Retail Paolo Carlini Market day Oscar Farinetti Dynamic light for high Italian quality David

01Retail

Paolo Carlini Market day

Oscar Farinetti Dynamic lightfor high Italian quality

David Dalziel The new challengesof the retail sectorin the experienceeconomy era

012018

12InterviewDynamic lightfor high Italian qualityOscar Farinetti

04Photo EssayMarket dayPaolo Carlini

Projects

108MiniaturisationMiniaturisationis a complex system

120MeetingsEuroshop 2017A metaphysical spaceGiancarlo Basili Maurici Ginés

Product

138SynergiesLegacies and lights.The LightOn projectPippo Ciorra

132ResearchLight and sociology.A possible integrationElettra Bordonaro

142IndustryWorld Class Manufacturing, an illuminating approachMarco Gobetto

Knowledge

46VisionThe new challengesof the retail sectorin the experienceeconomy eraDavid Dalziel

20RetailProjects

52InternationalProjects

Adolfo GuzziniEditorial

Editorial office: Centro Studi e Ricerca iGuzzini; Fr.ne Sambucheto, 44/a: 62019 Recanati MC; tel. +39.071.7588250; fax +39.071.7588295; iGuzzini illuminazione spa; 62019 Recanati, Italy; via Mariano Guzzini, 37; tel. +39.071.75881; fax +39.071.7588295; [email protected]; www.iguzzini.com; 071-7588453 videoGraphic project: Daniele Ledda; xycomm (Milan) Layout: xycomm (Milan)Publisher: iGuzzini illuminazione spa Cover photograph: Antony CrollaPrinted: March 2018; Tecnostampa - Pigini group Printing division; Loreto - Trevi

LighthinkingInternational magazine,of light culture

Year XIX, 01

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The editorial office is not responsible for inaccuracies or missing informationin the list of credits for the projects and supplied by collaborators. Any integrations or corrections will beincluded in the next issue.

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Editorial

Dear readers,I am very pleased to reintroduce you to the magazine that has been promoting our company’s culture for almost twenty years.In such fast-paced times when many aspects of our work – from markets to technologies – are constantly evolving, we have decided it was time for a remake. Thus, we have redesigned and restructured the magazine. You will have already noticed the first change on the cover: Incontroluce has now become Lighthinking.Lighthinking is the expression of our philosophy. It is a virtual space, open to the whole lighting community, where the culture of light is explored through history, art, architecture, projects, research, and human sciences, thanks to the contributions of a constantly evolving network. Light is a social science and the innovation that drives it comes from curiosity and sharing, first of all.As well as illustrating projects that reveal the work of architects and lighting designers in a wide range of sectors – from infrastructure to heritage sites, from urban spaces to hospitality & living – this first issue of Lighthinking focuses on retail and the philosophy of international brands. It also introduces an important new feature consisting of contributions of authors with whom we want to explore certain theoretical aspects of the design world. As such, you will be able to read an interview with Oscar Farinetti, and learn about the Eataly phenomenon; we will look at how requirements inherent to setting up the stores of brands

from various commercial sectors have evolved over time; retail is also the main focus of the international Euroshop fair, which we took part in this year and which we will tell you about in one of the magazine articles; we will look at architectural culture and how certain aspects of sociology can be integrated into lighting design. This latter will be illustrated through an experience with the London School of Economics and the Configuring Light programme. You will also be able to find out about the issues involved in the WCM (World Class Manufacturing) continuous

improvement programme. Our focus on industrial design looks at what is involved in miniaturising lighting luminaires, from a design and production point of view. Our interest in photography, which has led us to work with photographers such as Gianni Berengo Gardin and Gabriele Basilico, among others, served as

inspiration for another new feature. Each future issue will have a few pages dedicated to a photographer. In this issue, you will have the opportunity to get acquainted with the work of a Milanese photographer, whose work ranges from portraits to advertising, from cars to landscapes. For this issue of the magazine, he visited an ancestral retail space: the city market.Last but not least, I would like to thank all of those who helped to bring this new version of the magazine to life, through their words, imagery and ideas. I wish you an enjoyable read and invite you to follow us in our daily pursuit of innovation and improvement of people’s quality of life through light.

Adolfo Guzzini

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Photo Essay: Market day

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eyes and hands meet hands. The fruit and vegetables arrive from near and far. Some stalls have every type of eggs and I’m surprised at the variety on offer. I am seized by the desire to photograph everything, because everything is interesting and everything seems beautiful to me. Many dummies are worn and broken, but they have great dignity and they wear the articles that will be desired by the buyers

better days, others seem to have come out of a transport museum. But they all do their job. The sun rises, the atmosphere warms up and the market is almost ready. My gaze starts to wonder amongst the large spaces that are starting to fill and picks out the details of the architecture, the objects on sale and the structures used for the goods. I lose myself in observing the people selling and buying. Eyes meet

Turin, the Porta Palazzo Market.I like coming in the morning, early, before the first rays of the sun light up the area, and watch the early sellers unloading their vans and preparing their stalls. Turin’s Porta Palazzo Market extends across a square and inside various buildings, some period. Many of the carts, pushed or pulled by hand with the goods stacked high, have seen

Market day Paolo Carlini

06

with utter professionalism. The kitchen utensils and household accessories crowd the stalls and against the light shapes and colours create surprising harmonies. The crowd presses close as the sellers call their attention with demonstrations. The fish market is unique: photographs aren’t enough to do it justice. We should record the voices that shout their wares at the top of their lungs with utmost conviction. Walking the aisles of the market becomes an all-encompassing experience,

a combination of sounds and smells. My attention is also drawn to the sacred figures that look over the market from their small shrines in the butcher’s area. Some of them have small collection boxes, whilst the more technologically advanced have electric candles with switches: I call them ‘praystations’. And then there’s always time for a good coffee. I could keep wondering like this forever: I am engrossed by the lights, colours, objects, shapes and it seems as if the whole world has converged on Turin. Without having to buy anything,

I stroll looking at the people and I don’t feel distances between ethnic groups or different classes. People smile, joke, get angry, hug each other or simply yawn. Everybody is at the market. You can find everything that you need and you can also find what you didn’t think you needed•


BASSA RISOLUZIONE

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Paolo Carlini

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Paolo Carlini

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Paolo Carlini

has been working as a professional photographer for over twenty years. He is a member of the Association of Journalists since 1991 and of the Tau Visual, national association of professional photographers.

He began working on tourist and industrial reportages, whereas today he is focused mainly on commercial images (BTL and ADV) in Italy and abroad. He also manages the post-production phase of his work.

He has recently worked as Director of photography on a few commercials. A lover of travel, cars, architecture and portraits, he has followed closely these areas from a professional point of view and from a personal interest in research and experimentation. He has created numerous portraits of composers,

painters and artists. His images have been used in international advertising campaigns, and published by some of the leading publishers. Some of the most well-known Italian industrial groups and leading

advertising agencies are amongst his clients. His published work includes the book of portraits CANI PADRONI and the collaboration in the book UMANI A MILANO.


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Paolo Carlini

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Paolo Carlini

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Interview

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Interview Lighthinking meets Oscar Farinetti, creator of Eataly,the first supermarket dedicated to high Italian quality. Loved and loathed,in 10 years he has opened 37 branches, 22 in Italy and 15 abroad.

Dynamic light for high Italian quality

Oscar Farinetti

What inspired you to create Eataly, if it was inspiration? Or is it something else that drives you to build a company such as this one? Will you tell us the history of Eataly?

OF The original idea for Eataly was to provide a larger global platform to the “Made in Italy” agricultural and food industry, by creating a distribution chain based on quality and the seasonal availability of the products. At the beginning of the third millennium I realised that the incredible Italian biodiversity was not well represented and sold abroad. Therefore I decided to fill this gap.

The first item in the Eataly manifesto says: “FOOD UNITES US ALL”. Good food brings people together, creates connections between different social classes and helps to find common points of view between people with different opinions. We realised that what happens around a dinner table is one of the greatest sources of true joy.

Parallels come up spontaneously with iGuzzini’s “Social innovation through lighting” approach: good light, quality lighting, can improve the quality of life of people that share and use various urban, museum and work spaces. It can improve everything.All this defines the ethic behind a way of doing business. Tell us about Eataly’s ethic.

OF Eataly was created with two objectives: promoting the excellence of Italian food and wine products in the world, whilst at the same time promoting a new food culture which cares about sustainability and quality, and sharing and respecting what we eat and drink. I think that Eataly is also a great way to encourage the citizens of the world to come and visit Italy and make the world want to visit the most beautiful country, ours.

This issue of Lighthinking is focused on the world of retail. What evolution have you seen in the purchasing experience

in your sector?

OF I think that it is a positive evolution and I think that we should be happy about the current interest in food. There has been an evolution in the demand for high quality products, because everyone has finally realised that food is the only product that we put in our bodies and is therefore the most important. Eataly has played an important role in returning the passion for food to the centre of people’s lives. But we have done it by encouraging a development of the knowledge of food, by telling the history of the products, their origin and their production. We have explained the difference between different cheeses and oils. Because the more you know the more you enjoy. How do the architectural space and light affect this experience? Eataly has various areas: shopping, relaxing and tasting, conviviality, and education. How is the lighting designed for all these different spaces?

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Interview

OF For the lighting, we settled on low consumption LED technology products with a high design element. Light is very important to indicate our spaces. The eating area, for example, requires softer lighting, whilst the market needs different types of light for fresh produce. In the teaching area we need the type of lighting you might find in a television studio over the cooking stoves. In other words food needs different types of light. This is why we rely on iGuzzini. Italy with Italy, a winning combination.

Which specific solutions are you using in the different branches to facilitate the shopping experience? Do you think about the connectivity (Internet of Things)? Other types of services, as well as the ones that can already be accessed from the website, such as online shopping?

OF For Eataly communication is the heart of our strategy. In the shops

we have designed and launched an extremely simple but innovative formula: creating harmonious spaces in which to spend some enjoyable time, tasting the same products that can be bought and getting to know them though the teaching activities. E-commerce is another fundamental aspect in developing Eataly’s business. The challenge is to recreate the atmosphere and experience of the shops online. Seeing the importance of mobile platforms, we have developed an app for smartphones that lets you buy Eataly products directly from your phone. The geolocalization function allows us to inform users of relevant offers and events.

Ten years after the first shop opened in Turin in 2007 Eataly can now be found throughout the country and in extremely different international locations, such as the Far East, the United States, the Middle East and Northern Europe. How can you make

a name for yourself in these markets? And how does the Italian identity marry the local one? How do the two communicate?

OF The various Eataly branches are like siblings, and like all siblings, they have common names and values but different personalities. Each shop has its own distinctive traits, influenced by the atmosphere and traditions of the host city. In each country we look for the best local products and we teach them how to cook with our Italian savoir faire. It is not always possible or sustainable to export Italian raw materials, but our way of cooking is. People across the world are very interested in getting to know it and to learn it•

“Eataly has various areas: shopping, relaxing and tasting, conviviality...”

Oscar Farinetti visiting iGuzzini, with Adolfo Guzzini. In the background,the mayor of Recanati, Francesco Fiordomo

Oscar Farinetti

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Oscar Farinetti

Creator of Eataly, the first supermarket dedicated to Italian high quality products. Loved and loathed, in 10 years he has opened 37 branches, 22 in Italy and 15 abroad: 2 in Japan, 4 in the US, one in Istanbul, one in Dubai, one in Seoul, one in Sao Paulo, one in Monaco and one in Copenhagen. By 2018, Eataly will be listed on the stock exchange to become “a global public company representing the Italian lifestyle with renewed vigour”. Amongst his future projects there are: Fico Eataly World, the food and wine park that will cover a

surface of 80,000 square metres, commissioned by Centergross of Bologna and managed by Eataly World, a company set up by Eataly and Coop. 2018 will see the opening of a retail space in Japan of over 1000

square metres, which will be the temple of Italian food and wine in Asia. Oscar Farinetti has collaborated in research with various institutes, including, Cermes-Bocconi and the University of Parma. Awards and acknowledgements: Honorary Doctorate in Business, American University of Rome (2016), Honorary

Doctorate in Marketing and Communication – University of Urbino “Carlo Bo” (2014), “Premio America – Fondazione Italia USA (2013) and the Scanno Prize for food (2012). In 2014 he was a likely candidate for the

position of Minister of Agriculture. He has published several books, amongst which “Coccodé” (2009), “Storie di coraggio.12 incontri con i grandi italiani del vino” (2013), “Mangia con il pane. Storia di mio padre,

il comandante Paolo” (2015 and “Nel blu. La biodiversità italiana, figlia dei venti” (2015).

“The various Eataly branches are like siblings, and like all siblings, they have common names and values but different personalities. Each shop has its own distinctive traits, influenced by the atmosphere and traditions of the host city...”

Interview

Eataly New York Eataly Chicago

Eataly Trieste Eataly Milano

Oscar Farinetti

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Projects

52Stavros Niarchos Foundation Cultural Center Athens \ Greece

60New splendourfor the Golden TempleAmritsar, Punjab \ India

64Roma Convention Center La NuvolaRoma \ Italia

68Cluster H - The BackyardHazmieh - Beirut \ Lebanon

20Il CentroArese \ Italy

24Sunglass HutNew York \ USA

26Queen's LaneGeneva \ Switzerland

28A new conceptfor the Rimowa flagship storeParis \ France

30Herno, lightingthe hanging jacketMoscow \ RussiaMilan \ ItalyCannes \ France

32The Iso Omenashopping centreEspoo \ Finland

34Mercedes RussiaMoscow \ Russia

38Issey MiyakeLondon \ UK

42Pleats Please Issey MiyakeParis \ France

44Sandals Luxury ResortsLondon \ UK

46The new challenges of the retail sector in the experience economy era David Dalziel

72The Prysmian Group headquarters:green and natural light.Milan \ Italy

78The headquarters of Council of the European UnionBelgium \ Brussels

84A futuristic construction for the International Garden Show – IGA 2017Berlin \ Germany

86A new work spacefor Heinemann in the HafenCityHamburg \ Germany

90Terminal E of the Leonardo da Vinci airportFiumicino - Rome \ Italy

94Eurasia TunnelIstanbul \ Turkey

98Chek Lap Kok AirportHong Kong \ PRC

102 “OnCube”Shanghai \ China

Projects

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Projects

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Il CentroArese \ Italy

Il Centro is an example of architectural quality, such as the use of wood for the external façade, that recalls the traditional Lombard farmhouses.

The largest shopping mall in Italy, the iconic “Il Centro” in Arese, is located in the former Alfa Romeo factory close to the circuit where the new cars were test-driven. The project was designed by a number of internationally renowned architects, including Michele De Lucchi, Davide Padoa (Design International) and Arnaldo Zappa. The Design International studio, in particular, was involved in the latter stages for its specific competence in the retail sector. The architectural design of Il Centro, with the use of wood for the external façade, recalls the traditional Lombard farmhouses. Wood is also the dominant material inside the mall: for the benches, the top of the glass parapets on the first floor and for the tower which is the main attraction in the play area. The design of the roof is particularly innovative as it’s the first application of its kind in a shopping mall. The structure of the roof, which is also one of the largest ever built in Europe, is in Glulam (structural lamellar wood produced with sustainable materials).

