture changesaccordingly. It should include an identity for each country, region and nationality.There is an original idea of light in Japanese culture and it is important for theJapanese to pass down our culture through lighting. This culture will include ourlife, what we feel in our life and our mentality. These feelings are often impacted by light. Therefore, by researching them, we can create light as culture. My theme since I established my office is light as a communication method. I always try to express human communication in a design concept.

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Of course this kind of communication is not as clear as conversation and can’tinform things directly. However, I think the important thing for humancommunication is to feel something behind the words and light is a wonderful toolfor that purpose. We think of light as rationale for communication design. It shouldinclude personality, identity and nationality so that we may create lighting culturethrough communication design, especially as the Japanese have little sense of theability to express direct feelings and can’t speak definitively. It can easily seem likea lack of communication skill. However, speaking definitively is actually a one wayprocess and it is not a real communication. In the Japanese language, manyquestions, confirmations and agreements are involved, the conversation flows backand forth under equal conditions. This is a special way to communicate but aJapanese lighting designer originally has this kind of sense. Our culture consists of this kind of communication.

Satoshi Uchihara

Born in Kyoto in 1958Graduated from the Design Department of Tama Art University in 1982.After working for several years at Motoko Ishii Lighting Design, Inc., he set up Uchihara Creative Lighting Design, Inc. in 1994. Uchihara’s portfolio includes the design of the Omotesando Hills Bright-up Wall,the Roppongi Hills Arena and the Hirakawacho Mori Tower.

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3. Tokyo International Airport International Passenger Terminal Building.

4. Roppongi Hills Hills Arena

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Projects New headquarters for the company Legendre

Rennes, France

For its 60th anniversary, in November 2011, the Legendre Group inaugurated its newcompany headquarters. Built at La Courrouze, opposite the headquarters of Crédit Agricole bank, the new flagship of theLegendre Group gives the impression of greatstrength, reflecting the French group’s long, well-established history. Eight storeys high and 100 metres long, thestructure has concrete visible on the outside

ClientSCI Parc de la Courrouze Legendre Group

Architectural designAgence Unité - Anthony Rio and Jean-Charles ColliotJean-Claude Pondevie

and glass, allowing natural light in by day andfiltering artificial light at night. This low energy consumption building expressesthe group goals: to maintain a consolidatedpresence in the “big west” and a strongcommitment to environmental protection. Located in the Les Dominos eco-district, on the industrial estate, the building’s figures areimpressive: an extensive 10,000 square metres,half occupied by company employees and the

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Photographs: Phillipe Ruault, Marc Domage

1. Facade with alternating glass and concrete

2. Hall

3. One of the offices

LandscapersAgence Phytolab

Partners AssistanceiGuzzini illuminazione France

other half by tenants. The building uses only 40 kW/m2/year, while the environmental standardallows for 50. In addition to this building, on the same site 64 homes will be built, plus aninter-company crèche, all in compliance with the strictest environmental standards. All of thebuildings will be heated with a wood-burningboiler, which will also be used to provide hotwater. The Unité architectural firm designed anextremely bare building: no “outer skin”, justvisible concrete: the group’s grey matter. This same logic was also applied for the lighting.The 400 Action luminaires used in the officesbecome a minimalist object, purified and,suspended above the workstations, giving achanged, spectacular perception of the space. Architect Anthony Rio emphasises: “We put thelighting where it was needed”. Also, remove all of this text. Will read: ‘Also the Le Perroquet.....’,at the entrance which is bathed in light, the Le Perroquet luminaries light up the pyramids by artist Nicolas Milhé, while iPro spotlightsguide visitors to the lifts.

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Projects Tarazona Cathedral

Tarazona, Spain

The test stage for Tarazona Cathedral lightingbegan way back in 2004 and the architecturallighting was mainly set up using spotlights with metal halide discharge lamps. In recent years lamps have undergone atransformation, with the success of LEDs, which inevitably brought changes to the already complex art of lighting holy places. LEDs have many advantages, both in terms of energy consumption and maintenance, but in this case, the extremely cool colourtemperature made the designers hesitate. A series of in situ tests led them to chooseMiniwoody LED spotlights. The spotlights were selected on the basis of positioning andmaintenance. The dimensions had to be withincertain limits and, ultimately, from a lightingdesign viewpoint, they had to be able to usevarious optics and accessories to suppress glare. The lighting system set up by the architects incooperation with Soluciones Luminotecnicasaims to emphasise the main features of thecathedral, and, at the same time, to satisfyrequirements for religious use of the space. The gothic cross-shaped vaults which close the aisles, the presbytery with large retable, the transept and the dome lantern are thestand-out elements. The lower area of theaisles and the transept needed more diffusedlight for those present, so pendant luminaireswere preferred. The presbytery fixtures installedwere designed to allow stronger lighting toemphasise the importance of the ceremonies in there. The lighting design for the main nave and transept provides 3 light levels.The vaults are directly lit by resting the spotlights on the capitals at the start of the ribs.

