19 English edition I.

2009
Editorial

Dear Readers,

Urban quality derives from the combined presence within a city and each
of its parts, of infrastructures, public and private services, a varied range
of businesses, architectural and town planning elements (volumes, shapes,
colours, thoroughfares, urban furniture, quality and quantity of greenery, etc.),
socio-cultural opportunities (political, cultural and social activities, attractions
and meeting places) and a salubrious environment.
The rapid evolution of artificial lighting technologies is compelling designers
to adopt new criteria and methods of work. These criteria combine reduced
energy consumption with the enhancement of urban and architectural spaces.
Martin Lupton’s article based on the experience of lighting designers illustrates
how artificial light is now one of the most important tools at the disposal of
planning authorities for improving urban and environmental quality, managing
environmental resources and thus, indirectly, supporting social cohesion.
New perspectives are opening up for city dwellers, in which the variable
scenarios created by light offer a more dynamic way for people to interact
with their habitat, together with improved energy-efficiency.
As always, the solution lies in the creative use of technologies made available
by technical and scientific research… and architecture is the best example.
Since they first began, universal exhibitions have always provided a privileged
forum for experimentation, and the latest edition held in Saragossa, which
we present in this issue, is an obvious example.
“Better city, better life” is the motto of the next EXPO, to be held in Shanghai
in 2010. This echoes the slogan “Better Light for a Better Life” coined by
iGuzzini in its 2002 advertising campaign. We could equally say “Better Light
for a Better City”, to make it even clearer that light can play a pivotal role
in enhancing quality of life in today’s cities, for the people who live in them
and the people who visit them for work or leisure.

Adolfo Guzzini
19 Incontroluce I. 2009

Contents

II Editorial

Le Marche
2 Inarch Ance Marche Awards

Design
6 Conversation with Martin Lupton

Projects
12 Donatello’s David
shines again
14 Napapijri Store
16 Capucci Foundation
18 The Sanctuary of Bibieybat
20 Farnborough Business Park
22 Headquarters
of Richemont China
26 Light on Expo 2008
30 The new Headquarters of DBI Plastics
32 BMW Welt
34 The Civic Museum of Freising
36 The lighting of Kuoni’s
new flagship store
38 Museum of Islamic Science
and Technology
40 The Night of Fire
42 Lighting the interior
of the Zentiva Headquarters
44 ČSOB’s new Headquarters

Corporate culture
46 iGuzzini illuminazione UK:
a new Headquarters for our Lighting partners
54 Divine Human
Appreciating Form
56 VIDEOА,
Mario Sasso and electronic image
58 Ron Arad. No discipline
60 Gabriele Basilico. Vertical Moscow
61 Lighting our art heritage
62 iGuzzini China takes part
in China Europe Economic Forum
ABB08 - 2008 Beijing
Architecture Biennial
63 Logos of Italy
Stories in the art of excelling
 Le Marche Inarch Ance Marche Awards
Moie, 23 January 2009
Text by Maria Luisa Polichetti Canti,
President of Inarch Marche
The 2008 Inarch Ance Marche awards ceremony
sponsored by the Marche Region was held on
23 January 2009.
It was the first awards organised by the Marche
section of Italy’s National Institute of Architecture
and it revealed that in the Marche, the quality
of contemporary architecture is excellent.
The jury met on 13 November 2008 and
selected 42 projects on the basis of the
work’s adherence to the spirit of the Inarch
Ance national award, namely the active
involvement in the project of all the parties in
the building process: the commissioning entity,
the architect and the building contractors.
The jury also assessed the relationship of
buildings and their settings and their interaction
with existing buildings in the vicinity; the project’s
contribution to the quality of the local context;
the intrinsic quality of the building, the
technological innovations used, the construction
methods, the choice of materials and their
sustainability, and the coherence between the
form and function of the building. The awards
are divided into three categories: newbuild,
renovation, and young architect. The winners
will also be entered in the Inarch award at
national level, as will a number of other regional
projects held in high regard by the jury, which
nominated them to the national jury. Generally
speaking, the projects submitted testify to the
quality of the region’s architectural output, based
on attention to materials and relationship with
local context. The quest to reduce construction
times and costs is leading increasingly to a shift
away from the art of brick-laying in favour of
pre-fabrication. When customers’ desire for
quality architecture, whether private or public,
is accompanied by the will and the courage
to depart from conventional models, the ideal
conditions are created for experimentation, with
undoubtedly positive results. Many projects
reveal the willingness of architects to embrace
the latest international movements in architectural
culture, while still adhering to the limits imposed
by projects of regional scope. An examination
of the projects submitted undoubtedly revealed
a general limit in the use of alternative energy
sources, energy-saving technologies and a
bio-compatible approach to building. The public
awards ceremony was held in the building
selected as the winner of the renovation category;
the former Moie brickworks, with a view to
accentuating Inarch Marche’s relationship
with the local area and giving attendees the
opportunity to see the building for themselves.
The event saw the participation of Fulvio Irace,
Head of the architecture section of the Milan
Triennial, and Adolfo Guzzini, President of Inarch.
2

Winner of the Newbuild Category
State Vocational Institute
for the Hotel and Catering Industry
S. Benedetto del Tronto (province of Ascoli Piceno)
Architect: Enzo Eusebi - Nothing Studio
Martinsicuro (province of Perugia)
Client: Province of Ascoli Piceno
Contractor: Edil Steel - Atessa (province of Chieti)
3
Photos: Esa Studio
1. Group photo of the award winners
2. By kind permission of the design firm
A valid example of cooperation and integration of
the parties involved in the project, especially with
public clients.
The building enhances the heterogeneous context
in which it stands - and which is free from specific
connotations - and provides an important link
between the structures built in the early 1900s
and the contemporary expansion, of only moderate
quality. The selection committee was particularly
impressed by the ability of the parties involved to
produce a quality building with a very limited
budget and tight construction deadlines.
incontroluce 19
 Le Marche
Winner of the Renovation Category
New media library and new offices for C.I.S. Moie
Maiolati Spontini (province of Ancona)
Architect: Nazzareno Petrini
Anna Serretti
Client: Municipality of Maiolati Spontini
and C.I.S. srl
Contractor: EDIL ATELLANA Soc. Coop. A.r.l.
and others
Inarch Ance Marche Awards
The architectural complex of the former Maiolati
Spontini brickworks consists of two different types
of buildings. The first, backing onto the quarry,
was built for processing clay. The second is an
elliptically-shaped Hoffmann kiln in which the
clay was fired.
The project involved the remodelling of the entire
site. The original structures were restored, paying
attention to the optimum sizing of the bearing
elements made entirely of steel.
The new media library brings enormous potential
to the town of Maiolati Spontini, from an economic,
social and urban regeneration viewpoint.
The architectural quality of the work lies both in
its consideration for the history of the area and the
use of contemporary materials inside the buildings,
which are eco-compatible, capable of creating
spaces that meet the needs of today’s patterns
of work and study.
4

