romance , that is a particularly suited atmosphere . However , I could not help but ask myself if that was the “ right ” light to see the most gothic monument in Italy . Moreover , in those moments I had to still take note of how the whole square was pervaded by a chaos of secondary lights , highlighted by the surrounding dim light , with which the stores , even if closed , signalled their presence , performing in an individualistic and not organized overpowering competition . This clash of different lumen and chromaticity should become one of the priorities to be solved . In fact , the Duomo cannot be separated from the square , with which it must have , at least in theory , a dialectical “ confrontation ”.
Could you tell us about another example , of indoor lighting this time ? Well , on another occasion I was able to confront a seemingly entirely different set of circumstances , as I was dealing with an indoor space . An environment in which I discovered , however , a few possible similarities in terms of architectural lighting . The subject was the inside of the Portinari Chapel , rich in frescoes and details that decorate one of the first examples of the Renaissance in Milan .
What happened or what did you observe among the masterpieces of Vincenzo Foppa ? When we met up with the designers it was already night , and the dark environment was illuminated by a movable framework carrying some sample spotlights , casually placed on the floor in a corner to the left of the Ark ( of St . Peter Martyr ). A light , therefore , off-centre and not produced by any study . Such placement highlighted a particular , certainly questionable , path : a decentralized light would allow a new architectural reading , all played on the study of the shadows , used as critical support and as a scenic instrument . Surely the play of shadows was to the advantage of reading the Renaissance volumes , bringing the Portinari Chapel ’ s architecture very close to the volumes of the Sagrestia Vecchia di San Lorenzo ( Old Sacristy of St . Lawrence in Florence ). But the Old Sacristy is not as rich in frescoes and doesn ’ t have that decorative plastic swirl represented by the Angelic Triumph at the drum of the dome . So , it was noted that an architectural spotlight might nevertheless look inadequate where architecture is supporting a decorative apparatus that must have particular lighting features . Here , with the neutrality of light and the attention in avoiding shadows and dark areas , there are technical issues such as the size of the luminaires and their supporting points , as well as the most accurate chromatic influence assessments and the possible interferences with any conservative aspects .
And what about lighting effects , if we can say so , like those on the façades of the buildings overlooking long street segments in the historic centres ? Still many years ago I attended the examination of the possibility of illuminating a long portion of Corso Magenta , in Milan ’ s historic centre , placing ground-recessed spotlights with anti-glare flaps into the pavement . The operation also appeared interesting because the lighting , starting from the bottom , would create a sense of acceptable shading from light to dark towards the higher areas ; moreover , what of no small importance from an administrative standpoint , only one property would be affected as opposed to leaning on light poles in management at different institutions or going onto private property roofs . However , since all the façades were partially lit by the reflected light of the functional light , the extension of this plant , which set up an array of dozens of spotlights , would accordingly result in an “ airport ” effect , which might have been incompatible with the historic street layout .
At the end of our pleasant meeting , architect Corrieri , can I ask you if you have a suggestion , a proposal , in your “ toolbox ” of experience and study , to be addressed to lighting designers , art historians , municipal administrators and superintendents ? Finally , we are talking about how the lighting of monuments could run the “ risk ” of opening the doors to a kind of critical re-reading of the monuments themselves , with the danger of denying them their very same historicity . We must hereby not exclude the possible validity of a critical re-reading , when this is the result of a thorough search that
Filippo Carcano , Interno del Duomo di Milano , 1872 also takes into account its contextualization . Light is an artificial fact that can become factitious , or capable of censoring the correct reading of the monument by means of different suggestions , thereby assigning the perception to suggestion , in other words prejudicing an impartial reading . Any potential scenic interest that could be achieved , although tempting , should be delegated to occasional episodes of “ show ”, hence designating to permanent illumination the search for a more critically objective meaning . I believe that to address this issue we need a serious and widespread debate , both technological and administrative , but also , and above all , a critical-aesthetic one . I believe that in the presence of so many experiences that I trust will continue , and without denying the value of experimentation , it would be important to start a data collection through the creation of an Observatory for the purpose of cataloguing situations that highlight the relationship between light typology , material reflection and contextualization of objects , proposing a cultural line that depends on regulations and not just from professional skills or administrative issues . It requires , therefore , in my opinion , a debate that scientifically shows errors and merits of what has been done so far , involving an interdisciplinary presence – from the architectural historian to the administrative / institutional figure , from the set designer to the lighting designer – and completed , by successive approximations , with guidelines that encourage creativity to always seek new technological solutions on precise rules . If we are not able to do an adequate job , it is better not to .
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