iGuzzini - Incontroluce

28 English edition Expo Special Issue. 2015

Dear readers,
Here you are, a very special edition of incontroluce.
You will find it a bit more voluminous than usual and above all, focused on a single
event: The Expo hosted by the city of Milan.
Expos have always been a world stage on which the most innovative trends
in different fields are presented, even in the technological sector.
Sometimes they leave a tangible mark in the city that hosts them, sometimes they
determine the urban development of certain areas of the city. Think about the Paris
Expo in the late nineteenth century that left the Eiffel Tower or the recovery
of the Tagus riverside in Lisbon with the development of Parque dos Nacoes
design by Santiago Calatrava. Contemporary editions of the Expos were marked,
in my point of view, by a high rate of technological innovation. The pavilions
are windows that show the possible evolutions of contemporary architecture
and the possible evolution of lighting design. In Milan, we have collaborated
with architecture and lighting design firms from all over the world, each with its
conception and ideas to be realized. I am particularly proud that the company
is involved as a partner in 40 exhibition areas for which we have found, working
in teams, efficient lighting solutions integrated in the structures and spaces. To name
a few of them, I can mention the pavilion of Vanke, a Chinese company, designed
by Studio Libeskind or the United Arab Emirates pavilion, in collaboration with
Foster + Partners, the lighting designer David Atkinson, but iGuzzini also worked
on the Angola and Chile pavilions. I am particularly proud of the fact that iGuzzini
was chosen as “Official technical partner of Enel” for the illumination of the Expo,
in particular Cardo and Decumano, the two main axes of the exhibition site.
Nowadays, the Expo certainly has a greater impact on the city that hosts it than
in the past. Expo visitors, due to the greater ease of travel, or the general
improvement of living conditions, or a heightened interest, or simply for an idea
of culture that is not just about the visual arts and architecture, want to discover
food, fashion, entertainment, everything that creates the atmosphere of a city.
Thinking about all these aspects, we have selected some of the most interesting
projects recently realized in Milan that through light breath vitality and pleasure.
“Light is back”, in places like the Brian & Barry Building, the Botanical Garden,
Milan’s Dockyard, and the cloister of the Giuseppe Verdi Conservatory. We have
tried to demonstrate, through these concrete actions, how light can participate
in the social aspects of a city and in this sense the adoption of The Last Supper
by Leonardo da Vinci is the epitome of a social action. Cultural heritage is universal
heritage. Works of human genius should be preserved to allow everyone
to appreciate their beauty. Their illumination becomes a real factor
of environmental quality: social innovation through lighting.
Light first. Adolfo.
@AdolfoGuzzini

28 Incontroluce I. 2015
Contents
II Editorial
Expo 2015
2 Social innovation through lighting for Expo 2015.
6 iGuzzini’s Projects: Expo Map
18 Palazzo Italia
22 United Arab Emirates Pavilion
26 Chile Pavilion
28 Russian Federation Pavilion
32 France Pavilion
36 Germany Pavilion
38 China Corporate United Pavilion
42 Vanke Pavilion
46 Enel Pavilion
50 Save the Children Village
Milan Expo City
54 Adopting Leonardo’s Last Supper
62 Milan’s Dockyard becomes a meeting point once again
66 The “Giuseppe Verdi” Conservatory cloisters
70 The Botanical Gardens
72 Piazza de La Triennale regeneration project
74 Brian & Barry Building
76 The Duomo Market
80 Techno Souq
Company Culture
84 The Expo in the Marches
86 “Urban Lightscapes/Social Nightscapes Workshop Series”
88 All-LED lighting,the latest newsfromiGuzziniPartners Assistance
90 A new distributor in East Australia
92 PLDC warm ups
94 #Light On.

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Social innovation through lighting
for Expo 2015.
Expo 2015
Universal Expositions have always been unique examples of how a location can take on
a new character by carefully combining the temporary attractions and lasting legacy that
such events create. Between 1854 and 1900, the Great Exhibitions in Paris transformed
a vast section of the city that today stretches from the Grand Palais to Chaillot Hill.
Over the years this area was transformed from an insalubrious marsh into an elegant
museum district that culminated in the construction of the Musée di quai Branly.
These Expositions, then, leave their host cities not only with an architectural legacy,
but also with an immaterial legacy indicated by the changes in the title of the event, which
has escalated over the years from Great to International to Universal. Following the huge
success of the first ever Exposition, held in London in 1851, these type of events came to
be seen as the benchmark for modernity. Accordingly, its title quickly shifted from Great to
International to Universal to indicate the organisers’ vast and all-encompassing vision.
Significantly, after a lengthy period following the Second World War, the word “Universal”
re-emerged at the Expositions in Brussels and Montréal. And it was no coincidence that
these were not only the most interesting exhibitions since the war, but also the first ones
to be based on the new social order and universal values that this prolonged period
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Photos: the iGuzzini archive, Lv Hengzhong,
1. Seville 1992, Palazzo Italia
2. Saragossa 2008, the Water Pavilion.
3.4. Shanghai 2010, Palazzo Italia
of peace had created. In this light, the Expo theme in Milan 2015 could not have been
anything else, but universal. And as Pavilion Zero clearly demonstrates, “feeding the planet”
is a radically universal theme.
The theme of the Milan Expo is “Nourish the Planet, Energy for Life”. Here are some
statistics: a display area of 1,000,000 square metres,144 countries involved, and 184
days that turned Milan into a hub of opportunity attracting institutions, cultural associations,
and above all, an estimated 20 million visitors. In Milan, iGuzzini luminaires have been
used for 23 areas and pavilions, totalling a supply value of 3 million euros. This level of
trust was inevitably based on iGuzzini’s wealth of experience gained at past Expo events.
The Seville Expo in 1992 witnessed the birth of the Edge luminaire, an innovative blade of
light device designed by Piero Castiglioni and used to illuminate Gae Aulenti’s Palazzo Italia.
In Lisbon in 1998, Piero Castiglioni created his astounding Radius luminaire that was
installed in the regeneration of the riverbank. Then, at Saragozza in 2008 and Shanghai
in 2010, iGuzzini luminaires were used widely to light both national pavilions and
the general exhibition area.
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Expo and iGuzzini over the years
1988 Brisbane, Australia
1992 Seville, Spain
1998 Lisbon, Portugal
2000 Hanover, Germany
2008 Saragossa, Spain
2010 Shanghai, China
2015 Milan, Italy
iGuzzini is Enel’s official technical partner for lighting
solutions at Expo 2015, even if other manufacturers’
luminaires have also been used throughout the exhibition.

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As “Enel’s official technical partner for lighting solutions at Expo 2015”, iGuzzini supplied
the luminaires for the two main intersecting axes (the Cardo and the Decumano),
the central area, the plazas and the pedestrian walkway.
The company’s long and consolidated relationships with numerous prestigious architectural
studios and its firmly established presence in various countries also helped it become
a main supplier for many important pavilions and renowned designers at this event.
These include the United Arab Emirates Pavilion designed by Foster+Partners, the Vanke
Pavilion for China with Daniel Libeskind’s distinctive hallmark, Palazzo Italia designed
by Nemesi & Partners, the pavilions for Chile, France, Germany, Angola, Thailand,
Indonesia, Russia, the USA and the Vatican, and the China Corporate United Pavilion.
In addition to these projects there is also the company’s technical sponsorship of the
lighting system for the Save the Children Pavilion, in collaboration with Metis Lighting.
Social engagement through lighting.
Social innovation through lighting
for Expo 2015.
Photos: Lv Hengzhong.
5. Shanghai 2010, Pavilion B3-2
6. Shanghai 2010, Pavilion B2
7. Shanghai 2010, France Pavilion
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Expo 2015

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iGuzzini Projects: Expo Map
Cardo and Decumano
Common areas
Pavilion Zero
Expo centre
Caritas Internationalis
Angola
Save the Children
Enel
Technogym Arena
Rice Cluster
Cascina Triulza
Thailand
Children’s Park
Coffee Cluster
Fruit and Vegetable Cluster
Eataly
Spices Cluster
United Arab Emirates
Kinder + Sport
Holy See
France
Italy
Mexico
Bio-Mediterranean Cluster
Vanke
New Holland Agriculture
China Corporate United Pavilion
Germany
Chile
Russian Federation
Indonesia
and more
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Decumano
Cardo
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Tree
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entrance
Triulza
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Expo 2015
In red pavilions and areas illuminated by iGuzzini lighting fittings