Winner of the Young Architect category
Residential buildings in Via Annibal Caro
in Senigallia (province of Ancona)
Architect: Ceccarelli Marco Maria
Client: Sema Costruzioni snc
Contractor: Globo costruzioni srl
5
The design choices were based on two
considerations: the first relates to the changing
nature of the relationship between the residence
and the road, and the other relates to the visual
chaos generated by the nature of the built
environment outside the historic walls. This
meant that the architect had to come up with a
building with simple, almost abstract, geometric
shapes. The building project is obviously aimed
at quality construction and quality of habitat,
3.4. By kind permission of the firm of architects
but it is also an urban project which provokes
reflection on the processes of urban transformation
on a small scale, and reinterprets the values of
the place and its existing features. Integration
of the site into the urban context has been
achieved by researching the history of the
town and its current situation. An optimum
relationship between form and function,
combined with the capacity to integrate
new and traditional materials.
incontroluce 19
 Design
Martin Lupton, Lighting Director
B.Eng (Hons), PhD
President Elect, Professional Lighting Design
Association (PLDA),
Member, Society of Light and Lighting (MSLL),
CIBSE
Martin Lupton joined BDP in 2002 as a Director
of the international award-winning BDP Lighting
team, and currently leads the 22 full time
designers in offices in London, Manchester and
Dublin, working closely with all BDP architects,
interior designers, landscape architects and a
host of independent architects and developers.
He believes that the best in lighting design is
a combination of the multiple influences of
architecture, engineering, theatre, art and
product design. His interest in lighting design
started with his PhD at Liverpool School of
Architecture, which focused on developing a new
lighting design method for commercial interiors.
Martin has served on several CIBSE committees
and on the advisory panel of the internationally
renowned journal Lighting Research and
Technology. He is also actively involved in the
Professional Lighting Design Association, of
which he is currently President Elect. Martin
regularly writes articles for both the national
and international press, as well as speaking at
a wide range of conference events in the UKs
and Europe on both artificial and natural lighting.
Conversation
with Martin Lupton
As an expert in lighting design, what is your view of the relationship between light
and architecture and between light and space?
I think light is an active, calculated component of architecture. Lighting should be
subordinate to architecture and should enhance the experience of people within the
lit space. I think it’s important to put people at the heart of lighting design, so that the
design does not simply end up as an extension of the assumptions of the architect or
lighting designer. I don’t mean that light should not be dramatic, beautiful and a source
of inspiration, but it has to be built around the experience of the space. It’s vital that
lighting has strong conceptual roots, and in my experience, these derive from open,
mutual collaboration. The best designs are those arising from the contribution of diverse
influences and suggestions from lighting designers, architects, landscape designers,
engineers and artists. I find that this is one of the most significant aspects of the job
of a lighting designer, because it embraces a wide range of experiences. I really do
believe that it’s an art and a science at the same time.
To what extent does light influence life today, and more especially, to what extent
does artificial light affect everyday life?
That’s a great question! In the developed world, I think I’m right in saying that artificial
light has gone beyond influencing life, and is now expected to be an integral part of it.
Like cars, the internet, computers, mobile phones and electricity, we take these things
for granted now and only notice them when they’re taken away. This may not sound
like a great thing to say in a lighting magazine, but I often find myself thinking about
darkness. How can we create opportunities for people to appreciate darkness and thus
enhance our understanding of the natural world around us and explain how important
it is to reduce levels of lighting? In many cities all over the world, lighting is applied
blindly, and over-lit spaces and buildings actually reduce our visual perception. I think
that people in the lighting business should focus on this and take some initiatives.
Over the course of your experience as a lighting designer, have you noticed how the
concept of architectural lighting has evolved and changed? What can you tell us
about your experience in this respect?
I’ve been lucky, because I’ve had the chance of working with intelligent, experienced
people in the past, and now I’m even luckier because I work with a fantastic team of
talented young designers. My experience has shown that the concept of architectural
lighting design has changed and evolved all the time, chiefly because I’ve been
influenced by working with different people in different teams and have had the chance
to learn from them. Technology has undoubtedly played a role in the development of
architectural lighting, but in my opinion, the biggest change has been in the role of the
lighting designer. These days we are brought into the design process at an earlier stage
than in the past and we are included in a larger number of design teams, and this has
increased our range of influences and styles of work. I also like travelling and meeting
different people all over the world, whether they’re artists, students, lighting designer
or professors, as well as visiting fantastic places and buildings. All this has played a
part in shaping my personal concept of architectural lighting. If architectural lighting
ever stops evolving, then I think it will be time for me to stop: at the moment,
there’s something new to learn every day, and that’s very stimulating!
6
 Text and pictures provided
by Martin Lupton - BDP
The projects presented by the Lighting Designer
were produced using lighting equipment from
various manufacturers.
Guerrilla Lighting, Manchester
The term “guerrilla lighting”, (which has been
in use for some years now), expresses a concept
which, in this version, was developed by BDP to
emphasise the importance of good lighting and the
role of professional design in creating sustainable
lighting solutions. The version of guerrilla lighting
proposed by BDP is called “Anything, anywhere
7
Photo: By kind permission of BDP
1. Guerrilla Lighting
& anytime” and consists of a series of ephemeral
light systems created by a line of people with
simple electric torches. The lights in guerrilla
lighting appear and disappear in the space of
a few minutes, but are captured by professional
photographers. To date, systems have been set
up in various European countries and the initiative
has won Lighting Awards in the United Kingdom
and the United States.
incontroluce 19
 Design Conversation
with Martin Lupton

2 3

In what way do you think that the development of lighting technology has contributed Maggie’s Open House, London
to this change?
For the Night Hike through the streets of London
The development of technology has increased the possibilities of how and where we held each year by the cancer charity Maggie’s,
can integrate light, because we can now be more precise in locating light within an BDP Lighting was invited to light Wellington Arch,
architectural space. Improved effectiveness and reliability have also contributed to which marked the half-way point of the 15-mile
giving us greater freedom in designing and installing lighting. In a sense, the increased circuit. Participants were given the opportunity
choice of light sources and increased technological complexity has further justified to writing something with light, and the images,
captured by photographer Sanna Fisher Payne,
the role of the lighting designer as a lighting expert within a design team.
were projected onto the arch a few moments
later. For many of those who took part, this was
the most memorable moment of the evening.
In your opinion, how should a good nocturnal urban scene look? The system was created thanks to the generous
sponsorship of iGuzzini UK.
A good nocturnal urban scene should consist of several layers; it should; include areas
of darkness and simple creations; involve the controlled application of lights focused
on architectural elements (both vertical and horizontal) and should elicit a feeling
of pleasant surprise and enchantment. The approach should be considered in terms
of context, materials and use, but above all in terms of human factors. A nocturnal
scene should be designed primarily around people and their social interactions and
experiences. We should always rise to the challenge and judge our designs against
the key criteria of conceptual integrity, human factors, design quality and sustainability.

8
 2.3. Night Hike 2008
4. Princesshay

Princesshay, Exeter

The project for the rehabilitation of the city centre

saw the construction of a series of commercial
and residential buildings, some of which were
built around the old ruined alms house. The aim
of the project was to create a safe public space,
highlight the historical significance of the location
and make it a reference point and meeting
place for the people of Exeter. The artist Patricia
MacKinnon Day contributed to the project by
developing a series of specific artistic motifs,
which constitute the focal point of the space,
in both conceptual and aesthetic terms. BDP
developed a system of concealed lights, skilfully
integrated into the frames of the glass doors,
which serve as the primary source of light.

4
incontroluce 19

9
 Design Conversation
with Martin Lupton

5 6

In the face of diminishing energy resources, what should we be doing in the lighting Cardinal Place, London
industry to promote environmental sustainability?
Cardinal Place is a multi-purpose complex made
I think this is a question that the entire lighting industry should be looking at together. up of three office buildings, connected by a
We need to deal with this fundamental issue. As lighting designers and suppliers, each series of pedestrian walkways and open spaces.
time we propose an installation we need to assume responsibility for the energy that The development plan envisages a new square,
a hanging garden and covered areas which,
it will consume, on behalf of the people who intend to use it.
with new businesses, cafés and restaurants,
This responsibility has to be taken seriously. As professionals, lighting designers exert
will provide the focal point of the project and
an influence only on a small proportion of lighting that is installed, but at the same
will draw visitors towards Buckingham Palace
time it is our duty to set an example, both in terms of design and sustainability. and other local places of interest. The bars and
One of the ways in which we can follow through on this is to make our voice heard restaurants will become an evening destination
in the general debate. This is one of the aims of the Professional Lighting Design for local residents and office staff.
Association (www.pld-a.org), which is taking steps to have the job of lighting designer
officially recognised as a profession. We need to join forces with other parties in the
lighting industry, such as manufacturers, engineers, etc., and start working together,
not with one dominant voice, but with lots of voices expressing a single message.
Many of the decisions in the industry at present are taken by separate and diverse
entities, which lack a general overview of the complexity of the question. We need
to negotiate a position in which lighting professionals are consulted about the future
of the profession and the future of energy resources.

10
 5.6. Cardinal Place
7. LiverpoolONE

LiverpoolONE, Liverpool

LiverpoolONE is a regeneration project completed

in 2008 on an area of some 16 hectares in the
city centre. It includes 30 individual buildings,
a 150,000 square metre area of commercial
premises, a multiplex cinema, restaurants, cafés,
bars, apartments, hotels, offices, car parks and
the restored Chavasse Park, which covers an area
of about 2 hectares in the heart of the complex.
BDP Lighting undertook the project masterplan,
and on the basis of this role, also took care of
the lighting of the individual buildings and streets.