The project has embraced the new economy, with 20 charging stations for electric vehicles and with the presence of small local producers such as a brewery and artisanal bakers, alongside large chains such as Zara, Primark, Kentucky Fried Chicken and McDonald. The architectural design, based around the concept of squares, features the wide, sculpted curve of the internal ramp that structures the space in a way that is reminiscent of the Guggenheim Museum in New York. The entire complex has been designed according to the strict energy saving and bio-sustainability criteria required by the US Green Building Council standards, for its much coveted LEED Gold certification. The lighting design has helped in achieving this goal, in that all the luminaires installed use LED lamps with average energy saving percentages of between 40% and 80% compared to the consumption of traditional lamps. The LED luminaires all feature DALI technology and are controlled by a

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2015 – Arese \ Italy

The DALI technology allows the luminaires to be controlled by a remote control system. Interior and exterior light sensors have been installed to adjust the combination of artificial and natural lighting.

Projects

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Year 2015 \ Client Finiper - Marco Brunelli \ Architectural project Michele De LucchiArnaldo Zappa Design International - Davide Padoa \ Photographer Paolo Carlini

Arese Shopping Center

remote control system. Interior and exterior light sensors have been installed to combine artificial and natural lighting. Reflex recessed luminaires and 6000 lumen Front Lights with emergency units have been installed under the central wooden ceiling. The two luminaires guarantee soft, diffused general lighting; partly thanks to the height at which they have been fitted. Underscores have been installed in the ceiling’s criss-cross structure to create a number of striking graphic effects, and LED Pixel Plus recessed luminaires have been positioned along the perimeter walkway on the top floor to complement the general lighting in the individual brand stores. Outdoors, ceiling-mounted iPro floodlights have been used in the car park entrance areas, whereas pole-top

versions have been used in the green areas. The wooden exterior facade is lit with grazing light created by a continuous line of Linealuce luminaires that have been alternated with iPro projectors to soften the dramatic effect usually created by lighting from below. The extremely uniform lighting effect helps create a feeling of hospitality and quality for this unique retail centre•

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Since taking over Sunglass Hut in 2001, Luxottica has become a world leader in eyewear retail distribution. First opened in 1971 in a small kiosk in a Miami shopping mall, Sunglass Hut is now a worldwide destination for all major high quality sunglass brands. Its stores, which provide consumers with a highly engaging shopping experience, can be found in every major city from the Americas, Europe and the Middle East to Australia, South Africa, China and South-East Asia. The store opened in the Soho district of New York in 2015 is the first store in collaboration with iGuzzini, designed by the Milan-based B612 architecture studio. The studio is named after the asteroid in The Little Prince by Antoine de Saint-Exupéry and its architect, Marco Rivolta, is inspired by avant-garde technology and futuristic lifestyles. For the Sunglass Hut store he designed a layout with clear white walls to display the glasses.

The lighting system uses two versions of the Laser Blade luminaire: adjustable and wallwasher. The wallwashers have been positioned to provide an optimal vertical wall wash effect in the product display areas, while the adjustable version provides accent lighting. The luminaire’s compact size and modularity also gave the architect the opportunity to create graphic effects on the ceilings•

A layout with clean white wallsfor the glasses of the Sunglass Hut.

Sunglass HutNew York \ USA

Year 2015 \ Client Luxottica Group \ Architectural project B612 \ Photographer Marco Beck Peccoz

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Queen’s LaneGeneva \ Switzerland

Art deco features and minimal lighting luminaires for a jewellery boutique bursting with joie de vivre.

Projects

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Based in Zurich, StudioForma Architects is specialised in designing retail projects with evocative atmospheres full of literary references. The Queen’s Lane jewellery boutique in Geneva recalls the joie de vivre of the Roaring Twenties. A sofa upholstered in royal blue velvet dominates the space, conveying an idea of opulence, wealth and idleness. StudioForma has combined typical Art Deco features, like bronze display case frames, hounds-tooth fabric wall coverings and lacquered white panels with typical period decorations with elements designed by the studio itself, such as dazzling blue velvet poufs, glass domes and a vast upholstered sofa with a deep-buttoned back. The lighting system also consists of different elements. For example,

large distinctive glass chandeliers are combined with compact, but powerful, recessed Reflex Easy luminaires, to create uniform diffused lighting. Pixel Pro devices provide accent lighting for certain specific areas, like the small tables where the jewellery is tried on, while recessed Laser Blade luminaires highlight the items on display in the display cases that run along the side walls, like a kind of backdrop. The boutique's rounded walls, on which a drapery effect has been created, are lit with vertical Underscore luminaires that emphasize the undulating shape of the walls. The final result is a lively, exciting, enjoyable atmosphere that is also extremely comfortable• Year 2017 \ Client Queen’s Lane \ Architectural

project StudioForma \ Photographs Mark Drotsky Architekturfotografie

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A new conceptfor the Rimowa flagship storeParis \ France

The history of commercial aviation has been the inspiration for Rimowa.

The renowned luggage manufacturer opened its first flagship store, also the company’s largest retail space in the world, in Paris at the beginning of 2017. Dedicated to the German company’s production, which became part of the LVMH group in 2016, it covers six hundred square metres, spread over five floors. The concept, designed by Atelier Oï, is inspired by the civil aviation world. Even though the store is primarily focused on shopping, it includes areas for customer services, a repair laboratory and even a screening room showing the film about the “Junkers F13” project, sponsored by Rimowa. In 1919 this revolutionary airplane, with its aluminium construction and grooved design, marked the beginning of civil aviation history and inspired the Rimowa luggage. The Paris retail space features extremely clean lines and unique architectural details, such as the false ceiling with curved lines, which conveys

an almost futurist feeling of airiness and spatiality, highlighted by the light from the Underscore luminaires set in the channels of the ceiling. The lighting is an expert mix of uniform and diffused light, created by Reflex recessed luminaires and accent highlights produced by iShop projectors and Pixel Pro recessed luminaires. The very small iSight projectors have been used in the window displays on the rue du Faubourg Saint-Honoré, where the luggage is displayed like jewellery•

Year 2017 \ Client Rimowa \ Architectural and lighting project Atelier Oï \ Photographer Roland Halbe

Projects

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A lighting design with a high chromatic yield to set off the colours of the Herno garments and stores.

Projects

Herno, lighting the hanging jacketMoscow \ Russia

Milan \ ItalyCannes \ France

Mosca

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Herno was founded in 1948 in Lesa, on the shores of Lake Maggiore, by Giuseppe Marenzi. He was hired in a company that manufactured raincoats just after the end of the war. His previous experience in handling castor oil, which was also used for making military aviation fuel, was key to being hired as it was used to make the cotton waterproof. After that experience Marenzi, and his wife Alessandra Diana, set up their own company: Herno, whose name was taken from the river Erno, that flows close to the company and that defines a universe that the company is still closely linked to today. In 1971 Herno began its international presence by opening the first Herno boutique in Osaka, which was followed in the eighties by the United States, until it reached a global presence. The company has always presented itself in

a precise and definite way, identical in all countries and lit by iGuzzini luminaires. The shops all feature a few typical elements: the beam-stand in brushed steel and the recognizable hook, combined with the leather strap that distinguishes the Herno brand. The lighting project is based on luminaires with a high chromatic yield (CRI90) to enhance the chromatic palette of the clothes. Other characteristics of the luminaires include their low visual impact: lines of Underscore mark the perimeters; the track mounted Front Light projectors provide the lighting of the quilted jackets and the characteristic hook; Deep Frame recessed luminaries, chosen for their minimal look, have been used in certain transit areas. The colour temperature also enhances the natural materials used for the fittings: natural oak for the flooring; slate and

soft flannel cover the walls; all these elements ensure the recognition of the brand everywhere in the world•

Year 2016 \ Client Herno Spa \ Architectural project Cristiano Baldinotti \ Photographer Cristiano Baldinotti

Mosca

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Iso Omena (Finnish for “big apple”) is a pleasant shopping centre full of services and more than 180 stores focused on fashion, leisure and wellness, as well as the classic supermarket. The centre is part of the Citycon group, which builds and manages urban shopping centres in Northern Europe and the Baltic. It is the market leader in Finland, and amongst the market leaders in Norway, Sweden and Estonia. Citycon shopping centres are located in strategic points, with good connections to public transport, healthcare facilities and municipal services. The same Iso Omena is rapidly becoming the centre of the city and home to social and healthcare offices on the third floor. Functional and enjoyable, the design of the centre features white as the dominant colour and glass walls that maintain a constant relationship with outside, especially through the large skylight in the central area, above the square which is the meeting and

relaxation point. The artificial lighting is based on two luminaires: Laser Blade, positioned at irregular intervals in the false ceilings along the corridors that the shops open onto to create a feeling of movement and the pole top system Albero, which stands out in the central square, installed in the benches area, almost recalling the idea of a pleasant stop in the open air•

The shopping centre that becomes the centre of the city.

The Iso Omenashopping centre Espoo \ Finland

Year 2017 \ Client Citycon Oyj \ Architectural project HKP Arkkitehti Tolmisto \ Lighting Design Granlund Oy \ Photographer Mikael Linden

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In the current evolution of the sales process, a showroom has to offer a much more complete and engaging experience than in the past. Today you can even buy a car online, whilst showrooms and dealerships, the traditional purchasing locations, have been transformed into spaces dedicated to the construction or the consolidation of brand loyalty, through more complex and gratifying experiences than the mere sale. The Mercedes-Benz Plaza in Moscow consists of different theme worlds that allow a customised client communication. The centre of the showroom is dominated by a structure

that recalls an unwinding ribbon, displaying a concept car that embodies the future of the brand. Bought vehicles can be picked up in delivery lounges. Sitting in a sort of theatre box, the car owners watch a film which ends with their car coming out of the ground by elevator, as if from a wishing well. The lighting of such a spectacular and magical place required a design that revealed whilst being hidden. Recessed luminaires, which provide light without visually occupying the spaces that are enhanced with an expert mix of diffused and accent light, neutral white temperature colour and warmed by

Mercedes-Benz PlazaMoscow \ Russia

An architectural and lighting project that transforms buying a Mercedes in a magical experience.

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The lighting of such a spectacular and magical place required a design that revealed whilst being hidden.

Year 2016 \ Client Daimler Real Estate \ Architectural project mm+ \ Lighting project Schatz+Lichtdesign - Roman Schatz \ Graphic project L2M3 Kommunikationsdesign \ Photographer Anastasia Hermann

Projects

a few touches of warm white. Right from the entrance one is immersed in a welcoming atmosphere of diffused light, which is interspersed with the accent lights from the Pixel Pros that highlight the vehicles. The recessed Reflex luminaires, with wall washer optics, illuminate the wall for the accessories with a perfect uniformity. A neutral white colour temperature has been used for the cars and accessories, whilst the lighting designer opted for a warm white colour temperature and a lower light intensity than the one used for the vehicles and for the horizontal surfaces. Palco projectors, with a neutral white

colour temperature, illuminate the area where the car magically appears, to enhance the colours of the bodywork and contribute to creating a scintillating impression•

2016 – Moscow \ Russian Federation

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Mercedes-Benz Plaza

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Projects

Luxury is something surprising or unexpected.It’s not perfection, according to Tokujin Yoshioka.

Issey MiyakeLondon \ UK

Raw concrete and blue aluminium panels for the new Issey Miyake flagship store in London. Designed by Tokujin Yoshioka, the store is located in Brook Street, one of the city’s main shopping streets. According to Yoshioka it is very difficult to design a retail space because time is always very limited, there are numerous standards to comply with and specific solutions have to be found for each,

individual space. Yoshioka’s design creates a contrast between a raw and matt material and a shiny and smooth one, in agreement with the preferred style of Yoshiyuki Miyamae, the creative director of the Issey Miyake womenswear line. The Japanese designer and artist stated that he is not interested in a concept of “luxury” or “perfect” design, as what he really focuses on is creating

something that is surprising and unexpected. Yoshioka emptied the first two floors of a 1950s building that previously housed a bank. The walls and pillars have both been left in a raw state and a number of bright, blue aluminium panels have been positioned around the perimeter walls. In the centre of the space there is a curving staircase with glass balustrades that allow light to enter from the facade

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Year 2015 \ Client Issey Miyake \ Designer and Lighting Design Tokujin Yoshioka \ Main Contractor Portview Fit-Out Limited \ Project Managers Leckenby Associates \ Photographer Antony Crolla

The lighting design of the London store features concealed luminaires.

Projects

overlooking the street. The menswear collection is located on the floor below, where the raw concrete pillars and blue panels continue, but with a darker, more private design. To achieve this the lighting project of the London store has concealed the lighting luminaires, with Sistema 53, Laser Blade and Underscore devices. This design won the 2015 Retail Week

Interior Awards: “The best retail lighting works with the store of which it is a part: a simple and at times unobtrusive, but effective scheme.”•

2015 – London \ UK

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White walls and metal panels to enhance the coloured world of Pleats Please.

Pleats Please Issey MiyakeParis \ France

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The Pleats Please collection by Issey Miyake was launched in 1993. Produced with extremely high quality polyester materials, it was created with utterly innovative production processes: hot pressed pleats that allowed for an exceptional freedom of movement. Issey Miyake arrived in the capital of fashion, Paris, in 1965, to study and train. The brand has therefore deep roots in the Ville Lumiere. The Pleats Please boutique, in Boulevard Saint-Germain, Rive Gauche, has been completely renovated by the architect Hisaaki Hirawata. The store covers two spacious floors, divided in sections and modelled on the Pleats Please flagship store in the Roppongi neighbourhood in Tokyo. The space is completely white with undulating metal panels with folds that recall the pleats of the materials that are the hallmark of Issey Miyake’s creations.

The pristine white colour extends to the lower floor, but here the undulating metal panels have a polished chrome finish. The lighting design highlights the cold atmosphere of the space. The recessed Pixel Pro luminaires provide the accent lighting, with their graphic layout in the middle of the various spaces•

Year 2015 \ Client Issey Miyake \ Architectural project MOMENT Inc. - Hisaaki Hirawata \ Photographer Olivier Baco

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Projects

The Sandals Resorts International brand is one of the most well-known and prize-winning brands in the world and is the undisputed leader in the Caribbean vacation sector. The group's success began in the eighties when its founder, Gordon "Butch" Stewart, created an innovative formula of “all- inclusive” super luxury holidays that includes everything from sophisticated restaurants and exclusive label drinks to tips, airport shuttle services, taxes, land and sea sports, Jacuzzis and satellite TV. To bridge the gap between the experience that people have when booking a Sandals holiday online and a real in-store experience, a special Sandals centre has recently been opened in London. This space introduces visitors to the Sandals world through a series of interactive experiences. Designed by Wanda Creative, in collaboration with the ODB Group, the centre boasts highly sophisticated, integrated lighting and audio-visual systems as well as wood fittings and specifically

commissioned furniture. The idea behind the ODB Group project is to recreate in London the top class level of quality that customers can enjoy on a Sandals holiday. So there are cocktail bars, typical "randoval" (conical) roofs, and the same furnishings and fittings used in the Sandals resorts. This warm and welcoming atmosphere is created using extremely advanced technology that guarantees high levels of energy efficiency: heat recovery air conditioning, and an LED lighting system that is controlled using panels that allow the creation of different light moods, as well as dynamic and coloured light created by Underscore luminaires mounted on the randoval roof ceilings that enhance the picturesque appeal of the space. The first step in this experience is a virtual tour on an LCD touchscreen. This area has been lit with Reflex, Laser Blade L and IN60 recessed luminaires, all of which are extremely discreet devices: the aim was to create an exclusive, relaxed atmosphere by highlighting

The lighting project for the London space of Sandals Luxury Resorts evokes the warm golden light of the Caribbean.

Sandals Luxury ResortsLondon \ UK

only the typical holiday features. This is why the most striking elements in the lighting design are linked to colour, like the randoval-style roofs, the coloured lines that outline certain walls and the circular openings in some of the transit areas that evoke Caribbean atmospheres with their warm golden light•

Year 2016 \ Client Sandals \ Architectural project, Interior design and Lighting design Wanda Creative \ Construction ODB Group \ Photographer Robert Greshoff

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Interface provided by the O2 clients.

