Commercial Spaces

Commercial Spaces
Commercial Spaces
Summary
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Loro Piana
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Fila Sport
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Porsche Centre
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Gum Superstores
12
Max Mara
14
Dunhill
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Delitto e Castigo Boutique
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Maserati showroom
20
Reorganization
of Studio Wella
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EZ Neue Mitte
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Phönix shopping centre
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Ortona Center
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Barker & Stonehouse
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Emporio Armani
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Daimler Chrysler AG
Mercedes-Benz Center
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Fendi Boutique
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Y’s point of sale
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External lighting
of commercial spaces
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Light Campus
Clients:
This monograph issue of incontroluce appears as a
special selection of the international lighting journal
launched in 1999 and edited by iGuzzini
illuminazione; a publication designed to enhance the
image of a company already known to many, and
reveal its identity more fully to others less familiar with
the name. From the way the journal is conceived and
presented, there will be little doubt as to the kind of
market it serves, and to the nature of the company
behind its publication. incontroluce profiles some of
the most important and interesting designs
commissioned around the world, in various sectors.
This issue presents lighting designs commissioned for
commercial spaces.
Adolfo Dominiguez
Alessi Waterstone‘s
Antonio Pernas
Argos
Armani
Audi
B&B Italia
Barker & Stonehouse
Bay Trading Co
Benetton
Blanco
BMW
Boffi
Bricofer
Buffetti
Bulgari – corner
Bulthaup
Burger King
C&A
Calvin Klein
Camper
Caramelo
Cartier
Ceramiche Ragno
Club Vacanze
Coop
Co-Operative
Corneliani
Coronel Tapioca
Cortefiel
Custo Barcelona
Daimler Chrysler Stuttgart
Derothy
Desigual
Deutsche Bank
Deutsche Post
Dixons
Douglas
Dufrital R. Ginori
Dunhill
Eduscho
El Corte Ingles
Emmanuel Schuili
Escada
Euro Trade Flughafen
Fendi
Ferrari
Fila Sport
Fratelli Rossetti Spa
Gas Natural
Gaumont
Gruppo Intercrest
Gucci
H&M
Harrods
Haspa
Hettlage
Hilton
Hipovereinsbank
HMV
Hugo Boss
Inditex
Karstadi Hertie Halifax
Kartell Spa
La Perla
Les Copains
Levi’s
Lior Terranova
Lladró
Loro Piana
Maserati
Mandarina Duck
Mango
Marina Rinaldi
Marks & Spencer
Max Mara
Max&Co
Mayoral
McDonald
Molteni
Moss Bross
Murphy & Nye
Natwest Group
Nike
Pans & Company
Pathé
Perkins
Podium
Porcelanosa
Porsche
Principles
Pronovias
RCS Rizzoli Librerie
Reebok
Safeway
Sainsbury’s
Saller Gewerbebau
Sava
Schmidt Bank
Selfridges & Co
Sfera
Sixty
Sportmax
Suit Company
Swatch
Telecom
Tesco
The Body Shop
The Disney Store
Tie Rack - Gucci
Tooman
Topshop
Trussardi
TSB
Valtur
Venini Spa
Versace Company Store
W’S
Warner Village
Weitnauer
Wella Swiss
Wormland
Yohji Yamamoto
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Introduction
The lighting of showrooms and retail spaces is a field of application that presents
a considerable number of design problems. The type of store and its target clientele,
the size and location of the premises, the way merchandise is displayed and the
message the vendor wants to send out to customers... these are just some of the factors
combining to dictate lighting design criteria. Nonetheless, it is possible to focus on
certain factors common to almost all commercial premises, and to identify the
overriding objectives of the lighting design:
to render the visual composition of spaces appropriately;
to create an atmosphere conducive to trading, highlighting the focal points of the retail
environment;
to enhance the quality of the merchandise on display;
to control the negative effects of radiated light on merchandise.
The common requirement that all lighting systems must fulfill is that of high flexibility
- a key attribute ensuring adaptation to continual changes in store layout.