7
incontroluce 19

11
 Projects Donatello’s David
shines again
Florence, Italy
After a year of restoration work, Donatello’s bronze
sculpture of David was officially presented to the
authorities on 28 November 2008. The Bargello
Museum’s Hall of Donatello hosted the welcome
ceremony, which was attended by Sandro Bondi,
Minister for Cultural Assets and Activities; Beatrice
Paolozzi Strozzi, Director of the Bargello National
Museum; Riccardo Nencini, President of the
Regional Council of Tuscany; Cristina Acidini,
Superintendent for Historic, Artistic and
Anthropological Heritage and for the Museum
Complex of the City of Florence, as well as Guido
Bertolaso, Head of the Civil Protection Department,
Promoters
Ministry for Cultural Activities and
Assets, Special Superintendence
for Historic, Artistic and Ethno-
anthropological Heritage and for
the Museum Complex of the City of
Florence, Presidency of the Council
of Ministers, Department of Civil
Protection, National Museum of
Bargello, Regional Council of Tuscany
representing the company that funded the
restoration to mark the 40th anniversary of the
Florence flood (4 November 1966). The venue
was equipped for the occasion with a new lighting
system developed by iGuzzini, which has made
it possible to extend the museum’s opening hours.
The primary consideration in producing the system
was the unobtrusiveness of the luminaires, both
in terms of their own physical presence and the
visibility of the light beams they emit. Another
requirement stipulated by the Superintendence
was that of avoiding or limiting as far as possible
the formation of shadows. The general lighting
12
 Restoration masterplan
and management
Beatrice Paolozzi Strozzi
Scientific surveys and consulting
C.N.R., “Nello Carrara” Institute of
Applied Physics - Salvatore Siano;
Restoration Centre, Archaeological
Superintendence of Tuscany - Anna
Rastrelli and Marcello Miccio;
Opificio delle Pietre Dure - Annamaria
Giusti, El.En.Spa - Alessandro Zanini
13
Three-dimensional scanning
Department of Electronics and
Telecommunications, University
of Florence - Carlo Atzeni
Site and Installations
Director
Maria Cristina Valenti
Installations
Opera Laboratori Fiorentini Spa
Copy of David Photo: Andrea Vierucci
Bronze copy produced by 1.2. Hall of David
Fonderia Ferdinando Marinelli,
Gilding
Giuseppe Montagna
Production of base
Meridiana Restauri - Alberto Casciani
of the hall is provided by specially produced
projectors with flood lenses directed upwards.
They use 150W metal iodide lamps and are
mounted in groups of four on the sills of the
large windows on the longest sides of the room,
and in groups of three on the window sills
on the short side, for a total of 38 luminaires.
The colour temperature of 3000°K enhances
the colours of the plaster and the works
on display by making them warmer.
For the direct lighting of the walls, especially
those on which exhibits are displayed, Tecnica
projectors equipped with 100W halogen lamps
with spot and flood lenses and 75W halogen
lamps with 24° lens were used.
These projectors can be dimmed and the
shadows can be balanced by varying the intensity
of the light flow. The Tecnica luminaires are
equipped with an anti-glare cylinder and louver,
and are directed at the walls at an oblique angle
so as to minimise glare. The sculpture of David
and its copy are lit by mixing light from above
and integrating it with accent lighting. The two
sculptures are exhibited at 3 metres apart and
at different heights. The original is located at
a height of 1.05 m, which can cause shadow.
This was avoided by using two Tecnica projectors
fitted with 75W dichroic lamps with 8° aperture
for each statue. Cerchio minispots mounted
on a rail on the structure accommodating the
monitors provided for visitors will be directed
upwards at David’s face, so as to eliminate
the shadow caused by his hat. In this case,
the lamps used have an aperture of 10°.
incontroluce 19
 Projects Napapijri Store Client
VF International

Architectural project
DeCarloGualla

Milan, Italy

“Napapijri” means “Arctic polar circle” in Finnish

and was the name chosen in the 1990s by an
Italian company specialising in technical and
sports clothing. The allusion is to the first polar
explorers. The company chose as its motto the
advertisement placed in a British newspaper
by Ernest H. Shackleton in 1913: “Wanted.
Men for hazardous journey. low wages, intense
cold, long months of darkness and constant risks.
Return uncertain”. Since the early 1990s the
company has grown, and established itself
as an international brand.
The lighting in the Napapijri store in Milan is
therefore designed to accentuate the evocative
atmosphere of journeys to faraway places, to the
extent that the entrance is marked by two cubes
made of Barrisol, which change colour and serve
as screens for the projection of video content.
The cubes accommodate three different systems:
four Compact Easy RGB units for backlighting;
a system of fluorescent tubes for the emergency
lighting, and a set of projectors for projecting
images onto the various faces; all managed by
a Color Equalizer system. The display areas and
men’s, women’s and children’s collections are lit
by Deep Minimal recessed downlights with mixed
70W HIT CDM-R111 straight cone and 75W
HALO QR111 light sources, for optimum colour
performance. The first of the shop’s various rooms
is furnished with a large display cabinet lit with
LedPlus floor-recessed luminaires, which create
plays of light between the garments on display.
The predominant feature of the shopfitting system
is a raised walkway running the full length of the
shop, along which photographs and paintings can
be hung for temporary display, thus turning the
space into a cultural showcase as well as a retail
outlet. The paintings and photographs are lit with
track-mounted Trimmer luminaires with HALO
75W QR 111, accommodated in a channel

14
 Advisor Photo: Germano Borrelli
Arifida Group - Chiasso
1. Central area with globe
Furnishing complements 2. Structure of the shop
Galleria Quadri
3.4.5. Coloured and variable light

2 3

fashioned in the suspended ceiling, thus

limiting their obtrusiveness. The same solution
was adopted for the 70W HI-PAR 30 Trimmer
luminaires used in the second room, for
lighting the various shelves. A number of Tecnica
projectors used with both 20W metal halide and
50W dichroic lamps were track-mounted on the
uprights of the walkway to illuminate the display
space below. Several 70W Pixel Plus units with
metal halide lamps were vertically recessed into
the suspended ceiling around the large skylight
in the middle of the room, for lighting the large 4 5

globe, which is the cornerstone of the interior

design. The changing rooms are lit with Deep
Minimal units with 50W dichroic lamp and a
fluorescent fitting installed under each bench.
incontroluce 19

15
 Projects Capucci Foundation
Florence, Italy
The outfitting of the Roberto Capucci Foundation,
established in 2005 in Villa Bardini involved the
creation of eight display rooms on the third and
fourth floors, and a bookshop. The rooms house
a display of clothes and drawings relating to the
career of Roberto Capucci. To display the clothes
to the best effect, a system of mirrored panels and
platforms were installed, which facilitate viewing
of the works.
The collection of garments by Roberto Capucci
constitutes a fully fledged museum of
contemporary figurative culture, and the architect
1 De Lucchi treated its outfitting accordingly.
Client
Capucci Foundation
Promoters
Centro di Firenze per la Moda Italiana
Fondazione Museo del Tessuto, Prato
Fondazione Edoardo Garrone
Fundaciòn Santander
Consorzio BAICR Sistema Cultura
He created a museum-style installation, in which
the works are showcased to optimum effect thanks
to the pure, uncluttered display context. The works
speak for themselves, and the colours, fabrics and
shapes stand out more vigorously without the aid
of supporting display elements. This approach
necessitates a neutral, abstract environment and
an adequate line-up of optical instrumentation
for the lighting.
The mirrors on the walls enable visitors to view the
works in their entirety and to integrate the human
proportion of their reflection. The museum adopts
a coherent viewing layout, which enables visitors
16
 General Director and Archive
Director/Curator
Enrico Minio
Architectural project
and lighting design
Michele De Lucchi with Enrico Quell
and Alessandro Ciancio
to see each of the rooms in a thematic sequence,
with works grouped together by subject.
The museum’s exhibits will be reorganised
on an ongoing basis for conservation reasons,
and periodically to regenerate interest in the
collection on display.
The collection, based on archives dating back to
1951 and kept constantly up to date, currently
includes 400 creations; 300 illustrations; 22,000
sketches; 20 notebooks; 150 audio-visual items;
50,000 press articles and 50,000 photographs.
This unique source of information is available for
use and consultation by fashion industry
3
17
Photo: Giuseppe Saluzzi
1. Villa Bardini, exterior
2.3. Interior
personnel, scholars of the history of costume and
fashion and experts in the styles and costumes
of a period spanning fifty years. To cater for the
changing nature of the exhibits and to provide
the pure environment requested by the architect;
lighting equipment and installation systems with
minimum visual impact were used. The standard
tracks follow the perimeter of the rooms; with
Metro projectors installed on them.
In the exhibition rooms they are fitted with
100W dichroic lamps, and in the drawing
galleries the power is reduced to 50W.
incontroluce 19
 Projects The Sanctuary of Bibieybat Client
Islamic Charity Foundation
of Azerbaijan

Installation
PBC Company

Partners Assistance
A+A
Baku, Azerbaijan

The Sanctuary of Bibieybat is one of the major

places of worship for the Islamic world because
four members of the family of the Prophet
Mohammed have been buried here since the
7th Century. The third most important sanctuary
in the Islamic world also accommodates the
tomb of the daughter of Imam Muzeyi Kazim.
This place of pilgrimage is an example of eastern
architecture and contains historical testimony
in ancient stone inscriptions, calligraphy and
decorative art. The sanctuary succumbed to
the repression which all places of worship were
subjected to under the earliest years of the
Soviet regime, and as a result, its rich library
was completely destroyed in 1934.
Bibieybat has been restored several times, but
not until 2008 was it opened as a complete
complex following repair and reconstruction
work. It is now possible once again, to see
the rich decoration of the first and second
floor, the central hall and the foyer.
The dome of the mosque was completely
1 rebuilt and extracts of the Koran are written
in stained glass in various parts of the mosque.
The entire complex was lit using industrially
produced luminaires such as Light Up Walk
Professional, Linealuce Wall-Washer, Woody
and Miniwoody.