Promoting body Ministry of Culture and Aragona Government

Architectural designFernando Aguerri and Jose Ignacio Aguerri

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Photographs: 274 Km

1. Integrated lighting of the vaults

2. Dome lantern lighting

Lighting designAguerri Arquitectos y Proyectar Soluciones Luminotécnicas

Partners AssistanceiGuzzini illuminazione España

Each bay is lit by 4 Miniwoody 3x1W LEDluminaires with 10º optic, plus 8 units with24º optic. The second, lower, level is for thearea with large lancet windows. In this case the spotlights rest on the vaultimpost. A Miniwoody 3x1W LED luminaire with fresnel lens lights the large lancet window opposite it. The central aisle is instead lit with pendantluminaires using compact 2x26 fluorescentlamps, supplementing the light from thespotlights. The side aisles have 2 levels: architecturallighting, similar to that of the main nave andtransept, that is to say, resting on the capitals,8 Miniwoody 3x1W LED luminaires with 24ºoptic for each bay, and circulation lighting fromapplique luminaires in the rear choir, fitted withnew generation 7W compact fluorescents. In the ambulatory the principle applied to theside aisles is used, but the number of spotlightsin each bay is halved, meaning that the 9 bayseach have 4 Miniwoody 3x1W LED luminaireswith 24º optics. The dome lantern also has different levels: afirst level, located at the start of the sphericalpendentives, is lit by 8 3x1W LED luminaireswith 10º optic; a second level corresponding tothe octagonal tambour with 16 units consistingof 3x1W LED luminaires with 24º optic forlighting the vault, plus 8 units of 3x1W LEDluminaires with 10º optics and fresnel lens for the opposite niche. All of the spotlights arelocated at the foot of the niches on each side of the octagon. Finally, a third level for theskylight with four 3x1W LED spotlights with24º optics. The cathedral’s architecturallighting, designed to remain on during openinghours for the public, as well as for religiousservices, has a total installed power of lessthan 1,000 W.

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Projects Dover Esplanade: breathing newlife into the city’s sea front

Dover, Great Britain

The features of work to upgrade the Dover seafront were set out by a partnership includingKent County Council, the Dover Harbour Board,Dover District Council, SEEDA and EnglishHeritage. The invitation for tenders for esplanaderestructuring and enhancement was handled by the Landscape Institute. The project wasfunded half by Sea Change, a governmentinitiative run by CABE, and half by the otherproject partners.The two million pound project has created a new promenade connecting the easternharbour to the western side. To the west of the Esplanade there is a new sea sports centre,to the east a crossroads connected to a tunnelwhich links the sea front with the central square.The backdrop to the Esplanade consists ofWaterloo Mansions, a 5 storey terrace datingback to 1834. As well as being the face of the city for many ferry and cruise passengers,the current Esplanade has been designed as a gathering place to attract Dover residents.

Co-financer clients Sea Change – British Department for Culture, Media and SportEnglish government Commission for Architecture and the Built Environment (CABE) funding programme Sea ChangeKent County Council (KCC)

Tonkin Liu radically changed Dover’s sea front. The project, called “Lifting Wave, Resting Wave,Lighting Wave”, was designed as a set of threeworks of art created from their social andenvironmental context because Tonkin Liu isalways looking for solutions that are specific to the place, people and period. Using a designmethod known as ‘ask, look, play, do’ theTonkin Liu architectural firm investigates thecharacter and potential of the place and putsforward specific proposals for that site and forthe people living there. The Esplanade reconnectswith the architectural language of Dover’sidentity: the delicate nature of the waves on the beach, the rhythm of the Georgian terraceon the sea front and the undulating topographyof the white cliffs of Dover. For the “LiftingWave” part of the project, a repeated ramps-and-stairs shape sculptured in prefabricatedwhite concrete rises and falls to link theEsplanade to the pebble beach. The “RestingWave”, including a set of seasoned oakbenches, treated to look like driftwood,

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Photographs: Mike Tonkin, Robbie Polley

1. Detail of the ring column

2. View from above of the project area

3. Night-time view

Dave Hughes, project sponsorDover Harbour BoardDover District Council

Art, Architecture, LandscapeTonkin Liu - Mike Tonkin and Anna Liu

Structural engineerRodrigues Associates with Jacob’s Engineering

Civil engineering, services, Quantity Surveyor & Project ManagerJacob’s -Ron Newport

Soft LandscapingJacob’s - Lindis Danson

Lighting designTonkin Liu - Mike Tonkin

Prime contractorRingway Infrastructure ServicesLimited Ken Buncher

Partners AssistanceiGuzzini illuminazione UK

represents a sculptural supporting wall runningthe length of the Esplanade and is designed toprevent unauthorised application of posters andother items. In contrast, the “Lighting Wave” is a sculpturalwave of white columns. Along the Esplanadethe columns rise and fall like the spray on thecrest of a wave, decorated with a structuremade of rings that really resemble sea spray. The columns support all of the Woodyfloodlights which light up the area: both the“Lifting Wave” and “Resting Wave”. Miniwoodyfloodlights are used to light the decorative“spray” of the “Lighting Wave”. All of the lampsare programmed to provide lighting which marksthe passage of time, generating a sequence oflighting every hour and a simplified sequenceevery quarter of an hour. The project won theRiba Award on 1 October 2011, as the bestproject implemented in South-East Great Britain.

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Projects Rosenberg Shopping Centre

Wintherthur, Switzerland

The Rosenberg complex features the combinationof commercial and residential premises. The shopping centre has a pleasant appearance,flooded with light and built in a contemporaryarchitectural style. Carefully selected elements in the lighting andcolour, together with a shrewd choice of materialshave created a warm, enjoyable atmosphere,despite the impressive dimensions.

ClientGenossenschaft Migros Ostschweiz

Architectural designatelier ww Architekten SIA AG

Lighting designReflexion AG

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Photographs: Günter Laznia

1. The outside of the building at night

2.3. Shopping centre communal areas

Electrical engineering designHEFTI.HESS.MARTIGNONI. AG

Partners AssistanceiGuzzini illuminazione Schweiz AG

Particular importance was attributed toenvironmentally-friendly construction principlesand to innovative methods, such as therecovery of dispersed heat. In this way, the new complex consumessubstantially less energy than the old shoppingcentre, despite its larger size now.

The special architectural atmosphere is emphasisedby lighting design which caters for the variousrequirements linked both to residential andcommercial use, as well as the distinctivefeatures of the outside lighting. In the entire shopping centre area, which has a maximum internal height of 15 metres, the

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4. Detail of the ceiling

5. Accent lighting for the first floorProjects Rosenberg Shopping Centre

Reflex Professional recessed luminaire was used,allowing the high lighting intensity needed, at thesame time avoiding glare. This guarantees excellentvisual comfort for customers and employees. In the nearby streets and the squares facing thestructure, pole-mounted MaxiWoody luminairesare used which, thanks to their flexibility,

provide an ideal lighting system for public spaces. The outer structures such as balustrades,railings and handrails, which encircle theresidential area, are lit by Walky model luminaires. Recessed wall luminaires produce warm accent lighting providing a harmonious background to the extremely simple design.

