Speaking of shadows that are cast, I also like
to mention the BD showroom project. Here the
objects were divided according to a category of
shadows that the objects could generate or that
could be generated on them. Shadows that were
cast, composite shadows, filtered light and
reflected light that, depending on each case,
provided an added value to the interpretation
of the object, outlining a curve, enhancing the
value of a metal, highlighting a texture.
Designing the lighting of a hotel implies work
at many different levels: outdoors, the public
spaces, the private areas … Can you describe your
recent project for the Ohla Eixample Hotel? Did
you mix functional lighting and decorative units?
In a hotel the decorative aspect and the
functional aspect are very important in order
to create the right atmosphere. If by decorative
we mean the lamp as an object, often this
is a choice of the interior decorator. We lighting
designers mainly indicate the position, the effect
we are looking for and we provide assistance
Loewe Showroom, Madrid, Spain, 2016
30
to make the space easily comprehensible
and accessible also for passengers who transit
only once. A particular element is a large backlit
wall, for which we adopted a solution with
indirect lighting in the lateral partition which,
by reflection, creates great uniformity on the
entire surface. This detail enabled us to greatly
limit the number of installed units, thus
increasing energy efficiency and considerably
decreasing future maintenance costs.
LUCE 320 / INCONTRI
and recommendations with regard to the colour
temperature of the sources and the output.
For us artistic lighting is very important.
By artistic lighting we intend all the lighting
interventions that create an experience,
that make a space or an architecture different
and memorable. In Hotel Ohla Eixample, there
are two examples: the staircase is characterized
by an intense red light in the stairwell and
a functional white light on the steps, and
on the façade a dimmered lighting highlights
the window frames with almost imperceptible
movements and variations.
Safety and optimal vision are very important
topics also in a public environment. How did
you work for the L9 Airport Station?
What values were maintained? Did you adopt
any particular solution?
In the L9 Airport station we worked with
very high uniformity levels and average ambient
lighting level 300lx . The layout is very tidy
and linear, following the architecture in order
As a studio, you have also designed some
products such as the iGuzzini Palco light.
How was it imagined? For what particular
project requirement was it studied and what
are its unique characteristics?
Palco was designed for the project for the Musée
Soulages (RCR Arquitectes), drawing inspiration
from the light in works of art, which are painted
and therefore is generated by a paintbrush.
The shape of Palco was born from this.
Palco is a light unit that can generate a precise
and controlled stroke of light, to highlight
the intrinsic light in a work of art. It is a simple
element, its lines are clean, no technical
elements are visible. Palco is now available in
a wide family of units that range from micro,
for applications in museums and retail stores,
to the larger unit for outdoor use. It is an
example of a product that was designed for
a specific project and which subsequently
has become a part of the company catalogue.
The company iGuzzini very professionally assisted
us and supported us during all the phases
of the project design.
Do you think there has been a greater awareness
in the past years with regard to the importance
of lighting?
I would love to answer this question with
a convinced yes. Generally I believe a greater
attention is paid to the profession of the lighting
designer not so much because his importance
and value are recognized, but rather because
use of the latest technologies requires specific
knowledge in the field of lighting engineering.
Unfortunately in the Mediterranean area a
lighting designer is still considered a surplus
and not one of the essential professional figures
for an architectural or urban project.
From my personal experience there are other
professionals, such as architects, interior
designers and landscape designers, who
appreciate the value of the presence of a lighting
designer in their design team, and they propose
him to the client.
What are you working at now?
This is a very interesting and stimulating period
for us, as we are working on a series of projects
whose typologies are very different one from
the other: these range from a resort with
exteriors and interiors to the cellars of an
important winery, from company offices to
a private art gallery, from the restauration of
a building of historical importance that was
partly destroyed in a fire to a new flagship store
selling jewellery and fashion accessories. As you
can well understand we are not specialized in
any one specific project design sector, whatever
may be the architectural or urban element to be
lit up, our approach to lighting design is always
the same, we work at “shaping the light”.