Vision

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Vision David Dalziel, founder and creative director of Dalziel and Pow talks about the contemporary challenges faced by a retail designer.

The new challenges of the retail sectorin the experience economy era

David Dalziel

Twenty years ago things were a bit simpler for retail designers, clients typically briefed simplistic solutions and goals, “We’d like a better looking store that takes more money”. Today the needs of a client and the role of the retail designer have shifted beyond measure.In the last five years we’ve seen a transformation in retail driven by the consumer’s openness to shopping through various channels and the impact that has had on the traditional store experience. Key challenges are driving us forward: the almost impossible struggle for a meaningful USP; the drive for convenience on demand; the over-supply of low value goods flooding the market; the fast changing consumer power through social media; the increasing influence of Generation Z; the rise of the experience economy,

where customers prefer to ‘do’ rather than to ‘own’. Strategies are emerging to address these challenges: encouraging dwell time to build loyalty; considering new transactions, not purely commercial; always connected to the consumer at every touch-point; being more human in the retail space; doing things differently; making deeper and more meaningful relationships with your audience. By addressing the ongoing challenges and applying the right strategies we can imagine a more relevant, connected future for retail, where traders and designers are working in harmony to create the environments and experiences needed to enthusethe consumers of the future. We may well design fewer shops in the future, but importantly they need to be better and more engaging than what they

replace. Shops, unlike great architecture or a classic piece of product design, have a lifespan, typically eight to ten years maximum; that lifespan should dictate the pace of change and may well need to be accelerated, by design or by natural selection. Even the ‘best of’ the market will shift, just watch Apple renew their concepts that we all thought were here for the longer term. Flexibility is a word we will hear a lot in the coming years as retailers come to grips with the changing demands of a very fluid market. What department store could clearly state any long-term strategic plans with confidence knowing how that sector has shifted in the last five years? Flexibility needs to be part of that future, flexibility in what you sell and how you sell it - fundamental flexibility. In the last year, designing

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Vision

“Lighting a large space like Primark Madrid requires a certain approach, one needs to address the scale and power of the space and yet create intimate, slow moments where the customer can dwell and be re-assured.”

merchandising systems for a key European manufacturer, we came back to the guiding principle, ‘What are we selling off of this kit and how are we selling it?’ What are the promotional tools of the future for retailers? Taking our collective knowledge of merchandising, but adding power (and light) and data became the key factor. If we power the system we empower the retailer; illumination, imagery (both static and moving), security, data collection and more delivered by a smart piece of shopfitting: a flexible future.Lighting has a huge part to play in the creation and activation of the future retail

experience, probably the largest single factor in my appreciation of a space and my understanding of that space, and yet for many retailers it remains a functional, economic consideration - a housekeeping issue, rather than an experiential statement that can address the strategic issues of the day.If we believe that time well spent will bring reward, then lighting has a huge part to play in creating the type of environment that encourages dwell time. If we believe in the customer’s desire to make emotional human connections with brands and brand spaces, lighting has a huge part to play. Lighting

designers and manufacturers are creating new ways to connect to the demanding consumer. From simplistic, often almost invisible solutions integrating lighting solutions into merchandising, to the ability to deliver smart technology through a light fitting of a lighting system, the advances are clear: it’s all geared towards attracting and retaining a customer.From the simple first impressions of a space - walking past a storefront in the mall or a concession in the department store - lighting plays a huge part in developing a sense of place, a feeling of a committed brand with an

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Left: the large central atrium of the Primark flagship store in MadridRight: The White Company.

“...Using white light illu-minated text to inform the customer in a more intriguing and subtle way about our client and their offer...”

David Dalziel

understanding of itself and its audience. Lighting tells brand stories, at a time in retail where those stories are attempting to be told online, the store can do it much better. We love this quote by Roger Wade of Boxpark, ‘Shopping on-line is like watching fireworks on TV’So today we are integrating the lighting solution into the first thoughts around the experience, carefully layering in the varied techniques to achieve a harmonious experience. From ambient, to spot-lit, to integrated and, increasingly in our concepts, into light as communications. Using white light illuminated text to inform the customer

in a more intriguing and subtle way about our client and their offer. The hugely influential white-light signage in new The White Company retail concept in 2015 has grown into an immersive story for O2 flagship in 2016. Story-telling with light.Layering of light where it is most effective sounds like the simplest thing, but the trend to get light as close as possible to your subject, aided by miniaturisation and low energy consumption is a massive leap forward. Today the more local the light, the more premium the brand - but just watch this grow. The cost and ease of powered

systems is more accessible than ever and it will have a massive impact on the market in the next few years.The use of integrated solutions has gone from the premium jeweller down to the modest bookstore and even into the bread display at your local convenience store, it shows no signs of stopping and elevates your experience no matter at which level what level you operate - great lighting design enhances your experience from Prada to Primark. For the last 28 years we have designed for Primark and in the last 4 or 5 years have seen that brand expand to become one of the most powerful in

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Vision

Above O2 on the right, white light for Primark.

“Story-telling with light. Layering of light where it is most effective sounds like the simplest thing, but the trend to get light as close as possible to your subject, aided by miniaturisation and low energy consumption is a massive leap forward..”

its sector, a sector that sells at an average of just over 10 euros but relies on volume. When you see the journey that Primark have been on, you realise the power of brand experience and its role in connecting with consumers. From very humble, local ambitions, to award-winning national flagships, this brand has truly excelled. Lighting a large space like Primark Madrid requires a certain approach, one needs to address the scale and power of the space and yet create intimate, slow moments where the customer can dwell and be re-assured. Add to that the massive LED installation in the refurbished atrium

and you begin to understand the scale of the challenge and the complexity of the solution. A store that took two years to plan and a year to build is now managing queues every weekend where I may need a ticket to enter after 10am in the morning, quite a story for a brand that started with such pragmatic, modest ambitions in Dublin in 1973(?), a truly engaging brand who knows its market so well. Technology is driving us forward. The dominance of LED and the rush to replace redundant, wasteful light sources has given retailers an appetite for further investment. Today we can see the opportunity for more than

simply cost savings. Advanced technology can bring real rewards that will bring benefits, increase dwell time, and will ultimately lead to greater sales. Today we can track customer movements through sophisticated lighting systems, they can monitor staff and merchandise, building data that can influence future strategy, increase productivity, improve stock loss, but most importantly help a brand connect with customers.This consumer connection is the key factor here, what is it doing for me, the shopper? Great lighting can create an emotional reaction, a connection

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David Dalziel

Trained in 3D design, David has expanded those skills in the last 35+ years to take a broader view of design and its role in building brands. David co-founded the design consultancy Dalziel & Pow in 1983. In his

capacity as Creative Director, he specialises in a range of design issues, from environments to communications. He is instrumental in overseeing the successful interpretation of a client’s brief and its

transition, from concept to reality. D&P has built a reputation for excellence in design, combining creativity and operational knowledge to deliver consistently successful projects for its clients on a global stage,

including Primark, Argos, John Lewis, Next, David Jones, Jigsaw, Samsung, Timberland and O2.

David Dalziel

“Today we can track customer movements through sophisticated lighting systems, they can monitor staff and merchandise, building data that can influence future strategy, increase productivity...”

with the product on sale. Flexible light sources, pinpointing stock in a singular way or highlighting shelves with accuracy adds an element of surprise and delight. We see a trend pushing us in two directions; the pinpoint accuracy of an accent light and the flat confident light given by daylight simulators. Brands have choices today, the challenge for designers is to understand those choices and find the right partners to deliver. At D&P we need to be responsive to our clients budgets and ambitions. We design lighting solutions, using our vast experience and knowledge. We partner with

manufacturers to refine those lighting solutions, talking directly to industry experts about the right product for the right results. Increasingly we employ skilled lighting designers to partner with us and our clients to create something bespoke and unique for them and their market. We cannot work in one prescriptive way, we need to be open to influence from the best in the market and be able to take that ambition to the mass trader. It’s a flexible future for the designer too•

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Projects

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Stavros Niarchos FoundationCultural CentreAthens \ Greece

A large semi-derelict area finds its natural connection with the rest of the city and with the sea.

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2016 – Athens \ GreeceProjects

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Stavros Niarchos Foundation

A large urban park of 170,000 m2, a cultural complex, home the Stavros Niarchos foundation and the Greek National Opera: this is the projectcarried out by Renzo Piano in the city cradle of wester culture. Piano has once again focused his attention on a suburban area, where a large semi-derelict space is reconnected to the rest of the city and the sea. To recreate this connection, the project created an artificial hill, a park whose sloping surface ends with the Cultural Centre, which opens with a spectacular view on the open sea. The collaboration between the architect, lighting designers, the construction company and iGuzzini was extremely complex. During the construction of the building, started in 2008 and inaugurated in June 2016, a great deal of work was required to adapt the traditional light

source luminaires, into LED luminaires. In total iGuzzini provided 256 items: 13 types of indoor products and 5 types of outdoor products. Some were standard production items and some were produced specially for the project. The large building consists of the Library and the Opera Theatre. A public space, the Agorà, provides access to both buildings and links them together. The Opera Theatre has two halls: one 450-capacity hall for ballet and more traditional opera productions; the other 1400-capacity hall used for more experimental performances. The seating area required light with a high level of visual comfort. This was achieved with Pinhole recessed luminaires and with special Reflex recessed luminaires with high levels of visual comfort and efficiency, to illuminate the stalls from a height of

Renzo Piano’s project created an artificial hill with a park that rises towards the Cultural Centre, that opens with a spectacular view to the open sea.

about 5 metres. A special solution was designed to light the walkways, which was obtained by inserting LED Plus recessed luminaires in the sides of the seats. In this case, the look of the luminaire remained the same, but the rear part was entirely redesigned and its height reduced. A particularly in-depth study was carried out to provide uniform lighting for the red walls and the wooden banisters of the main hall. Underscore luminaires, with a rather high chromatic yield, CRI 90, were used to light the red end walls. In order to emphasize the red colour and avoid producing areas of excessive luminance, where the red would not have resulted uniform, we used a special red filter. The banisters consist of panels of rounded wood that are partly overlapped, forming a small groove used to insert the Underscore, fitted with a special filter that produces

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a stronger lighting effect in the middle and a softer one at the sides. The result is a pleasant movement of light on the banisters. The library has been designed as a space for an open and shared enjoyment of knowledge. The reading room, completely enclosed in glass, is at the top of the building. It is a square-shaped transparent case with 360° views onto Athens and the sea.Linear systems, such as IN60 and IN90, have been used in the library, to guarantee the most uniform and diffused lighting possible and to facilitate reading books and consulting texts. A reverse effect was achieved on the shelves by using Underscore luminaires. The library is under the Energy Canopy, the structure that protects the entire complex from the sun and on which a 10,000 m2 system of photovoltaic

panels has been installed. The system can generate 1.5 megawatt of energy, enough to power the Cultural Centre during normal opening hours. Natural ventilation systems have been used to cool and heat the building. All these solutions have earned the building the Platinum LEED rating. As well as the main buildings of the Opera and the Library, iGuzzini products have also been used for the common areas. All the halls, especially the full-height spaces, use Le Perroquet pendant projectors. They complement the space similarly to the way they were created for the Beaubourg: an aerial and light luminaire for very tall spaces. In the Opera building the Rehearsal Rooms use the Palco Wall Washer with a medium beam optic, to achieve excellent lighting of the vertical walls.

The glass space housing the library

The library has been designed as a space for an open and shared enjoyment of knowledge. The reading room, completely enclosed in glass, is at the top of the building. It is a square-shaped transparent case with 360° views onto Athens and the sea.

Projects 2016 – Athens \ Greece

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Part of the Agorà and the space that houses the opera

A very large park that extends outside the buildings was initially a private space and has now been opened to the public. The lighting concept defined by Arup required a specific lighting concentrated on the walkways and on the stairs. This required us to develop a special product to meet these requirements: a bollard with two different heights. The project required the positioning of the bollards to one side of the walkways only and specified that the green area could not be lit in any way, neither behind the luminaire nor beyond the walkway. All the outdoor luminaires received special mechanical specifications, normally found in standard iWay products, to guarantee the highest resistance to vandalism. This allowed for a carry-over of reliable technical solutions that had already been tested on large scale

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productions. When the park was opened to the public, pole top luminaires were added to the lighting. The complex aims to become a new hotspot for the area and to provide visitors of the Acropolis, the architectural testament to the ancient Greek magnificence, a splendid example of contemporary architecture. The cultural centre provides many opportunities for visitors, from the Library’s reading room, to the cultural events of the opera and ballet, or simply to sip ouzo whilst gazing out at the sea from the terrace•

On the left the auditorium, on the right the various levels of the library, with some of the spaces for the readers.

Projects

Year 2016 \ Client Stavros Niarchos Foundation\ Architectural project Renzo Piano Building Workshop \ Local Architect Betaplan \ Lighting project Arup London \ Construction Salini Impregilo, Terna S.A. \ Photographer Michel Denancé.

Le Perroquet pendant projectors complement the space similarly to the way they were created for Beaubourg: an aerial and light luminaire for very tall spaces.

2016 – Athens \ Greece


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Projects

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New splendour for the Golden TempleAmritsar, Punjab \ India

Architectural lighting for the splendid urban sites of Amritsar.

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The Golden Temple at Amritsar in the Punjab region of India (also known as Sri Harimandir Sahib) is the Sikh religion's main temple and a shrine that every Sikh must visit at least once in their life. It is also a worldwide tourist attraction. The temple was founded by the Sikh Guru, Guru Ram Das, in 1577, and completed in 1601. The temple is located in the centre of a lake that is overlooked by other sacred buildings. The prime minister of Punjab ordered a road to be built connecting the Golden Temple to the site's entrance gate, which is now recognised as the most beautiful heritage road in the world. The facades of all the buildings overlooking the road have been restored with a design style that seeks to create a vintage look evoking 400 years of Amritsar history. Over 20 buildings have been illuminated and as every facade is unique, each one has its own individual requirements. On one of them, for example, a washer-effect Trick luminaire has been used to highlight

the decorations on the summit. The biggest obstacle consisted in installing luminaires in public places where there was very little space for them, and the architects had specified that they all had to be kept hidden. The town hall, that was also included in the renovation project, is a world heritage site and therefore no luminaires were allowed to be mounted directly on the building. A wall washer effect was created using Linealuce mini luminaires, combined with recessed Linealuce luminaires installed in the courtyard to illuminate the columns with highly striking effects. At the beginning of the road that leads to the temple there is a large fountain with a circular seven-tier structure and a large statue of Ranjit Singh at the top. At the base of the fountain there are 65 lions, from which water spouts, that have been highlighted with projected light from IP 68 Waterapp luminaires. iPro floodlights have also been used for the Ambedkar Circle to emphasize the statue located at its summit and to

create uniformity on the first circle at the base. In this whole area, the lighting has been designed to create a sense of solemnity and help accentuate the site's sacred and spectacular beauty•

Year 2016 \ Architectural project Sincere Architects - Anoop Bartaria \ Structural engineering Johns Automation Systems \ Photographer Johns Automation Systems

Left: architectural details illuminated by Trick luminaires. On the right the large monumental fountain dedicated to Ranjit Singh.

The light enhances the solemnity and sacredness of the site. The prime minister of Punjab decided to build the road leading to the Golden Temple,which is now recognised as the most beautiful heritage road in the world.