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Projects Light for the architectural complex ofthe Kutna Hora Jesuit College

Kutna Hora, Czech Republic

Lighting design for Kutna Hora historic monumentsLadislav Monzer

Lighting design for the Jesuit CollegeApis s.r.o. - Jan Hasenohrl

Together with Saint Barbara Cathedral, the KutnaHora Jesuit College forms an impressive complexwhich majestically dominates the Vrchlice rivervalley. Its construction, based on a design byDomenico Orsi, the famous Jesuit buildingarchitect, began in 1667 and was completed in the mid-18th century. The building is ratheraustere and only the front facade brings to mindthe Italian palaces of the early baroque period.The Jesuit College was used as a military depotbefore its ownership passed to the Czech Museumof Fine Arts in 1998. Since 2010 it has housedthe Central Bohemian Art Gallery (GASK). The new lighting for the Jesuit College is part of the project to regenerate the areas surroundingSaint Barbara Cathedral and Corpus ChristiChapel and was inspired by the idea of lightingfor the main Kutna Hora historic monumentscreated by architect Ladislav Monzer. The project was implemented in 1995 andincluded, as well as Saint Barbara Cathedral, the Corpus Christi Chapel, the Jesuit College,Hradek, the archdeaconry building, St. James’schurch and Vlassky dvur (the ancientheadquarters of the Mint).The best views of the Jesuit College are from ashort or medium distance. From there the frontfacade and the twin towers become thepredominant parts. For views from a mediumdistance, it is important that the lighting of theJesuit College follows the lighting model of Saint Barbara Cathedral in terms of the luminanceof the facade and light colour temperature. In addition to the facade, the building’s roof and the two towers must be lit to give the general impression of the building in the contextof the whole panorama. One problem that had to be overcome was that of integrating the brighteffect of public lighting in via Barborska, whichruns along the Jesuit College.

It consists of reproductions of old lanterns on cast iron poles using 70 W high-pressure sodiumdischarge lamps. Looking at the building from a medium distance, at night, these public lightsaffect the perception of the Jesuit College: theycreate points of light which are quite intrusive inthe lower part of the facade. The lighting designfor the outside of the Jesuit College is in threeparts: the first part lights the base of the facade. Light Up Walk professional ground-recessedluminaires using 35 W metal halide lamps areused here at a distance of 1 metre from the facade on the axis of the pillars. The second part relates to lighting for the upper area of thefacade, obtained using Maxiwoody floodlightsmounted on six 5-metre high poles in a gardenarea behind the wall with statues. One floodlighthas a refractor, to give off an elliptical beamwhich lights the closest part of the facade. The third part of the project is for lighting theroofs and lateral towers with Maxiwoodyluminaires using a spot optic and two floodlightswith medium optic for 150 W metal halide lamps.All of the floodlights have side screens to reduceintrusive light effects and minimise the likelihoodof passers-by being dazzled. The system isdesigned to be controlled in such a way thatwhen the public lighting is ON, the architecturallighting is OFF and vice versa. The lamps usedhave colour temperatures of between 3000 Kand 4000 K. The architectural lighting has twooperating modes. In the first, only the ground-recessed luminaires are switched on. The lighting is muted and is ideal for views from a short distance. This mode is designed to operate on weeknights. In the second mode,both the ground-recessed luminaires and all of the floodlights are switched on. The architecturallighting remains on until midnight. Then it isswitched off and the public lighting comes on.

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Photographs: Tomáš Bogner

1.2.3. Effect on the facade of switching on only the public lighting; the public lighting with Light Up; Light Up and floodlights

4. Fully lit college facade

InstallationTHK Elektropráce

Partners AssistanceEtna s.r.o.

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Projects New outside lighting for the Sacred Convent of Assisi

Assisi, Perugia

ClientSacred Convent of Assisi

The new system, at the Sacred Convent ofAssisi, was switched on in the presence of the Pope, for the 25th anniversary of the day of reflection, dialogue and prayer for peace, on 27 October 2011.The Sacred Convent basically had tworequirements: the first was to reduce the energyconsumption of the old system, which usedfloodlights with a 1000 W halogen lamp forlighting the vertical walls of the SacredConvent, while the porticoes were lit by 150 Whalogen floodlights. The second was to obtain lighting that would be the same all over thecomplex and which could highlight and showoff, even at night, the aspect of the complexthat was seen by day.All of that was achieved with 85 Maxiwoodyfloodlights rated between 150 and 250 W plus 90 Miniwoody 20 W HIT for the porticoes.

Two iPro luminaires were fitted to light theLower Basilica entrance, set on the outermostcolumns of the renaissance atrium. The Maxiwoody luminaire was chosen for itsextreme versatility: available with many powerratings and optics as well as the possibility offitting many accessories with a light flow thatcan be directed, screened and expanded. The main difficulties faced were linked to theheight of the surfaces to be lit and the limiteddistance at which the floodlights had to beplaced in some cases. On the walls of the Western side lighting to aheight of 50 metres was needed: with evennessobtained thanks to the use of medium optics forlighting the highest section and a wide flood forthe lower part. The floodlights also light the entire expanse ofthe wall extending along the Southern Palace,

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Photographs: Luca Petrucci

1. Night-time impact of the new lighting

2. The complex seen from the Lower Basilica

the Main Refectory and the Friars’ Dormitory,connected to the Lower Basilica. Along thishuge surface a superspot optic was only usedonce, directed onto the sculpture depictingPope Sixtus IV. The highest power ratings, 250 W, were usedto light the walls, and 150 W for the Church.Uniform lighting was also needed for the facadeof the Upper Basilica, and the decision wasmade to lessen the shadows in the bays of thesmall corridor at the side of the facade as wellas the shadows of the bell tower’s two-light and three-light windows. To light the bell tower, floodlights with 150 Wmetal halide lamps were placed on the roof ofthe inner courtyard. The lamp used is the Mastercolor with 3000 K colour temperature. This lamp wasalso fitted in the old floodlights which in some particular positions were not substituted.