The evolving philosophy of display
In any store or showroom, lights have a role of primary importance in establishing the
overall image of the surroundings. One can look perhaps for connections between styles
of shopfitting and lighting, but it must be appreciated that there have been significant
changes over recent decades in the way goods are displayed.
In the early 1950s, the display of merchandise was based on the simple presentation of
products in a setting where design played no part. This was a period characterized by low
expectations: huge satisfaction came simply from the novelty element and the symbolic
importance of the items on display. The product spoke for itself. Communication strategies
were unnecessary.
The art of displaying merchandise began to evolve in the boom years (1960s to mid1970s). The intrinsic value of the object was transcribed into a parallel language shopfitting - which took on an importance, in terms of design, complementary to the
actual product. It was the ambient and architectural context that distinguished
the product on display, making it unique and attractive compared to other offerings.
This marketing technique seemed to meet the need for a way of leading and influencing
the unprecedented willingness to spend that typified the period. In fact, the marketing
practically created the need.
Through the 1980s to the early 1990s, furnishing and décor began actually to supplant
the merchandise in terms of importance, with the result that the product almost
disappeared or in any event became marginal, smothered by the force of communication,
style and “look”. The sale of goods was stimulated and sustained merely by symbolic
imagery, by the most flimsy of advertising messages, quite unrelated to the real needs of
the consumer. This past decade has seen the emergence of a new philosophy in designing
retail spaces: the style and image of the furnishing and décor become the identity of the
store and of the company offering the product. Shopfitting is minimal and elegant again,
as if reflecting a quest for conceptual clarity. Products are selected and displayed with skill
and flair, underlining the centrality of the service offered.
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Loro Piana
Lighting designer
Piero Castiglioni
Photo
Giuseppe Saluzzi
Milan, Italy
Light Shed
The lighting system best able to show up
the consistency and elegance of fabrics is
one ensuring a soft and uniform distribution
of luminous flux.
Light Shed is a recessed luminaire created
especially for Loro Piana stores, using low
voltage halogen light sources ordered in rows
of no fewer than three and no more than six.
Equipped with symmetric and asymmetric
optical assemblies.
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Loro Piana
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Layout design
Matteo Thun
Marco Rossi
Fila Sport
Photo
Emilio Simion
Milan, Italy
Frame
Certain architectural spaces require luminaires
that will have a minimum visual impact when
installed. Frame fixtures are recessed units
utilizing ultra low voltage halogen light sources
that can be installed in combination with
compact fluorescent lamps. The halogen lamps
are adjustable for direction independently and
offer the advantage of being deployable as
accent lights where required.
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Porsche Centre
Stuttgart-Zuffenhausen, Germania
Architectural design
Werkgemeinschaft
CEPEZED B.V., Delft
(Netherlands)
and Kilian + Hagmann,
Stuttgart
Electronic design
AXYZ AG, Zurich (Switzerland)
Electronic design
Raible Engineering,
Ditzinger
Photo
Studio Anker
Trimmer
In stores and showrooms where frequent
changes of layout are necessary, it is good
policy to specify an adaptable luminaire that
will provide both general background and
accent lighting. Trimmer is a modular recessed
unit housing spots that are fully extendable
and adjustable for direction. Can be used with
a wide range of light sources.
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Porsche Centre
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Gum Superstores
Photo
Giuseppe Saluzzi
Moscow, Russia
Frame
Certain architectural spaces require
luminaires that will have a minimum
visual impact when installed. Frame
fixtures are recessed units utilizing ultra
low voltage halogen light sources that can
be used in combination with compact
fluorescent lamps. The halogen lamps are
adjustable for direction independently and
offer the advantage of being deployable
as accent lights where required.
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Gum Superstores
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Max Mara
Layout design
Duccio Grassi Architects
Photo
Enrico Lattanzi
Milan and Moscow
Pixel Plus
Maximum flexibility in terms of beam direction
combined with minimum intrusiveness: this is
what can be expected from a lighting system
for stores subject to frequent changes in layout.
Pixel Plus is a recessed unit with an optical
assembly that tilts both inwards and outwards
and swivels on its axis. Uses a wide range of
light sources.