Projects 2016 – Amritsar, Punjab \ India

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Golden Temple Amritsar

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The entrance area

Projects

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Roma Convention Centre La NuvolaRome \ Italy

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A new example of contemporary architecture for Rome.

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The large glass cube that houses the cloud.Right: the interiors of the auditorium

1998 \ 2016 – Rome \ Italy

The new EUR Convention Centre, designed by the Fuksas Studio, was unveiled at the end of October 2016, with a media event transmitted live by the Italian RAI television network. The complex became completely operative in January 2017. iGuzzini was involved in the long and chequered history of the construction with a specific product for the project as well as standard production luminaires. The complex consists of three architectural elements: the “Teca” (or Showcase), the “Nuvola” (or Cloud), and the “Lama” (or Blade). The “Showcase” which is 40m high, 70m wide and 175m long, is basically a hyper-technological “container” that houses the auditorium - a structure with an irregular shape covered by a glass fibre and silicone membrane, that seems to float in the Showcase, hence the name “Cloud”. It is divided into three floors with a ramp leading down to the entrance which is below street level. The hall that visitors arrive in is lit by Maxiwoody Compact luminaires installed on the glass facade at a height of 14 metres and pointed

downwards. The projectors used are fitted with spot optics that, given the height, produce a lighting level of 50 lux on the ground floor, the level required to guarantee visitors' safety. The auditorium, located in the Cloud can seat up to 1,800 people, spread over the stalls and gallery. It is clad with 4,700 panels of American cherry wood that guarantee excellent acoustics. The special luminaire designed specifically for this space consists of a pendant spotlight with a double up/down emission. The formal structure of the luminaire is light and streamlined, and produces two kinds of effects in the auditorium. The first is a general lighting effect created by a direct light with a colour temperature of 3000 K, whereas the second indirect effect creates a pleasant graphic pattern on the ceiling. Safety standards for visitors are also augmented by Ledplus luminaires recessed into the auditorium steps. Other recessed Reflex luminaires light the area below the conference room balcony where the lighting from the pendant luminaires is blocked and

does not achieve the same intensity. The special luminaire is also used in the Concourse, the large space that runs around the rooms located on the floor below the Auditorium. Here, a colour temperature of 4000 K has been chosen. In this area recessed Easy luminaires have been installed for emergency lighting. All the luminaires supplied feature DALI technology and can therefore be controlled by the management system that supervises all the service facilities: heating, screening, cooling and lighting•

Year 2016 \ Client Eur Spa \ General Contractor Condotte d’Acqua SPA \ Architectural project Studio Fuksas - Doriana e Massimiliano Fuksas \ Lighting projectSpeirs & Major \ Structural consultant Ramboll UK \ Photographer Moreno Maggi

The auditorium is housed in the irregularly shaped hyper-technological structure covered with a glass fibre and silicone membrane, which has inspired the name “Cloud”.

Projects

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Rome Convention Centre La Nuvola

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Widely known as “The Backyard”, Cluster H is the result of the efforts of two constructors, Rabih Saba and Marwan Ayoub of the Venture Group, who specialise in hospitality projects. The mild Mediterranean climate and the richness of the local vegetation have always influenced their work, which often results in projects with a strong relationship with the exterior and very often are outdoor locations. Situated in Hazmieh, a neighbourhood of Beirut, the venue is inspired by the urban layout of the city. Instead of trying to impose a rigid arrangement, the project embraces organised chaos and is inspired on the apparently casual

Light effects created by the interaction of the 360° Trick luminaires and the recycled steel bars.

Cluster H - The Backyard is the Lebanese and Mediterranean interpretation of Brutalism

configurations of organic human settlements. The development plan of the project attempts to create the ‘organised chaos’ paradox: a series of irregular polygons with inter-connected spaces and terraces. A channel of water connects three ponds and guides visitors through the space accompanied by the sound of a stream that flows and refreshes the air, with plants and trees completing the experience. The concrete finish of the buildings is left in its raw state, with all the imperfections in full view. The steel bars used for the concrete formwork have not been sawed and thrown away, rather they have been

Cluster H - The BackyardHazmieh - Beirut \ Lebanon

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removed, painted and re-inserted on the facade as a sort of covering of quills. The Trick luminaires with 360° diffusion have been used to create suggestive effects by directing the light on the bars and projecting their shadows on the coarse surfaces of the building: a Lebanese and Mediterranean interpretation of Brutalism. The project received the Crowd Award during the Lebanese Architectural Awards festival•

Year 2016 \ Client Venture Group - Rabih Saba and Marwan Ayoub \ Architectural project Bernard Mallat Architects + Walid Zeidan \ Architectural team Mahmoud Charif, Tamer Musharbesh, Michel Semaan, Chadi Dagher, Louis El Khoury \ Landscape architect IGA - Imad Gemayel \ Lighting Design Aartil – Majdi Hajjar \ Structural Engineering Civil Minds - Anwar Antoun \ Mechanical engineering Rabih Khairallah \ Electrical engineering Naji Geha \ Photographer Leva Saudargaitė

Projects 2015 – Beirut \ Lebanon

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Cluster H - The Backyard

Projects

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The Prysmian Group is world leader in the energy and telecom cables and systems industry. With nearly 140 years of experience, it is a public company, listed on the stock exchange without a controlling shareholder, managed according to principles of transparency which allows it to win over and maintain the constant trust of its investors. Designed by the architect Maurizio Varratta, the new headquarters of the Prysmian Group are located in the Bicocca neighbourhood of Milan. The shape of the complex recalls a typical Lombard factory, reflecting the industrial heritage of this area of Milan. The building, designed in line with the most innovative architectural criteria and with energy efficiency and sustainability in

mind, covers an area of 22,000 m2 and houses about 700 people. The entire complex consists of three buildings used for offices, services and related activities, connected by two greenhouses, floor to ceiling glass enclosed spaces which are also used for the general internal movement inside the buildings. These spaces have hydroponic plants, with water tanks that contribute to regulating the microclimate. The conference area has a small foyer-greenhouse, located between the office building and the conference hall, used to welcome participants. The lighting has been designed to ensure that the luminaires are integrated in the metal structures that run along the whole length of the foyer. The Laser Blade recessed luminaire have

Three buildings connected by two “greenhouses”, glass enclosed spaces with hydroponic plants that contribute to regulating the microclimate.

Prysmian Group headquarters: green and natural light.Milan \ Italy

been specifically adapted to be installed directly on these metal supports. The conference hall lighting can be dimmed, and coloured light effects can be created. This has been made possible by the monochromatic and dimmable Laser Blade High Contrast luminaires for the general lighting, and by the dynamic colour change version (RGB-DMX) for the specific light effects.The greenhouses, which include green areas and are designed to be spaces for interaction and to provide horizontal and vertical connections between the various buildings, offer a series of advantages in terms of natural lighting, as well as improved overall energy performance. Moreover these green oasis introduce natural elements in the built

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2017 – Milan \ ItalyProjects

iGuzzini fulfilled the architect’s wishes by designing and producing a special lighting system consisting of 158 scored glass spheres, housing a 1 W LED, and suspended at different heights. The result is a soft geometric shape of light.

up environment, providing changes in the views and contributing significantly in improving the working comfort in the spaces. The roofs of the greenhouses consist of slanted and glass covered pitches, supported by a metal structure, on which the Front Light projectors are hung, with connecting systems designed in collaboration with the architect Maurizio Varratta. These projectors create a uniform and very natural lighting effect. Naturalness seems to be the keyword of the project. The greenhouses have been designed to introduce natural elements, from the light to the ventilation, in the building. They allow the offices to be permeated by natural light, whilst the pitches of the roof can be opened mechanically to integrate the natural cooling effect with the air conditioning system and reduce costs. At the same time they can be used to release smoke in case

of an emergency. In the office area, where the presence of monitors requires controlled lighting, recessed 2000 Lumen Reflex luminaires have been used to provide a soft, uniform light, that when required, is integrated with a Task Light for specific needs. The transit areas are lit by Laser Blade High Contrast luminaires, in the twin-compartment version. On the stairs leading up to the management area, the lighting concept highlights the preciousness of the wood used, thanks to the minimal size of the twin-compartment Laser Blade luminaires installed under the support surface of the steps. Special laboratory tests were carried out to simulate the actual installation and guarantee the life and correct heat dissipation of the LED, before proceeding with the supply. For the hall area iGuzzini fulfilled the architect’s wishes by designing and producing a special lighting system

consisting of 158 scored glass spheres, housing a 1 W LED, and suspended at different heights from a track, that in turn is installed on the existing structure. The resulting geometric shape of light characterises this area of the building. The interventions on the outside areas have been designed to highlight the locations and render the project sustainable. The types of trees chosen follow the rhythm of the seasons, for the psychological wellbeing of the people and, indirectly, for their energy saving aspect: trees with deciduous leaves provide shade and coolness during the summer, whilst by losing their leaves in winter, they don’t block the natural light that contributes to the comfort of the users of the building and which is integrated, when necessary, with artificial lighting. Other solutions have also been implemented to improve the outdoor features, such as using

La sede Prysmian Group: verde e luce naturale

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Year 2017 \ Client Prysmian Group \ Architectural project and artistic consultancy Maurizio Varratta Architetto \ Interior Design e Space Planning DEGW \ Structural project S.C.E. Project \ MEP Technical systems project Manens – Tifs Spa \ Fire prevention Gae Engineering Srl \ Photographer Paolo Carlini

Both natural and artificial light enhance the building and the entire area, which remains visible and dynamic also at night.

2017 – Milan \ ItalyProjects

permeable concrete instead of asphalt for the parking areas. iWay luminaires, whose light flow has been reduced to comply with the regulation against light pollution of the Lombardy region, have been installed in the walkways of this area. The lighting of the parking areas has been provided by Delphi luminaires installed on 7-metre tall poles, which can be controlled with DALI technology, to define the light flow based on the different effects being created. The green areas next to the greenhouses, which users can walk on, providing the offices with an external release, have been lit with pole top iRoll luminaires in a shorter 4-metre version. This ensures the recognisability of the faces, which is extremely important in relaxation areas used for social activities. In Varratta’s vision for the project, both natural and artificial light enhance the building and the entire area, which remains visible and dynamic also at night. The building is pursuing the LEED certification (Leadership in Energy and Environmental

Design), according to the 2009 version 3 protocol. This certification, currently used in over 170 countries across the globe, is the sustainability standard recognised by the international property market. The certification process for the building is currently being completed and required, as well as the architectural and technical systems project, the development of an energy modelling at dynamic regime and a simulation of the indoor visual environments with natural and artificial light. This supports the designers in optimising the choices for the covering and the system•

La sede Prysmian Group: verde e luce naturale

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Projects

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The juxtaposition of materials such as wood and glass and the different colour temperatures render the headquarters of the European Council recognisable in the urban context. Inserted in the flow of everyday life it manages to be powerful and democratic at the same time.

The headquarters of Council of the European UnionBrussels \ Belgium

A glass box added to the Résidence Palace in Brussels is the new home of the European Council. It has been constructed by recycling windows (wooden frames and glass) from buildings across Europe, as an example and invitation to render private homes and public buildings more energy efficient. A choice in line with the EU indications on energy saving, according to which, various buildings will have to replace old windows with double-glazing. The extension became necessary in 2004 when, due to the expansion of the European Union to 25 countries, the Justus Lipsius building, which had been used for European

Council meetings, revealed itself to be too small. In 2004 the Council launched a competition to renovate the Résidence Palace, which was won in 2005 by the project of the Studio Samyn and Partners. The project transformed the L shape of the original Résidence Palace in a cube by adding the glass surface made of recycled windows. The surface protects the inside from noise and pollution as well as ensuring heat insulation. Inside, a lantern-shaped structure houses the offices. Lighting the new headquarters of the European Council has been a long and complex collaborative process between the various studios working on the new

building. The main difficulties in the project were linked to the height of the building, the fact that it is mainly built of glass and the need to conceal the luminaires as far as possible in order to emphasize only their light.To create the effect the architect, Philippe Samyn, was looking for, iGuzzini designed a system that involves projecting light onto the glass lantern that sits in the centre of the new space. The lights are aimed in a vertical direction as the luminaires are positioned along the vertical aluminium framework that supports the structure and they are secured with a fastening system specially designed with Belgo Metal,

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Projects 2016 – Brussels \ Belgium

so it remains completely hidden. iGuzzini also developed a special luminaire consisting of an aluminium module on which 10 x 90 W LED Laser Blade optics are inserted with a micro-prismatic screen and blind parts with serigraphy. The module controls two luminaires: one with a 3600 lm warm white 3000K colour temperature and the other with a 4000 lm cool white 5000K colour temperature. The final optic is approximately 56° with 4674 real lm. The luminaires are controlled by a DALI system that creates a tuneable white effect (a difference in the colour temperature in the use of white light) that can be programmed to suit different times and events during the day. The

luminaires have been installed along the vertical ribs that sustain the facade in the area defined by the ideal projection of the lantern. For the parts outside this area, a number of blind modules have been installed to provide light consistency throughout the building without using light beams. The design also called for a sort of contrasting “eclipse effect” to emphasize the three-dimensional nature of the lantern. Here, too, the design is based on projecting light via a special luminaire with Linealuce Compact optics. The luminaires are aimed precisely at the points where the 1960s building meets the lantern so the light seems to filter out of a sort of non-existent gap

between the two structures. To light the offices and conference halls, a diffused lighting effect has been created using recessed Deep minimal luminaires with a high performance reflector, HIT (CDM-TC) lamps with a 30° optic and with an UGR<19, integrated with various spotlights to create an indirect light effect. Fixed, adjustable and wall washer Reflex luminaires have also been used where the lighting didn’t have to be so strictly controlled. In the conference rooms the installation of the luminaires was developed in close collaboration with the architect who initially wanted to create a completely free and adjustable installation for the recessed luminaires. This solution was not

Philippe Samyn and Partners Architects & Engineers, Lead and Design Partner.With Studio Valle Progettazioni Architects, Buro Happold Engineers.

The luminaires have been installed along the vertical ribs that sustain the facade. The design also called for a sort of contrasting “eclipse effect” to emphasize the three-dimensional nature of the lantern achieved by projecting the light.

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The headquarters of the European Council

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Year 2016 \ Client Belgian Public Buildings Agency \ Architecture, Interior design and Landscaping Samyn & Partners (Architects & Engineers) Studio Valle Progettazioni \ Structural engineering Samyn & Partners (Architects & Engineers) Buro Happold Limited engineers \ Installer ITB Technics NV \ FixturesBelgometal \ Photographer Marc Detiffe, pag. 83 Quentin Olbrechts

In the conference rooms the installation of the luminaires was developed in close collaboration with the architect who wanted to create a completely free installation, especially for the recessed luminaires.

One of the conference halls with the special modular installation of the recessed luminaires.

possible, however, because mounting the metal structure this would have required on the ceiling would have been extremely expensive and would also have created invasive shadows.A different solution was therefore designed, that exploits the modularity of the tiles that make up the ceiling. The recessed luminaires are installed in a fixed position, 5 cm away from the upper side and 5 cm from the left side, and the tiles were then rotated. The end result is a layout with small variations in the positions of the recessed luminaires, in an almost random distribution, that also reproduces the layout of the conference halls below. Different switch on procedures have been included so

the level of lighting can be adjusted, which is essential for filming activities.The juxtaposition of materials such as wood and glass and the different colour temperatures render the building recognisable in the urban context, but not in a heavy handed way. As the architect, Samyn, states, the brilliant choice of the European Council has been not to position the building at the end of a triumphal perspective, but to insert it in the flow of everyday life. This allows it to be powerful and democratic at the same time•

2016 – Brussels \ Belgium

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The headquarters of the European Council

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A structure that becomes the reference point for the breath-taking view over the area of the Internationale Garten Ausstellung.