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iGuzzini provided the lighting for the Cardo and Decumano, the two main pedestrian
avenues at the Expo, as well as the main squares and green pathways that run through
the area. In order to provide specific solutions to the unique requirements of this event,
over 80% of the products used were custom-designed.
All the installation operations were simplified too, which meant changing the composition
of certain products and delivering them pre-assembled.
The design and style of the company’s solutions have also been widely praised for their
refined appeal. The Cardo and Decumano avenues are both protected by waterproof
canvas covers that filter natural light without blocking it. These covers are organised in
a series of curves, set at alternating heights, which means the lighting system has to both
guarantee visitors’ safety and highlight the structure’s changing shapes.
These two requirements are achieved with one luminaire: the Archilede HP, regulated
where necessary with different power ratings and precision-adjusted aiming. These
48-LED, asymmetric optic Archilede HP luminaires are pointed downward on a 90 cm
arm at a height of 6.5 metres. About 400 of these devices illuminate the avenues with
direct lighting and are positioned on the poles that support the cover structure. The direct
lighting trained on the covers also helps light the two avenues indirectly. For the lower
covers, 72 LED Archilede HP luminaires, each fitted on a 20 cm arm have been installed
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Photos: Lorenzo Palizzolo, Paolo Carlini
1. Decumano
2. View towards the “Tree of Life”
3. Common areas
at a height of 5.5 metres above ground and positioned at right angles to each other.
The same type of Archilede HP luminaires have also been used to light the higher covers,
but they are positioned at 7 metres above ground. To meet the specific lighting needs
of this highly original cover structure, then, different versions of the same luminaire,
featuring different power ratings and electronic management systems have been combined
and positioned at different heights. For the secondary pathways, Archilede HP luminaires
have again been used, but this time installed as pole-top devices on poles that are not
made by iGuzzini. Different optics have also been used (street, comfort or asymmetric)
depending on the context. In all these cases, the luminaire was supplied with a white
finish to create consistency and help it blend in with the support structures.
Piazza Italia is located at the crossroads between the Cardo and Decumano, in an
uncovered area. Here, the organisers specified that diffuse, homogeneous lighting was
needed, and therefore Maxiwoody Compact COB luminaires were chosen with flood
and wide flood optics and DALI control gear. These luminaires were mounted in groups
of four at the top of eight tall poles. Piazza d’Acqua (Water Square) stands opposite
Piazza Italia, right at the end of the Cardo avenue. To light this area, 44 W, 4190 lumen,
Maxiwoody Compact COB luminaires with flood and wide flood optics were once again
positioned at the top of tall, 6 to 9 metre high poles.
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A neutral white colour was chosen for the Cardo, Decumano, Piazza Italia and Piazza
d’Acqua, whereas a warm white temperature was used for all the other squares further
away from the main avenues.
One particularly interesting lighting system is the one used for the phytodepuration tanks
located beside the canal that runs right through the Expo area.
Here, specially designed Typha luminaires with waterproof casings and simplified
installation procedures, were installed right inside the tanks. A wooden walkway runs
along beside the canal and in and out of the tanks to create a relaxation area for visitors.
This is lit with LED iWay bollards and Glimcube luminaires positioned under the handrails
- the latter covered with a stainless steel guard to stop anyone, but especially children,
from hurting themselves. There is also a second canal walkway that runs further over
on the inside and snakes off into the park to create other rest areas. These are lit with
warm white, 21 W, large body, LED iWay bollards that have again been specially
designed with ultra-simple installation procedures. In the other green areas scattered
across the Expo, Zyl luminaires have been installed with a special larger and heavier,
vandal-resistant mounting plate.
One of the most exciting new features of the Expo Milan 2015 are the “clusters”.
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Cardo, Decumano and common areasExpo 2015

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Photos: Lorenzo Palizzolo
1. Coffee Cluster
2. Children Park
3. Fruit and Vegetable Cluster
For the first time ever, different themes and food chains have been grouped together
into specific areas called “clusters”. This enables the theme of the Expo - “Nourish
the Planet, Energy for Life” - to be explored with a spirit of interaction and sharing.
The clusters are common areas in the exhibition area that examine the food chain
in question through a series of areas and activities, such as markets, exhibitions, events,
and tastings. These spaces are therefore extremely flexible and the lighting systems follow
suit. MaxiWoody spotlights have been fitted in all of them with the option of a wide range
of optics and accessories to ensure maximum versatility.
iGuzzini has lit the rice, coffee, fruit and vegetable and spice clusters using wall washer
iPro spotlights to highlight the textures of the wall panels that are covered with recycled
material from the spice production industry.
The Children’s Park is a linear area, including a forest with eight installations based
on the main Expo themes. These are all located in open air settings and feature recreational
platforms and covers constructed in the shape of large reel-like structures hung
from artificial trees. The artificial lighting focuses on these reels and includes a series
of Maxiwoody spotlights that guarantee direct and indirect general lighting and micro iPro
luminaires that illuminate the intersecting wooden slats that make up the various reels.

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Cascina Triulza is the only structure that was already standing when the Expo Milan
2015 area was created. It is an old, typically Milanese country farmhouse and will be
left at the end of the event as part of the location’s cultural identity. Managed
by the Triulza Foundation, the Cascina Triulza complex covers an area of 7,900 m2
and is divided into three different buildings. The main building, formerly the farmhouse,
has been turned into offices lit by DALI Lineup luminaires, and exhibition spaces lit
by special track-mounted DALI Front Light spotlights. In the transit areas, iRoll and
wall-mounted LED Cestello luminaires have been used to create the necessary lighting
levels. Whereas outside, iPro wall-mounted spotlights have been positioned on each
facade to define the perimeter of this part of the farmhouse. The former granary houses
an auditorium with 200 seats, an exhibition area and a restaurant. The conference room
is lit with pendant-mounted iRoll luminaires and track-mounted Front Lights; while wall
and floor-mounted recessed Ledplus devices provide courtesy lighting. In the restoration
area, up/down pendant-mounted Berlino luminaires and wall-mounted iPro devices have
been installed to indicate the entrances and terraces and mark out the general perimeter.
The third building is a former stable that has been renovated to create a market area
for small producers, commercial activities and organisations promoting fine quality
products and services, the environment and human rights.
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Cascina Triulza and Pavilion ZeroExpo 2015
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Photos: Paolo Carlini, Lorenzo Palizzolo
1. Cascina Triulza, external
2. Rice Cluster
3. Pavilion Zero
4. The Memory Theatre, inside Pavilion Zero
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This part of the Cascina complex, lit with up/down pendant-mounted Berlino luminaires,
is also used for workshops for children between 4 and 10 years-old. Outside there is
a 1,700 m2 courtyard that acts as a vegetable garden and picnic area lit with pole-top
UFO products in the general areas, iWay bollards for transit areas and Ledplus
luminaires around the trees.
Pavilion Zero is the starting point for any visit to Expo Milan 2015.
Michele De Lucchi’s design represents a piece of the earth’s crust lifted off the ground.
Using a carefully planned scheme of contours it reproduces the earth’s surface with its
mountains, hills and a vast central valley. The pavilion is designed to remind us of just how
much humankind has done since its appearance on this earth, and how it has transformed
natural landscapes and established its own culture and rituals of consumption. There are
two main interest points: the Memory Theatre, a library of drawers containing info
on different foods, animals and diets, and the Digital Memory, a high-impact video
that focuses on hunting, fishing, cultivating crops and rearing animals.
iGuzzini was responsible for lighting the library, where recessed Ledplus luminaires
with different optics have been installed in the drawers and focused on the wall.
The showcases have also been lit with Underscore light lines.
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Palazzo Italia Customer
Expo 2015 Spa
Architecture and
lighting design
NEMESI
Engineering
Proger
BMS Projects
The Italy Pavilion showcases the country’s food
and culinary culture and traditions that are
typified by their consistent high-quality, from
the ingredients to the end products.
The key display inside the pavilion, entitled
Identità Italiana (Italian Identity), is dedicated
to the various regions of Italy that have taken part
in this cultural and artistic project. The concept
behind the pavilion’s architectural design is that
of an “urban forest”. The building’s external shell
of branch-like “skin” was designed by Studio
Nemesi to be both primitive and hi-tech at the
same time. The interweaving of its geometrical
lines is reminiscent of the random pattern
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of branches and the continual play of light
and shadow, solid and void generates a sculpture-
like building with clear land-art influences.
The basic architectural idea for Palazzo Italia
is a concept of cohesion in which the force
of attraction generates a rediscovered sense
of community and belonging. The internal piazza
represents the community’s energy. This space
– the symbolic heart of the complex – is where
the exhibition experience begins, right in the
middle of the four sections that make up the
pavilion. Together, these four blocks form a kind
of cityscape, while retaining their own individual
character and purpose, and including:
an Exhibition zone (West block), an Auditorium
and Events zone (South block), an Office zone
(North block) and a Conference and Meeting zone
(East block). These blocks are symbols of giant
trees with massive bases that simulate roots
plunging into the earth. Seen from the internal
piazza, these trunks open and then stretch
upwards, finally breaking free, like foliage,
through the huge, glass canopy. The lighting
project, also designed by the Nemesi Studio,
seeks to bring light and architecture together
by highlighting the building’s character and
features in a way that is completely natural.
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Sustainability solutions
Livio de Santoli
External Prospects:
Official Technical partners of Enel
on the lighting Solution for Expo 2015
The pavilion is lit with luminaires provided
by various manufacturers.
Photos: Paolo Carlini, Luigi Filetici
1.2. Exterior views
3. Detail of one of the interiors
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Palazzo Italia
The general illumination system creates
a homogeneous, comfortable and inviting light
throughout the structure with recessed, DALI
dimmable, warm colour temperature Laser Blade
luminaires. These recessed products are concealed
in the structure’s false ceilings and create no glare
at all. In line with the architectural features of the
offices (that are elongated, longitudinal spaces)
long, rectangular recessed iN 30 and iN 60
luminaires have been installed that provide
an ideal level of lighting for desks and work
stations. For the corridors, which are the most
highly frequented areas in the pavilion, pendant-
mounted Le Perroquet and Tecnica Pro spotlights
have been used, while Underscore luminaires
highlight the banisters and niches. The auditorium,
also known as “the egg” is a space built completely
in wood with a dark false ceiling. Laser Blade
luminaires have been recessed in the ventilation
ducts to ensure that they are completely concealed.
In this context, dimmable versions have again
been used to ensure that the light suits the space
available perfectly, and is user-friendly too.
For the outdoor lighting of Palazzo Italia, and
its distinctive white cement facades, Multiwoody
pole-top luminaires have been installed with
a cold colour temperature to intensify the pure
white effect of the structure.
Recessed Linealuce luminaires have also been
positioned around the “root” base of the pavilion
on account of their superior vertical lighting
performance. The products used all feature LEDs
with warm colour temperatures for the interiors
and cold ones for the exteriors.
This solution was chosen for the superior
performance of these lamps which offer both long
life and low maintenance costs. Palazzo Italia will
remain in situ after the Expo fair finishes,
so it was important to create a lighting system
that is long-lasting and efficient.
Photos: Paolo Carlini, Luigi FileticiExpo 2015