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Projects Peterhof monumental complex

St Petersburg, Russia

ClientPeterhof Museum Complex - Director: Elena Kalnitskaya

InstallationCandela

In September 2011, to mark the eventsdedicated to Italian culture, in St. Petersburg for the first time the city’s inhabitants were able to see the full, permanent lighting of themonumental urban complex - the Peterhof -which UNESCO has declared to be a WorldHeritage site, built as the summer residence for Tsar Peter the Great in the 18th century by architect Francesco Bartolomeo Rastrelli. iGuzzini lighting was applied throughout the

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Partners AssistanceiGuzzini Finland & Baltic Oy RO

Photographs: Sergey Timoschuck

1. The Peterhof facade overlooking the Lower Park

2. Detail of one of the churches at the complex

complex, including the orthodox churches with their extraordinary golden domes. Around 80% of the lengthy facade, was litusing Light Up Walk professional luminaireswith metal halide, 3000 K colour temperaturelamps, arranged in pairs. The Light Up luminaires were arranged in that way to light the entire height and slightlyaccentuate the upper part of the building,which is visible above the trees from the

surrounding roads. Only in the central section,due to the presence of a large terrace, was the upper part lit using Maxiwoody floodlightsplaced opposite the building on an existingembankment. Maxiwoody floodlights were also used to light the domes of the two churches. The powerratings used were 70 W and 150 W. The project was ranked second, among 35 entries, in the Interlight Moscow Award.

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Projects “Lynetten” incineration plant

Copenhagen, Denmark

ClientLynettefællesskabet I/S

Architectural design Creo Arkitekter A/S

The “Lynetten” sludge incineration plant is located along the eastern waterfront ofCopenhagen’s inner harbour. The location makes the plant clearly visible to anyone visiting the city’s western waterfront and entering the harbour on a yacht or cruise liner. Lynetten purifies Copenhagen’s waste water and partly produces power, and it is one of the most energy efficient plants of its kind in the world. The client wanted thebeauty of Lynetten’s industrial nature to be highlighted by suitable lighting at night.Copenhagen-based Rambøll Lighting was commissioned to come up with the lighting design.

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Technical and lighting designRambøll Lighting

Partners AssistanceiGuzzini illuminazione Denmark

Photographs: Ole Ziegler

1.2. The plant in the harbour and residential context

The client’s main requirements were: tomaintain Lynetten’s unique architecturalfeatures and guarantee a solution with lowenergy consumption.These two requirements were met thanks to the lighting design which used Maxiwoody and Woody LED luminaires.Rambøll Lighting presented an idea with thevisual focus on five large cylindrical silos,painted in different colours and positionedinside the building, immediately behind thefacade’s cladding. Maxiwoody floodlights with half amber, half warm white LEDs, were placed in the ceiling and light the silo from above.

Plus, Woody floodlights with half amber, halfwarm white LEDs were arranged on the floor,lighting the silo from below. With such an idea, where light radiates frominside the building, the transparent nature ofthe architecture can be emphasised. So, the facade isn’t a visual barrier at night, but a transparent surface that reveals the inside and the purpose of the structure. Plus, the new chimney, which is an integralpart of the plant, is lit as a vertical accent inspace, using another Maxiwoody floodlight.With the new lighting design, Lynetten “shines”by night like a new urban reference point inCopenhagen’s inner harbour.

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Projects Marttiini store: the most beautiful “Puukko” store in the world

Helsinki, Finland

ClientMarttiini Oy

Retail space designAmerikka Oy

Partners AssistanceiGuzzini Finland & Baltic Oy RO

The "Puukko" is a traditional Finnish knife,considered both a craft object and a tool for daily use. Marttiini has been producing knives in Lapland, northern Finland, since 1928. The new Marttiini store is at the heart of Helsinki, and its shop window provides an amazing view of the Cathedral and Senate Square.

The new store combines Marttini's extensivetradition and history with contemporary design.The materials used in the store, (wood, metaland leather), are the same as those used to make the knives. All of the details were designed while keeping in mind the functional aspect, to allow this smallspace to display more than 200 different products.

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Photographs: By kind permission of Amerikka Oy

1.2. Images of the interior design

3.4. Details

The challenge was to design a solution whichwould allow the store to display a wide variety of products. In fact, to find the right product,customers have to be able to see each itemclose-up. The walls show the products secured to a woodenblock at a slight angle using powerful magnets. The designers spent a lot of time finding asimple enough combination which would workwill all of the 'puukko' knives, displayed with and without a sheath. The use of magnets also means that the product layout can easily bemodified, so that staff can change the productson show whenever necessary. Since the storealso asked for the presence of a storage areaclose to the products for day-to-day use, a smallspace was created behind each product so thatstaff can easily find the product required. The functional details are closely linked to theplace’s appearance and atmosphere and play an important role in promoting sales. The lighting is supplied using Pixel metal haliderecessed luminaires with different power ratings:20 and 35 W also using wall washer screens.This little store won the WAN Awards 2011 in the category for stores with a surface area of less than 200 square metres.

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Projects Light Laboratory

Recanati, Italy

ClientiGuzzini Illuminazione s.p.a.

Architectural design Maurizio Varratta, architect

The Light Laboratory is a building coveringaround 6,000 m2 designed as an extension to the iGuzzini Illuminazione headquarters inRecanati, which after a lengthy planning and development period was completed in 2010. The building as a whole consists of 4 storeysabove ground, of which three are dedicated to offices for designing new products andresearch, while the ground floor is used fortraining - meeting rooms and the catering area. The ground floor also provides access to thecorporate meeting room, a double-height space which can accommodate around 300 people, completed in 2011.