The cloud copse Berlin \ Germany

Projects

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Berlin hosts the capital’s first international garden exhibition from 13 April to 15 October 2017 in a 104-hectare area. Green urban spaces and ecological culture will be examined in numerous ways in Marzahn-Hellersdorf. The heart of the 2107 Berlin IGA consists of what are internationally known as the “Gardens of the World”, where different examples of gardens will be presented, such as the English Landscape Garden with a cottage, as well as fascinating water gardens and hanging gardens from the best landscape architects from the five continents. The exhibition includes a modern visitors centre providing information and acting as the meeting point for the constantly increasing number of visitors. Games

and interactive areas for visitors of all ages will complete the experience in special theme areas. Tom Schlotfeldt has designed a dynamic and coloured lighting system for the “Cloud Copse”, a structure that is the reference point for the breath-taking view over the area of the IGA, but also for the innovative engineering solutions employed for its construction. It consists of around 170 structural steel nodes, a translucent membrane which sits on slim steel posts, which are arranged irregularly like tree trunks in a copse. The lighting has been designed in collaboration with the architect Ripke and is based on products of the Linealuce Compact series, both RGBW and Tunable White, managed by Master Pro with a DMX protocol, to provide a reference point

also at night through a coloured and dynamic lighting effect•

Year 2017 \ Client IGA 2017 \ Architectural project Kolb Ripke Architekten \ Lighting project Schlotfeldt Licht \ Photographer Hanns Joosten

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ProjectsProjects

The Heinemann headquarters. The externalbuilding with the large windows is the extension designed by GMP.

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In 2013 the von Gerkan, Marg and Partners studio (GMP) won the competition to extend the Heinemann branch in HafenCity, Hamburg. The Heinemann Group, originally founded in 1879 as a shipbuilding company, is now a duty-free chain found in numerous international airports. The GMP project won the competition with a design that was chosen for its ability to create a meaningful relationship between the new building and its historical context. The aim was to extend the two existing warehouses with a third building to create a combination of 19th, 20th and 21st century architecture. The Heinemann building's

With the new Heinemann building the HafenCity of Hamburg now boasts a complex where examples of 19th, 20th and 21st century architecture sit side by side.

main feature, in fact, is its relationship with water (the northern wall also forms the wall of the Fleet canal, and towers 42 meters above it) because the company's history has always been connected with water. The new building also blends with the surrounding buildings thanks to the way it includes typical architectural features like its vertical facade, attractive brickwork, large windows and the historic goods loading openings in the old warehouse buildings. Terraced flat roofs create an intermediate level between the heights of nearby constructions. The new building, even though completely independent is

A new work space for Heinemannin the HafenCityHamburg\ Germany

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The transit and relaxation areas that are lit discreetly with recessed Laser Blade luminaires.

Projects 2017 – Hamburg \ Germany

connected with the other two with a glass connection. The desire to create a sense of continuity with the surrounding context is also the driving force behind the lighting design created by Schlotfeldt Licht. For example, deciding not to illuminate the entire facade, as it would have given the building too much emphasis. Instead, its structure is highlighted by illuminating the frames of the large windows with recessed Linealuce mini luminaires with spot optics. These devices emphasize the building's vertical design and volume indirectly. This lighting is augmented by the artificial light from inside the building. The offices in the eight floors

are arranged around an internal area containing the common areas and the service systems. As requested by the customer, the spatial layout has been deliberately designed to be as flexible as possible, and new divisions can be created at any time thanks to a series of mobile partitions. In all the environments, white dominates along with warm honey-coloured parquet flooring and wooden handrails. The office lighting is based mainly on the natural light that floods in through the large windows. At night, artificial lighting distinguishes between transit and relaxation areas that are lit discreetly with different sized recessed Laser Blade

luminaires of different sizes and pendant IN30 devices. The main lighting element used for areas with work stations is the iPlan floor lamp, positioned in pairs at the extremities of the desk clusters. Born from the collaboration between Tom Schlotfeldt and GMP, with its simple and basic design, this luminaire is ideal for environments where people work with video screens (UGR<19), thanks to its direct and indirect light performance. It also fully complies with Tom Schlotfeldt's vision, who believes that offices at times use too much lighting, of adding a sense of atmosphere by means of a subtle interplay of light and shadow•

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Year 2017 \ Client Gebr. Heinemann SE & Co. KG \ Architectural project von Gerkan, Marg & Partner \ Lighting project Schlotfeldt Licht \ Photographer Paolo Carlini

A new work space for Heinemann

The lighting of the work stations is provided by the iPlan floor lamp, positioned at the extremities of the desk clusters.

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The new E terminal of the “Leonardo da Vinci” airport is a large-scale extension project that will allow the airport to welcome 6 million more passengers a year.

(E ) terminal of the Leonardo da Vinci airportFiumicino - Rome \ Italy

The new E terminal for non-Schengen departures from the “Leonardo da Vinci” airport is a large-scale extension project. It includes various services for travellers covering 4 floors, plus 2 floors of technical facilities and a 250 metre long and 60 metre wide gallery with a shopping area featuring prestigious Italian stores, as well as 10 restaurants and 22 new departure gates. The internal flooring is the size of twenty football fields, the steel used is 4.5 times the weight of the Tour Eiffel, and 650 kilometres of cables have been installed. Completed on schedule, with an investment of 390 million Euro the new terminal will allow the airport to welcome 6 million more passengers a year. The facade of the building is inspired by the original 1960 project, but reviewed in line with new technologies and

materials. For example, recessed Reflex LED luminaires have been used for the lighting of the external cantilever roofs. The interiors are characterised by a long skylight that runs the whole length of the roof. Widening and narrowing, this transparent slash rises up into a huge glass dome when it reaches the boarding area.Creating a comfortable lighting scenario that met the requirements of this special location was a real challenge, especially considering the structural and architectural limits involved. At the same time, though, the research required to find the most effective and functional solution was extremely stimulating. The skylight, as well as offering a pleasant view of the changing nature of the sky, also provides an abundance of natural light during the day. However, it created

considerable technical difficulties for the lighting at night. The luminaires could only be installed between the ridges of the undulating ceiling at a height of about 15 metres and they could not be attached to the central skylight at all, which, at its widest section, is 13 metres wide. In collaboration with the architecture and engineering studios, a solution was reached that involved installing tracks in the spaces between the undulating ridges of the ceiling and using Front Light projectors. The ones near the skylight were aimed at the centre of the terminal so that they illuminate the part of the floor under the glass roof. In order to follow the curves in the ceiling and allow the floodlights to be installed in a straight line, one and two metre long tracks were used. Special 54 W and 5000 lumen

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luminaires, with different optics based on their installation points, have been used: spot optics for the tallest points, elliptical lenses in other areas. All the technical solutions available were used to compensate for the different heights and the different degrees of curvature of the ceiling, to achieve the desired effect on the floor level, even though they were positioned in very different locations. A two-metre deep metal ribbon, which can be seen during the day but disappears at night, runs along the whole length of the skylight. To maintain the same effect during the day and the night, special Laser Blades, installed on brackets just under the glass surface, were created. These luminaires, with crossing emissions, light the ribbon, enhancing its height. The spaces located under the huge glass bubble of the dome include a bar and a number of relaxation areas, all lit with Maxiwoody LED luminaires installed on one of the structural beams. In some areas of the

skylight, small body ceiling-mounted iRoll luminaires have been installed to guarantee direct lighting on the areas below, whereas a number of large body RGBW iRolls have been installed in the boarding area to create coloured light effects. A 4000 K Neutral White colour temperature was chosen and is kept even and consistent throughout the different spaces. All the luminaires feature DALI technology and can therefore be dimmed and managed with a control system and sensors that suggest the need to integrate the drop in natural light with the lighting system. On the lower floors Underscore luminaires have been installed in different ways, in radial patterns or parallel with each other in the area below the escalators, to provide the right level of lighting in transit areas (100 lux), while also decorating the ceilings and creating a sense of movement with lines of light. Recessed Reflex C.o.B luminaires provide further light intensity

for the comfort of travellers on the walkways to the departure gates. The graphic pattern of lines (Underscore) and dots (recessed Reflex), a Morse code of light, can be found in various covered areas of the terminal•

Year 2016 \ Client ADR Aeroporti di Roma Spa \ Architectural project SPEA Engineering, Studio Muzi, Biggi Guerini & Partners \ Executive company Cimolai S.p.A. \ Photographer Luca Petrucci

“On the lower floors Underscore luminaires have been installed in different ways, in radial patterns or parallel with each other in the area below the escalators, ... decorating the ceilings and creating a sense of movement with lines of light...”

Projects 2016 – Fiumicino - Rome \ Italy

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E terminal of the Leonardo da Vinci airport

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Eurasia TunnelIstanbul \ Turkey

A great engineering effort behind the construction of the road tunnel below sea level that, as of January 2017, connects Asia and Europe.

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As of January 2017 Asia and Europe are united below sea level thanks to the Eurasia Tunnel. This new road tunnel connects Kazlicesme to Göztepe, a route with particularly heavy traffic. The tunnel, a highly complex achievement of engineering, has taken 55 months to build with an investment of about 1 billion, 300 million dollars. It is 14.6 kilometres long, 5.4 kilometres of which beneath the sea bed, and has two separate levels, one for each direction of traffic. The project has also

included a reorganisation of the traffic circulation, with positive consequences for the environment. This has meant improving the access roads to the tunnel and creating two toll plazas. These changes have cut the level of traffic in Istanbul and improved the quality of the local environment by reducing both atmospheric and acoustic pollution. For the inside of the tunnel the client required not only a functional lighting system, which was already included, but also a decorative lighting system to

create a pleasant rhythm inside the tunnel. The competition held for the latter was won by Skira Architectural Lighting Design.The lighting project proposed by Dean Skira is based on lines of light and the colour blue. Blue was chosen after Skira made a careful study of traditional iconography which can be found as a talisman throughout Turkey. The interweaving lines, on the other hand, evoke the geometric patterns used as decorations on local carpets,

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Coloured light and graphic patterns create a landscape in the tunnel.

tiles, windows and buildings. These lines of light inside the tunnel also influence driving rhythms. The ones that are closer together transmit a sense of acceleration whereas those further apart seem to slow speed down. For the tunnel interiors, Dean Skira has created a blue background using RGB LED tubes set to blue and then projected lines of light onto it using a combination of Trick luminaires, specifically designed for this project. One of the lines of light is created with a luminaire using 5000 K colour temperature LEDs, whereas the other two Trick luminaires produce a light blue line and a dark blue one. The tunnel, in fact, has two types of ceiling: a vaulted one for the upper deck and a flat one for the lower deck, but the pattern created by the light lines is the same for both. The tunnel also features curves and alternating dips and rises. The rhythm created by the light also varies between the start and

the centre of the tunnel as the distance between the luminaires changes. At the start, for 750 metres, the luminaires are spaced at a distance of 3m (pattern 1), then for 500m they are spaced at 6m (pattern 2), then for another 750m the distance between them becomes 10m (pattern 3). This design, combined with the progressive spacing out of the loops, accentuates the idea of travelling in space and time, and makes driving through the viewless tunnel less monotonous. The luminaires are fitted to the metal structure that runs along the whole length of the tunnel and contains the various system cables, which cannot be attached to the walls. The presence of the iGuzzini distributor, Kitoko, on site to follow all the operations was fundamental. A team consisting of Dean Skira, architects Dino Krizmanić, Leonid Zuban and the structural engineer Berislav Medić also designed the architectural structures for the toll plazas

that feature steel arches that criss-cross at different angles and are projection-lit by RGB Linealuce luminaires which create a light effect that anticipates what awaits travellers inside the tunnel•

Projects 2016 – Istanbul \ Turkey

Year 2016 \ Client Avrasya Tuneli Isletme Insaat ve Yatirim A.S. (ATAS) \ Lighting project Skira Architectural Lighting Design - Dean Skira \ Engineering project Bozidar Pustijanac \ Architectural project (Tunnel entrance)Dino Krizmanic e Leonid Zuban \ Photographer Courtesy of Kitoko Aydinlatma

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Eurasia Tunnel

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Projects

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The most recent project completed at the Hong Kong International Airport is one of the largest public works conducted in the city in recent years. It consists of an entirely new structure and a new lighting system in the airport's central area to the west of Terminal 1. The project ended up taking longer than expected and underwent a number of variations. The most important of these involved exchanging traditional lamps for LEDs and installing sensors to integrate the predominant natural light with artificial lighting when needed. These variations were required in order to comply with the “Hong Kong Beam Plus” standard, a procedure introduced in 2010 for all buildings that includes

the energy consumption of luminaires in the assessment of environmental performance. This standard also affected other aspects, such as the special glass that has been used, which reflects 40% of solar radiation. This glass helps keep the building cooler and therefore its geothermal-based air conditioning system is used less and energy consumption is reduced. The airport authorities held a bid for the lighting system, that was won by a design presented by the Arup studio, which succeeded in complying with the energy consumption limits specified by the client by exchanging traditional lamps for LEDs. The other strict requirement stipulated by the airport

authorities was the total lack of glare as they insisted on maximum visual comfort. The lighting project is based on the use of an innovative recessed luminaire that combines iGuzzini's optic expertise with Arup's innovative design skills. The recessed luminaire was designed, developed and industrially manufactured between the company's Italian headquarters and its branch in Hong Kong and is based on the standard Reflex recessed luminaire and the Palco projector. To obtain the results required by the client, the Palco spotlight optic was amplified by up to 54°, achieving an extremely high efficiency level and a UGR of < 10. The luminaire, therefore, has a high precision light

A low energy consumption airport where the lightingsolutions are managed by a control system.

Chek Lap Kok AirportHong Kong \ PRC

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1998 / Honk Kong

The lighting project is based on a recessed luminaire that combines iGuzzini's optic expertise with Arup's innovative design skills.

Projects 2015 – Hong Kong \ RPC

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effect with an efficiency level of 5000 lm/W, which means it can illuminate heights of up to 15 metres with a better level of visual comfort than that stipulated by the strict regulations for work environments with monitors. This achievement was reached by combining the carefully tested technology of two different products to create the new hybrid Reflex Supercomfort luminaire that boasts new features and performance levels. They are mounted on modular triangular metal structures and are fitted with adapters that allow them to be adjusted between 0° and 15° to compensate for the inclination of the curved ceiling so the luminaires always appear to be vertical. Another product that has been customised for use at the airport is the iRoll luminaire, designed by Bo Steiber, with a diameter of 180 mm

and Palco optics. In this case, adapting the luminaire has been particularly complex as in some cases its height has been reduced to as little as 10 cm. Other luminaires, such as Woody and Front Light have also been used in this project, but 80% of the devices supplied are the specially customised Reflex and iRoll luminaires. This considerable production demand has meant that not only the company headquarters, but its branches have been involved in creating the lighting for this important new hub. All the luminaires installed feature DALI technology and are controlled by a non-iGuzzini control system. The project has already won a merit award in the 'Building currently under construction' category of the “Design Green Building Awards 2012 ", organised by the “Hong Kong Green Building Council” and the

“Be inspired” prize at the BIM Awards 2011, in the “Innovations for Campuses, Airports and Military Airports” category•

Year 2015 \ Client Hong Kong International Airport (HKIA) \ HK Contractor Gammon E&M Limited \ Lighting project Bo Steiber, Singapore, Arup, United Kingdom \ Photographer ARUP

Chek Lap Kok Airport

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A sophisticated visual three-dimensional effect renders the building a conspicuous landmark for its geometric precision in an heterogeneous context.