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Here, the Foster + Partners studio sought to create
not only a symbol-building, but also a space that
binds the history of the Emirates to the theme
of the Expo. Salem Al Ameri, the EXPO general
administrator for the country, emphasized during
his presentation of the project that the choices
made are based on a specific strategy that seeks
to reduce carbon emissions whenever and wherever
possible. The building, in fact, has been awarded
LEED ‘Platinum’ certification thanks to
a combination of passive principles and active
techniques, including the installation of photovoltaic
cells and capturing rainwater on the roof garden.
Customer
The National Media Council,
United Arab Emirates
Architectural design
Foster+Partners
Lighting design
DALD- David Atkinson Lighting
Design Limited
United Arab Emirates Pavilion
The fact that the building has been deliberately
designed so it can be recycled and reconstructed
in the United Arab Emirates after the Expo is part
of this vision. And the presentation of the project
through a live online press conference that
eliminated flights by connecting London, Milan
and Abu Dhabi, was also part of this global strategy
to reduce carbon production and minimize human
impact on the environment.
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Photos: Lorenzo Palizzolo, Anthony Pearson
1. Daytime exterior view of the pavilion
2. Rendering

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The architectural design for the United Arab
Emirates pavilion reproduces antique methods
used to construct cities in the desert and their
natural energy efficiency.
The artificial lighting, designed by David Atkinson,
enhances the pavilion’s architectural forms, while
its all-LED luminaires helped it attain LEED
Platinum status. The pavilion is located in a large
area along the main Decumano avenue. From
here, the visitors are drawn towards a space that
deliberately recreates the effect of a canyon,
by means of two 12-metre-high, undulating walls.
The walkways that cross the pavilion resemble the
narrow streets and courtyards of ancient desert
cities, as well as their contemporary equivalents,
already designed by Foster+Partners in their
sustainable masterplan for Masdar City in Abu
Dhabi. The walls stretch for 40 metres, the entire
length of the area, in a series of parallel waves,
designed to evoke the ridges and textures of sand
dunes. To communicate a specific sense of place,
the textures of the walls have been created using
scans taken in the desert. The materials used
were also specifically chosen to show the different
colours of sand found in the Emirates. These
materials are highlighted by recessed adjustable
Light Up Walk Professional luminaires installed
along the walls and fitted with special filters that
warm the original colour temperature of 2700 K
up to approximately 2300 K.
A ramp leads gently upwards from the entrance
to the auditorium. Laser Blade Inout luminaires
have been installed along the ramp as they blend
perfectly with the structure and create a sense
of consistency with the Laser Blade luminaires
used inside the pavilion. The public park area
around the pavilion has also been designed
to evoke the terrain and flora of the United Arab
Emirates, and iPro luminaires have been used
to highlight the trees. In the centre of the site
there is a drum that contains an auditorium.
The drum is a spectacular part of the project.
It is covered by a distinctive metal structure which
reflects the surrounding scenario during the day
and is itself reflected in the dune-like walls.
To create this effect at night, too, wall-mounted,
wallwasher effect Linealuce luminaires have been
positioned all around the upper edge of the drum.
These wallwasher effect luminaires are located
at a height of 11 metres, and have no “scalloping”
effect so they reproduce the sensation of natural
daylight perfectly.
United Arab Emirates Pavilion Photos: Anthony Pearson
1. Detail of the central drum lit
with Linealuce luminaires
2. Internal gully around the central
drum.
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General commissioner
Lorenzo Constans
Coordinator
Sebastián Mallea
Cristián Undurraga
Chile Pavilion
The main goal of the Chile Pavilion is to show
millions of Expo visitors this country’s extreme
geographical diversity: from the Atacama Desert
to Patagonia, and from the central green valleys
to the eastern islands. These very different regions
are described through their ecosystems and how
these ecosystems are being preserved.
To house this concept, the Chilean architect,
Cristián Undurraga, has designed a suspended
structure covering almost 2000 m2. It consists
of a large wooden lintel enclosed by a frame
of criss-crossed beams and supported by four
concrete pillars that create an intermediate space.
The access point is a relaxation area with tables
and benches in which the visitors encounter
the Chilean “dinner table,” with all its flavours
and colours. A group of red statues, modelled
on Chilean farmers, indicates the path to follow.
Visitors reach the suspended wooden structure
by means of a central ramp that takes them into
a multimedia nucleus featuring a tunnel with
twenty-four synchronized spotlights that offer
visitors a virtual reality experience.
The lighting project is the work of the Chilean
lighting designer, Maite Zubicoa, who has opted
to highlight the wooden facade and ground floor
ceiling only. In the remaining space there is no
artificial lighting given that images of food
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Lighting design
Maite Zubicoa
Photos: Paolo Carlini
1. Relaxation area that is also the entrance to the pavilion
2. General view with an iPro lighting effect
and their geographical origins are projected
continually, as if it were a cinema. At night the
structure looks like a huge lantern lit only from
the inside. The pavilion’s wooden framework is lit
by iPro spotlights positioned in the individual
triangular cells of the structure, and a warm colour
temperature was specifically chosen by the
designer as it is particularly suited to wood.
Maite Zubicoa also selected non-invasive
luminaires that blend into the architecture while
also highlighting its shape and form.LED lamps
were used to reduce consumption levels,
and significantly, only 20KW/h is required
to light the whole building.
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Russian Federation Pavilion Architecture and lighting design
SPEECH Tchoban / Kunznetsov
The architectural design for the Russian pavilion
fits comfortably into the tradition of a long line
of Russian pavilions at world fairs, that dates all
the way back to the very first “Great Exhibition”,
held in London in 1851. Many Russian pavilions
have come to be considered as global architectural
milestones and several have won prizes and
awards, including the Grand Prix in Paris in 1937
and the Silver Medal in Shanghai in 2010.
Covering an area of over 4,000 square metres,
this structure’s concept and lighting design have
both been developed by the Speech studio,
headed by architects Sergei Tchoban, Alexei Ilin
and Marina Kuznetskaya.
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Photos: Paolo Carlini, with the kind permission
of the Russian Federation Pavilion.
1. Main entrance to the pavilion
2. Interior view
The pavilion has a particularly distinctive terrace
that juts out to create a canopy about 30 metres
long. This feature offers shelter to those who are
outside and when visitors look up they can see
their reflections in the mirrored roof. The terrace
also protects the building itself from the sun and
at night it is lit with iRound recessed luminaires.
The pavilion’s first welcome area is lit with
recessed, Pixel Plus luminaires featuring
an adjustable beam that makes them the ideal
choice for the wave-like effect of the ceiling.
The exhibition hall and conference room on the
first floor are both illuminated with iPlan and
iPlan Easy products to guarantee visual comfort.
The VIP room is particularly spectacular
as it includes a central bar and a huge window
offering splendid views across the whole exhibition
site. This room is lit with recessed Pixel Plus
luminaires installed around the perimeter and
Reflex Easy devices positioned in the centre
to create a cosy, comfortable atmosphere around
the food and drink area. The terrace is lit with iPro
spotlights installed on the railings at a 40° angle.