On the basement level, around the largemeeting room is the showroom, an areaspecially designed to show light and its effectsusing the products made by the company.Also on the basement level, outside the building’s profile, are the technical premises, the beating heart of the new system. iGuzzini illuminazione asked for a multi-functionalbuilding, with a simple shape and structure, a “cube” able to fit in and integrate with theexisting industrial complex and which at the same time was designed in line with the most modern energy efficiency andenvironmental sustainability requirements.

Photovoltaic plant dataThe plant was built by Energy Resources

Total installed power 1599,61 kWp

Number of plant sections 5

Photovoltaic modules installed 6529 modules245 kWp monocrystalline typeGEEG

Modules total surface area 10577 m²

Forecast annual production 1.935.500 kWh

Company total annual 8.000.000 kWhaverage electricity consumption

Total power required 1932 Kwfrom electricity supplier

Panel orientation 19° relative to north

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Photographs: Gabriele Basilico, Giuseppe Saluzzi, Daniele Domenicali and by kind permission of Energy Resources

1. Integrated photovoltaic plant

2. Front view of the buildings by Maurizio Varratta (on the left) and Mario Cucinella (on the right)

Design teamMaurizio Varratta, Luca Massone(project manager)Valentina Noli, Stefano RussoValentina Fenoglio

Structural Design Favero & Milan Ingegneria

Plant-engineering Design Manens Intertecnica S.r.l.

Acoustic Design Müller BBM

The design prepared for the complex system ofarchitecture and plants allowed energy efficiencythat was 30% better than that of a similarbuilding using conventional technology. ArchitectVarratta adopted an integrated design method,where all aspects contributing to environmentalsustainability criteria were approached in paralleland design decisions were assessed with theintention of maximising the level of environmental

sustainability defined by the Sustainable Building Challenge certification system of theiiSBE (international initiative for Sustainable Built Environment). That system allows objective and measurableevaluation of the energy - environmentalperformance of buildings, assigning a final score for the level of sustainability achieved by the building.

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Projects Light Laboratory

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1) Double-skin facade. For the iGuzzini building a solution was selectedwith a dynamic outer construction that adapts notjust to winter and summer conditions, but also toindividual temperature conditions and effectiveirradiation at a specific moment. The outer glazingskin forms a continuous vertical surface and hasglass plates which can be angled and opened at thebottom and the top. These plates remain closed inwinter to increase the facade’s thermal insulation,creating an air space in the gap, while they open in summer, spring and autumn (when rooms needcooling) to promote natural ventilation of the gap.

2) Green roof.The use of a green roof allows a reduction of the"heat island" effect and minimises the impact on the local microclimate. The advantages of the green roof are:

- Reduction of energy consumption for cooling, thanksto evapotranspiration (evaporation of excess waterfrom the green surface)

- Reduction of winter thermal loads thanks to a highinsulating effect.

- Reduction of the volume of meteoric water to bedrained into the system of downpipes.

3) Screening.Located in the gap and consisting of a system ofroller blinds, automatically operated to block thedirect rays of the sun and so guarantee comfort for everybody in the building and minimise energyconsumption from air-conditioning in the summer. If there are no direct rays of sunlight (in the morningfor the west facade and in the afternoon for thesouth facade, or if it is cloudy) the screening isretracted to maximise natural light in the building,providing improved visual comfort for occupants and saving the electricity that would be required for artificial lighting. The artificial lighting systemuses a system for regulating the light intensityaccording to natural light levels in the offices. In winter, with the screening up, free heat from the sun is exploited, when this does not cause any temperature/visual discomfort for the building’s occupants.

4) Motor-driven plates control the outfeed of air fromthe “double-skin” system.

5) False ceiling with radiant panels.

6) Plant-engineering skylight well.

7) Water collection tank.

8) Heat pump.

9) Technical wall.

10) Hot and cold water for air-conditioning is producedusing a plant equipped with heat pumps forgeothermal exchange with groundwater. This system uses electricity and water drawn fromthe ground for condensation-based heat exchange,with energy efficiency much greater than moreconventional machines which use heat exchangewith the outside air.

11. Area with recharging "post" for electric motorvehicles.

12. Photovoltaic shelter covering the outside parkingareas.

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The overall sustainability score achieved by the iGuzzini headquarters using the SustainableBuilding Challenge method is 3.5 (on a scale from -1 to 5), which is the highest score so far for any office building in Italy. In particular, the Light Laboratory has such low energy consumption that it was awarded full marks (5) according to the energyconsumption criteria. This result was achieved thanks to features suchas: use of passive systems for temperature andnatural light control, use of renewable energysources (an integrated photovoltaic plant wasbuilt), energy-efficient plants, both for air-conditioning and for artificial lighting, comfortlevel for occupants, in terms of temperature, air quality and visual comfort.

3. Diagram of plants

4. Outside

5. One of the office levels

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Projects “Il Cielo” (The Sky)the new iGuzzini España premises

Barcelona, Spain

ClientiGuzzini Illuminazione España

Architectural design Josep Miàs – MiAS Arquitectes

Project manager Silvia Brandi

The new iGuzzini illuminazione Spain premiseswere inaugurated on 6 October 2011 attendedby journalists, architects, local business figuresand government representatives includingMercè Conesa, Mayor of Sant Cugat and ItalianConsul to Barcelona Federico Ciattaglia.The building in Sant Cugat del Vallès is thelatest in a series of structures promoted byiGuzzini which has made energy sustainabilityand light management, - both natural andartificial - the foundations of the design. The building, in the Parque de Actividades

Empresariales Can Sant Joan was designed by architect Josep Mias who called it “Il Cielo”(The Sky), because of its aerostatic globe-shaped central body that seems to be ready for lift off.The architect interpreted, the company’srequirements for the Spanish branch and theresult is a formalisation of those needs in aneat building extending over a total surfacearea of 6,300 square metres on four storeyswith offices, laboratories, a showroom andauditorium.