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Dunhill
Architectural design
RPA, Architects
Lighting design
Light on Line,
Martyn Cresswell
London, UK
Photo
Alfred Dunhill archive
Sivra Compact
In certain surroundings, importantly, the
general level of comfort offered goes beyond
visual comfort pure and simple. The Sivra
Compact fixture was developed from a research
project initiated in 1988 jointly with the Italian
CNR - National Research Council - and the
Lighting Research Center of the Rensselaer
Polytechnic Institute of Troy, New York. The
aim was to design a lighting system that
would reproduce the characteristics of natural
sunlight, featuring variable and automatically
controlled output (acronym SIVRA). The Sivra
Compact can vary colour, temperature and
intensity according to scientifically
predetermined programs.
The system is composed of:
modules containing fluorescent lamps
an electronic control unit
a set of electronic power adapters
The operation of the system is managed by a
computerized system able to read smart cards
programmed with specially calibrated lighting
cycles tailored to suit the latitude, longitude
and other geographical data of the location
where the system is installed.
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Dunhill
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Delitto e Castigo Boutique
Architectural design
Teresa Sapey
Photo
Claus Breitfeld
Madrid, Spain
Cestello
It may be necessary to change the layout of a
retail store from time to time, and this dictates
the need for a system that will provide both
background and accent lighting with a limited
number of fixtures. Designed for display
applications, Cestello is an extremely flexible
lighting system incorporating different light
sources in a single luminaire. Each source
is adjustable for direction independently
of the other.
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Delitto e Castigo Boutique
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Maserati showroom
Architectural design
Ron Arad Associates
Ron Arad, Asa Bruno
Project team
Geoff Crowther, Egon Hansen
Paul Gibbons
Consultants:
Direction of works
Pierandrei Associati
Electrical systems
Electrical consultancy
Photo
Maserati archive
Modena, Italy
Trimmer
Spot and discharge lights can combine to
good effect in certain spaces. The Trimmer
modular recessed unit has single spots that
are fully extendable and adjustable for direction,
and can be used with a wide range of light
sources, which means they can provide both
general background and accent lighting.
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Reorganization of Studio Wella
Credits
Contractor
Mc Connel by Kuhn Zürich
Designers
Welonda AG, Allschwil,
Daniel Huber, architetto d’interni
Electrical systems
Elektro Winter, Jona
Photo
Marcel Schläfle
Zurich, Switzerland
Sistema Easy
Certain spaces need luminaires that will
offer long service life, ease of maintenance
and high light emitting efficiency while
creating minimum visual impact.
The Sistema Easy features recessed units of
round and square outline that can utilize
fluorescent, halogen and metal halide light
sources.
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EZ Neue Mitte
Architectural design
H.+ P. – Bad Berka
Photo
M+M Video-Fotowerbung
Lighting design
H.+ P. – Bad Berka
Jena, Germania
Minimal
Certain architectural spaces require
luminaires that will have a minimum visual
impact when installed. Minimal fixtures are
recessed units in which the light sources are
set back slightly from the surface of the
ceiling. They take ultra low voltage halogen
lamps that can be combined with compact
fluorescent lamps. The halogen light sources
are adjustable for direction independently
and offer the advantage of being deployable
as accent lights where required.
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Phönix shopping centre
Architectural design
ECE Projektmanagement GmbH
Lighting design
Luna Lichtarchitektur
Matthias Friedrich
Hamburg, Germany
Photo
MM-Video Fotostudio
Pixel Plus
The Pixel Plus has a hinged optical assembly
that can tilt both inwards (up) and outwards
(down).This ensures the luminaire has minimal
impact visually, while on the practical side
offering flexibility, reliability and ease of
maintenance - important advantages in stores
and showrooms where the lights typically are
kept on for prolonged periods of time.
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Phönix shopping centre
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Ortona Center
Architectural design
Giuseppe Margiotti
Photo
Giuseppe Saluzzi
Ortona, Italy
Le Perroquet
It may be necessary to change the layout of a
retail store from time to time, and this dictates
the need for a system that will provide both
background and accent lighting with a limited
number of fixtures. Designed for display
applications, Le Perroquet can be suspended
pendant style, track-mounted or surfacemounted, and offers a choice of light sources.