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Customer
France Agrimer
Studio X-TU
with the help of the ALN Atelien
Architecture and Adeline Rispal
studios
France Pavilion
The France Pavilion is based on a classic symbol
of French food culture, the market.
These picturesque, indoor or outdoor combinations
of stalls and produce are found in all French towns
and capture perfectly the general theme of Expo
Milan 2015. Covering 3592m2, the pavilion
consists of a laminated strip skeleton that can
be completely dismantled and reassembled.
The architectural structure was designed
by the X-TU studio (Anouk Legendre and Nicolas
Desmazière) with the help of the ALN Atelien
Architecture studio (Nicola Martinoli and Luca
Varesi) and the Studio Adeline Rispal, who created
the pavilion’s thematic design. Particular attention
was paid to reducing energy consumption,
waste recycling and purification processes.
A visit to the pavilion begins with a cultivated
area where visitors can appreciate typical French
crops, lit by Typha luminaires. Having crossed
the field, visitors then pass under an arch
presenting a wide range of the most traditional,
modern and innovative experiences, materials,
fragrances, plants, products and technologies.
Three large LCD screens show poetic animations
of real time panoramic images from three different
types of French countryside.
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Lighting design
Licht Kunst Licht AG
1. The outside of the pavilion, with its entrance
and cultivated area
2. A view of the interior
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France Pavilion
The pavilion is divided into 3 floors. On the
ground floor there is a large exhibition space
organised around four pillars. Front Light and
Cestello spotlights have been discreetly installed
in the wooden coffered ceiling to create a diffuse,
homogeneous lighting effect with no glare.
The access stairs to the upper floors are lit with
Underscore luminaires. The first floor features
partners’ display spaces. There is a store,
a demonstration area, a bakery and a VIP area
organised into rooms that can be joined into
a single, large area. The environment is lit with
Wall Washer and Downlight version Laser Blade
luminaires. The top floor of the building is
a terrace, lit with MiniWoody spotlights installed
on vertical wooden elements, with a restaurant.
To highlight the tables and dishes served,
the lighting designers have created a lighting
scenario using accent lighting and the powerful
contrasts of Palco and Front Light spotlights.
The lighting concept created by the German
studio, Licht Kunst Licht AG, illuminates
the structure from the inside, as stipulated
by the architects and customer, in order to attract
visitors’ attention, especially in the evening.
All the products used are LEDs guaranteeing
high energy savings and a long life, given that
the structure will be used again in the future.
3
3.4. Detail and view of the inside of
the France Pavilion
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Germany Pavilion Customer
Federal Economy and Energy Minister
General Contractor
ARGE
Spatial design, architecture
and masterplan
Schmidhuber
The title adopted by the Germany Pavilion for this
year’s Expo 2015 theme is a “Field of Ideas”.
In other words, a vision of Germany as a vibrant,
fertile “landscape” bursting with innovation.
The pavilion effectively displays how we must
develop a respectful relationship with nature
if we are to ensure sufficient food for the future.
This is done by focusing not only on effective
environmental policies, innovative businesses
and forward looking projects, but also through
the commitment of civilians. Consequently,
visitors are welcomed into the pavilion with
the motto “Be active!”
The pavilion’s architectural design consists
of a gently rising plateau that evokes Germany’s
distinctive field and meadow landscapes
and opens to reveal an exhibition expressing
the country’s vision. Visitors are free to explore
the landscape plateau with its surfaces made
of different woods that recall the Germany
countryside with its typical patchwork of fields.
The pavilion’s central element is a range
of stylised plants that sprout up from the floor
like “seedlings of ideas” and then continue
growing until they reach the outside world where
they unfold into a vast canopy of leaves.
This highly original feature unites indoor and
outdoor spaces and the exhibition with the overall
architectural structure. Together with Weisspunkt
und Purpur, iGuzzini was responsible for creating
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Layout, exhibition displays
and contents design
Milla & Partner GmbH
Lighting design for interiors
Weisspunkt und Purpur
Project management and construction phase
Nüssli
Photo: Paolo Carlini
1. Exterior view of the Germany pavilion
2.3. Interior detail
the pavilion’s interior lighting system.
Track-mounted Palco spotlights with refractors
and directional flaps were used to create
the pavilion’s accent lighting. The effects of these
luminaires were carefully studied to ensure they
blend in with the general lighting, which is mainly
natural during the day and enters through
the stylized plant features that act as skylight
wells. Thanks to carefully positioned spotlights,
these wells also create a moonlight effect at night.
Particular care was taken over the lighting
in the film projection areas where the illumination
levels never exceed 200 lux.
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Tongji University
Lighting design
LEOX Lighting designer
By adopting the name “Seeds of China”,
the China Corporate United Pavilion has drawn
on the symbolism of the seed to interpret the
dream of a group of Chinese companies whose
values are based on the conservation of natural
resources and food security. The living essence
of seeds is an excellent metaphor for the heritage,
perseverance and innovation of China’s
entrepreneurial spirit. The inspiration behind
the China Corporate United Pavilion is the power
released when a seed sprouts and breaks through
the ground, and the structure was designed
by the Architectural Design and Research Institute
of Tongji University Ltd (Group). From the outside
the structure has a simple and elementary aspect
that consists of a parallelepiped built from glass
and a breathable membrane that together seem
impossibly light. Life is born in the green heart
of the structure in an area that contains the
auditorium, and this space gradually develops
into the spiral ramp of a DNA chain that leads
visitors to the upper levels. The goal is to create
a gentle and natural environment. During the day
the exhibition gallery uses the centre ring for light
and air, and the heart of the pavilion is wrapped
in a cylinder of green walls that creates a unique
and natural sensory experience. The pavilion
offers four different itineraries. From the first floor
in the exhibition hall and in the auditorium,
visitors proceed down to the ground floor and
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1. Exterior
2. Corridor overlooking the central “green heart”
of the pavilion
basement where they can enjoy the direct
experience of watching food being prepared,
before continuing to the restaurant and gift shop.
The lighting project, created by the LEOX lighting
designer studio in Shanghai, follows the pavilion’s
architectural design. Linealuce Mini and Compact
products illuminate the internal structure of the
facades with a grazing effect underlining the power
of a growing seed. MaxyWoody spotlights
highlight the details and texture of the pavilion’s
“DNA structure” while Primopiano luminaires light
the display areas. Light Up recessed luminaires,
installed in the exteriors of the structure, emphasize
the soft shape of the pavilion and attract
the attention of passers-by.
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3
3.4. Areas dedicated to two companies.Expo 2015

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Founded in 1984, Vanke is the largest Chinese
real estate company listed on the Shenzhen Stock
Exchange. This corporate giant has decided
to participate at Expo Milan 2015 in order
to offer the world a showpiece of contemporary life
in China, from the perspective of ordinary people,
through the experience and spirit of “Shitang”
(a Chinese term that describes the convivial
experience of eating at table). Covering a surface
of 959m2, the Vanke Pavilion is located in the
northern section of the fair’s main thoroughfare,
the Decumano or World Avenue, near the Arena
Lake and Piazza Italia.
For the design of the Vanke Pavilion, Daniel
Libeskind brought together a range of concepts,
from the ancient thinking of Confucius and Lao
Vanke Pavilion Customer
Vanke Group
Architecture and lighting design
Studio Libeskind
Tzu, to Renaissance and contemporary art.
Architecturally, the pavilion’s sinuous geometry
and continuous inside-outside flow take the visitor
on a journey through space, time, traditions,
values and human relationships. The exhibition
is organized into two independent routes, one
from the inside towards the outside, and the other
with a garden that is found on the roof.
Once inside, visitors are led through a forest
of bamboo poles bearing screens showing scenes
of people enjoying meals, having fun, and
sharing. This concept is based on the metaphor
of roots, trunks and branches which symbolize
Vanke’s commitment to the community.
The shape of the pavilion is based on China’s
sacred mountain, Huan Shan. The American
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Photos: Hufton+Crow
1. The pavilion’s sinuous architecture
2. One of the interiors
architect has created a stylised reproduction
of its shape with a structure covered by 4,200
red tiles that change colour according to the light.
The visual effect is a roof that looks rather like
the scales of a snake, crossed by a stairway that
runs round the pavilion allowing visitors to pass
easily from one part of the structure to another.
The lighting project that has also been designed
by the Libeskind Studio, plays a fundamental role
in the pavilion’s impact as it succeeds in making
the structure seem bigger.
The interior area consists of a ground floor with
a very dark exhibition room that is laid out like
a museum. On the first floor, there is a reception
room where the lighting is controlled by a special
system that allows it to be adjusted to suit special
requirements and events. In the same area there
is also a huge lantern that filters natural light
during the day and is covered by a dark curtain
by night. The outdoor lighting system has been
created by installing five poles around the
perimeter of the pavilion each of which are fitted
with MaxiWoody floodlights. For the stairway
and roofs, Underscore luminaires have been used
to create lines of light in a low intensity design
that blends in with the surrounding space.
This was a deliberately move as Vanke wished
to preserve the spectacular and magical atmosphere
that the EXPO exhibition site creates at night,
without over-exaggerating its own presence.
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Enel Pavilion Customer
Enel
PIUARCH
Lighting design
Esa Engineering
Enel Sole
Enel is the largest electrical company in Italy
and one of the world’s major electricity and gas
sector operators with a particular focus on Europe
and Latin America. The Group operates in more
than 30 countries across 4 continents, generating
power from over 90 GW of net installed capacity
and distributing electricity and gas through
a network spanning around 1.9 million km.
With its 61 million end users worldwide, Enel has
a larger customer base than all of its European
competitors and is one of Europe’s leading power
companies in terms of installed capacity.
For the EXPO fair in Milan 2015, Enel has
created the first smart city “green field” in
the world. This smart grid can power a city
with no less than 100,000 inhabitants.
One hundred cabins connected through an optic
fibre network transmit electricity and information
in real time, powering the entire exhibition site
where everything operates thanks to electrical
energy. LED lighting and e-mobility have been
used, and all the energy that circulates is
controlled and monitored by the smart Energy
Management System.
This state-of-the-art system, developed by Enel
Distribuzione in collaboration with Siemens,
controls energy consumption in a granular manner
until it reaches the individual pavilions. Enel also
has its own 890m² pavilion at the Expo, dedicated
to the latest developments in energy systems.
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1.2.3. “Light forest” colour variations
Based on the Smart Grid it has designed to power
the EXPO site, the Enel pavilion stands out for
its unconventional architecture. It is not an actual
building, but a lit installation that instead of merely
acting as a container, actively becomes what it is
promoting: a demonstration of the innovative
and dynamic nature of the Smart Grid. The pavilion
is decidedly atypical as it is not an architectural
construction waiting to be filled, but an open air
space with a linear 107-metre long walkway
featuring 3D images, videos and animated
infographics. In a series of stages, this trail introduces
the visitor to the changes that are taking place
in the energy sector and rapidly consolidating a
new model of energy distribution and consumption.
At the heart of the pavilion is the control room,
a room dedicated to the technology, operation
and benefits offered by the smart grid.
On entering the control room, the visitor finds
a multimedia environment characterised by two
large LED walls, one vertical and one horizontal.
This spectacular backdrop consists of 144 kinetic
modules and includes 9 tablet stations where
visitors can navigate articles, data, and information
flows regarding the energy consumption of the
Expo site and various national pavilions in real
time. A magical atmosphere is created all along
the exhibition trail thanks to a forest of light
consisting of 650 lit poles that change colour
constantly and emit special sound effects.
These luminous vectors are planted in the floor
of the Enel pavilion, as if they were the nerve
endings of the smart grid that is symbolized
by the metal mesh on the pavilion floor.
The poles consist of polycarbonate tubes with
a diameter of 150mm and a range of different
heights varying from 5.3 to 7 metres that are
dramatically lit by the LED lamps located on the
grid. The perception that visitors have of this
virtual volume changes continually in relation
to their movements and location, as the vertical
components are constantly aligning,
misaligning and overlapping.
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Save the Children chose to take part in the Expo
2015 in order to draw attention to its work from
all over the world. It sees the event as an
opportunity to experiment with new channels
for providing information, raising awareness
and creating engagement around its mission.
The architectural design for the Save the Children
Pavilion represents a village with small “houses”
and plantations. The lighting concept, designed
by Metis Lighting and donated to the charity,
is based on the following requirements:
- lighting the pathways on the outside so as
to invite visitors to explore the architecture
and plantations of the “houses” in the village;
- highlighting the construction materials used
for the “houses” and illuminating
the various displays.
Save the Children village Architectural design
Argot ou La Maison Mobile;
Design-Build Workshop
Argot ou La Maison Mobile -
Mezzo Atelier-
Landscape Project
Melania Bugiani
- guaranteing required lighting levels for both
visitors and Save the Children operators.
The iGuzzini luminaires used to create the lighting
concept were donated by the company in its role
as technical sponsor. The interior lighting system
consists of grazing lighting on the bamboo
perimeter panels created during the Build
Workshop, and accent lighting on the displays.
The former was created with Linealuce Mini
ceiling-mounted LED luminaires, while the latter
featured Front Light halide spotlights with
directional flaps. Customised decorative pendant
lighting was also designed to specification for the
interiors, to light the horizontal planes and create
a cosy, domestic atmosphere. This warm lighting
then filters out through the houses to create
a ‘‘lantern’’ effect.
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Production / Artistic Direction:
Accapiù S.r.l.
Lighting design
Metis Lighting
Photos: Leo Torri
1.2. Views of the pavilion
The outside area features accent lighting on key
elements, such as the vertical garden and the side
entrances to the individual buildings.
This is provided by adjustable halide and LED
Mini Woody floodlights installed on the roofs
or hidden behind the sheet metal perimeter.
To highlight the coloured shapes of the “houses”
LED Tube luminaires have been mounted on
the outside walls. The external walkways are lit
by adjustable iPro Micro floodlights fixed on
wooden poles, and the same floodlights are
mounted on stakes to light the trees that act
as a backdrop to the “houses”.
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Milan Expo city Adopting Leonardo’s Last Supper.
In 1998 iGuzzini adopted the Galleria Borghese
and in 2015 it has repeated the experience
with Leonardo da Vinci’s Last Supper. In the years
in between it also acted as the technical sponsor
for hundreds of other projects in large and small
museums, in Italy and all over the World.
By adopting the Last Supper iGuzzini has once
again expressed its commitment to supporting
Italy’s cultural heritage by offering both its lighting
knowhow and luminaires to major projects
involving important International artworks
and locations. The agreement between iGuzzini
and the Milan Architectural and Landscapes
Heritage Office involves literally “adopting”
the famous artwork. In other words, iGuzzini has
provided a new lighting system featuring latest
generation luminaires that will allow the rich
colours and details of Leonardo’s masterpiece
to be better appreciated. Moreover, iGuzzini
will also put the skills of its Research Centre
at the service of the Heritage Office.
In the years to come, then, with the Centre
monitoring the rapid technological developments
taking place in the lighting sector and working
together with the High Conservation and
Restoration Institute, the methods for conserving
and exhibiting the masterpiece will be continually
updated. In short, this means that the quality
of light for both the painting and the surrounding
environment will be constantly improved
with the latest lighting solutions. In 2014
the Milan Architectural and Landscapes Heritage
Office began to consider the need for a new
lighting system for Leonardo’s Last Supper.
Leonardo painted the masterpiece in the refectory
of the Dominican Convent Church, Santa Maria
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delle Grazie in Milan, which was declared
a UNESCO World Heritage Site in 1980.
The refectory is a long, rectangular room with
Leonardo da Vinci’s masterpiece on the northern
wall and Donato Montorfano’s Crucifixion facing
it, on the southern wall. Both of these were
traditional subjects for refectory paintings.
The Last Supper was commissioned by Ludovico
Sforza, Duke of Milan, and painted between 1494
and 1497, whereas Montorfano’s Crucifixion
is dated to 1495.
From a technical point of view, The Last Supper
is an incredible experiment. Leonardo chose
to paint a mural because he wanted to create
the light effects that Flemish artists were beginning
to import into Italy.
He therefore needed to create a surface and adopt
the colours normally used when painting a canvas.
2
3
4
Photos: Christian Fattinnanzi
1. Leonardo’s masterpiece with the new lighting system
2. Arts Minister Franceschini during his speech
3. Head of the Milan Architectural and Landscapes Heritage
Office, Alberto Artioli and Director of the Lombardy Region’s
Museum Administration, Sandrina Bandera
4. Dario Franceschini, Adolfo Guzzini
and Massimiliano Guzzini