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Photographs: Adrià Goula, MiAS Arquitectes

1.3. The building seen in the daytime

2. From right: Sant Cugat Mayor Mercé Conesa, Paolo Guzzini, Miguel Chiva and Adolfo Guzzini

Design teamPablo Varesi, Adriana Porta, Fausto Raposo, Hélène Barbot,Andrés Dejanon, Mario Blanco,Horacio Arias, Anna Mañosa, JanineWoitoshek, Stefania Carboni,Margherita Corbetta,

Mannick Eigenheer, Isabelle Glenz,Diogo Henriques, Silvia Lai,Pier Francesco Lisci, Roberta Luna,Francisca Marzotto, Ines Reis, Diego Romero, Emanuela Scano,María Tapias

Structural design BOMA

Technical architect Carles Bou

The basement area houses the warehouses, the showroom for luminaires for interiors, the car park and building’s plant room. The underground area is covered by a variable-height technical floor, used as a showroom for outdoor luminaires. “The fact that a company which produces artificiallighting should consider natural light so importantin working areas was the main idea we shared. Other elements were the location of the buildingat a motorway junction, and the perception

that the building itself is moving, as well as its relationship with the topography of the place,which suggested to us a building withoutfacades, delicately suspended on the site. The central patio forms a microclimate thatallows climate control in the building. Decisions about controlling the sun’s rays on the building’s glazed surface are in line withabsolutely practical criteria to optimise air-conditioning energy consumption, as these plans formally show.

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Projects “Il Cielo” (The Sky)the new iGuzzini España premises

4.5. Il Cielo becomes a landmark in the night-time landscape

6. Detail of the structure at the centre of the building

7. Cross-section of the whole building

In short, the building is energy efficient andcommunicates it's goals without words.” At night, the artificial lighting is created usinglow-consumption luminaires and LED technology,which are controlled by a control system thatoptimises the use of light and highlights thearchitecture.Horizontal lines are obtained using Linealuce and Ledstrip LED luminaires. The central structure is lit with Maxiwoody LED36W fittings. Linear lights mark out the horizontalperimeters, while floodlights, used to obtain anaccent light effect light up the vertical surfaces. LED luminaires were also used for the offices.

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Design AAA Italy

For us here at iGuzzini Illuminazione, designhas always been of value in our planning, andmany awards and publications have proved thatdecision to be a good one. Among them, thelatest was “Christmust 2011. 150% italiani”. The publication, sponsored by the Ministry ofForeign Affairs, was edited by Danilo Premoli(you can read the editorial article here), andSimona Lombardi for Ali SpA, and gatheredtogether, among products and “success stories”,the 100 leading names in “Made in Italy” forthe last year. These include iGuzziniIlluminazione for producing the Crown lamp,designed by Michele De Lucchi for urban spaces. To underline the importance of design in ourproposals, we have published here the drawingsof iGuzzini Illuminazione’s new products for2012, created in collaboration with the mostprestigious international design firms. We willcover them in more detail in future issues ofIncontroluce.

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Photographs: iGuzzini illuminazione Archive

1. Sketches by Renzo Piano for Wow luminaire

2. Sketches by Maurici Gines for Palco spotlight

3. Sketches by Bruno Gecchelin for Light Shine luminaire

“Despite Standard & Poor’s rating, Italy stillenjoys “AAA” status worldwide when it comes to Clothing, Food and Furnishings. So theexcellent design and production of many Italian companies deserves to be promoted. That’s what is proposed, on its own small level, by the publication Christmust, convinced that promoting the Italian Way isn’t just a pastime for those with lofty ideas, but instead highlights a possible development model. What makes the successful products andcompanies collected in that text? You can sum it up as: honesty, beauty, innovation, discretion,consistency, simplicity and ethics. To beinterpreted respectively as: the right product at the right price, with attractive formal qualities, the result of careful and curious research, neitherexcessive nor bulky, tuned into the surroundingworld, basic but not ordinary or useless, sensitivein terms of use of resources, before, during andafter being part of our surroundings. Obviously,behind every product there is a company, anentrepreneur, and that’s why the publication alsotells their stories, full of intuition, risks, dreams,luck, memories, knowledge and emotions. There is more to design than philosophy can imagine”.

Danilo Premoli text taken from “Christmust 2011”.

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4. Massimo Iosa Ghini’s sketch for Pixel Pro recessed luminaire

5. Cover of “Christmust 2011.150% italiani”

6. Mario Cucinella’s sketches for iPro Mini and Micro spotlights

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Company culture Timber Wave

Victoria and Albert MuseumLondon Design Festival 17-25 September 2011

Sponsored byThe American Hardwood Export Council

DesignAL_A ( Amanda Levete _Architects)

The grand main entrance to the V&A Museumwas transformed for the duration of the LondonDesign Festival, by a giant timber wave, createdby Amanda Levete_Architects. Made by Arup using American red oak treatedwith oil, this 12-metre high spiral frame was formed by putting together several parts to produce a structure that gently rolls ontoCromwell Street. SEAM design was involved in the project inFebruary this year, tasked with setting up asuitable lighting system. The challenge faced by Marci Song, SEAM director, was the fact that she had to achieve a strong, iconic imageon a small budget. SEAM developed a verystrong visual connection between the arch andthe V&A entrance: the light enters the woodenmesh used to build the arch and producesmarks on the facade: this gives a beautifuloverall configuration and a strong night-timeidentity, as well as a new experience for visitors.In this way, the designers managed to combine a contemporary work with a historical facade and

to express the idea of elegance and dynamism in this unique gesture wanted by the architect in order to take the V&A out into the street.The arch is quite complex and AmandaLevete_Architects, ARUP and CowleyTimberwork really pushed to the limits theperformance, appearance and strength of thetimber. Since this sculptural arch was madethanks to the most recent technologies ingenerative design calculation and productionmethods, it would have been natural to use the most recent lighting technologies (i.e.: LEDs and sophisticated control systems),but Marci Song opted for a very simplesolution. Selecting luminaires produced by the sponsor iGuzzini, SEAM used 15 Woodyfloodlights with spot optic and 5 Miniwoodyfloodlights with wide optic, as well as severalaccessories to prevent glare and to control and direct the beam of light from the base of the arched structure, the optimum position for obtaining both lighting of the arch andprojections on the facade.