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Ortona Center
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Barker & Stonehouse
Design concept
Andrew Durham
Photo
Sasa Savic
Gateshead, Newcastle, UK
Berlino
Barker & Stonehouse is a major chain of stores
selling furniture and accessories for the home.
This kind of showroom must be lit with visual
comfort in mind, reproducing a typical home
atmosphere but ensuring that the effect of the
lamps used for the display lighting will not be
cancelled out. Berlino luminaires combine the
traditional look of the pendant lamp with
optimum light emitting efficiency. Reflectors are
offered in three versions - metal, satinated glass
or aluminium and glass - so that direct or
direct/indirect lighting solutions can be adopted.
The version selected for Barker & Stonehouse
is the aluminium and glass combination, which
gives a wider distribution of the luminous flux
and therefore a softer effect.
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Barker & Stonehouse
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Emporio Armani
Hong Kong
Architectural design
Massimiliano
and Doriana Fuksas
Project Leader:
Davide Stolfi
Design Team:
Iain Wadham
Defne Dilber
Motohiro Takada
Model Makers:
Gianluca Brancaleone
Nicola Cabiati
Andrea Marazzi
Photo
Ramon Prat
The arrival of Emporio Armani in Hong Kong
reflects an awareness that the milieu of global
culture affords a proving ground for numerous
identities. In this instance, a meeting of two
creative forces, and a meeting of two different
outlooks on the world. Architecture and fashion
both mirror our reality; they belong to the same
cultural universe. It would seem that architecture
lasts, and fashions pass, but with the pace of
life in our modern society, the two are bound to
compete and to overlap. In designing the
interiors of the Hong Kong Armani store, every
traditional formalism of architecture has been
rejected: the emphasis is on space more than
substance. Flows, not décor, are the true
inspiration. Invisible layouts are the only
possible reference. Three spaces are established
by curved glass walls etched with an abstract
pattern: internal, external and interstitial. There
are no luminaires in sight, and the geometry of
the light sources is unseen. Floors are
neutralized and oppressive suspended ceilings
become intangible. Glass components have a
curvature, characterized by complex
geometries, which becomes a light source.
All this makes for a fluid space - a seamless
passage between clothes, restaurant, bookshop,
flowers, coffee shop, Armani cosmetics…
The images are multiplied by the resin floor,
redoubled to infinity. The walls are thrust
beyond the confines of the masonry shell.
The interior furnishings of steel, coated with a
soft and translucent material, are unexpectedly
comfortable.
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Emporio Armani
Load-bearing structures vanish, flooded with
light. In the restaurant, simple functions are
complemented by an exhilarating “red ribbon”
(moulded from fibreglass) that spirals toward
the hall. The ribbon suggests resonances and
tensions. A simple line, almost an automatic
signpost, serving to create spaces (lounge, bar,
restaurant, foyer). With the visual eradication
of floor, ceiling, walls and other structures, the
visitor becomes a “personality”. These are
times when everyone can claim their fifteen
minutes of fame.
The Emporio Armani in Hong Kong is a
place where individuals can feel they are
the centre of attention, in a space designed
especially for them, and everything they
encounter will be bathed in magical light.
The strength and colour of the light will
change through the day and the evening.
The “shop window” on Chater Road mirrors
the rhythms and images of Hong Kong with
continuously changing illuminated signs.
(Massimiliano and Doriana Fuksas)
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Emporio Armani
1
Lighting solution
The architectural design produced by
Massimiliano Fuksas is more about spaces
than solid structures. Light becomes a guide.
A pathway. The display area itself is flanked
by backlit walls.
The luminaires, designed especially for this
particular project, are carefully concealed from
view. Downlight in the books, flowers and
hairdressing departments is provided by Pixel
Plus 35W CDM-T fixtures with the rim colour
matched to that of the ceiling.
Units used in the window are Le Perroquet
(Piano Design) 70W HIT.
In the restaurant and flower shop, dynamic
and coloured lighting comes from the walls.
This is a solution that creates the kind of
weightless and transparent atmosphere
envisaged and requested by the client.