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Adopting Leonardo’s Last Supper.
1
2
Milan Expo city
To achieve this, he prepared the wall with
a primer and then a binder made from
a combination of ingredients that is still unknown,
and which is sadly the primary cause of the
painting’s deterioration that began as far back
as the early 1500s. Visitors began reporting
the damage caused by Leonardo’s experimental
techniques almost immediately.
And unfortunately, Milan’s damp climate only
added to the problem. In fact, the local authorities
were so afraid of losing the masterpiece completely
that Federico Borromeo, the founder of the
Ambrosiana Academy had a huge copy made
for posterity. Over the centuries, the masterpiece
has been restored on numerous occasions
and in 1999, the latest restoration project, that
began in the mid 1970s was finally unveiled.
In the same year, lighting and air conditioning
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1.2. Head of the Last Supper project,
Giuseppe Napoleone, giving a speech
at the Santa Maria delle Grazie church
3.4.5. Visitors’ reaction to the lighting system.
3
4 5
up until now. The lighting system was designed
according to the project specifications compiled
by the Galileo Ferraris Electrotechnical Institute
photometry laboratory.
The luminaires were positioned according
to distribution requirements and concealed behind
the barriers that run parallel to the two paintings
(The Last Supper and The Crucifixion).
Luminaires with special T5 fluorescent lamps
and a double reflector optic system were used,
as the devices were positioned very close
to the lit surface in relation to its height,
and a marked asymmetric beam was therefore
needed to ensure an even light over the vertical
surface. The overall colour temperature produced
was approximately 4050°K. The decision to use
this colour temperature was based on the fact
that the restoration of the painting had been
carried out using 5500°K Durotest lamps.