Projects

“OnCube”Shanghai \ China

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The “OnCube” office building, designed by the German GMP studio (Meinhard von Gerkan, Nikolaus Goetze and Magdalene Weiss), was completed at the end of 2016. The complex is located in the Shanghai Caohejing Hitech Park Development, a government sponsored area dedicated to industrial development that is home to companies operating in microelectronics, optoelectronics, computer and software as well as in research of new materials. The design of the new building has been derived from the basic theme of a square, both in its outer appearance and in its interior details and landscaping. The strictly geometric double grid of the facade creates a sophisticated visual three-dimensional effect. This gives the solid office block lightness and, within its heterogeneous surroundings, makes

it into a landmark that is conspicuous in its precision. In its austere form, the OnCube office complex harmonizes with the neighbouring buildings while at the same time, establishing a recognizable feature along the Qinzhou North Road close to the Puhuitang River. The office tower, with a total building height of 90 meters, rises up into the air in the shape of two identical cubes. An interruption in the grid creates a sort of waistline, which is emphasized at night by a coloured blue light. The white aluminium grid of 4.2 metre sided squares envelopes the building like a net curtain. This high precision graphic format is repeated inside the building where the double-glazed windows that form the building's thermal "skin" are dominated by the same squared grid. Framed by black aluminium profiles, these areas are

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Year 2016 \ Client Shanghai Caohejing Hi-Tech Park Development Corporation \ Architectural project GMP - Meinhard von Gerkan and Nikolaus Goetze with Magdalene Weiss \ Lighting project Illumine \ Photographer Flatmind

2016 – Shanghai \ RPC

About 800 Tricks installed all around the building are aimed at the frames of the squares that form the grid in order to underline their depth.

also reflective, which further reinforces the illusion of the building being veiled by a curtain. The artificial lighting system designed by Studio Illumine emphasizes the three-dimensional effect by positioning about 800 Trick luminaires all the way around it. These blades of light are aimed at the frames of the squares that form the grid in order to underline their depth. The DALI protocol and the control system allow the individual devices to be switched on separately so that light and shadow can move across the building's surfaces. OnCube has become a landmark of the Shanghai

skyline, by day thanks to its solidity and at night due to the differentiated light effects•

Projects

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“OnCube”

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Products

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108Miniaturisationis a complex system

120Euroshop 2017A metaphysical space Giancarlo Basili Maurici Ginés

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The more complex a system is, the more it is miniaturised. In a nutshell, this is the urban philosophy of the mid twentieth century architect Paolo Soleri. Soleri claimed that it was miniaturisation that allowed highly complex systems, like the human body and its millions of interacting cells, to exist. We can now apply this claim to the sphere of design and industrial production and add to it the technological advances that marked the end of the twentieth century and the first twenty years of the twenty-first. Technological and digital requirements have increased and, as a result, people expect indoor and outdoor environments to provide them with a range of different functions. Consequently numerous devices have been created and added to environments to supply these functions. At the same time, though, modern tastes require spaces to be clean, uncluttered and free of untidy

objects. The simplest way of overcoming this problem is to hide things, and one successful example of this is underfloor heating. The function of supplying heat can now be achieved without any invasive physical elements. Radiators have disappeared and now floors emanate heat invisibly. An even greater challenge remains, however, and that is the harmonisation of all elements, so they are physically present, but “invisible”. The first step in achieving this utopian vision is miniaturisation. Some years ago lighting devices were camouflaged by hiding them in the building itself, or colouring them in a way that would help them blend in. Their actual dimensions, though, even if reduced to a minimum could not be shrunk beyond a certain limit set by the size of the lamp (and not only). In this sector, the element that has opened the way towards miniaturisation is the arrival of LEDs, which have shown

Design We resolved the complexities of miniaturisation by applying the same ingredient at the design, technical, technological and industrial level: precision.

Miniaturisation is a process that has also been at play in the evolution of living species. Over fifty million years a constant miniaturisation has allowed the transformation of large dinosaurs of the Triassic period into the first birds. Over that period of time

the size of the body of theropods from which birds evolved, shrunk twelve times, and the average weight dropped from the initial 163 Kg to 0.8 Kg, which is the estimated weight of the Archaeopteryx. The findings were the result of the

work of a group of palaeontologists of the South Australian Museum, of the University of Southampton and the Museum of Geology and Palaeontology “Giovanni Capellini” of Bologna. (source: Le Scienze.it)

220 milion years agoNeoteropoda

200Tetanurae

175 Coelurosaur

165Paraviale

150Archaeopteryx

From dinosaurs to birds

Miniaturisationis a complex system

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Opti Beam Lens Super Spot + interchangeable refractors *The Opti Beam lenses with refractors have microprism textures with symmetrical elements modelled with freeform technology to preventany type of geometric and chromatic deviations.The light is perfectly mixed, uniform and definedwith a soft edge, and no double-ring.

Opti Smart Lens ST0.8C 8C Comfort optic for urbanpedestrian paths. Custom lenses modelled withfree-form technology to define optimal geometries, and use the light flow to the maximum.

Invented in the fifties lamps with integrated reflectors, known as PAR (Parabolic Anodized Reflector) are veritable projectors. The size of the reflector is directly proportional to the size of the tungsten filament that generates the light flow. In

the eighties, low voltage halogen bulbs with filaments of just a few millimetres gave way to the extremely popular lamps with dichroic glass. LEDs, which produce a directed light flow as if they were projectors, are the latest stage of this evolution.

1960 200019801970 2010

Miniaturisation of the light sources

1950

from the start their good elements: firstly, its nature as an electronic diode, and secondly its dimensions, so small that it transports us to the captivating world of nanotechnologies. The dimensional aspect of LEDs has started the innovative and selective process that miniaturisation is. The electronic nature of LEDs, as well as transforming the electrical current directly into light thus minimising losses during the process and maximising energy efficiency, also allowed for a digital management of the light. This almost visionary aspect for the lighting sector revealed possibilities of total control of the characteristics of the light. Similarly to an audio mixer, that mixes and harmonises the different signals based on the effect required, diodes can be used to modulate the quantity and quality of the light flow and provide specific solutions for any type of application. Due to the nature of LEDs the light emitted is extremely concentrated and focused in a precise direction and therefore special lenses must be developed to control glare and at the same time use all its light emitting power, transforming the efficiency of the LED in efficiency of the optic. In-house engineers, specialised technicians and designers have collaborated to carefully study the behaviour of LEDs and develop optical units that can house them and

maximise their energy, whilst also overcoming the most hostile enemy, glare, without compromising performance. This resulted in the patented Opti Beam optical technologies, with lenses, reflectors and refractors developed, engineered and produced in the Italian plant in Recanati. Opti Beam is the technology that brings comfort and precision to indoor and outdoor/architectural lighting. We differentiated the Opti Beam technology previously developed in the reflectors by concentrating on the lenses. The Opti Beam Lens is ultra-compact thanks to the combination of two lenses and produces extremely concentrated light beams (starting from 5°) as well as spot-medium-flood-wide flood openings when used with the Opti Beam Refractors. The underlying theme found throughout the range of lenses is the reduced field angle, that is the angle where the intensity is equal to 10% of the maximum intensity. This removes any type of geometric or chromatic deviation. The light is therefore perfectly mixed, uniform and defined at the edges, without multiple shadows. For urban lighting we have designed the Opti Smart, which features a combination of efficiency and comfort in the pursuit of constantly innovative solutions. Visual comfort for us begins inside a lens. We study geometries, shapes and

1:1Every component and every detail is part of a sosphisticated mechanism that is adjusted in-house by our team of designers

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Products

The wall washer version, unique in the world in terms of size and performance,features an exclusive combination of patented reflectors and screens that guarantee uniformity in lighting vertical walls, from the highest to the lowest point, without shadow cones and scalloped effects.

28 mm

Road lighting streetlights required a very intense luminous flux that, produced by discharge lamps, was directly proportional to the size of the lamp. Streetlights had to house large reflectors to optimise the energy efficiency, aim the light on the road surface and house

the electromagnetic components used to operate the sources. The progressive introduction of electronics has reduced the size of the control components and the refinement of the sources has allowed for a reduction in the size of the luminaires. Today LEDs and optical

systems based on lenses and reflectors allow the size of the luminaires to be reduced to a minimum.

1920Gas street lamp

1950"Cobra Head"

1970Tebe

1990Archilede

2010Quid

Miniaturisation of luminaires

materials to build exclusive and patented optical systems to direct and optimise the distribution of the luminous flux. But in order to maintain the performance of the LEDs, in terms of energy and quality, with the new formal restrictions dictated and suggested by a new technology that allowed for a high degree of miniaturisation, the product system had to be re-engineered. In particular the dissipation devices to expel the high quantity of heat produced, whilst maintaining the LED performance constant over time in terms of lifetime, flux and chromatic consistency.As we mentioned earlier along with the positive aspects there are certain difficulties which must be avoided. The micro-dimension is the magical solution for architects and users of the finished spaces, but it might not be for the installers. They are the ones that bring us back from the microscopic scale to the real one, as their tolerance scale is measured in centimetres and not millimetres. Handling a luminaire that is only a dozen millimetres long and placing it in an equally narrow hole, installing it cleanly, precisely and without any error that could compromise the performance or aesthetics is no easy task. This aspect must not be underestimated because even though it is only the final step in a long process,

it is the determining factor for a successful installation. In iGuzzini, along with the product, we design all the aspects of the installation phase, optimising solutions that can be easily and simply adapted to any false ceiling thickness. This is the expertise that has allowed us to transform the miniaturisation process in easily applicable precision: a change in scale but not performance. Miniaturisation is not about size but process skills.In 2012 iGuzzini launched the first linear recessed luminaire with invisible source, the Laser Blade, which produces a circular, uniform, soft and comfortable light.This innovative product, which revolutionised the world of recessed luminaires, soon became an icon of the lighting world. Its ability to integrate with the architecture inspired an entire sector. The luminaire with miniaturised optic uses the physical principle of the pinpoint source, generating a circular light with an extremely high level of visual comfort of UGR<10. Today, thanks to a collaborative and multidisciplinary approach, iGuzzini has once again pushed the envelope. In March 2017, in London, we unveiled the latest iGuzzini lighting marvel: Laser Blade XS, nicknamed “The Blade”

1:20Never has there been a product of design conceived not to be seen.

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With Palco low voltage we wanted to extend the collectionof Palco projectors and framing projectors to the micro level,developing low voltage solutions with diameters of 51mm, 35 mm and 19mm, with Opti Beam technology.

Products

Moore’s law, formulated in 1965 by Gordon Moore, an American businessman states that “the number of transistors in a dense integrated circuit doubles every 18-24 months”. This law explains how we got from calculators

that required various machines connected together and that could take up a whole room to work, to the smartphones that we can now hold in our hand. The combination of a capacity that increases and a size that decreases has improved

performances in almost every aspect of human activity.

1970Mini-Computer

1980Workstation

1990Personal Computer

2000Laptop

2010Smart phone

19 mm

1960Mainframe

Miniaturisation and efficiency

which encapsulates its extremely high performance in just 8 mm. It is a masterpiece of precision that fuses light with architecture, by cutting the ceiling and from that thin and powerful gap it frees the light. A micro optical assembly, that uses the patented Opti Beam technology, aims and maximises the light. The path of each beam emitted is constructed by optimising the position of each LED and its reflection on each angle of the reflector. The sum of all the individual beams guarantees maximum lighting uniformity, creating a clean final effect without any chromatic imperfections. The source is invisible to guarantee excellent visual wellbeing. The new Palco LV (low voltage) is another masterpiece of precision, that extends the collection of Palco projectors and framing projectors to the micro level, with diameters of 51mm, 35mm and 19mm. Projectors with spot, medium and flood distributions as well as numerous cones are available, Wall Washer for excellent vertical distribution and framing projectors to create geometric shapes of light with clear and precise edges, comparable with projectors with the same performance but 20% larger. It is important to understand that behind the success of this product, in this case in a miniaturised version, there is a great deal of innovation required in the production process. When

the size is reduced the machining precision is increased, and consequently, the machining tolerances are reduced, compared to those allowed for larger objects.As far as the production process of the reflectors is concerned, the first aspect to consider is that, if the emitting surface is about 1 mm, the smallest irregularity in the optical system, will produce effects with very visible defects in the beam projection. Therefore, if previously certain small surface defects were tolerated, now they can compromise the performance of the optic and therefore the final effect. This jump in scale for the tolerances resulted in an important revolution in the construction technology of the moulds, because such small optical surfaces must be machined with very different technologies, that are able to comply with tolerances at the micron level and obtain an almost nanometric definition of the surface.Otherwise there would be a drop in performance and the so-called chromatic deviation, typical of diffractive defects that occur when the light beam, that is issued white at the source, is then separated in a spectrum of many colours. Manual processes are also impossible when scaling objects to such small sizes. The Laser Blade XS has optics with a diameter and a depth of 8 mm, and recesses on the

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1:100We worked on the design until we realised a cherished dream of architects and lighting designers – the creation of a product so minimal it can hardly be seen.

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Electric injection The electric movement lets us control a fundamental aspect: the amount of plastic that enters in the cavity of the optical surface down to the centigram. The heart of this machine is the plastification screw designed to mould only the PMMA material which is used in our lenses.

Miniaturisation goes hand in hand with sustainability. The smaller the size the less materials are required resulting in less weight and smaller dimensions, thus reducing the energy consumption required for transport.

All this is summed up by the expression “Eco-design”.

Reduction of raw material

(– )Reduction of transport costs

(– )Reduction of energy cost

(– )

Miniaturisation and efficiency

surface that are smaller than a millimetre. It is practically impossible to intervene manually. Therefore technologies have had to be developed that, on the one hand, are very precise in machining such small surfaces but, on the other, are able to achieve a polished, or lapped, surface. The technology is extremely complex and uses natural diamond tools which allow for tool beams close to zero combined with an extremely refined movement of the machine axis. This allows us to achieve very precise surfaces, already lapped by the machine, thus eliminating any risk of diffractive issues. The use of natural diamond tools has also affected the choice of the materials for the moulds. We have created an innovative nickel and phosphorous cover over the chrome-nickel steel support. Another important step is the moulding; miniaturised lenses and reflectors cannot be moulded with conventional machines. Since 2011, when we began the production of the Archilede lens, we started using a more precise electric press in the injection machines. The electric movement lets us control the amount of plastic that enters in the cavity of the optical surface down to the centigram.The assembly process also had to adapt to the new canons set by the miniaturisation process. The lamp and optical unit assembled inside non-miniaturised luminaires require

a precision level down to a tenth of a millimetre, because nobody would notice such a small movement of the lamp in relation to the optical axis. This, however, is unacceptable for smaller dimensions and therefore we have had to source much more precise mechanical machining systems which are increasingly independent of the human variable.To paraphrase Palo Soleri’s axiom we can say that “The smaller the system the more complex it is”•

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There is an even greater challenge: harmonising all the elements so that they live in the space, physically present, but invisible. The first step in accomplishingthis utopian vision is the miniaturisation.

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Euroshop 2017

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Meetings Giancarlo Basili and Maurici Ginés explaintheir vision for Euroshop 2017.

Giancarlo Basili \ Maurici Ginés A metaphysical space Euroshop 2017

How did you come up with the idea of the layout for this iGuzzini space at Euroshop 2017?