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Photographs: Dennis Gilbert- V&A Images,Victoria andAlbert Museum,Tom Lorton- Seam Design

1.2. Entrance to the Victoria and Albert Museum

3. Detail

Structural engineeringArup

ConstructionCowley Timberwork

Lighting designSEAM Design

Technical sponsoriGuzzini illuminazione UK

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Company culture Pasajes Competition - iGuzzini JuryAmelia Vilaplana Architect, winner of the fourth edition of the competition and director of the Atelier Paipái architectural firm

The biennial competition promoted by Pasajesmagazine and by iGuzzini, which has alwaysbeen based on the belief that among newgraduates there are the leading architects of the coming decades, has reached its 5th edition.The awards ceremony took place on 29November at 8 p.m. at the Colegio Oficial deArquitectos de Madrid (COAM). The jurygathered at the iGuzzini illuminazione Espanapremises on 13 October 2011, and began acareful assessment of the 177 degree projectssubmitted. After an initial stage involvingindividual assessment of the works, the jury moved on to a comparison of opinions,identifying 30 designs that were then whittleddown to 22 which will be included in thetouring exhibition for the Pasajes - iGuzziniArchitectural Design competition. Of thoseworks, only 9 were selected to receive first and second prizes, two commendations and five mentions.

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Photographs: iGuzzini Illuminazione Archive

1. Plate from the winning design

2. Prize winners

3. The jury at work

4. The large amounts of work presented

Manuel Ocaña, Architect, Director of Firm Architecture and Though Production OfficeJosep MiàsArchitect, manager of MiAS firmArquitectes di Barcellona

José BallesteroPasajes ArquitecturaJosep MasbernatiGuzzini illuminazioneSilvia CarazoiGuzzini, secretariat

Finalist designs

First PrizeGonzalo del Val, “Berlín NEU - BahnhofZoologischer Garten” (Berlin new station and zoological gardens)Unanimous verdict: “a recognisable work but implacable in its determination”.

Second PrizeJosé Luis Susin Velilla, CICEC. Centro de Intercambio cultural España - China(Spain - China Cultural Exchange Centre)

Commendations

Ricardo Morcillo Pérez “Luz artificial y espaciopúblico. Recontextualización urbana a través dela luz”. (Artificial light and public space. Urbanre-contextualisation through light).

Ignacio de Teresa Fernández, “La cementera.Producción y exposición de arte” (Cementfactory. Production and art exhibition).

Mentions

Laura Culiáñez Pina “Hay vida en el espaciointerior?” (Is there life in inner space?).

Rocio Pina Isla, “Efecto camping” bloque compacto de apartamentos en Mora (Suecia)”("Campsite effect" compact block of flats inMora (Sweden).

David Cárdenas Lorenzo, “La Mancha, 6 reflexiones dibujan un presente.” (La Mancha, 6 reflexions drawing a present).

Adrià Escolano Ferrer, “Laboratorio periférico”(Peripheral laboratory).

Laura Ros Martínez, “Centro de artes escénicasImpulstanz+Mercado_Viena” (Stagecraft CentreImpulstanz+Market_Vienna).

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Company culture Archilede: tests and applications

LED technology has developed and continues todevelop very rapidly. iGuzzini began makingLED luminaires recently, but in doing so it setitself the goal to find the best possible quality. Given the rapid evolution of the features of LEDlamps, to guarantee top quality we need an in-depth knowledge of this element and aboveall we have to know how luminaires based onthe use of LEDs can be improved on. That’s why iGuzzini decided to work with anduse qualified third party organisations such as universities and research centres to look closely at these subjects and test its products.Archilede for example was tested to demonstratewhether or not its efficiency can be affected by conditions outside normal limits, such asextremely high temperatures, as well as tests to check energy efficiency, both in the CzechRepublic and in Finland. In the Middle East the Laboratory handlinglighting for the department of Architectural Engineering at the University of the ArabEmirates was asked by iGuzzini to test the

Archilede street light. Two Archilede luminaireswere installed in a street in the city of Al Ain, in the Arab Emirates. The street was closed to traffic and the lightinglevels were measured daily every 10 minutesfor the entire summer of 2010. The temperature and relative humidity weremeasured both inside the luminaires and outside.The experiment aimed to test the stability, in terms of lighting, of the LED luminaire in an environment with high temperatures. The control for comparison was provided by a test carried out in the laboratory with indoortemperature conditions. The data measuringdevice was fitted in the Archilede opticalassembly and was tested on 15 June. The test ran from 9.15 a.m. to 4.50 p.m. The data showed that the temperature rosefrom 24.8 to 41 Centigrade in less than twohours. The temperature measuring devicegathered the data until 4.50 p.m., when themaximum temperature of 42° was reachedinside the luminaire.

That test led to the following conclusions:

- The light flux produced by the luminaire was quite stable during the entire summer period.- For the outdoor luminaires, average night-timetemperature on the inside of the luminaire was 35-43 oC. The light flux remained practically constant, given that the variations were around 10%.- The average luminance of the street was 1.1 cd/m2, with a luminance Uniformity ratio (defined by the ratio of Average luminance to Minimum Luminance).

For more information: Saraiji, R., Harb, A., Hamdan, M.O., “Performance of LED Street Lightings In Hot Environments”, Lighting In Engineering, Architecture and the Environment, WIT transactions on the Built Environment, Vol. 121, 2001.