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Adopting Leonardo’s Last Supper.
Place
The Last Supper
The Crucifixion
Public area
of the Cenacolo
Paths
Total
Old installation
(Watt)
345
120
1370
1500
3335
New installation
(Watt)
47
16
120
310
493
Energy saving
(Watt)
– 298
– 204
– 1250
– 1290
– 2842
– 86%
– 93%
– 87%
– 81%
– 85%
The requirements stipulated by the Heritage Office
for the new lighting system installed in 2015
focused on the need to localize light only
on the surface of the painting. This was done
to avoid lighting the walls on either sides
of the painting and the part of the vault above it,
and to guarantee the colour quality of the work,
reduce the heat given off by the luminaires and
lower energy consumption.
The design of the new lighting system consisted
of two clear stages: laboratory testing the
luminaires and defining the solution on-site.
The first phase was conducted in the ISCR
lighting laboratory with the aim of assessing
the system’s optimum spectral distribution.
The new system features Palco spotlights fitted
with Chip On Board LEDs installed on a DALI
track supplied with an iGuzzini control unit that
can adjust the light flux emitted by each spotlight
individually. This achieves an extremely high
standard of light uniformity on the painting while
keeping the level of lighting on the work within
the limits set and verified for its conservation
by the Italian High Institute for Conservation
and Restoration.
The system consists of three groups of luminaires,
each aimed at a specific area of the painting.
The spectral quality of the LEDs was defined
by visual assessing the surface of the painting
in a series of tests that involved activating 4 Palco
floodlights with a range of different composition
LEDs. All of these were latest generation Chip On
Board LEDs, tested previously at the ICR
laboratory, and the floodlight with the best
chromatic balance turned out to be the one
with a 3384 K colour temperature LED.
Every single decision, from aiming the luminaires
to establishing colour temperature, was made
together with, and in the presence of a group
of experts including the Head of the Milan
Architectural and Landscapes Heritage Office,
the Head of the Last Supper project, the Head
of the restoration project and the Director
of the Lombardy Region’s Museum Administration.
Having defined the chromatic balance, assessments
were then made with regard to conservation.
All the measurements taken indicate that the new
system installed by Tecnosaier (Lucio and Fabio
Pironi) has achieved a radical improvement
in heat dissipation. The considerable reduction
in the level of heat dissipated throughout the room
by the new lighting system will have an extremely
positive effect on the stability of the display area.
The possibility of extending opening hours,
however, does not depend only on the annual
dose of light (lux hour/year), calculated from
the light levels registered on the painting,
but also on other environmental parameters
(such as dust and pollutants).
So before deciding any increase in the number
of viewers, a test period will be required
to monitor the effects on the micro-environment.
These improvements have not been used
solely for Leonardo’s masterpiece, but also
for Montorfano’s Crucifixion.
To light this painting 3 optical assemblies
have been used for each of the two Cestello
luminaires positioned on the side walls.
These create a crossflow of evenly distributed
light over the whole painting, and the quantity
and aiming of the light flux has been precision-
adjusted to make the cracks and bumps in the
walls less obvious.
All the optic assemblies are regulated by a DALI
system, and screw-secured in the correctly aimed
position to ensure they cannot be moved
accidentally during cleaning.
New lighting systems were also installed in the
public area of the refectory and the access tracks
that regulate the flow of visitors.
Cestello luminaires fitted with low voltage R111
halogen lamps powered at 10.5 volts and 3.7 A,
totalling a power of 38 watts for each optical
assembly, were already installed in the refectory.
But these lamps were replaced with optical
assemblies with 20 watt multichip LEDs.
For the visitors’ access track in the cloisters
the existing design solution has been kept,
but the 30 x 50W halogen lamps in the Cestello
luminaires have also been replaced with the
same number of 11 watt LED optical assemblies,
thereby reducing consumption by 78%.
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Photos: the iGuzzini archive
1. The new lighting system with its Palco spotlights
2. The LED spectrum used
3.4.5 Leonardo’s masterpiece lit by the old system
3a.4a.5a. Leonardo’s masterpiece lit by the new system
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4 4a
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Milan’s Dockyard becomes
a meeting point once again
Customer
Milan municipal council,
Lombardy regional council
General design and layouts
Jean François Bodin
Urban planning and architectural and
environmental design
Edoardo Guazzoni, Sandro Rossi
The redevelopment of Milan’s Dockyard,
La Darsena, is one of the permanent legacies
of the Expo Milan 2015 that has given the city
back this historical and symbolic site.
The project, developed by architects Edoardo
Guazzoni, Paolo Rizzatto, Sandro Rossi and
Studio Bodin & Associés, included restyling
the ancient port and the area around it, with
an investment of approximately 19 million euros.
The operation involved renovating the banks
of the waterfront with new pedestrian areas and
a new dock for tourist boats, and redeveloping
Piazza XXIV Maggio by pedestrianising part
of it and adding new park areas.
For the paths and square, iGuzzini supplied
a Multiwoody system, specially customised
to meet the service company, A2A’s specifications,
and recessed Balisage luminaires have been
installed along the harbour banks to indicate
the edge, especially in footpath areas.
In the square, iPro floodlights have been used
to produce direct lighting on the base and facade
of Luigi Cagnola’s neoclassical monument,
the Porta Ticinese or Ticinese Gate.
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1.2. Glimpses of the dock,
now revitalized through new lighting
Street furniture and lighting design
Paolo Rizzatto
Project management, market studies,
diagnosis and structural design
D’Appolonia S.P.A.
General and special plants and systems
Manens Intertecnica S.R.L.
New tree-lined walks have been created on both
sides of the dock, while on the western edge
of the basin a garden has been developed that
leads down to the water’s edge. The park is lit
with iWay bollards fitted with special screens
to meet A2A’s specifications and anti light
pollution standards.
To encourage the public to use and explore the
area a new pedestrian and cycle bridge has been
built between the north and south banks.
This is reached via steps lit with special
wall-recessed Comfort LED luminaires.
The disabled access lifts, on the other hand,
are lit with Woody luminaires.
The former site of the city market has been
demolished and replaced by a new structure,
built next to Viale D’Annunzio. This links the
pedestrian areas along the harbour banks to
Piazza XXIV Maggio, where a newly refurbished
portion of the Corso del Ticinello road has also
been reopened and enhanced.
The new market is lit with recessed iRound
and Linealuce Mini luminaires that create
an attractive light scenario on the market’s
lamellate structure on the side overlooking
the harbour bank.
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The “Giuseppe Verdi”
Conservatory Cloisters
Customer
The Giuseppe Verdi Conservatory –
President Maria Grazia Mazzocchi
Concept
Teresa Pomodoro
Sandrina Bandera
Located in the former convent next to the
Chiesa di Santa Maria della Passione in Milan,
the “G. Verdi” Conservatory is an authentic
architectural gem. Established by a Napoleonic
Royal Decree in 1807, the institute boasts over
200 years of history and numerous famous
musicians have studied here, including Giovanni
Bottesini, Alfredo Catalani, Amilcare Ponchielli
and Giacomo Puccini. In the second half
of the twentieth century the institute was so
well-known that every major Italian composer
either studied or taught here, and literary giants
such as Salvatore Quasimodo and Fernanda
Pivano gave classes here too.
In 2014, thanks to the vision of President Maria
Grazia Mazzocchi, and the creative spirit of both
Teresa Pomodoro, the project’s artistic director
and representative of the Arnaldo Pomodoro
Foundation, and Sandrina Bandera, Curator
and Director of the Brera Art Gallery, the “Bosco
nel Chiostro” (Wood in the Cloisters) installation
was created.
Located in the seventeenth century cloisters
of this splendid building, this “imaginary wood”
consists of eight sculptures by contemporary
artists. In its role of technical sponsor, iGuzzini
illuminazione has taken part in this project
by providing the luminaires for CastagnaRavelli’s
lighting design.
Throughout history the courtyard in the cloisters
has never been brightly lit and this has always
added to its charm. The architects, therefore,
sought to enhance this magic with a moonbeam
effect that illuminates the artworks gradually
and reveals their beauty only a little at a time.
The narrow cone of light emitted by the iPro
spotlights creates this effect perfectly by lighting
only part of the sculptures on display, leaving
the viewer to discover the rest and enveloping
the entire context in an intensely poetic
and almost surrealistic mood.
To complete the atmosphere, the cloister
colonnade’s existing low intensity, warm colour,
incandescent lamp system has been replaced
with a higher intensity alternative and a colour
temperature with a cosy, vintage lantern effect.
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2
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Photos: Vico Chamla
1. CastagnaRavelli’s lighting concept for the cloisters.
2. Detail of Arnaldo Pomodoro’s “Lancia di Luce”
(Light Lance).
3. Giuseppe Maraniello’s “IN-ES”.
Lighting Design
CastagnaRavelli
The great dome and lantern of the Chiesa di
Santa Maria della Passione that towers over
the Conservatory have also been lit to enhance
the atmosphere of the setting. The lantern
has been illuminated almost as if it were a city
marker pointing to the cloisters with an elliptical,
transversal beam: Platea floodlight for the sides
of the dome tambour and iPro narrow beam
floodlights for the lantern at the top. Given the
architectural importance of this location, very
small iGuzzini luminaires have been located
in the pilasters and columns that respect
the architectural design and enhance
the environment without disturbing it.
This highly original lighting scheme gives people
coming to the Conservatory for concerts
and events the opportunity to admire Alik
Cavaliere’s “Grande albero” (Big Tree), Pietro
Coletta’s “Barchetta di carta” (Paper Boat), Pietro
Consagra’s “Ferro trasparente grigio” (Grey,
Transparent Iron), Giuseppe Maraniello’s
“IN-ES”, Eliseo Mattiacci’s “Fluidità” (Fluidity),
Arnaldo Pomodoro’s “Lancia di Luce” (Light
Lance), Gio’ Pomodoro’s “Scala solare – omaggio
a Keplero” (Solar Stair - Homage to Keplero)
and Giuseppe Spagnulo’s “Cubus”.
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The Botanical Gardens Customer
Interni
Lighting Designer
Piero Castiglioni
Milan’s “Orto Botanico” or Botanical Gardens are
a historic open air museum, founded in 1774 at
the bidding of Empress Maria Theresa of Austria.
The gardens are located in the centre of Milan,
behind the famous Palazzo Brera that covers
an area of 5000 m² and houses the Brera Art
Gallery, the Braidense Library, and the
Astronomical Academy and Brera Observatory
(la Specola).
Since 2013 the Botanical Gardens have been
regenerated thanks to the magazine INTERNI that
has promoted the overall renovation of the site
that is actually part of the University of Milan.
The regeneration project has also included the
construction of paths for the visually handicapped
and a new entrance, the restoration of the lecture
hall and an energy efficiency project for the area.
The latter includes a new permanent lighting
system with luminaires donated by iGuzzini.
The lighting project was designed by the architect,
Piero Castiglioni. To allow the environment
to be enjoyed also at night, he has created a hard
lighting system that highlights only certain areas
and never illuminates the whole space.
Glimcube stake-mounted luminaires mark out
paths and plant beds, while Trick products
highlight the trunks of the tall trees that enclose
the garden with a kind of forest.
Milan Expo city
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1. The Botanical Gardens during the day
2.3. Tree trunk lighting detail
4. One of the paths lit with grazing light
In addition to the botanical species in this
Milanese oasis of greenery, there is also
the architectural splendour of the observatory
and the eighteenth century fountain basin with
its water lilies and other aquatic plants, all lit
with iPro floodlights.
The lighting system has been specifically designed
to respect the photoperiodism of the deciduous
plants and the lighting levels are kept at very low
levels of between 10 and 40 lux.
Plants in our latitudes prepare for Autumn when
the days begin to grow shorter. So to ensure that
artificial light does not confuse their perception of
time, lighting levels must be kept below 200 Lux.
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Out of the many urban regeneration initiatives
approved in the Expo Milan 2015 public works
pool, the one that was particularly dear to the local
council was the construction of a cycle path linking
the centre of Milan to the end of the Sempione
Park. More specifically, this project consists
of a circular cycle path that runs all the way round
the Sempione Park, thereby creating a hub for
a network of cycle paths that stretches out for over
5 kilometres, and links the park to the castle,
Corso Sempione, Piazza Castello, Piazza Cairoli,
Via Dante, Piazzale Cadorna, Corso Garibaldi,
Largo V Alpini, Largo la Foppa, La Triennale,
the Piccolo Teatro and the aquarium.
This path crosses the square opposite the famous
La Triennale, located in the Palazzo dell’Arte, built
Piazza de La Triennale
regeneration project
Customer
Comune di Milano,
the Mobility, Environment and Public
Works Council.
1
in 1933 by the architect, Giovanni Muzio.
La Triennale is an internationally renowned cultural
institution that organises contemporary art
and design exhibitions, conferences and events.
Since 2011 it has been the home of the Teatro
dell’Arte, one of Milan’s most important theatres
and a new benchmark for culture projects
and the performing arts.
The La Triennale institution itself chose the UFO
luminaires that have been installed along the cycle
path in the area surrounding the Palazzo. And,
not surprisingly, the luminaire they selected has
a distinctive contemporary design and uses a LED
lamp, the most innovative light source currently
available and a high-efficiency energy saver.
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1.2.3. Piazza de La Triennale and Viale Alemagna
with the new cycle path and lighting system.
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Brian & Barry Building Customer
BBB SPA
C&P ARCHITETTI - Luca Cuzzolin,
Elena Pedrina
Studio Spagna - Silvano Spagna
This historic 1950s palazzo that stands on
the corner of via Durini and via Borgogna, near
piazza San Babila in Milan, houses Brian & Barry,
a department store with a combination of food,
fashion, free time, cosmetics and design retail
sectors. Over its nine retail floors, the store’s
various outlets are deliberately alternated to
enhance their individual styles and identities,
and this is emphasized by specific accent lighting
that blend with the general illuminations. This
consistent, homogeneous effect is created using
3000 and 4000K Underscore luminaires, spaced
at an interval of 20cm, and located behind Barrisol
design panels, a solution that has the added
advantage of lighting the panels with the same
uniform consistency.
The homogeneous lighting of these designs
and the colour change option requested by
the designer are both controlled by an LMS Quick
management system. To create the accent lighting,
on the other hand, Front Light LEDs have been
installed on tracks built into the metal framework
of the suspended ceilings so they can be easily
adapted to suit the different kind of furnishing on
each floor. The type of LED used by the floodlights
has a CRI of over 90 that guarantees excellent
colour perception, which is particularly important
for this kind of environment.
One particularly important architectural element
is the white metalwork staircase that not only
connects the various floors, but also constitutes
a sculptural element that flows like a white ribbon
through the heart of the store. Here the lighting
scheme consists of a double line of Underscore
luminaires concealed in the narrow space
between the metal profile of the stairs and the
wall.To light the outside of the building, Linealuce
Mini luminaires have been installed on the sills
of all the windows. The products are managed
by a control system that creates different light
scenarios and effects that transform the facades
overlooking Via Durini and Via Borgogna into
an unforgettable spectacle.
1
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1. The homeware floor
2. Exteriors with light line effects highlighting the windows.
2