18
 Photo: Giuseppe Saluzzi

1.2. Views of the complex

3. Central hall from above

3
incontroluce 19

19
 Projects Farnborough Business Park
Farnborough, United Kingdom
Not far from Farnborough airport, on a site
once occupied by the RAE (Royal Aircraft
Establishment) factory, purchased in 1999 by
Slough Estates Group as an industrial area for
regeneration, stands Farnborough Business Park.
The former RAE site in Farnborough boasts the
oldest airship hangar in the United Kingdom.
An ambitious project has transformed this
historically important site into a new business
park, complete with shops, recreation units and
offices. The firm Bruce Gilbreth Architects was
appointed to undertake the urban planning and
architectural design of the entire industrial area,
with the aid of Clive Macdonald as landscape
consultant. The firm Julian Harrap Architects,
responsible for the urban planning and architectural
design of the historic centre, restored the historic
monuments and the previously existing landscape
Urban regeneration
and architectural project
Bruce Gilbreth Architects
Landscape consultant
for the Business Park
Clive Macdonald
in conjunction with Peter Fischer Landscape
Design. Allies & Morrison restored one of the
historic buildings, and added two new complexes
to accommodate offices. Light Bureau suggested
lighting solutions for the public areas, the
landscape and the facades of the buildings,
as well as concept design services for several
of the key indoor areas.
The lighting design consultancy provided by
Light Bureau led to the creation of a lighting
system capable of meeting the many and varied
requirements of the various parties involved:
the two firms of architects, the landscape
consultants, the client (who was working to a
tight budget) and English Heritage, Farnborough
Air Science Trust and the Civil Aviation Authority.
Light Bureau started work according to an initial
concept by JHA for a modern interpretation of
20
 Restoration and renovation
of historic buildings
JHA - Julian Harrap Architects
Peter Fischer Landscape Design
Other renovation work
and office building project
Allies & Morrison
Lighting consultancy Photo: James Newton
Light Bureau
1. Building Q134
Partners Assistance 2. Arches of the hangar
iGuzzini illuminazione UK Ltd.
3. View of the area

the lanterns that were originally installed on the
site. Produced by iGuzzini and designed to order
by Light Bureau, the luminaires were made with
standard components and used for lighting the
streets in the Heritage Quarter, one of the three
main areas of the complex.
Light Bureau modified the luminaires using
a street optic and sanded glass for the cone.
This gave a respectful nod to tradition while
at the same time delivering excellent colour
performance and a pleasant atmosphere,
thanks to the use of metal halide light sources.
Post-mounted luminaires were completely
eliminated from the area of the Square,
while light was used to draw attention to
the arched structure of an airship hangar
with an impressive height of 29 metres.
The hangar was lit using 150W Maxi Woody
projectors, mounted in purpose-built wells at the
foot of each arch and equipped with a refractor
to distribute the flow of light elliptically.
Light Bureau also worked with JHA on the design
of a special grid that would not only attenuate
glare but would also prevent litter from getting
into the well and would hide the luminaires.
Furthermore, to ensure the level of lighting
required by safety standards, other lights were
fitted in the surrounding area under the benches
and among the plants, and particular attention
was paid to lighting the surrounding vertical
surfaces: in this way, the perceived levels of
light in the entire area actually exceed real levels.
This area also accommodates the new office
buildings, 200 and 250, which provide the
backdrop for the hangar and the square.
Between buildings 200 and 250 stands 3

the imposing Q134, a structure at the centre of

the Hub which accommodates the former control
tower. Light Bureau proposed lighting the long
façade of the building with ground-recessed
lamps arranged in alternating columns to punctuate
the length of the building rhythmically.

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21
 Projects Headquarters
of Richemont China
Shanghai, China
Richemont Group decided to renovate a historic
building in Shanghai and convert it into an
exclusive destination for the customers of luxury
brands such as Cartier, Van Cleef & Arpels,
Piaget, Vacheron Constantin, Jaeger-LeCoultre,
IWC, Panerai and Montblanc, which the group
includes. Known as the “Twin Villas”, the complex
is classified as one of the city’s most important
historic sites consisting of an area of 4200
square metres and accommodating five buildings.
It encompasses a historic buildings located in the
centre, a new building with gallery and offices
to the north, a service buildings to the west and
an area earmarked for the underground car park
Client
Richemont Group
Project for the protection
of cultural heritage
Kokaistudios in collaboration
with Prof. Giuseppe Tonini
beneath the garden to the south. The construction
of this complex dates back to the early 1920s.
In 1921, Mr Jiang, who had made his fortune
in Shanghai’s building industry, built the first villa,
now located on the eastern side, using the most
advanced and refined building techniques of the
era, and then in 1927, duplicated it. The two
buildings are connected by a corridor, so as to
constitute a single system. The original owner
had also added a service building on the northern
side of the site, to accommodate a collection of
cars and other services. This building disappeared
after the revolution and was replaced in the
1990s by another, which was never finished
22
 Architectural design Interior design and decoration Materials and Photo: Charlie Xia
and interior decoration ShanghArt & Richemont equipment design: by kind permission of Kokaistudios
Kokaistudios Brands Office Parsons and Brinckerhoff
Kokaistudios 1.3. Facades of the “Twin Villas”
Interior decoration Vacheron Constantin Lighting design 2. North building water garden
Kokaistudios Landscape design Kokaistudios
Interior decoration Alfred Dunhill DLC
Alfred Dunhill and Lui Design Partners Assistance
Interior decoration KEE Club Structural design iGuzzini China
KEE club and Lui Design Zhang Ming Architectural Design

and has now been completely remodelled into a

building designed to house a gallery and offices.
The design phase began in April 2007.
The complexity of the project required a technical
director and an international team of consultants.
After a survey and thorough analysis by a group
of restoration experts, the construction phase
began. The remodelling of the entire site started
at the beginning of 2008 and was completed
in August of the same year. From the outset, the
renovation strategy envisaged a faithful restoration
of the original surfaces, which had been hidden
beneath layers of badly applied materials during
an attempt at modernisation in the past.
The renovators also decided to conserve
all the existing details, such as the old steel
window frames, wood flooring, ceilings,
staircases and original decorations, so
as to restore the villa to its original state.
One of the most challenging aspects of this
type of renovation always lies in modernising
the utilities and consolidating the structure.
The project involved the use of innovative
technical solutions specifically developed for
this building, so as to minimise the impact on
the original structure while improving efficiency
in terms of environmental sustainability.
The historic villas now accommodate two
single-brand boutiques made entirely to
customer specifications. On the first two
floors of the eastern villa, the entire shopfitting
solution for Vacheron Constantin Maison was
designed to create an elegant environment in
which to receive the world’s most important
collectors of watches. 3
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23
 Projects
On the first two floors of the western villa, by
contrast, Dunhill created a single environment
designed to evoke the distinctly British identity
of the brand. On the third and fourth floor is
the Kee Club, the famous private club originally
based in Hong Kong, which was appointed
by Richemont Group to manage an exclusive
club and restaurant for its prestigious clientele.
The original interiors of the villas featured two
different styles, which have been conserved.
The older villa features an elegant and refined
combination of black and white colours, with
its focal point being the magnificent wooden
staircase, inlaid in the 1920s by Shanghai’s
finest carpenters, and stained glass.
Headquarters
of Richemont China
By contrast the décor of the more recent villa,
is based on finishings in natural wood, for a
simpler, more modern design. On the northern
side of the site, a plan was drawn up for re-using
part of the original structure and demolishing
the part built in the 1990s, thus creating an
airy space all around the building.
The limited size of this area is magnified by
the use of large glazed sections, through
which natural light enters freely.
On the northern side of the building, the architect
designed a peaceful space connected to the art
gallery, in which a refined composition of marble
reflects the daylight by day and by night is
reflected in the water.
24

Particular attention was paid to the design of
the building’s entrance, where a modern canopy
made of brass draws visitors into the space and
directs their gaze towards the water garden at
the back. The light provided by the iGuzzini
luminaires creates a seamless continuity between
the daytime and night-time appearance of the
complex. To highlight the façade and exterior
of the neo-classical portico, use was made of
Miniwoody projectors positioned on the second,
third and fourth floor, whereas the portico
was lit using ground-recessed luminaires.
The windows are accentuated by using
Glim Cube, which effectively creates small
cubes of light.
25
4. Interiors of the older villa
5. Furnishings in natural tones for the more recent villa
Since the design of the entire building envisaged
showrooms, clubs, offices and a gallery, iGuzzini
supplied lighting specifically designed to meet
the needs of the various environments.
For the Vacheron Constantin and Dunhill
showrooms, Le Perroquet and Gabbiano
suspended luminaires were chosen, as these
offered the ideal degree of flexibility for display
areas and galleries. Quasar was chosen for the
offices, as it is ideally suited to interiors where
people work at PC’s. Pixel Plus recessed
luminaires and Cestello projectors were also
used, to generate a broad beam of light, while
at the same time reducing the contrast between
light and shade on the illuminated objects.
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 Projects Light on Expo 2008 Architectural project
Inaki Alday
Margarita Jover

Lighting design
Maurici Gines

Partners Assistance
Saragossa, Spain iGuzzini illuminazione España SA
June - September 2008

Saragossa, which is home to one of the most

prestigious historic universities in the world,
played host to the 2008 international Expo
dedicated to water. Water is one of the
emergencies facing the globalised world and
is the primary asset around which civilisations
of the past developed and major cities grew.
To host “Expo 2008, Water and sustainable
development”, the city set a number practical
objectives for its inhabitants: to further reduce
consumption of potable water, to increase
the number of green open spaces, to defend
biodiversity and to improve the quality and
variety of the area’s facilities.
One hundred and seven countries were
represented in as many pavilions, designed for
subsequent conversion into what will become
Europe’s biggest and most modern business
park. Along the winding paths that evoke the
dynamism of water, visitors are not met with
a linear succession of pavilions, but with spaces
and volumes dotted with waterfalls, areas of
wetland and surprising creations with water,
which extend over several levels and are
interconnected by ramps and lifts.
With its daytime diffusion and night-time
variability, light, like water, creates a sense
of change. iGuzzini was involved in various
sectors of the Expo and created many special
products for it. In addition to the institutional
pavilions, three icons of modernity stand
out in particular.
By deviating from conventional schemes, the
Zaha Hadid Bridge takes the opportunity to link
the theme of mobility with the theme of water.
Made of concrete, glass and metal, it measures
270 metres in length, is supported by a single
pillar and was designed to accommodate
exhibitions, conferences and thematic events.
The conference centre, designed by Enrique
Soberano and Fuensanta Nieto, introduces and
demonstrates the design flexibility of the area
now dedicated to the Expo.

