we have constantly invested in innovation to equip ourselves with sophisticated tools that allow us to study , design , and produce lighting fixtures , presenting them in an innovative way to our interlocutors . We started from The Light Experience , the physical place where you can touch the quality of light and iGuzzini solutions firsthand , to arrive today at a three-dimensional experience with the 360 ° City Experience : a virtual tour of urban spaces , in which our lighting fixtures are inserted and contextualised with a multiplicity of fluxes and optics . It is an innovative and interactive mode that allows you to discover and view the ideal solution for every environment and application , directly from your computer or
smartphone , at home or in the office . 2 . The process of creating lighting fixtures
is certainly simplified and accelerated by the use of these programs . But the design cannot be limited only to the use of predictive calculation software , thus also including other parameters that can only be verified through the human eye and experience . We do live testing of the pleasantness of the light and the visual comfort of our lighting fixtures by putting people at the centre , according to the purpose for which these products were designed . This is the only way we can contribute , through light , to the well-being of the people who live daily in the spaces in which our luminaires are installed .
This is the Social Innovation Through Lighting . 3 . Our fixtures and design solutions are born
from the pencil sketches of the architects and lighting designers with whom we have always collaborated . In fact , this remains the most used tool during the initial meetings for the conception and development of products or for the realization of lighting concepts : the early ideas and abstract concepts are put in black and white and transformed into drawings that can be evaluated in every aspect by the various professionals and skills that take part in
this team game . The concept of the luminaire is therefore born from a manual , direct , and collective approach
; only in a later phase , we verify also its engineering through sophisticated 3D modelling tools . Not only that , the lighting designer can create photorealistic renderings and insertions of the luminaires in real environments through this software , verifying their effective integration in the context .
4 . The two phenomena are not necessarily related . We collaborate with universities and research institutes to identify increasingly specific and
qualified skills and professionals able to use these
complex and constantly implemented
tools . And we are also committed to the continuous training of our staff , so that
they can always offer the best possible solution to professionals who wish to collaborate with iGuzzini .
Robert Heinze CTO
Relux Desktop Applications 1 . The construction industry has become more
and more digital . This is great for lighting designers and all specialist designers to get the building model instead of re-modelling the building from the sketch .
Progetto illuminotecnico con ReluxCad per Revit / Lighting design with ReluxCad for Revit
E . g . if a Revit model is existing , then there is no need to redraw it in Relux . And with the building model , also all the specifications , limitations , and demands of the architecture could be transported . This will save time and costs in terms of modelling and communication . But just if the framework ( standards , formats , terms , …) is agreed between all sides . To me , most of these systems and tools are more nice-to-have gadgets for lighting design today . VR and AR have the same problems as displays : the luminance is just not high enough to simulate the lighting . I did not see a lighting rendering in AR where the real environment is affected by the virtual light . But VR and AR are a good way to show clients the arrangement and the shape of the luminaires ( just like some furniture ). Laser scanner models provide point clouds , which looks impressive . But for lighting design we need surfaces . It is today not automatically possibly to transform these point clouds in a good surface model for lighting
calculations . 2 . Lighting design has two aspects : one is
the dimensioning of luminaires according to standards without a huge visualisation effort just for tenders , costs , and basic requirements . The other face of lighting design is the creation of perception , the art , the design of visual experiences with a lot of visualisation during the design process and in the result . The new technics and tools will intense this split , I assume . One of my visions for Relux is to use technology to get rid of the boring basic standard-based calculations in order to have
more time for the real visual design . 3 . The designer does the design , not the
computer , also in future . It is the very choice of the designer which tools he takes to express his concept : field tests , pencil , transparent paper , Photoshop , Relux … whatever . A digital model of the building , a point cloud scan , a VR model , or a 360 ° photo could support to understand the architecture and to develop a lighting concept . To present the finished lighting design to the next stage or to the client , a form or a model has to be
communicated to the client . 4 . Lighting design will still be an important and unique discipline in the construction industry . So , there will always be the need of lighting experts and designers
. I hope the number of staff will rise to do more and better lighting . We are just a small part of the huge building industry . We need to stay compatible with
the neighbour disciplines and to the architecture
, in order to support the complete e building design . So yes , I would recommend every lighting designer to get new skills in the digital construction design and tools via trainings and personal experience . But just in the scale as needed to collaborate with the architecture colleagues and to express lighting concepts . To learn BIM authoring systems could be quite intense .
Bianca Tresoldi
Lighting Designer 1 . It is no longer possible to disregard the
survey of an existing space by a “ point cloud ”, both for the speed of the execution of the survey and for the precision of the model obtained . The point cloud is the starting point for the realisation of the three-dimensional model for the restoration projects , the buildings of a monumental character or of historical value , and the urban redevelopment environments , from the landscape to the historical centre scale . The Laserscan and the drone are very high precision measuring instruments , able to measure hundreds of thousands of points at a very high speed , defining the detailed surface of the detected object . The result is a set of spatial coordinates that form the so-called “ point cloud ”; at the end of the survey the generated clouds join together using special software , and the captured images of the space will colour each point , giving a sort of 360 ° panoramic photo . The potential of these surveys lies in the fact that each point , being inserted in a geometric space characterized by Cartesian coordinates , is measurable , and with the addition of a georeferential point , the whole model takes on a precise location in the real physical space .
SPECIAL REPORT / LUCE 334 87