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The Duomo Market Customer
Gruppo Autogrill
Architect
AMDL
Lighting Designer
Dean Skira
The Duomo Market or “Mercato del Duomo”
is the new Autogrill Group flagship store
in Piazza Duomo. Operating together with
the Pollenzo University of Gastronomic Science
(UNISG) the group has created a covered market
structure with a range of carefully selected local
manufacturers. The sales point covers four floors
and a total space of 5,000 m2 of which 3,000
are open to the public. The different floors are
distinguished by subtle changes in the finishings
of the raw materials used. These materials
deliberately mirror the different consumer
experiences, which vary from simple, natural
food to complex dishes and from rapid
consumption to slower and more elegant eating
experiences. The transitions in this vertical store
experience are reflected in the different concepts
developed inside it. These include: the Bar
Motta, the Market, the Milano Duomo Bistro,
the Aperol Terrace, the Spazio restaurant,
designed by Niko Romito Formazione
and the Wine Bar. The complex also includes
a Kartell Shop, on the store’s mezzanine floor
and a Feltrinelli bookshop in the basement.
The architect Michele De Lucchi is responsible
for the project’s design that is distinguished
by its profound respect for and ability to blend
with the original design of Giuseppe Mengoni’s
Galleria Vittorio Emanuele arcade. This splendid
example of eclectic late nineteenth century
Milanese architecture was built between 1865
and 1878, and is one of the city’s most important
architectural features.On entering, visitors are
welcomed by a suspended bronze sculpture
of a life-size ancient olive tree created
by the British artist, Adam Lowe, to symbolize
Autogrill’s history and universal values.
The lighting project created by lighting designer,
Dean Skira, features dynamic LED technology
solutions that intensify the vertical nature
of the store experience and enhance the
sculpture’s shapes and contours by varying
its intensity and colours as the day goes by.
1
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1. Adam Lowe’s sculpture
2. Outside in the Galleria Vittorio Emanuele
Artist
Adam Lowe
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Milan Expo city The Duomo Market
The technical solutions include installing
a combination of luminaires with different power
ratings, lighting angles and screened optics.
In particular, this has involved carefully positioning
Laser Blade downlight cones of light that illuminate
the horizontal surface of the sculpture without
adding light to its vertical surface or the surrounding
walls. The lighting system also uses multiple
reflectors positioned at the base of the tree that
not only illuminate the artwork, but also emphasize
its colour and texture. These reflectors have
a further role too, in that they create highly
theatrical effects by casting dramatic shadows
onto the store walls. Dean Skira commented:
“Lighting this space was a quite a challenge
because of its relatively small size and architectural
features. It also offered the chance to maximize
the visitor’s visual experience by minimizing the
presence of the luminaires. The solution reached
has required the close cooperation of iGuzzini
and the best LED products on the market”.
1
3.4. Various views of the interior
layout

82
Techno Souq Customer
la Rinascente
Architectural and lighting design
Cibicworkshop
To celebrate Milan hosting the Expo 2015,
the “la Rinascente” store in Piazza Duomo has
commissioned the construction of an eclectic
and highly distinctive installation. Open from
May 1st to October 31st, Techno Souq aims
to raise awareness of important local projects
and celebrate fine quality food and fashion,
two areas that Milan has traditionally excelled in.
The installation was designed by the
Cicibworkshop and is located in via Santa
Radegonda, the side street leading off Piazza
Duomo, where in 1865 the Bocconi brothers
opened the shop that would later become
“la Rinascente”. The exact building is the one
next to the Odeon cinema that originally housed
Milan’s first hydroelectric power station,
used to light the famous “La Scala” theatre.
The installation consists of a series of suspended
sail-like structures that float in the air at different
angles, covering the street and collecting rainwater
in huge flowerpots. These structures are originally
white, but their colour is changed by the
MaxiWoody floodlights installed in the side walls.
Compact, warm white MaxiWoody floodlights
have also been used to light the street surface.
In addition to hosting a series of events Tecno
Souq also offers local people an attractive
and original place to stop and enjoy a moment’s
relaxation and as Aldo Cibic, the designer, himself
commented: “it’s a joy when a city generates
a new place for people to meet.”
1
Milan Expo city

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Photos: Alberto Ferrero
1.2. Interior colour variations for the Techno Souq
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Back on home ground, the Marches regional
council made careful plans this year to welcome
visitors attracted to the area by the exhibition
and events organised at the Italy pavilion in the
Expo fair in Milan. For the entire duration of the
Expo, information points were set up at two key
access points to the region and in five regional
offices. Each of these seven points has its own
business/tourist theme that acts as a showcase
to help companies welcome newcomers.
These include both foreign institutional delegations
and buyers, and Italian and overseas visitors
coming from Milan to enjoy the beauty of the
region. The two key access points are the Raffaello
Sanzio Airport and the Diamond Centre at Porto
1
2 3
Expo 2015 The Expo in the Marches
Sant’Elpidio. The five regional offices, on the
other hand, have been set up in five of the
region’s main towns. There is one in Urbino,
showcasing the culture, design and quality
of the region’s organic sector. There is another,
in Ancona, representing the macro-region
and the Blue Economy. And then there are three
more: one in Civitanova Marche, one in San
Benedetto del Tronto and one in Macerata.
iGuzzini illuminazione has played an active role
in this initiative to promote the beauty and
competence of the region. First and formeost,
iGuzzini organised the first Expo Day in the
Magna Battiferri lecture hall at the University
of Urbino. This was particularly fitting

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4
5
6
4. From left to right: Peter Higgins (Land Design), David
Atkinson (DALD), Ronald Schuurmans (Foster +Partners)
5. The audience
6. Ronald Schuurmans, Peter Higgins
Photos: Christian Fattinnanzi;
with the kind permission of Loriblu
1. Diamond Palace
2.3. The Studio Nemesi project (Susanna Tradati
and Michele Molè)
as the company has always considered
architecture to be a cultural process, and not
merely a question of construction. The main aim
of the event was to raise cultural awareness
within the region by organising talks with
important figures from the world of architecture
and design. Held on June 30th, it featured
a series of important figures in the field
of architecture and lighting design, including
Studio Nemesi, Foster + Partners, David Atkinson
Lighting Design and Land Design Studio,
all of whom explained the thinking and planning
issues behind their designs for the Palazzo Italia
and the United Arab Emirates Pavilion.
iGuzzini also contributed its technical know-how
to the construction of an eco-compatible building
with a Class A+ energy rating, at the Diamond
Palace, one of the region’s key access points.
All the artificial lighting was created with LED
luminaires supplied by iGuzzini to help visitors
explore the many innovative solutions perfected
by local companies at this important Marches
access point. The solutions on display were
specifically chosen by its founders, Loriblu
Graziano Cuccù and Annarita Pilotti, to boost
the local economy and put a “zero km” philosophy
into practice by reducing the distance between
the producer and the consumer and, therefore,
lowering transport costs.
Testimonial
Marche nel
Mondo
EXPO2015

88
Configuring Light / Staging the Social is an
interdisciplinary research program based at
the London School of Economics and Political
Science (LSE). Founded at the end of 2012
by sociologists Joanne Entwistle (King’s College,
London), Don Slater and Mona Sloane (LSE),
it explores the role light plays in our daily lives.
The Configuring Light project is funded by LSE and
the Economic and Social Research Council (ESRC).
Configuring Light / Staging the Social examines
the fundamental role of light in the social world.
All the projects involved in the programme look
at the ways in which lighting is configured in social
contexts: as an infrastructure, as technology, as an
environmental issue or as a kind of special material
that we create and shape through our daily actions
and professional knowhow. Being such a critical
element of social life, light is an integral part
of a series of contemporary issues, such as
protecting the environment, safeguarding health
and well-being, urban planning and conserving
our artistic and architectural heritage. Despite this
central position, light is relatively invisible in social
research. The CL research program, managed
by the LSE Department of Sociology, is currently
seeking to correct this by bringing together
academics and professional experts from a range
of different disciplines to develop interconnected
projects focused on different types of light
configurations in manmade environments.
The Peabody IMPROVE project and Social Light
Movement (in collaboration with and funded
by LSE HEIF5) is the first instance of direct
collaboration as iGuzzini has offered to be the
technical sponsor for the project. From October 13th
to 17th 2014 a workshop was held on the lighting
design of Peabody’s Whitecross Estate (WHX).
Peabody is a philanthropic foundation established
in 1862 which owns and manages 27,000
homes, housing approximately 80,000 people.
The workshop was focused on creating new
lighting design projects to help improve urban
outdoor spaces. In this workshop, LSE researchers
provided design teams with their social research
to give them a better understanding of the
Peabody’s Whitecross Estate and its community
and help them create more effective public lighting
solutions. For the entire workshop, the design
teams spoke to the local community in order
to understand their lifestyles and lighting needs,
and test different luminaires.
The project was documented in two short
documentaries and an exhibition was staged
at the LSE in February 2015. The material,
photographs and videos of the workshop were
displayed in the LSE lobby from 27th January
to 20th February 2015.
The success of this first project that brought
together iGuzzini, the Social Light Movement
with Elettra Bordonaro and the Configuring Light
program, has shown how important it is to continue
this interdisciplinary work by refining and clarifying
the “Social Research in Design” approach through
workshops, events and more sophisticated
guidelines for integrating social research
and lighting design. An example of this is
the “Urban Lightscapes/Social Nightscapes
Workshop Series”. These workshops seek to meet
1
2 3
Company culture “Urban Lightscapes/Social
Nightscapes Workshop Series”.