26

The architecture is powerful and derives from
the objective of transforming Saragossa into
a national and international conference city.
The architectural sobriety of the finishings
promotes dialogue with the exterior, and the
slits of light emitted by the recessed luminaires
accentuate the depth and gradients of the
structures. The water tower, a transparent
building made of glass and aluminium designed
by Enrique de Teresa, rises to a height of 73
metres and gives tangible expression to the
concept of "water for life". Its open appearance
reduces the visual solidity of the structure,
which takes on the lightness of a jet of water.
27
Photo: Josè Hevia
1. One of the connecting routes
2. Japanese pavilions
The first hall, at the entrance of the building,
is marked by an inviting blue light, conceived
on the basis of the theme of the exhibition:
the impression of being under water. Recessed
around the columns and along the perimeter are
a series of Light Up luminaires creating waves
of light. The large interior space is designed
around a ramp which, as its descends from
the 43rd floor, envelops and accentuates the
incredible three-dimensional sculpture replicating,
on a huge scale, the bouncing of drops
of water on a pond. The predominant feature
of the single staircase also provided a unique
opportunity for the lighting system.
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 Projects
Because of the slim lines of the ceilings, the
system was based on Easy recessed luminaires,
which adapt to the changing views afforded
by the staircase. The Expo area is designed
to be crossed, walked round and looked at.
The masterplan had to take into account the
visual perspectives and movement of visitors.
Within the framework of this design strategy,
it was imperative to produce an artificial lighting
plan that would aid visitors in finding their way
around, while at the same time illuminating the
walking surfaces effectively. The ceiling-recessed
luminaires met these requirements by adding
the sensation of a starry sky. The city park is a
link between the city and the natural environment
Light on Expo 2008 3. Entrance hall with blue light in the Water Tower
4. The sculpture depicting a drop of water bouncing
off the surface of a pond
surrounding it. The canals, aqueduct, navigable
waterways and purification plants are the
protagonists in a landscape that also plays an
educational role regarding the control of water
quality. The lighting concept is strictly linked
with the configuration of the architectural
project: it creates a transitional element
between artifice and nature.
The lighting becomes more delicate, as you
approach the river; the city and surrounding
areas are the most brightly lit with it gradating
down as you move outwards. The lighting
system, specifically developed for this area,
makes use of posts on which light sources
can mounted at different heights.
28
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29
4
 Projects
1
In the summer of 2008, DBI Plastics opened
its new, 6,675 square metre, state-of-the-art
production facility with offices, in Stenmagle,
Denmark. The new facility, which is just 3 km
from the existing plant in Stenlille, increases
the production capacity of the company, which
manufactures high-quality plastic protection
systems. The new plant was designed and
built for undertaking production work in sterile
chambers, with particular attention to lean
manufacturing criteria and Zero Defects targets.
The building features two large loading ramps,
which divide the structure as a whole.
The ramps are covered by glass sky-lights,
The new Headquarters Client
DBI Plastics A/S
of DBI Plastics Design and lighting consultants:
Architetto MAA Anders Noehr –
KHR architecs
Electrical system design
NH Gruppen A/S
Stenmagle, Denmark
the effectiveness of the lighting slits for heavy
goods vehicles during reversing manoeuvres.
The skylights are lit by Lingotto wall-mounted
systems directed upwards, with the application
of a red filter to provide a reference light source
during the hours of darkness. Inside, the atrium
and offices are lit by Le Perroquet luminaires
suspended from or recessed into the ceiling.
The recessed units are adapted for use in
conjunction with the ventilation system.
The concept developed during the work on
modernising the existing plant in Stenlille
involves the use of lighting systems for
extracting stale air and dispersing the heat
generated by the luminaires themselves,
for re-use in heating the incoming air.
which can be seen from long distances because
of the open, agricultural nature of the surrounding
landscape. On the strength of the positive results
of the lighting design provided during the
modernisation of the existing production plant,
the parties involved decided to follow the same
design approach and use the same luminaires
for lighting the new facility. The exterior lighting
is provided by posts with iRoad systems for the
car parks and areas subject to intense traffic,
whereas the façade of the office area is lit by
iWay systems, so as to avoid interference with
the interior work space. The ramps are lit by
Lingotto wall-mounted systems, which enhance
30
 Partners Assistance Photo: Ole Ziegler
iGuzzini illuminazione DK
1. Atrium
2.3. Plays of light on the glass roofing

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31
 Projects BMW Welt
Munich, Germany
The BMW Welt building designed by the architect
Wolf D. Prix and dominated by a twin cone
28 metres high, is one of the most imposing
communicational international buildings of the
21st Century providing a bright, open centre for
dialogue between BMW and its customers
all over the world. The large roof measuring
16,000 square metres looks like a cloud
suspended over the building, and steel dotted
with pearls of glass and enormous glazed
Client
BMW
Architectural project
Coop Himmelb(l)au - Wolf D. Prix
Lighting design
a-g Licht GbR, Wilfried Kramb,
Michaela Kruse
surfaces radiate an immense variety of colours.
Despite its imposing nature, the complex stands
out for the way it opens onto the external
environment and integrates harmoniously into
the architectural context of the Olympiapark and
existing BMW building. “We have exceeded the
limits of the possible”, comments Prof. Wolf
D. Prix of the Austrian firm Coop Himmelb(l)au,
about his work, many of the essential parts
of which were lit by iGuzzini illuminazione.
32
 Partners Assistance
iGuzzini illuminazione
Deutschland GmbH
Beneath the “Schlepptreppe” in the twin cone,
recessed Trimmer systems light some of the
cars on display. To ensure visual continuity,
various versions of the Trimmer system were
also used in other sections of BMW Welt.
A special version was then designed, which
can be mounted in a channel in the suspended
ceiling and can also incorporate loudspeakers,
fire indicators, cameras and W-LAN antennae,
in addition to the lenses. A total of some
1000 m of special channels were installed.
33
Photo: Architekturfotografie Engel ha rdt-Sellin
1. Schlepptreppe
2. Exhibition area
The VIP lounge is a distinctive architectural
feature of BMW Welt, where everything revolves
around the exclusive nature of the brand. Glass,
aluminium, premium woods, top-quality materials
and the Frame recessed lighting system are the
hallmark of the lounge and its elegantly original
environment. The architect had requested a
discreet, understated, but at the same time
versatile lighting system that would blend
seamlessly into the architectural context
without predominating it visually.
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 Projects
The historic city of Freising is situated in the
immediate vicinity of Munich. In 1890 its citizens
founded a historical society and established a civic
museum (Stadtmuseum), which has been located
since the mid-1960s in Asamgebäude. This is
a large complex occupying the former site of the
historic episcopal high school founded in 1697
and run by Benedictines until its conversion into
a secular establishment. The Deppisch firm of
architects based in Munich undertook the renovation
The Civic Museum of Freising Client
Historischer Verein, Freising
Architectural and lighting design
Deppisch Architekten
Partners Assistance
iGuzzini illuminazione Deutschland
Freising, Germany
and restoration, according to an entirely new display
concept. The historical society’s museum houses
paintings, drawings and sculptures illustrating the
long history of the city. The number of art works,
the diversity of the materials and their varying
states of conservation required a lighting system
that would make it possible to create the optimum
showcase for the precious masterpieces, while at
the same time preventing potential damage caused
by visible light and ultraviolet and infrared rays.
34
 Photo: Deppisch Architekten, Munich

1.2. Two of the interior rooms

It was necessary to avoid glare and reflections

so as not to distort visitors’ perceptions of the
works on display. For the museum’s lighting,
the client had requested a system that would
be sober and unobtrusive, that would provide
both direct and indirect lighting, so as to avoid
overloading the rooms with too many or too
wide a variety of luminaires.
The architects found the solution in the modular
Composit system with several lamp options and
with the possibility of using an additional fitting
for the T16 fluorescent tube.
In this way, Composit gives the lighting designer
direct accent lighting for the exhibits and indirect
general lighting for the rooms, in a single
product. For the art gallery, the Le Perroquet
system was used, in the form of a series of
projectors for track-mounting, for lighting the
valuable oil paintings and acrylics on display
in the cloister.