1. Pixel Plus
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Emporio Armani
Reverse angle lighting
This kind of effect is obtained by projecting
light from behind the object, so as to create a
sense of depth, throwing the illuminated object
into relief by detaching it from the background
and accentuating the silhouette. With this
technique, objects appear moulded by the
light and bathed in a luminous glow.
Reverse angle lighting can also be used in
conjunction with surface or front lighting.
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Daimler Chrysler AG - Mercedes-Benz Centre
Munich, Germany
Architectural design
Studio LAI - Munich
Photo
Fotostudio Anker
Lighting design
Studio KBP - Hallbergmoos,
Andreas Heiland
AG-Licht, Klaus Adolf
Measuring 150 metres in length and with
75,000 square metres of floor space on each
level, this building offers room for all kinds of
uses: glass-walled workshop, parts store,
display, new and used car sales, distribution,
administration and a multi-storey car park with
350 places. Also housed in the building are
an AMG/Design Center, a section showing the
range of Mercedes motor cars, a Maybach
Centre, an Italian restaurant, a number of art
exhibitions and multimedia systems providing
information to visitors.
Given the glass architecture, with its transparent
shell, and the intended use of the building, the
task facing engineers concerned with technical
aspects of the structure was not an easy one.
The main challenge of the technical design
centred on how to go about tackling the
changeable daylight, and the gloom created
by rain or by snow. The tower block and its
elliptical contours are given prominence by
directing light onto the underside of deflectors
located in the ventilation cavity of the glass
façade.
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Daimler Chrysler AG - Mercedes-Benz Centre
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Lighting solution
The products used are Linealuce (Jean
Michel Wilmotte), Pixel Plus and Le Perroquet
(Piano Design).
Using these luminaires in combination, the
designers were able to provide both background
and accent lighting while counteracting the
reflections from the bodywork of the vehicles.
Recessed Pixel Plus units are fitted with spill
rings and lamped with metal halide sources
for high colour rendering. Le Perroquet
luminaires with spot type optical assemblies
are used to light the central atrium. These
fixtures were selected for their extreme
versatility, given that the space would be
subject to changes of layout and is also used
for staging concerts or presentations.
The design of the west frontage on the
Donnesberger Bridge, which functions also as
a huge shop window, is based on the cells of
a hive. The individual vehicles are illuminated
by spots equipped with reeded lenses allowing
the light cone to be widened. The structure of
the tower is highlighted using Linealuce units,
positioned in the ventilation cavity of the glass
façade so as to give a particularly uniform and
well-diffused light that will show off the
elliptical geometry.
The overall lighting can be activated in such
a way as to create the particular effect desired,
and controlled according to requirements.
Each set of luminaires can be switched and
controlled independently of the time of day
and the level of daylight outside.
1. Le Perroquet
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Daimler Chrysler AG - Mercedes-Benz Centre
Accent lighting
Cavernous spaces like car showrooms
require light sources of high rated output
and luminous efficiency that will guarantee
a notably high level of illuminance (greater
than 500 lux) on the vehicles, with high
colour rendering and a neutral colour
temperature (around 4,200 K), so as to
show up chrome-plated metal parts to
best advantage.
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Concept
Silvia Venturini Fendi
Fendi creative director
Fendi Boutique
Photo
Matteo Piazza
Giuseppe Saluzzi
Lazzarini Pickering Architetti
Lighting design
Lazzarini Pickering Architetti
London, Paris, Rome
The new international image of Fendi
boutiques is dark, architectural and luxurious.
All elements of the interior (shelves, hanger
systems, tables, etc.) are considered
architectural elements and proportioned to the
surrounding space. They are long and sculptural
items (some shelving extends up to ten metres
in length) designed to interact with the space
three-dimensionally. The panel system
incorporates all the technology (a.c. power
supply, socket outlets, lighting), and running
between the panels is a track to which all the
display accessories are fixed, leaving the
panels completely free. The stores are dark.
The wall panels are black or dark brown; the
floor and the display fittings fashioned from
raw steel that gives off bluish reflections.