Giancarlo Basili When we decided to design this space, which is much smaller than the space that iGuzzini usually occupies at the Frankfurt Light & Building fair that I have worked on in the past, my initial idea was to highlight the light as much as possible. When I approach these projects, which have light as their main theme, my initial concern is the relationship between light, space and location. A large container, of about 400 m2, becomes important when you manage to give the space a sense of lightness and, most importantly, render the people that enter the space almost surreal. In this case we achieved a metaphysical space, where the three-dimensional aspect is amplified by mirror fittings. I am against walls when they are not needed and I am against claustrophobic spaces. I have included many references to cinema and theatre, The Light Experience zone, a tunnel which we see from inside, where visitors can enjoy different light effects, is this time

open. I thought of this idea, of opening the tunnel, for a long time, as if it were a theatre curtain. During the day the curtains that close and darken the Light Experience are raised and we can see this incredible lighting application designed by the Light Designer Maurici Ginés. We worked closely together to create this space of light, despite the difficulties of using all these reflective materials. The source of the light is hidden, which is very important. You never see where the light is coming from. This is a very cinematic effect. I love this sense of staging. Visitors arrive but they don’t ever want to get up and look where the light is coming from, but they see it through the objects. The objects come to life with the light. The idea of these unique display cases, is that the colour is slightly perceived, but at the same time becomes important, whilst never dominating the setting. There are certain coloured elements which remind me of abstract art, Kandinsky and the futurists who worked a great deal in black and white and I wanted to convey this feeling in this space.

Those that live in the Marche live in a region full of culture, of great artist, a region with extraordinary vision.The Marche is a region of sea, rolling hills and mountains and this stimulates a very strong creative sense. I am from the Marche and therefore when I designed the Italian pavilion in Shanghai, I had my region in mind when I came up with the large field of wheat. Here in Dusseldorf I have brought the culture of the Marche as well as Italian culture. One must never close oneself in one’s region but, expand outwards. One starts from one’s region and all great artists are like this, no? Mondrian, Kandinsky, Picasso or Piero della Francesca, they all left the place where they were born, and grew up in and everything expands to the global level. To go back to the design that originates from culture. The first question about the 12 display cases was: “What do we display?”. I immediately said that I didn’t want to do the usual display case, the one that we have seen a thousand times. I didn’t know Dusseldorf, but I took a look around and I saw the large department stores in the city. I was shocked by the beauty of the layouts. What we did for Euroshop was to approach the display from a totally different perspective, as if the objects were works of art, as if they were paintings, which resulted in a very elegant effect. The objects on display are not realistic objects.

Maurici Ginés can you tell us something about the ideas that inspired you for this Euroshop 2017 and to create the Light Experience?

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What are the differences between working for a private company and cinema?

GB I must say that this is not my environment, it’s not my world. iGuzzini gives me this opportunity of working beyond my usual reference points and I find this extremely stimulating. The possibility of conveying the three-dimensional feeling in a small space gives me great creative strength. This is not my natural environment, but I try to bring it back to my natural environment which is the theatre and cinema. The other key element is culture: I can’t work without referencing Italian culture. I did it in Frankfurt by creating a three-dimensional version of the great work attributed to Piero della Francesca, “The Ideal City”: perhaps the first painting in the world to be treated in this way. That allowed us to examine perspective. Culture is the starting point. Without culture one can’t work, from my point of view. Italian culture is envied the world over and I try to spread it in these fairs too. This was my aim with the Italian pavilion in Shanghai and with the Zero pavilion in Milan. I also try to convey culture in my work with iGuzzini, which is an extraordinary company from this point of view, because the first thing that they ask me is to convey Italian culture and they are very open to this topic.

Is it important to be Italian, or from the Marche region, to achieve this?

GB There is something very important that we must mention.

“ ... What we did for Euroshop was to approach the display from a totally different perspective, as if the objects were works of art, as if they were paintings, which resulted in a very elegant effect. ... ”

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Giancarlo Basili \ Maurici Ginés

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Maurici Ginés This year with the Light Experience we wanted to move forward. This is why we created a space that included design aspects, because we wanted to abandon the concept of a box and organise the space with an element that could be seen from outside. The idea of transparency is very important and is the foundation of the concept of the whole stand. This required that the elements not contained in the Light Experience had to be interesting, therefore we created an internal space that was not completely enclosed, with curtains. When the curtains are raised the Light Experience interacts with the stand and increases the depth of the perspective.

Light and product: how did you create this combination?

MG We tried to reduce the number of products used. We selected them to achieve a pleasant environment, where one could feel the quality, because we wanted a stand that communicated the quality of the light. I think that in the end we found the right balance to explain many product lines in an interesting way. We have managed to show different types of light (vertical light, shape light, graphic light) and a new concept called media architectural light. To introduce this concept we created the beat lighting, where the essence of the light is the essence of a voice. All the effects have been obtained and altered by a voice. We created a theme where the world of iGuzzini light could express itself accompanied by a very special and essential music created with the voice.

By bringing together transparency with the demonstration of what is possible and what can be achieved by designing with iGuzzini light with an artistic approach, we managed to create something different, that I think represents a step forward in the lighting world. We designed light effects that adapt perfectly to the world of retail and that we could find in any store in any part of the world. They are effects that have already been created: we used Underscore in a very graphic way, with surface, recessed or floor installations; we used the Trick, working with products whose light effects are closely linked to the retail concept, to strengthen the identity through light. I think that the concept, with the designed effects, allows for the creation of differences, because we must never forget that the world of retail is always looking for ways to stand out from the crowd. I believe that this relationship becomes very clear with the use of light and generally a brand identity identified with light is a fundamental aspect for the world of retail.

Light and new shopping trends. How did you illustrate this connection?

MG We started from the idea of shopability. This is why we designed all the display cases and stand lighting with the set designer Giancarlo Basili. We tried to create a concept of quality, with light playing the leading role. We chose twelve types of shop windows from the retail world and we conceived a story for each one, to show how light can be adapted to

“ ... The idea of these unique display cases, is that the colour is slightly perceived, but at the same time becomes important, whilst never dominating the setting. There are certain coloured elements which remind me of abstract art ... ”

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the different situations that can take place in a retail space: a product may be easier to sell at a certain time of day or a specific type of customer visits a store at a precise time. We wanted to show that a lighting concept is not enough, that there is also a way of adapting to different types of shopping by creating specific light effects for the time of day or location. The twelve windows that we designed create a subtle dynamism that expresses the stories that can be created inside retail spaces, from wineries, to jewellery shops, from leather goods shops to shoe shops, as well as ceramic objects or any type of product. I believe that in the end we managed to achieve a very pleasant space that is a departure from the typical concept found at fairs. We have taken a step forward in terms of quality and the feeling that visitors have when they reach this space is that of having arrived in a hospitable place where light takes centre stage, without being aggressive. It lets you see the products well and chat, make comments and enjoy a welcoming environment.

Which products are most suited to the latest retail trends?

MG The Laser Blade XS and the Palco Low Voltage because there is a lot of work being carried out on the miniaturisation of the elements to facilitate their integration. This is a very important aspect in the retail world, the ability and possibility of showing the object being sold and the object that provides the lighting, which is an element that is not the true protagonist but it allows you to enhance the product through

the light that it produces. The lighting of the headphones window was very difficult. We had to highlight two important concepts: the colour, because generally it is a very colourful product, and avoid the creation of shadows. The cable, with its special shape, generates many shadows and blocks views of the product. We resolved this problem with an Underscore RGB, that generates different chromatic hues at the sides and in the middle we used an Underscore InOut, which is extremely small, only 6 mm. This allowed us to integrate a vertical element that eliminates any type of shadow. We created colour and eliminated shadows. Lighting the ceramics window, or of the three-dimensional object, was not simple either. The three-dimensional object reveals its volume through light and shadow. We thought of a movement with a gentle and thin light, illuminating the object from the sides and then from the front. Another aspect worth noting is the high level of control of the glare, to ensure that the person that wants to buy the product can concentrate on the object undisturbed. We used shelves in this case, because when I worked in a very important store in Madrid I noted how shelves are very popular in the luxury and retail sector. In this high fashion window we exploited the quality of the light, by placing it in relation with the clothes and the materials, using light and shadows to highlight the sinuous shape of the mannequin. We used the Palco LV, a small-sized luminaire that allowed us to aim the light where it was needed. The high chromatic capacity ensures that the clothes are displayed in their utmost splendour and accent lights can be used in specific points

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“ ... a lighting concept is not enough, there is also a way of adapting to different types of shopping by creating specific light effects for the time of day or location.... ”

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to convey the quality of the clothes. In the window displaying glasses the concept that we focused on was integration: positioning a small sized element that allowed the glasses to be displayed in their full glory. The way that we handled the colour temperature and the colour allowed all the glasses together to create a very interesting composition and the chromatic variations can be used to express the quality of all the details of each pair of glasses. It is important to remember that we worked with only 2 W for each element and the whole composition hardly reached 40W. Energy consumption is a very important topic for the retail world at the moment. Being able to use small sized luminaires which

Euroshop 2017

Giancarlo Basili

Giancarlo Basili was born in Montefiore dell’Aso (Ascoli Piceno) in 1952. He studied stage design at the Academy of Fine Arts in Bologna. Following his studies he began working for theatre shows, ballet and

music videos and collaborated with the director and set designer Pier Luigi Pizzi. In 2010 he designed the Paviglione Zero at the Milan Expo. Most of his work is focused on Italian cinema. In 1997 he won his first

Ciak D’Oro award for best production design for the film “Nirvana” by Gabriele Salvatores, then in 2001 for “Luce dei miei occhi” by Giuseppe Piccioni, in 2002 for “Paz!” by Renato De Maria and once again in 2008 for “Sanguepazzo” by Marco Tullio Giordana. In 2010 he was awarded the Nastro d’Argento award for best production design for the film “L’uomo che verrà” by Giorgio Diritti. In 2014 he received the Dante Ferretti award as best production designer for the film “L’intrepido”, by Gianni Amelio. At the international level he has worked on the production design of the film “Certified copy” (2010), directed by Abbas Kiarostami. As

well as the directors and authors whose films have won awards, he has worked with Marco Bellocchio, Pupi Avati, Ferzan Özpetek and Carlo Mazzacurati.

Maurici Ginés

Maurici Ginés (APDI, PLDC, IALD) has been a lighting professional since 1994. He founded the lighting design practice Artecluminotecnia, later renamed artec3 Studio, to introduce and promote the independent

lighting design profession in Spain. He is the outgoing president of the Professional Lighting Designers Association (APDI) of Spain and a member of the international associations PLDA and IALD. He has won

many national and international prizes and his work has been widely published. Maurici also teaches in the Lighting Design postgraduate course at the Polytechnic University of Catalunya (UPC) in Barcelona.

can be inserted very close to the object with a high chromatic performance allows us to create captivating compositions.In the cosmetics and beauty products window we worked on the concept of colour and chromatic yield. Here you can see how the use of an artificial light that recalls natural light lets you use colour as the corporate identification element. Moreover, with a red heart shaped display for the lipsticks, we can highlight the quality of the chromatic yield of the iGuzzini products. The white part of this window has been used to show the effects of the warm colour temperature. We created a composition full of colour in both the light and the materials•

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We created a theme where the world of iGuzzini light could express itself accompanied by a very special and essential music created with the voice.

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132Light and sociology.A possible integrationElettra Bordonaro

140Legacies and lights.The LightOn ProjectPippo Ciorra

142World Class Manufacturing,an illuminating approachMarco Gobetto

Knowledge

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Acland Burghley School, London, UK

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Research Social Innovation through lighting is also financing a research that evaluates how elements of social analysis can integrate into the lighting design.

In October 2014 the Social Light Movement, which has for years been working on lighting underprivileged urban areas, organised in collaboration with Configuring Light/Staging the Social, a research group of the London School of Economics. The 5-day workshop brought together international professionals (lighting designers, architects, urban planners) at Peabody’s Whitecross estate in London. The project was a test case in studying the integration between light and sociology in an urban context. This extremely successful experience inspired the Social Lightscape research program, a collaboration started in 2016 between Configuring Light, Elettra Bordonaro (lighting designer and co-founder of the Social Light Movement) and iGuzzini.The program consists of a series of

international workshops with students, professional and youngsters. Six workshops were organised for research purposes in different locations and countries and they brought together various social groups with different issues. The idea behind the Social Lightscapes workshop is very simple: in lighting design the sociological research is not usually included in the design process. The approach of the Social Research in Design overturns the normal design process, starting from the idea that the sociological research must be an integral part of the design process of urban spaces. This means that the designer develops his or her own form of criticism and starts asking questions that can lead the project in unexpected directions. Therefore the designer must also involve the local people during the development of

the research. In this context the word social does not refer to a problematic or underprivileged area or community. Every space is social, in that it is formed of various layers, groups of individuals, materials and interactions. Even though the specific issues of each space is examined, Social Research in Design does not imply a design process that responds to problems or is simply summed up as “giving people what they want”. It implies a transparency about the aims of the project, a permeability of new information that can upset preconceived ideas, the ability of justifying specific project choices and “giving people what they need” in a creative and intelligent way.

The six workshops included:

Light and sociology.A possible integration

Elettra Bordonaro

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Acland Burghley, secondary school, London, UK

YouthThe research group visited two classes of youngsters in order to understand the use of the outside courtyards and how to improve the way they were perceived and used at night. Interacting with a group of adolescents presents different issues in terms of how to approach and explain ‘light’ in a different and more simple and direct way. (January 2016)

Souq al SeebMuscat, Oman

Tradition Vs InnovationThe second workshop, in collaboration with the local university GuTech, included the fourth year students of the Architecture course. The case study was a traditional and extremely popular Souq: Souq al Seeb. The souq is the meeting point of different ethnic groups and raised cultural, as well as social and lighting issues. It made us understand how social diversity is not considered in the design process and how this, can completely transform the final result.(April 2016)

Piata SinaiaTimisoara- Romania

Activating SpacesIn collaboration with the Faculty of Architecture and Urban Planning of Timisoara and the Order of Architects, the third workshop saw CL take part in an initial research process to reactivate Piata Sinaia, a large urban square with various issues. In general CL believes that research and light cannot be the sole aspects in reactivating an urban space. In this case we accepted the challenge of using different methods of social research to empathise with the various local users. (October 2016)

West EndBrisbane, Australia

GentrificationIn collaboration with the Queensland University of Technology (QUT), this workshop focused on the gentrification process of the West End of Brisbane. This process took place in a multicultural neighbourhood which has seen various waves of migration since the forties and is a sacred place for Aboriginal culture. (December 2016)

Research

“... the designer must also involve the local people during the development of the research. In this context the word social does not refer to a problematic or underprivileged area or community.”

Muscat, Oman. Muscat, Oman.

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Elettra Bordonaro

Muscat, Oman.

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Paris, France

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Elettra Bordonaro

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Elettra Bordonaro

She is founder and creative director at Light Follows Behaviour, lighting design studio with the aim to design with people and for people.Awarded a PhD in 2006 at the University of Architecture in Turin with the thesis: Technology and Innovation for Architecture and Industrial Design concentrated on urban lighting, Elettra has a background as architect.She has focused her attention on light and worked as lighting designer consultant

on masterplan, exterior and public realm lighting.She has been teaching at the University of Rome, Milan and Turin and she is currently visiting professor at Rhode Island School of Art and Design, Providence, USA.

She is also co-founder of the Social Light Movement (SLM) with aim to bring lighting to less affluent communities. She has been appointed with a visiting fellowship for two years at the London School of

Economics at the Sociology Department to help Configuring Light Research group the develop the project Social Lightscapes, a project on how to integrate social research in lighting design.

Lives and works in London, UK.