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35
 Projects The lighting of Kuoni’s
new flagship store
Zurich, Switzerland
The Swiss tour operator, Kuoni, has opened
its new flagship store in a strategic location in
Zurich. Originally a luxury hotel built between
the 19th and 20th Centuries, the fully renovated
building, which overlooks Piazza Bellevue,
provides the perfect setting for receiving the
company’s discerning clientele. The firm of
architects, Andrin Schweizer Company of Zurich,
which worked on the site’s interior, had already
worked with Kuoni in the past: near the Kuoni
Group Headquarters in Hardstrasse in West
Client
Kuoni
Architectural
and lighting design
Andrin Schweizer Company
Partners Assistance
iGuzzini Schweiss
Zurich. The team put a modern, new slant on
a “future store”, aimed at a younger clientele.
For the flagship store in Piazza Bellevue, the
aim of the project was to underline the special
character of the chosen location.
The only limitation placed on the architects was
that they had to retain the two-storey structure
of the building with its gallery and staircase.
Apart from that, they were given free rein.
So, they chose to adopt an interior design style
that reflects Kuoni’s line of business: niches
36
 Photo: Günter Laznia

1. View from the exterior

2. Detail of the interior

were created in the walls, for the display

of precious artefacts from all over the world.
Even the choice of materials evokes the
idea of travel: the principal material is oak,
complemented with leather and finishings
in bronze for the tables and by way of
ornamentation for the wall-niches, to bring
to mind the idea of suitcases.
The architects also came up with the idea for
the lighting. From the street, passers-by can see
three eye-catching, crown-shaped luminaires,
which adorn the full height of the building, their
main task is to capture the attention rather than
act as a light source. The interior lighting comes
chiefly from recessed fixtures and the lights
installed in the niches, but it remains relatively
low. In selecting the luminaires, the designers
had to take account of the fact that the
maximum power of the lighting was limited
by the capacity of the air conditioning system.
For this reason, Minimal luminaires with
halogen lamps were installed, which offer
excellent quality in terms of intensity and
colour reproduction.

2
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37
 Projects Museum of Islamic Client
Ministry of Culture and Tourism

Science and Technology Sponsorship

Greater Istanbul Municipality

Istanbul, Turkey

Since May 2008, Gülhane Park in Istanbul has

played host to the world’s first museum of Islamic
science and technology. It was founded with the
sponsorship of the Turkish Ministry of Culture
and Tourism, and with the help of Greater
Istanbul Municipality, which made the Royal
Mews available as the site of the museum.
The museum exhibits a collection of pieces
which highlight the contribution made by
Islamic culture to scientific discovery and to
the general development of modern science.
The Museum of Islamic Science and Technology,
managed by the Ministry of Culture and Tourism,
was set up in partnership with the Scientific
and Technological Research Council of Turkey
(TÜBITYAK), the Turkish Academy of Sciences
(TÜBA), the Greater Istanbul Municipality and
Professor Sezgin of the University of Frankfurt,
all of whom donated materials in their
possession, including books, drawings, maps
and apparatus, some of which include models
of historic construction. The museum currently
1 has 140 different pieces on display, although
this figure is expected to rise to 800 in due
course. The museum will also accommodate
a history and science bookshop.

38
 Scientific contributions
Scientific and Technological Research
Council of Turkey - TÜB TAK
Turkish Academy of Sciences -TÜBA,
Fuat Sezgin - University of Frankfurt,
Institute of the History of Arab-Islamic Science
Partners Assistance
Tepta Aydınlatma
The museum occupies an area of 3,550
square metres and is divided into three different
buildings. Some of the inventions on display
are copies of the originals from the 8th and 9th
centuries and include instruments and devices
used in geography, astronomy, oceanography,
geometry, optics, medicine, pharmacy, mining,
physics, mechanics, warfare and architecture.
In some rooms, the ceilings themselves make
39
Photo: Engin Gerçek
1.2.3. Interior design of the various rooms
worthy exhibits: works by Nusret Çolpan
were reproduced on Barrisol and then used
to decorate the ceilings of the three rooms.
The museum’s lighting is based on the use
of standard tracks with Le Perroquet and
Tecnica projectors mounted on them.
Where it was not possible to install tracks,
Pixel and Deep Frame recessed luminaires
were used.
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 Projects The Night of Fire Client
Parc de Chevetogne
Bruno Belvaux - Director

Architectural design
Information centre
BURO5
Chevetogne, Belgium Partners Assistance
28 October 2008 iGuzzini Benelux

The provincial park of Chevetogne is a green

open space dedicated to art, nature and wellbeing.
The forests, parks and gardens of this historic
private estate attracted the attention of the
Province of Namur, who wanted to convert it into
a nature area open to the public. The Province
found the spirit of initiative and dynamism in the
park’s Director, Bruno Belvaux, and his entire
team. He trusted them to make the best possible
use of Chevetogne’s many resources, and turn
them into the ideal backdrop for a host of cultural
and entertainment activities of every kind. The
working partnership between iGuzzini Benelux
and the Province of Chevetogne dates back to
2002, when iGuzzini worked on the lighting
system for the nature learning centre for which
the Namur-based firm of architects BURO5
produced the architectural design. In October
2008, iGuzzini Benelux was invited to create
the lighting for the park and castle for the event
known as “The Night of Fire”, which was
attended by more than 10,000 people.
This magical event also proved to be a kind 1
of open-air laboratory for iGuzzini, as they had
the opportunity to apply and experiment with
a wide range of its lighting solutions.
For the lighting of the nature learning centre,
the designers chose Woody RGB, together
with Radius and Miniwoody. The staircase
was accentuated using Light Up. Many of the
park’s trees were also lit with Light Up, fitted
with Spot and Super Spot lenses. The event
was followed by a series of initiatives spread
over several days, during which over 100
architects, technical consultants and lighting
designers had the opportunity of experiencing
the quality of our systems first-hand.

40
 Photo: Olivier Papegnies

1.2.3.4.5. Colour effects created for the event

5
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41
 Projects Lighting the interior Client
Zentiva a.s.

of the Zentiva Headquarters Architectural design

Ranný architects, s.r.o.
Ing. arch. Mojmír Ranný
Ing. akad. arch. Rudolf Netík

Prague, Czech Republic

The company Zentiva a.s., founded in 2003

following the merger of Léčiva and Slovakofarma,
is one of the largest companies in the Czech
Republic, and recently expanded its business
activities to the countries of central and eastern
Europe. The origins of the company’s success
date back to 1857 and are linked with the
history of the Fragner family.
In 2003, work started on the design for the
renovation and completion of the administrative
building. The building was designed by the firms
Ranný architects and Spektra Praha and the
design and creation of the lighting formed an
essential part of the project. The administrative
building has eleven storeys and most of the walls
have large windows, to make optimum use
of natural light. In view of the purpose of the
building, the utmost attention was paid to
artificial lighting for the work areas. The entire
building makes use of lacunar or plasterboard
suspended ceilings; for this reason, it had to
be possible to install the luminaires, which
are identical both in terms of appearance and
performance, without difficulty both in the
1
modular suspended ceilings and their
plasterboard counterparts. The client and
architects requested soft, pleasant, artificial
lighting, without any stark contrasts, much
like diffused natural light. The luminaires also
had to deliver high efficiency, be well shielded
and have a luminance threshold of below
1000 cd/m2 in line with the requirements
for working with PC terminals.

42
Lead designer Photo: Petr Jan žura
Spektra Praha, s.r.o.
Ing. Milan Šraml 1.2. Hall with natural and artificial lighting
3. Conference room
Partners Assistance
Etna, s.r.o. 4. Work stations

To meet these requirements Wide recessed

luminaires were chosen with electronic ballast
and T16 fluorescent tubes, equipped with
dark-light optic. The installed power for the
interior lighting is 97 KW. The power for
the office lighting is 2.3 W/m2 /100 lx.
The entrance hall and reception area are also
lit with Wide luminaires. To obtain the maximum
effect of diffused light, the designers chose to use
luminaires with micro-perforated diffuser shields.
This solution ensures continuity with the natural
lighting. In fact, although the north and south
walls are completely glazed, the hall is
remarkably large, and levels of light fall visibly
towards the middle. For this reason, skylights
were also created above the reception desk,
which is lit, in turn, by luminaires with linear
fluorescent tubes. The corridors do not just serve
as connecting routes, but also as exhibition
galleries. For this reason, the corridors that play
more of a “front-office” role were fitted with
angle-adjustable recessed luminaires with
halogen lamps so that the lighting can be varied
on the walls displaying pictures. To communicate
3
clearly the fact that these are much more than
just ordinary corridors, fluorescent Linealuce
luminaires were recessed into the floor: the aim
of this large number of lights is to emphasise
Zentiva’s prestige as a company.
As well as attending to all the interior lighting,
Etna also took part in the design and execution
of the exterior lighting of the courtyards, the
north façade and the entrance to the building.