The notion of a ’shop window’ is dispensed
with. The entire store is exposed to view, with
shopfitting components passing through the
glass walls.
Customers moving around the store become
items themselves, placed in full view of those
looking in. The customers in their turn see the
world outside through the window, as if viewing
an exhibition. The clothes are hung or placed
informally, but sculpturally. The ‘apparent’
disorder encourages customers to touch the
sumptuous materials and try out the
merchandise. The concept of the store interior
has received careful attention too:
the generally dark atmosphere provides a
background against which to create chiaroscuro
effects underscoring the desirability of the
items on display; furnishing materials appear
low-key by contrast. The store has sufficient
flexibility to allow changes in the display while
at the same time maintaining the functional
efficiency of all essential services (lighting,
power and DT cables).
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Fendi Boutique
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Fendi Boutique
1
The lighting solution
It was decided to use Minimal and Frame
luminaires (G. Aulenti - P. Castiglioni) as
these respond to three different needs.
First, the unfussy nature of the interior
design called for lighting fixtures that would
guarantee minimal visual intrusiveness; second,
any change in layout of the store would be
dependent on a degree of flexibility in the
lighting system; and third, the quality of the
fabrics and furs, and of the materials utilized,
needed to be accentuated and highlighted.
The facility of adjusting single lamp assemblies
for direction independently makes the design
an extremely flexible one, whilst the use of
halogen lamps ensures optimum colour rendering.
1. Minimal
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Fendi Boutique
The shop window
Through the transparent front, the entire store
becomes a big shop window with everything
on display: merchandise, interior design, staff
and customers. In this situation, the lighting
selected for the window must be coordinated
with that of the interior, and settings blended
with the level of illumination needed to run
the retailing operation smoothly.
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Y’s point of sale
Architectural design
Ron Arad Associates
Chief designer:
Ron Arad
Design architect:
Asa Bruno
Roppongi Hills, Tokyo, Japan
Team:
James Foster, Paul Gibbons
Executive architecture
(Tokyo):
Studio Mebius,
Shiro Nakada
Satoru Ishihara
Hoops:
Marzorati-Ronchetti, Italia
Roberto Travaglia
Contractor:
Build Co. Ltd. (Japan),
Minoru Kawamura
Photo
Yuki Tango
Mamoru Miyazawa
Nakasa & Partners
Floors:
ABC Flooring, Japan
Early in 2003, Yohji Yamamoto Inc. engaged
the services of Ron Arad Associates (RAA) to
design “Y’s”, the new single brand Prêt-a-Porter
outlet planned for the prestigious Roppongi
Hills complex in downtown Tokyo: 570 m2 of
floor space, punctuated more or less centrally
by 3 massive load-bearing columns. From the
very start of the design process, RAA decided
these columns should be concealed so as to
create an impression of lightness and movement
in space. Inspired by the turntable systems of
multi-storey car parks, found typically in
Tokyo, the designers elected to embed 4 such
tables in the floor (creating a fourth dummy
column), so that the focal elements of the
design could be set in rotation, and the
surrounding space transformed continuously.
The result is that the ceiling and floor of the
store seem to be separated one from another
by four constantly evolving sculptural elements.
Each one of these rotating “sculptures” appears
as a stack of 34 tubular hoops ensheathing
the steel columns, serving also as hanger rails
for Y’s garments and, thanks to special coupling
pieces, as capacious storage units. Each hoop
is rotatable through 360°, and thus infinitely
adjustable for position in space.
Ron Arad
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Y’s point of sale
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Y’s point of sale
1
2
The lighting solution
Two luminaires are used for this interior:
Spin (Arnold Chang) and Linealuce
(Jean Michel Wilmotte).
Spin is a recessed unit housing up to 4 single
light sources adjustable independently for
direction. The advantage here is that notable
flexibility in control of the lighting system can
be obtained with a fixture of minimal visual
impact. In this instance, Spin was also selected
to give strong accent lighting. Linealuce on the
other hand was seen as the best fixture for
highlighting the particular vertical surface of
the counter where the tills are located.
1. Spin
2. Linealuce
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Y’s point of sale
Accent lighting
Accent lighting is achieved by creating
strong luminance contrasts between object
and background, projecting high luminous
intensities and very narrow light cones.