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Photographs: iGuzzini illuminazione Archive

1. Diagram showing lighting and temperature levels reached inside the luminaires tested in Dubai

2. Lighting levels produced by the Archilede luminaires tested in the period August - September

Figures for the project for the A483 Trunk Road

Luminaires used13 Archilede 84x1WAnnual energy saving3172 kwhAnnual CO2 reduction1,7 tonsPhotographsJames Newton

Use of this luminaire eliminated the problem of intrusive light for the homes overlooking the street.

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3. AA483 Trunk Road before the work

4. Current situation.Greater uniformity and no invasive light on the facades

5.6. Tests the luminaire was subjected to at the iGuzzini laboratory

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Company culture Archilede: tests and applications

In Finland, on the other hand, the Archiledeluminaire was assessed in research carried out by Aalto University, consisting of a questionnaireand a test by the University itself. The questionnaire was issued to municipaladministrations which began, in a more or lessextensive way, to adapt public lighting using new lamps, from simply retrofitting to whole scale substitution of old systems, and the resultswere evaluated. The test of performance of several LED luminairesfrom the leading European manufacturers wascarried out within the University area.Comparison of the results with the old installationprovided the following information. The Archilede84x1W proved capable of savings of up to 31%compared with the old installation, against

savings which ranged from 7% to 24% byseveral competitors. The test using Archilede 55x1W luminairesshowed a possible energy saving of 38%, at the same time guaranteeing unchangedlighting conditions. In Europe several countriesare beginning to substitute old systems whichused conventional lamps with LED luminaires.We chose three examples representing differenttypes of intervention. The Swiss town of Igis decided to completelyoverhaul the old system and replace it with a system using exclusively LED luminaires. The Igis town council aimed to reduce publicelectricity consumption by 10% by 2012. The new system was officially presented with a press conference at the end of November 2011.

Igis project figures

ClientIgis Town CouncilDesignerLeo Vetsch of Leo Solutions AGInstallationRhiienergie AG Installation technical consultantRené Wildhaber PhotographsGünter LazniaLuminaires used Archilede and Cut-Off Delphi

Distance between poles. Since installation is in progress throughout the entire municipality the distances between poles vary from 20 to 70 m.

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7. Igis, Station square in the Landquart hamlet

8.9. Street lighting installed for the Wolfschlugen country town

In the UK, in 211 Powys County Counciltogether with Western Power Distributioninstalled new lighting along a stretch of theA483 at Builth Wells, replacing the old pole-mounted luminaires which used 150 Wsodium vapour lamps with Archilede 84x1WLED luminaires, achieving energy savings of 40%. In Germany, in the town of Wolfschlugen in 2011 it became obvious that the streetlighting needed to be made more energyefficient. In the spring of 2011 the towncouncil resolved to change over fromconventional mercury vapour lamps to LEDtechnology. Amongst the alternatives examinedwas substitution of the lamps with sodiumvapour lamps. In October 2011 more than 400 luminaires were replaced with theArchilede LED street lighting system.The redevelopment project aimed not just forimproved lighting system efficiency, but alsoand above all to reduce costs. Compared withsodium vapour lamps, the LED lamps allowed

a saving in terms of energy and maintenancecosts of 35%. The higher initial investment linked to LEDswas covered by an incentive. The street lighting solution adopted inWolfschlugen stands out because on all roadsin the municipality only one type of lamp wasused. With integrated “smart” control it waspossible to meet the most diverse lightingrequirements; different cycles for adjusting the light intensity allow the individual lightinglevels needed. The possibility of turning down the level atnight allows a further energy saving. The use of LED luminaires brought the townother advantages: the neutral white light fromthe LEDs guarantees greater road traffic safetythan the yellow light from sodium lamps.Thanks to the highly efficient, patentedArchilede street optic, the roads are lit in auniform way and to the current standards,avoiding dispersion of the light flow and light pollution.

Wolfschlugen project figures

ClientWolfschlugen town councilLighting design GA Energieanlagenbau Süd GmbHAndreas MoselElectrical installerGA Energieanlagenbau Süd GmbHPhotographsGA Energieanlagenbau Süd GmbH

400 punti luce a LED fanno realizzare un risparmio di costi energetici pari a 12.000€/anno rispetto alla tecnologia al sodio e 35.026,80 € rispetto al vecchio impianto.

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IncontroluceSix-monthly international journalof lighting culture

year XIV, 25

Editorial officeCentro Studi e Ricerca iGuzziniFr.ne Sambucheto, 44/a62019 Recanati MC+39.071.7588250 tel.+39.071.7588295 faxrc@iguzzini.it

iGuzzini illuminazione spa62019 Recanati, Italyvia Mariano Guzzini, 37+39.071.75881 tel.+39.071.7588295 faxiguzzini@iguzzini.itwww.iguzzini.com071-7588453 video

Graphic designStudio Cerri & Associati

EditoriGuzzini illuminazione spa

Contributors to this issueiGuzzini illuminazione DanmarkiGuzzini illuminazione Finland & Baltic OYiGuzzini illuminazione FranceiGuzzini illuminazione Iberica S.A. iGuzzini illuminazione Schweiz AGiGuzzini illuminazione UKEtna S.r.o

Cover photographVjekoslav Skledar

Printed: April 2012Tecnostampa, Recanati

I. 201225 Incontroluce

The editorial team is not responsible for errors and omissions in the list of credits relating to projects and supplied by collaborators.Any additions or corrections will appear in the next issue.

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Dean Skira / Satoshi Uchihara / Agence Unité / Fernando Aguerri /Josè Ignacio Aguerri / Proyectar Soluciones Luminotécnicas / Tonkin Liu / atelier ww Architekten SIA AG / Reflexion AG / Ladislav Monzer / Apis s.r.o - Jan Hasenohrl / Creo Arkitekter A/S /Rambøll Lighting / Amerikka Oy / Maurizio Varratta Architetto / Mias Arquitectes - Josep Mias / AL_A / Arup / Leo Solutions AG - Leo Vetsch / GA Energieanlagenbau Süd GmbH - AndreasMosel / Bruno Gecchelin / artec3Studio / Massimo Iosa Ghini /Piano Design

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