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43
 Projects ČSOB’s new Headquarters
Prague, Czech Republic
ČSOB is one of the major banks in the Czech
Republic. The headquarters designed by AP
Atelier occupies an area of about 60,000 square
metres. The investor wanted to use the new
building to promote closer and more efficient
collaboration between employees, create team
unity and cohesion and provide positive
professional and social stimuli for each
individual. From the outset, the architectural
layout focused on creating a flexible work
environment that would allow dynamic
transformations linked with the requirements
and criteria typically associated with a modern
bank HQ. The new ČSOB Headquarters is
located in a unique setting with a number of
exceptional natural features. For this reason,
the designers were at pains to integrate the
Client
ČSOB
(Ceskoslovenska obchodni banka)
Architectural design
Josef Pleskot - AP ateliér
Director of Works
Ivo Koukol - ČSOB
building harmoniously into its local context, in
such a way that the building would almost reflect
its environment. Its roof accommodates a garden,
which enabled the designers to remove a number
of technical elements from the main body of the
building. The structure was conceived as a “large
trellis”, a gigantic grating in an extensive garden,
rich in vegetation, capable of defining the space
where staff can take a break or spend time
outside. The aim of the project was to create
a building in which all the aspects would be
harmoniously balanced, without the daylight or
the view over the greenery being compromised
by the addition of energy-saving technologies.
Another aim of the project was to avoid
discarding rainwater (which can be used for
irrigation) and to ensure that the vegetation
44
 Lighting design Partners Assistance Photo: Petr Jan žura
Lubomír Benýšek, Elis Praha Etna, s.r.o.
1.2. Exterior of the building
Building contractor 3. View of the central atrium
Skanska CZ

Consultants
John Eisler
DEWG
Buro Happold

One of the key considerations in designing the work

environments was that of spatial flexibility, so as
to provide a wide range of potential configurations
and variations of the original layout. To create an
optimum work environment from an operational,
psychological and social point of view, considerable
importance was attributed to the effective use
of daylight, greenery, natural features and other
psychologically positive conditions for eliminating
the potential negative aspects associated with
locating a high concentration of staff in an open-
plan work environment. The artificial lighting
system was entirely customised: Y Light floor-
standing lamps for 4 x 55 W fluorescent tubes
were used, as part of a solution designed to meet
the need for a high degree of spatial flexibility
as well as the requirements of users.

played more than just an aesthetic role, but

would also serve as a source of shade and
contribute to the creation of biotopes.
The other courtyards provide lighting for the
rooms, preventing overheating of the facades
and to attenuate adverse environmental factors.
The vegetation produces oxygen, provides a
haven of quiet (even with the windows open)
and conveys a sense of calm and intimacy.
n the basis of a modular network, consisting
of a regular grid-like structure measuring
8.1 x 8.1 m, a layout was conceived made
up of three large atriums and five skylights
distributed throughout the building.
The office areas were developed in the form
of large, open-plan spaces, designed and
equipped as offices with a cellular structure.
3
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45
 Corporate culture
The architect Pier Luigi Copat, in conjunction
with the firm of architects Lewis & Hockey,
based in Guildford, designed the new “iGuzzini
Partners Assistance” for the United Kingdom.
The new Headquarters is in Peasmarsh, near
Guildford, in Surrey. The scheme is built on the
site of an old timber yard in Peasmarsh, near
Guildford, adjacent to the River Wey. The project
consists of two structures: a three storey office
building and a connecting low-rise warehouse.
The different heights create a sloping scale
which minimises impact on nearby housing, and
distinguishes the differing uses of the two spaces.
The office building is an asymmetrical, U-shaped
steel-framed structure developed around
a central three-floor story, glazed atrium.
At the back of the building, the ground floor
is sunk under a grass slope that anchors the
building to the surrounding landscape and its
iGuzzini illuminazione UK: a new
Headquarters for our Lighting partners
Guildford, Great Britain
environment. The ground floor meeting rooms
located in this part of the building are lit naturally
by skylights set in the raised landscape.
The design of the office building establishes a
clear hierarchy between the ground floor and
the upper two floors. The ground floor, which
will be used as a lighting showroom and
reception, is finished in slate grey stucco render,
and set back. The overhanging upper two floors
used for administration, are both glazed and
with light grey cladding panels, reminiscent
in finish to raw cast aluminium, one of the
signature materials of iGuzzini luminaires.
The offices are connected vertically by a custom-
produced glass staircase with a light acid etched
inner layer which gives a greater brightness
than standard opaque or sandblasted glass.
The warehouse is parallel to the office and
connected by a raised walkway at first floor
46
 Photo: Gabriele Basilico

1. Exterior of the building

2. Showroom

level, covered but not fully enclosed. This allows

the landscape to flow under and around the
buildings. The warehouse facade is clad in light
grey corrugated metal panels emphasising the
horizontal nature of this building, so to minimise
the perception of its mass in relation to the
glazed facade of the office building.
The scheme has been awarded an ‘excellent’
BREEAM rating, minimising energy consumption
and reducing carbon emissions through heat
recovery systems, natural ventilation, a ground
source heat pump that provides all the heating
and cooling requirements for the first floor office
and photovoltaic panels which provide an
annual power delivery of 27,000kwh.
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A balancing pond collects rainwater run-off

in the event of extreme weather conditions.

47
 Corporate culture iGuzzini illuminazione UK: a new
Headquarters for our Lighting partners

48
 3.4. Views of the interior

4
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49
 Corporate culture iGuzzini illuminazione UK: a new 5.6. Exterior

Headquarters for our Lighting partners

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51
6
7

52
 Corporate culture iGuzzini illuminazione UK: a new 7.8. Exterior of the building

Headquarters for our Lighting partners

8
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53
 Corporate culture
1 2
The new edition of the project “Appreciating Form”
was held in Prague at the Italian Institute of
Culture, running concurrently with the exhibition
“Divine Human” curated by the “Omero” State
Tactile Museum of Ancona. Many cultural figures
from Czech created interpretations, through the
medium of light, on a copy of the Dancing Satyr
of Mazara. The Master Pro control system, which
controls both the Tecnica projectors and the
Linealuce RGB fixtures made it possible to obtain
light effects, both in terms of intensity and colour
temperature, and with the possibility of colouring
the light with a vast range of nuances. The art
historian and director of the Kutna Hora Museum,
Ivan Neumann, conceived the lighting of the satyr
by imagining the sculpture emerging from under
water and imagining light dripping off it like water.
The water falls from his eyes to his back. The walls
change colour from their initial green to light blue.
The sculptor Jiří Kačer imagined that he was using
light to describe the Satyr emerging from the sea.
Divine Human
Appreciating Form
Prague, 20 November 2008 - 31 January 2009
3
The Satyr emerges from the water carrying his
mysteries with him. For this reason, he first
wanted a container with walls of green, like
the sea, to create a very sombre atmosphere,
followed by a gradual increase in the intensity of
the light to suggest the satyr’s passage from the
depths of the sea to the light of day. Slowly, the
colour of the walls shifts from green to sky blue,
culminating in the illumination of the Satyr with
a very intense light. The architect Ludvík Grym,
by contrast, thought of the Satyr not in terms of
a three-dimensional object, but like a photograph
capturing a moment of ecstasy experienced in a
nocturnal atmosphere. The light arrives in dazzling
bursts and rises from the bottom upwards,
as though a fire was lighting up the scene.
The violinist Václav Hudecˇek imagined the
Satyr as a jewel in a box of blue velvet.
The walls are charged with an intense sky blue
and the projectors warm the bronze to create
a very powerful chromatic contrast.
54
 Photo: Petr Jan žura

1. Václav Hudeček
2. Ji ří Kačer
3. Ivan Neumann
4. Ludvík Grym
5. Marie Kuncová and Josef Cerha
during the completion of their light scenes

The interpretations of Marie Kuncová and

Josef Cerha, who are partially sighted, are quite
distinct, especially in terms of the backdrop,
which in one case is switched on and in the
other is completely switched off.
The exhibition was held in the Cappella della
Vergine Maria e di San Carlo Borromeo within
the historic site of the Italian Institute of Culture,
thanks to the invaluable collaboration of the
institute’s director, Umberto Rinaldi.