Directional and concentrated light generates
shadows on objects, showing up parts in relief,
rough or grainy patches, surface treatments,
revealing volumes and contours.
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External lighting of commercial spaces
Photo
1. Emilio Simion
2. MMVideo - Foto Werbung
3. Zig Zag
4. Monica Rossello
5. Giuseppe Saluzzi
6. M + M Video - Foto Werbung
When selecting lighting systems for commercial
spaces, the designer cannot ignore their interplay
with the surrounding environment - the urban
context in which the business operates indeed the main purpose of external lighting is
to attract the consumer’s attention. This has
been achieved in recent projects with dynamic
and coloured light of the kind produced by the
ColourWoody.
Another issue to address is the safety of people
who make use of these spaces.
For the illumination of frontages, for example,
a good solution is Light Up Walk, an inground
luminaire guaranteeing surface temperatures
lower than 75°C thanks to the thickness of
the protective glass.
1. Galleria Vittorio Emanuele, Milan, Italy
1
2. Bleichenhof Passage shopping arcade, Hamburg, Germany
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External lighting of commercial spaces
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External lighting of commercial spaces
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3. Mercado de Colon, Valencia, Spain
4. Tres Aguas shopping centre, Madrid, Spain
5. Esselunga supermarket, Lipomo, Como, Italy
6. Neue Mitte, Jena, Germany
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Light Campus
Project
www.iguzzini.com
The Light Campus section of the iguzzini.com site is dedicated to the culture of light
and lighting engineering, and is open to anyone wishing to explore these subjects.
The pages of this section allow visitors to engage in a learning process, on their
own, selecting the study topics according to individual needs and preferences.
The service is intended both as an aid to staff training within the company and as
a facility available completely free of charge to outside users. Light Campus is a
Competence Based Corporate Training Center oriented toward Life Long Learning
in matters of Lighting Design.
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Light Campus
Light Campus provides teaching material
designed on the basis of the most recent
methods applied in distance learning.
Learning with Light Campus is quite simple.
Students utilizing Light Campus select their
own training programmes by enrolling for the
courses or the competences available, and
the programmes are added to their personal
portfolios. The system then activates the
student’s personal competence profile, which
will be the guide throughout the entire Light
Campus training process. Students can utilize
the teaching material according to the natural
order of the content, or at their own discretion.
The system tracks the studies undertaken and
updates the competence profile of the student
step by step. An encyclopaedia containing
definitions of the main concepts is available to
the student during the study period. A series
of multiple choice questions and exercises at
the end of each chapter enables the student
to make a self-assessment of progress made
in learning and digesting the main concepts
encountered. Light Campus gives access to a
forum where students can share their learning
experiences with others, and where they can
also communicate with tutors. Light Campus
also offers a series of specific courses on
lighting for different environmental situations.
May 2004 saw the inclusion in the Light
Campus section of a new course dedicated to
the lighting of commercial spaces. The new
course runs alongside the basic course, the
course on lighting for exhibition and museum
spaces and the course dedicated to the
illumination of monuments.
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Subsidiaries
Benelux
iGuzzini illuminazione
Benelux Bvba/Sprl
Residentie “Het Museum II”
Museumstraat 11, BUS A
B-2000 ANTWERPEN
+32 (0)3 241 14 00 tel
+32 (0)3 248 66 48 fax
[email protected]
Denmark
iGuzzini illuminazione
Danmark
Filial af iGuzzini illuminazione
Spa, Italien
Kalvebod Hus
Bernstorffsgade 35
1577 KØBENHAVN
33 17 95 95 tel
33 17 95 96 fax
[email protected]
France
iGuzzini illuminazione France S.A.
10, boulevard de la Bastille
75012 PARIS
01 40528181 tel
01 40528182 fax
[email protected]
Germany
iGuzzini illuminazione
Deutschland GmbH
Bunsenstrasse 5
D-82152 PLANEGG
089 8569880 tel
089 85698833 fax
[email protected]
Hong Kong
iGuzzini illuminazione Asia Ltd.