Configuring Light/Staging the Social Configuring Light/Staging the Social is a research program within the London School of Economics, focusing on how light and lighting influence our daily life. The Configuring Light program team consists of Dr Don Slater (LSE), Dr Joanne Entwistle (King’s College) and Dr Elettra Bordonaro (LSE). The program includes various researches and projects, amongst which Social LightscapesSocial Light Movement.

Social Light Movementis a philanthropic movement and has been founded in order to create a network for lighting designers and other interested parties to collaborate on the issue of improving lighting for people: particularly those who are unlikely to have access to good quality illumination in their environment. Elettra Bordonaro, one of the founders, is responsible for the Social Lightscape project.

Tor SapienzaRome, Italy

DisconnectionTor Sapienza has been labelled by the press and the media as one of Rome’s worst neighbourhoods. It represents the paradigm of Italian and European suburbs which are disconnected from the city centre, and scene of multiple waves of immigration from the fifties to the present day. As Adriana Goni Mazzitelli wrote, Tor Sapienza is the “history of a Roman neighbourhood that screams its separation. From the working class area of the first half of the twentieth century to the squatting of the twentieth century, Tor Sapienza has gone from concrete tower blocks to gypsy camps with no time to heal its deep social wounds. It is a periphery consisting of casual and fragmentary settlements, of emergency enclaves that have never been allowed to communicate or interact with each other and grow together into a society”.(December 2016)

Place des FêtesParis, France

RegenerationEl taller tuvo lugar en la Place des Fetes, creada en 1835. El aspecto actual se remonta a 1991 y, actualmente, la plaza es vivaz pero no es acogedora. La ciudad de París ha lanzado un programa de regeneración basado en una consulta organizada por Collectif Di-Do. El taller contó con la presencia de lighting designers presentes en París para la PLDC, con el objetivo de restaurar el lado acogedor (octubre de 2017).

Por el compromiso de dar apoyo al proyecto Configuring Light/Staging the Social, iGuzzini ha sido proclamada, durante la PLDC, “Best Partner in the Industry 2017”.

El manual "Social Lightscapes Workshops", que recoge las diversas experiencias de forma sistemática y presenta los sistemas de investigación desarrollados y los resultados de los talleres, se presentará en Londres el 8 de marzo en la London Escuela de Economía•

Photographers Catarina Heeckt per Acland Burghley \ Don Slater -Timisoara e Brisbane \ Azzan Alzadjali - Muscat \ Gwel-Parigi

Tor Sapienza University, Rome Tor Sapienza University, Rome

Research

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Elettra Bordonaro

Tor Sapienza University, Rome

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Synergies 2015 marked the beginning of the LightOn project, curated by iGuzzini and MAXXI Architettura, which features a three-year program of lectures by internationally renowned architects and design professionals that, through a contemporary and visionary gaze, experiment the relationship between form, technology and light.

Legacies and lights.The LightOn Project

Pippo Ciorra

There are many virtuous reasons behind a project like LightOn. First of all there is an exemplary alliance. On one side a national public institution with an international relevance, such as MAXXI, committed to producing memory, culture, creativity and opportunities for collective discussion and growth. On the other a private company, based in the best and at the same time most deep-rooted region, with operations on a global scale, that needs creativity and cultural activity as if they were its most important nutrients. Economy and culture, the two pillars, in a very operational sense and not as a mere slogan to spur the reconstruction of not only the areas devastated by the earthquake close to the iGuzzini factory, but the whole civil and productive fabric of a country that has had its foot on the brake for too long. Starting from these premises the LightOn project boasts many other values and objectives,

with which it is able to attract fresh and willing contributors. The first and most evident is its role of “operative criticism”. Each year LightOn selects four world class designers (not yet consumed by fame and professional scale) and presents them to audiences in Rome and the Marche.The selection is never due to simple opportunities or a fortunate coincidence with other events, but it is well-considered and precise. It identifies the true sensors of the future and those architects that more than others anticipate the evolution of a profession that is constantly changing but is after all as old as the world. The second achievement of the project is that it acts as a cultural infrastructure that brings into contact international stars, museum attendees, students, local architects, media and many others. For the students of the universities of the Marche region, who

are involved in the project in various ways, LightOn is an opportunity of meeting authoritative and captivating voices that would otherwise be very difficult to hear in our region. This is why we have tried, whenever possible, to organise more intimate meetings, a sort of master class, alongside the conferences, between the guests and a selected academic public, who would benefit the most from the meeting. It might be worth listing the guests that up to now have stepped on the LightOn stage and recall their contribution to the project and the territory. Up to now we have listened to Atelier Bow-Wow, Snöhetta, Smiljan Radic, Sergei Tchoban, MVRDV, David Adjaye, Sauerbruch & Hutton and Kazuyo Sejima. We are particularly proud of this list of guests because in some way it represents the most progressive side of the world of architecture. Atelier Bow Wow is perhaps today one of

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“... Atelier Bow Wow is perhaps today one of the world’s most capable practices in bridging the gap between research and project, tradition and innovation, between the one-family home and the universal artistic and theoretical value of architecture. ”

Pippo Ciorra

Architect, critic and professor, Pippo Ciorra was a member of the editorial board of “Casabella” from 1996 to 2012. He collaborates with newspapers and magazines and has written many essays and publications. Amongst the most well-known, Senza architettura, le ragioni per una crisi, (Laterza, 2011). He is the author

of monographic studies on Ludovico Quaroni and Peter Eisenman, as well as writing on the city and contemporary Italian architecture. He is the director of the international PhD program Villard d’Honnecourt and he teaches at SAAD of Ascoli Piceno. He has curated and organised exhibitions in Italy and abroad. Since 2009 he is Senior Curator of MAXXI Architettura, where he has curated, amongst other exhibitions:

Re-cycle, Energy, Food, YAP_MAXXI, Piccole Utopie, The Japanese House

List of LightOn participants:Kjetil Traedel Thorsen, Snøhetta, 02/2015 \ Tsukamoto Yoshiharu, Atelier Bow Wow, 07/2015 \Serghei Tchoban, SPEECH, 04/2016 \ Winy Maas, MVRDV, 04/2016 \ Smilijan Radic, 05/2016 \ David Adjaye, 05/2016 \ Louisa Hutton, Sauerbruch Hutton, 11/2016 \ Jeanne Gang, 10/2017

the world’s most capable practices in bridging the gap between research and project, tradition and innovation, between the one-family home and the universal artistic and theoretical value of architecture. It has been particularly gratifying seeing how, two years later, the dialogue between Atelier Bow Bow and our institutions didn’t end but continued with an exhibition at the MAXXI on the “Japanese House”. A group of students from Ascoli took part in the construction of the models for the exhibition.Kjetil Trædal Thorsen of Snöhetta brought a great wave of energy and optimism in the museum, on his visit to the university and in the splendid setting of the Recanati auditorium. He brought the integrity, public spirit and the love of nature inherent in the Scandinavian origins of the studio and the desire to grow and experiment, developed in his American side. Smiljan Radic, who came to us just before a contemporary and fellow countryman curated the Architecture Biennale (Alejandro Aravena, who will soon be our guest), is perhaps the most imaginative and capable

representative of the extremely solid Chilean architectural school. He reminded everyone of the artistic value of architecture, its capacity of positioning itself between the nature and the life of people. Serghei Tchoban opened our perspective on Russia,a world that is unknown for us, and at the same time reminded us of the importance of drawing, as an independent and authorial work, whilst MVRDV and David Adjaye returned us to the most powerful and collective dimension of architecture. The Dutch studio, relaunched to even greater heights by the florid Rotterdam market; the Afro-British architect, thanks especially to the striking National Museum of African American History and Culture in Washington. David Adjaye came to the Marche at a crucial point of his career, which this year saw him knighted and be included in the 100 most influential people in the world. Louise Hutton, busy putting the finishing touches to the M9 museum in Mestre, re-introduced our designers and students to a subject that is too often neglected: colour. Whilst Kazuyo Sejima brought us back to the hieratic

and minimal beauty of the Japanese approach, able to resolve with the same set of tools architectural issues that cover a few metres to large sized complexes. An avalanche of images, ideas and talks which our youngsters and our country have an enormous need for. They provide us with the chance to go back to feeling that attraction for research, innovation, creative risk that both our culture and our (more or less ‘creative’) economy need to feed on•

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Kjetil Traedel Thorsen

Serghei Tchoban

Louisa Hutton

Smilijan Radic

Tsukamoto Yoshiharu

Winy Maas

David Adjaye

Pippo Ciorra

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Industry We asked Marco Gobetto to explain World Class Manufacturing, a systematic and structured approach designed to obtain continuous and long-lasting improvements in industrial production processes.

World Class Manufacturing,an illuminating approach

Marco Gobetto

World Class Manufacturing (WCM) is a systematic and structured approach deigned to obtain continuous and long-lasting improvements in industrial production processes, by assessing and reducing all types of waste, in a rigorous way and by involving everyone who works in the company, especially production line workers and operators. WCM was developed by following the concepts of lean manufacturing and methods such as Total Quality Control (TQC), Total Productive Maintenance (TPM), Total Industrial Engineering (TIE), Just In Time (JIT) and integrating the improvements originating from a benchmark with the best competition. The approach requires the interaction of the whole organisation of the plant, starting from the safety aspects and then moving on to quality and maintenance systems, logistical optimisation and

the organisation of the work stations and finishing off with the environmental and energy management aspects. The improvement is achieved through ten technical pillars (methods), each one with a seven step process that will see a gradual movement from a reactive and preventive approach to a pro-active approach, through the application of over three hundred instruments. The activities in the processes are dictated by a preliminary economic assessment of the inefficiencies and the benefits that can be achieved through focused interventions, but also through a day by day systematic approach. The reference method in this case is the Cost Deployment that, by identifying waste and losses hidden in the processes and that inflict costs on the company that do not generate value, acts as a beacon that literally shows

the way that must be taken to apply the actions and obtain the planned improvements. The other technical pillars activate and demonstrate the validity of the method by removing the losses in the model area and consolidate the applications and the best practices that must subsequently be extended to other areas. Auditors certify the level of implementation achieved in the plants through checks that involve all parties in the company and the plant. The score achieved during the audit is split into two: half is for the results that can be achieved by applying the methods and technical instruments and the other half is for the managerial ability in organising the plant, starting from the plant manager, through the intermediate managers, right down to the production line workers. In other words it’s like

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Marco Gobetto

Marco Gobetto was born in Rimini in 1967 and graduated in Electronic Engineering in 1993 from the Polytechnic of Turin. After having completed his university studies, he began his professional career at FIAT

Auto S.p.A. in the Manufacturing Engineering Department, as part of the Style Design Manufacturing Analysis Team and subsequently as a specialist in the body assembly methods, working on the

industrialisation of a few new models in Italy and coordinating the launch of a new model in Poland. In 1998 he moved to Ferrari S.p.A. as Body in White Plant Manager of the “Carrozzeria Scaglietti” at the Modena facility. In 2000 he took over the Manufacturing Engineering Department at Carrozzeria Bertone

S.p.A. in Grugliasco (TO), where three new models were launched in just two years and, for the first time in the company’s history, a second and third work shift were introduced. In 2002 he moved to ISVOR FIAT, the Corporate University of the group, to work on the Total Productive Maintenance (TPM) programs in IVECO

and FIAT Powertrain; to coordinate the training for the joint venture initiative in India between FIAT and TATA for the construction of a new production plant; for the kick-off of the WCM program in FIAT in 2005.

In 2007 he became Manufacturing, Quality and Product Development Manager for ISVOR. At the end of 2008, due to FIAT’s new organisation of the training, he become responsible for the Manufacturing Training Unit in FIAT Sepin, contributing at the global level, to all the training initiatives of the FIAT group, including the joint venture with Chrysler LLC. In 2014 he became senior manager of the WCM Training & Consulting

unit in FCA Italy S.p.A. Since 2002 he has collaborated with the Polytechnic of Turin, in the Automotive Engineering Faculty for the Production Management course and as professor of the “Production Processes, Safety, Organization and Management” course. In 2014 he wrote “Operations Management in Automotive

Industries” published by Springer.

measuring each time “what is done” and “how it is done”, which confirms that achieving results is not the only important thing. Doing it through a systematic and rigorous application of the method in order to guarantee a successful achievement of excellence is what really makes a difference.The WCM program in Fiat Chrysler Automobiles began in 2005 in the European plants performing he final vehicle assembly. It is also applied to all the automotive business sectors, from the powertrain systems to the components and the production systems, but it also covers the industrial business plants, like earth moving machinery, tractors, goods transport vehicles and special vehicles. In just over ten years the WCM has achieved a veritable evolution of the FCA and CNHi plants, obtaining excellent operational and business results. It has also become a point of reference which provides

a comparison with other companies of excellence, and it has obtained numerous international awards from specialised organisations of the sector. Since 2010, a dedicated team supports suppliers who want to implement the WCM in their production process, thus widening the value chain. Moreover, FCA has created a training & consulting unit to make available the experience garnered and provide support for third party companies in other business sectors who are interested in the WCM and want to undertake this journey towards world class excellence. This extended circle of companies accounts for over a thousand plants involved in a WCM program. iGuzzini’s implementation of World Class Manufacturing began about three years ago. After the official kick-off with all levels of the company and an initial training program to create a shared culture of common methods and

language, the first Cost Deployment was developed to select the model areas where the applications could be experimented in the field. In 2016 the Recanati plant was able to reap the first results and undergo the audit to test the entire plant. This marked the beginning of a continuous improvement program made of field activities and controls which benefit the whole organisation.Today World Class Manufacturing in iGuzzini is not only a production method but a way of operating that lights the way towards excellence and success•

“iGuzzini’s implementation of World Class Manufacturing began about three years ago. After the official kick-off with all levels of the company and an initial training program to create a shared culture of common methods and language...”

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Marco Gobetto

iGuzzini Icons Over the years iGuzzini has collaborated with architects and designers to transform their ideas into reality. Started in 1959, iGuzzini manufactured lamps under the name Harvey Guzzini. The production continued to the mid- eighties, alongside the development of lighting luminaires which began in the mid-seventies.

1965 Table light made of a reflector with a thermoformed methacrylate cap in white version or double layer version, with white interior and coloured exterior, and a base in polished, chrome or burnish brass. The appliance conveys the capacity of Luigi Massoni to work with the most noble of plastic materials for its transparency and its permeability to light. Medusa was one of the first lights designed by Luigi Massoni, and one of its biggest successes for Harvey Guzzini.

Medusa

designLuigi Massoni

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Michele De Lucchi Arnaldo Zappa Design International - Davide Padoa \ B612 \ StudioForma \ Atelier Oï \ Cristiano Baldinotti \ HKP Arkkitehti Tolmisto \ Granlund Oy \ mm+ \ Schatz+Lichtdesign - Roman Schatz \ Tokujin Yoshioka \ MOMENT Inc. – Hisaaki Hirawata \ Wanda Creative \ Renzo Piano Building Workshop \ Arup London \ Sincere Architects - Anoop Bartaria \ Studio Fuksas - Doriana e Massimiliano Fuksas \ Speirs & Major \ Bernard Mallat Architects + Walid Zeidan \ Maurizio Varratta Architetto \ Samyn & Partners (Architects & Engineers) \ Kolb Ripke Architekten \ Schlotfeldt Licht \ von Gerkan, Marg & Partner \ SPEA Engineering, Studio Muzi, Biggi Guerini & Partners \ Skira Architectural Lighting Design - Dean Skira \ Bozidar Pustijanac, Dino Krizmanic, Leonid Zuban \ Bo Steiber, Arup \ Illumine \

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Retail Paolo Carlini Market day Oscar Farinetti Dynamic light for high Italian quality David

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