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this need by promoting a “Social Research
in Design” concept both as a potential approach
and as a “toolbox” for lighting designers.
The results can then be used by the network
of international professionals brought together
by the project and even passed on to other design
fields (such as architecture or urban planning).
The “Urban Lightscapes/Social Nightscapes
Workshop Series” revolves around a 24-month,
part-time collaboration with the technical
and lighting sphere architect, Elettra Bordonaro,
who is being funded by iGuzzini to take part
in the Configuring Light team.
Elettra Bordonaro has been asked to provide tools
Team
Don Slater, (co-founder of Configuring Light/
Staging the Social), Associate Professor in
Sociology, London School of Economics
Mona Sloane, (co-founder of Configuring Light/
Staging the Social), Project Manager of
Configuring Light, London School of Economics
Joanne Entwistle, Senior Lecturer in Sociology,
King’s College, London
Elettra Bordonaro, co-founder of the Social Light
Movement ‘iGuzzini Associate Research Fellow
for Social Research in Design’.
All images: © Catarina Heeckt
for Urban Lightscapes/Social Nightscapes
1. Presentation of IMPROVE project results.
2.3. Meetings and interviews with residents
4. Lighting proposal test phases
and guidelines giving practical help on how to
include social research in the urban lighting design
process. For the 24 months in question, Elettra
Bordonaro has been authorised to use the title
‘iGuzzini Associate Research Fellow for Social
Research in Design’. At a practical level, the project
will include a number of workshops during this
two-year period as well as a final report that will
include a number of guidelines on how to integrate
social research into community lighting designs.
Some of the results are already available at:
http://socialnightscapes.org/wp-content/uploads/
2014/10/SRD-Handbook.pdf
4

90
During 2015 a number of iGuzzini spaces have
been reorganised to house all the company’s new
features and LED luminaires. To celebrate the
Expo fair coming to Milan, the layout and displays
at the iGuzzini showroom in the city have been
significantly restyled.
Now, all the luminaires you can see there are LED
devices, and there is an exciting new feature, too:
a spectacular red container that offers visitors
a “lighting experience” with a faithful reproduction
of Leonardo’s “Last Supper”.
The iGuzzini Partners Assistance space in Paris
has also been updated with LED luminaires only,
and a new “lighting experience” area has been
added here too.
Photos: With the kind permission
of Eurofiere
1.2. The container when closed
and open;
3. Lighting experience focused
on Leonardo’s “Last Supper”
1
2
3
Company culture All-LED lighting, the latest news
from iGuzzini Partners Assistance
Milan, Italy

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Photos: Gwel; Didier Boy De La Tour
1-5 Different moments at the opening
1
2 3
4 5
Paris, France

92
iGuzzini has created a new partnership
in Australia. From February 2015 onwards
architecture enthusiasts can explore the entire
iGuzzini range at a continually updated showroom
in the exclusive Jones Bay Wharf complex.
The space was unveiled with a huge party
of designers and architects, including Glenn
Murcutt, winner of the 2002 Pritzker Prize,
who greeted the guests. Spectacular musical
entertainment was provided by the Lady
of the Harp, Alana Conway, and the violinist,
conductor and composer, Richard Tognetti.
The event was completed with a special PLDC
warm up in which Joachim Ritter outlined
the forthcoming local and international activities
linked to the conference to be held in Rome
at the end of October 2015.
Company culture A new distributor in East Australia
Sydney, Australia
1
2

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Photos: James Horan, Michael Lynch
1.2. Unveiling the new space
3. Layout of the showroom
4.5. Different moments at the opening
6. From left to right: Massimiliano Guzzini, Rino Brindisi,
Glenn Murcutt, Adolfo Guzzini
3 5
6
4

94
As part of the build-up to the PLDC 2015
in Rome, a number of warm up events have been
organised to give the community of professional
Lighting Designers the chance to exchange their
ideas and experiences in a relaxed atmosphere.
iGuzzini, the convention’s Diamond Sponsor has
hosted a number of these warm ups, including:
November 2014 in Dubai, February 2015
in Sydney, Australia, and March 2015 in Paris,
London and New York. The guests at the meeting
in New York included Natalia Quintavalle,
the Italian Consul General, and Joachim Ritter
who emphasized the importance of continuous
training for Lighting Designers, considering the
rapid innovations that are continually taking place
in this sector. The guest speaker at the event
was Daniel Latorre (The Wise City) who provided
a number of useful insights into the constant
interaction between lighting and architecture,
and how digital technology continues
to influence design.
Company culture PLDC warm ups
London, UK
Paris, France
1
2 3

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5. Warm up in New York
6.7. Warm up in Dubai
5
6
7
4
New York, USA
Dubai, UAE
Photos: Gwel; Peter Dressel
1. Warm up in London
2.3. Warm up in Paris
4. New York. From left to right: Daniel La Torre; Joachim
Ritter, Natalia Quintavalle, Pier Paolo Celeste, Massimiliano
Guzzini

96
Company culture #Light On.
At the beginning of 2015, the MAXXI
(Museum of 21st Century Art) and iGuzzini
signed a three-year agreement for an annual
programme of international architecture lectures
in Rome and the Marches. The project coordinated
by both iGuzzini and MAXXI Architecture, features
a three-year programme of four lectures per year
to be given by internationally renowned architects.
The meetings will be held at both the iGuzzini
headquarters in Recanati and the MAXXI
museum in Rome.
The visiting architects have been specifically
selected from all over the world with a particular
focus on the younger generations. All of them
have practical experience in design and
construction, a particular interest in the issue
of architecture and public space, an innovative
and interesting approach to research and an
ability to communicate their views and ideas
clearly. The series kicked off with a meeting
featuring Kjetl Thorsen, a founder member
of the Snøhetta studio, whereas the second
1
2
3

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3.4. The audience at Recanati during meetings
with the Snøhetta studio and Atelier Bow Wow.
5.6. Tsukamoto Yoshiharu (Atelier Bow Wow) during
the meeting with the students
involved Tsukamoto Yoshiharu, a founder member
of Atelier Bow Wow.
Educational credits can be provided for students
at the Roma Tre Faculty of Architecture, the Ascoli
Piceno Architecture and Design School, and the
Construction Engineering and Architecture degree
course at the Marches Polytechnic University.
Professional credits can also be provided
for architects registered in the official association
of architects for Rome and Macerata.
4
5
6
Photos: Christian Fattinnanzi
and with the kind permission of MAXXI
1. Kjetl Thorsen, (Snøhetta) Pippo Ciorra, (Senior Curator
MAXXI Architettura) and Adolfo Guzzini in Recanati
2. Margherita Guccione (Director MAXXI Architettura)
and Kjetl Thorsen in Rome

Incontroluce
Six-monthly international journal
of lighting culture
year XVII, 28
Editoriale Office
Centro Studi e Ricerca iGuzzini
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
Lay out
xycomm (Milano)
Editor
iGuzzini illuminazione spa
Cover photograph
Amendolagine Barracchia
Printed: October 2015
Tecnostampa - Pigini group Printing division
Loreto - Trevi
The editorial team is not responsible for errors
and omissions in the list of credits relating
to projects and supplied by collaborators.
Any additions or corrections will appear
in the next issue.
Daily news on iGuzzini on Twitter:
@iGuzzini
@iGuzziniUK
@iGuzziniME
@iGuzziniIBERICA
@iGuzziniFrance
Adolfo Guzzini
@AdolfoGuzzini
Massimiliano Guzzini
@MaxGuzzini
Andrea Sasso
@aesse65
28 Incontroluce I. 2015

Nemesi Foster+Partners DALD - David Atkinson Lighting Design
Limited Cristiàn Undurraga Maite Zubicoa SPEECH
Tchoban - Kunznetsov Studio X-TU ALNAtelien Architecture
Studio Adeline Rispal Licht Kunst Licht AG Schmidhuber
Weispunkt und Purpur Tonji University LEOX lighting Designer
Studio Libeskind PIUARCH Argot ou la Maison Mobile
Metis Lighting Jean François Bodin Eduardo Guazzoni Sandro
Rossi Paolo Rizzato CastagnaRavelli Piero Castiglioni C&P
ARCHITETTI - Luca Cuzzolin, Elena Pedrina Studio Spagna -
Silvano Spagna AMDL Dean Skira Cibic Workshop
9.7726.000.0

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