Suite 401-2, Lincoln House,
Taikoo Place
979 King’s Road, Quarry Bay,
HONG KONG
852 2516 6504 tel
852 2856 2981 fax
[email protected]
Norway
iGuzzini illuminazione Norge A.S.
Brynsveien 5
0667 OSLO
23067850 tel
22648737 fax
[email protected]
Russia
Meyerhold Centre
Novoslobodsdkaya, 23
7 Floor
MOSCOW, 127055
Spain
iGuzzini illuminazione
España S.A.
Poligono Industrial Can Jardi
Calle Strauss s.n°
08191 RUBI - BARCELONA
93 5880034 tel
93 6999974 fax
[email protected]
Switzerland
iGuzzini illuminazione
Schweiz AG
Uetlibergstrasse 194
8045 ZÜRICH
044 465 46 46 tel
044 465 46 47 fax
[email protected]
United Kingdom
iGuzzini illuminazione
UK LTD
Unit 3 Mitcham Industrial Estate
85 Streatham Road
MITCHAM SURREY CR4 2AP
0208 646 4141 tel
0208 640 6910 fax
[email protected]
Show Rooms
Milano
Via S.Damiano, 3
20122 MILANO
02 7621161 tel
02 76211641 fax
Roma
Via Panama, 52
00198 ROMA
06 85354792 tel
06 8411790 fax
[email protected]
Paris
10, boulevard de la Bastille
75012 PARIS
01 40528181 tel
01 40528182 fax
München
Bunsenstrasse 5
82152 PLANEGG
089 8569880 tel
089 85698833 fax
Düsseldorf
Moerser Straße 72c
40667 MEERBUSCH
02132 961464/5 tel
02132 961472 fax
Hamburg
Rugenbarg 65-67
22848 NORDERSTEDT
040 52876812 tel
040 52876813 fax
London
Suite 310 - 311
Business Design Centre
52, Upper Street
LONDON N1 OQH
020 7288 6025 tel
020 7288 6057 fax
Glasgow
4 Berkeley Street
GLASGOW, Scotland
G3 7DW
0141 229 1322 tel
0141 248 5301 fax
Oslo
Brynsveien 5
0667 OSLO
23067850 tel
22648737 fax
[email protected]
Zürich
Uetlibergstrasse 194
8045 ZÜRICH
044 465 46 46 tel
044 465 46 47 fax
[email protected]
København
Kalvebod hus
Bernstorffsgade 35
1577 KØBENHAVN V
33 17 95 95 tel
33 17 95 96 fax
[email protected]
Antwerpen
Residentie “Het Museum II”
Museumstraat 11, BUS A
B-2000 ANTWERPEN
+32 (0)3 241 14 00 tel
+32 (0)3 248 66 48 fax
[email protected]
Representative Offices
China
iGuzzini illuminazione Beijing
Representative Office
Suite I, 22nd Floor Oriental Kenzo
48 Dongzhi Men Wai,
Dongcheng District
BEIJING, 100027, P.R.C.
86 10 8447 6770 tel
86 10 8447 6771 fax
[email protected]
Madrid
Doctor Esquerdo, 150
28007 MADRID
914 345 970 tel
915 017 947 fax
[email protected]
Barcelona
Calle Provença,
356, ppal. 1a
08037 BARCELONA
932 081 700 tel
932 081 701 fax
[email protected]
60
Incontroluce
Commercial Spaces
Incontroluce
International magazine on the culture of light
Editing
Centro Studi e Ricerca iGuzzini
Fr.ne Sambucheto, 44/a
62019 Recanati MC
+39.071.7588250 tel.
+39.071.7588295 fax
email: [email protected]
iGuzzini illuminazione spa
62019 Recanati, Italy
Via Mariano Guzzini, 37
+39.071.75881 tel.
+39.071.7588295 fax
email: [email protected]
www.iguzzini.com
video: +39.071.7588453
Graphic Design
Studio Cerri & Associati
Publisher
iGuzzini illuminazione spa
The Editors are not responsible for inaccuracies
and omissions in the list of credits relating to
projects and supplied by contributors.
9.1492.000.1