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55
 Corporate culture VIDEOА,
Mario Sasso and the electronic image
Moscow, Moscow Museum of Modern Art
and “Zurab Tsereteli” Gallery, 29 October - 30 November 2008
The exhibition “VIDEOА, Mario Sasso and
the Electronic Image” is a selection of electronic
works which underline the urban poetics of Mario
Sasso. The fifteen works were exhibited according
to various themes, in the form of the artist’s
observations of art, cities, television, time,
communication, painting and the people who live
their lives in an urban setting. The Zurab Tsereteli
Gallery hosted the “Tower of the Trilogies”, a work
created by Mario Sasso at the behest of Fimag
Group in 1997. A suitable room had to be found
to accommodate its lofty height of seven metres.
The work integrates the production philosophy
of the group, represented by the three themes
of light, water and colour, with music by Nicola
Sani in a building which evokes the urban
element of metropolitan verticality. The work
was awarded the Guggenheim Prize in 1998.
56
 Photo: Giovanni Vignetti

1.2. Views of the exhibition

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57
 Corporate culture Ron Arad.
No discipline

Paris, Centre Pompidou

20 November 2008 -16 March 2009

For the first time in France, the Centre Pompidou is

dedicating a monographic exhibition to Ron Arad.
The exhibition includes the designer’s major works,
such as the Bookworm bookcase, the Tom Vac
chair and the Oh Void armchair, in addition to
prototypes, limited edition items and architectural
projects. The collection also features the
PizzaKobra lamp, for which Ron Arad received
a Red Dot Award for lighting. iGuzzini is
a partner of the exhibition.

58
 Photos: Georges Meguerditchian

1.2.3. Views of the exhibition

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59
Corporate culture

Gabriele Basilico. Vertical Moscow

Paris, Cité de l’Architecture et du Patrimoine,
Palais de Chaillot
23 October - 30 November 2008

“Vertical Moscow” is a photographic project

by Gabriele Basilico, undertaken in conjunction
with the architect Umberto Zanetti.
The exhibition was held as part of the “Paris
Photography Month”, for which the Italian
Institute of Culture in Paris also proposed
a series of meetings on the subject of
photography in Italy, and a round table
on architecture, cities and photography.
The rationale behind the exhibition is that
of documenting the metamorphosis of
Moscow’s urban landscape from the unusual
view point of Stalin’s Seven Towers, as symbols
of the period of history that sought to make
Moscow a monument to fulfilled socialism.
The exhibition, which was supported by
iGuzzini in Paris, will be hosted by a series
of other prestigious museums, and will end
its journey in Moscow itself, at the Shchusev
museum of architecture.

60
Corporate culture

Lighting our art heritage

Turin, Egyptian Museum
1 December 2008

On 1 December 2008, in the Sanctuary of the

Egyptian Museum of Turin, iGuzzini hosted the
round table “Lighting our art heritage”. It was
one of the events held within the framework of
the Torino Word Design Capital, therefore re-
affirming iGuzzini’s role as “partner for a better
light” to some of the greatest international
architects and most prestigious museums in the
world. The set designer Dante Ferretti and the
architect Gérard Foucault were key contributors
to the round table, which was moderated by
Chiara Aghemo. They guided us through some
of their experiences of design and outfitting
(such as the restoration of the Egyptian
Museum and the Sabauda Gallery), and gave
us a profound insight into a series of cultural
themes connected with the lighting of art
heritage sites. iGuzzini, completed the lighting
of the statuary of the Egyptian Museum, and
stood out against this backdrop for its special
ability to give tangible expression to the
thinking of Dante Ferretti and Gérard Foucault,
by producing lighting designs which show the
interior and exterior space and the sculptures
on display to the best effect, accentuating their
form, materials, beauty and uniqueness.

Right:
Eleni Vassilika, Director of the Egyptian Museum of Turin
Ruben Abbattista, member of the Torino World Design
Capital Committee, Dante Ferretti
Dante Ferretti and Gérard Foucault
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61
Corporate culture

iGuzzini China takes part in the China ABB08 - 2008 Beijing

Europe Economic Forum Architecture Biennial
Lake Changzhou Tian-mu Beijing Design Park 751, Beijing
25 and 26 October - 2008 22 October - 6 November 2008

In October 2008, the China Europe Economic

Forum was held in China at Lake Changzhou
Tian-mu. The event is the counterpart of the
Ambrosetti Forum, the international economics
conference which has been held every year in
early September since 1975, at the Hotel Villa
d’Este in Cernobbio, on the shores of Lake Como.
The conference is attended by heads of state,
ministers, Nobel prize winners and business
people, for the purpose of discussing major
issues of the day relating to the world economy
and contemporary society. The China Europe
Economic Forum at Lake Changzhou Tian-mu
set itself the goal of providing a direct channel
that would leave more space for the competitiveness
of Chinese and European companies and offer
them the necessary means for interacting with
government authorities, establishing contacts,
locating potential partners and identifying new
business opportunities.
Within the framework of the forum, consideration
was also given to the recent progress made in
the fields of science and technology, and debates The third edition of the Beijing Architecture international experiences in the field of building,
were held on the new trends emerging in the Biennial (ABB08) was divided into three parts: and the development prospects of the eco-city
economy and society of the future. iGuzzini China a thematic introduction, a presentation of works of the 21st Century. iGuzzini China presented a
was invited to take part in the event to present by architects and students of architecture, and series of major projects recently executed in China,
the iGuzzini company and its philosophy of a series of discussion forums. The theme chosen such as Hong Kong Star Avenue, Hong Kong
energy saving, which includes recent Research for ABB2008 was “The Ecological City and the Science Park, China National Grand Theatre,
& Development initiatives in green energy and Building Industry”. The introductory contributions Shanghai Oriental Art Center and the Sino-Italian
energy-efficiency. focused on the relationship between town Ecological and Energy Efficient Building in Beijing.
planning and architectural design, the study of The presentation of the philosophy of the
policy, means of saving resources and ecological relationship between lighting and people, and
harmonisation in the construction of urban architecture and the environment, also left a
centres in China, the exchange of national and profound impression on visitors to the Biennial.

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Corporate culture

Logos of Italy
Stories of the art of excelling
Rome, Castel Sant’Angelo National Museum
21 November 2008 - 8 February 2009

The exhibition “Logos of Italy - stories of the art

of excelling” is a project aimed at enhancing the
historic and cultural memory of Italian companies
in their growth and on their path towards
becoming the intellectual identity of a country.
The exhibition not only includes pictures, but also
objects, documents and works of art. It is divided
into three macro-sections: Stories of Logos, Stories
of Names, Places of Love. The “Stories of Logos”
section is dedicated to enterprise: Enterprise and
Communication, Enterprise and Art, Enterprise
and Design, and Enterprise and Innovation.
“Stories of Names”, by contrast, is dedicated
to the people who have founded enterprises,
and the entrepreneurs who have distinguished
themselves over the course of history for their
quality and professionalism. “Places of Love”,
lastly, is dedicated to the places in which these
enterprises have developed. It is the history of
“Made in Italy”, and of the products made special
by the graphic and artistic capabilities of those
people who knew how to interpret them, bringing
them to life and bringing them closer to the
consumer. The exhibition was conceived and
curated by Innovarte and produced in
collaboration with the Culture Commission
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of Confindustria and Museimpresa.

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19 Incontroluce I. 2009

Incontroluce
Six-monthly international magazine
on the culture of light
year XI, 19

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

Graphic Design
Studio Cerri & Associati

Publisher
iGuzzini illuminazione spa

Contributors to this issue

iGuzzini illuminazione Benelux Bvba/Sprl
iGuzzini illuminazione China Ltd.
iGuzzini illuminazione Danmark
iGuzzini illuminazione Deutschland GmbH
iGuzzini illuminazione España S.A.
iGuzzini illuminazione Schweiz AG
iGuzzini illuminazione UK
A+A, Azerbaijan
Etna s.r.o., Czech Republic
Tepta Aydınlatma, Turkey

Cover photo
Giuseppe Saluzzi

Printed: April 2009

Tecnostampa, Recanati

Errata Corrige
Incontroluce 17
Champs Libre
Lighting Design
Piero Castiglioni
Incontroluce 18
Vulcano Buono
Lighting Design
Piero Castiglioni

The Editorial staff is not responsible for inaccuracies

and omissions in the list of credits relating
to projects and provided by colleagues.
Any additions or amendments will be
included in the next issue.
Incontroluce XIX / Le Marche: Inarch Ance Marche Awards / Design: Conversation
with Martin Lupton / Projects: Donatello’s David shines again / Napapijri Store / Capucci
Foundation / The Sanctuary of Bibieybat / Farnborough Business Park / Headquarters
of Richemont China / Light on Expo 2008 / The new Headquarters of DBI Plastics /
BMW Welt / The Civic Museum of Freising / The lighting of Kuoni’s new flagship store /
Museum of Islamic Science and Technology / The Night of Fire / Lighting the interior
of the Zentiva Headquarters / CŠOB’s new Headquarters / Corporate culture: iGuzzini
illuminazione UK: a new Headquarters for our Lighting partners / Divine Human Appreciating
Form / VIDEOА, Mario Sasso and electronic image / Ron Arad. No discipline / Gabriele
Basilico. Vertical Moscow / Lighting our art heritage / iGuzzini China takes part in China
Europe Economic Forum / ABB08 - 2008 Beijing Architecture Biennial / Logos of Italy -
Stories of the art of excelling

9.1934.000.0