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In the lobby of the skyscraper we wanted to create not a uniform light , but an atmosphere of a large space with 7-meter high ceilings in chromed aluminium . The ceiling matches the design of the floor in Penrose pattern : a fractal calculation composed of two rhomboids , which alternate in such a way that it is always and infinitely different . There are black joints defining this geometric shape that widen to accommodate the lamps and the mechanical systems . The lighting focuses on some specific points , which are more illuminated in their significant parts , such as the reception , the landings from the escalator and the auditorium entrance . The rest of the environment fades into the shadows . The perimeter walls have over 800 small spotlights that soften the light from above into the middle of the white glass lamellae . This uneven lighting creates the particular atmosphere of the hall giving it character and a sense of the way of moving in its inside . It is not a “ passive ” light but it pushes the visitor to read the space and the materials in a certain way . So , it is a means of interpreting architecture .
Architecture and / or lighting design by Giovanni Traverso
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I would like to add a small contribution of mine to the stimulating conversation that appeared a few months ago in the pages of this magazine on the role of the Architect and the Lighting Designer . Definitely I agree with the idea that the one who selects and composes the lighting of a built space is the architect and not the lighting designer . For the architect , the light is a fundamental material , the element that interacts with the colour , texture , transparency and reflectance of all the other materials , by adjusting the perception . You cannot enjoy architecture without the light . A continuous dialogue between natural light and gravity characterizes the history of architecture . The Classical , Gothic , Renaissance and Baroque architecture are expressions of an unceasing balance between the research on how to modulate the entry of light and how to structurally overcome the force of gravity . Only the introduction of steel led the architects to abandon this virtuous dialogue between light and gravity : the use of glass made it possible to dematerialize the envelope of the buildings in favour of a generous visual contact with nature and the external light . But even this concept , the manifesto of the Modern Movement , is now definitely outdated . Many types of contemporary buildings on which we are called to work - museums , showrooms , cinemas , libraries , shopping areas , factories - no longer require this extreme transparency towards the external space ; the new standards on energy efficiency , on the other hand , require new ways of thinking |
about the envelope insulation systems and the solar control . In contemporary architecture , the natural light enters through glass surfaces , or through different screens , or through control mechanisms capable of controlling its variability and integrating it with artificial lighting systems . The new architectures are increasingly more complex and guided by a new awareness of environmental and energy aspects . The project is led by invisible elements , but crucial for monitoring the well-being and experience of the occupants : climate , sound and lighting ; they are all specialist subjects , and handled by specific professionals , under the direction of the architect . In our studio-laboratory ( traverso-vighy ) we integrate the design skills of architecture with those typical of lighting design . Our projects are always the expression of a research shared with other professionals and in the most recent works , experts in sound , multimedia systems and IT plus communication experts have joined traditional figures such as geologists , plant engineers and structural engineers . The figure of the lighting designer is definitely one of the most central , complex and complicated ones . Often , when we reason about our projects the lighting and its control are the first elements that will coordinate the choice of architectural materials needed to modulate and contain it . The lighting project starts right from the early stages of the project , concerning the orientation , the sunshine , the openings to the outside and the choices for its distribution in the interior spaces . Then , the project continues with the set point and the dimensioning of the natural light control systems and the choice of materials . The natural light is constantly changing in colour and intensity , but it is also a precise material , which can be calculated and simulated
Spidi Showroom , 2006 , Traverso-Vighy
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in buildings in order to optimize the energy performance and the quality of the interior spaces Then , it can be integrated with the artificial light system , where the lighting designer calculates the intensity and distribution according to our visual comfort , but also to enhance the architectural spaces or the artworks exhibited in it , which require particular care and conservative attention . It is a complex and synergistic work with the architect that requires both technical expertise , knowledge of specific regulations , in addition to experience and experimentation . With the introduction of LED lights and above all modern control systems , the artificial light becomes easily changeable inside the spaces in terms of colour , intensity and distribution : it can finally resemble natural light , integrating and emulating it even in spaces where it is lacking . This is a real help for respecting our circadian cycle and encouraging physical and psychological comfort in our public spaces , business and private . The introduction of new technologies also allows programming of the lighting in the interior spaces , a sort of “ multi-spatiality ” where the architect and lighting designer can vary the appearance of the interior environment as a function of time , and of its different needs of use and also with respect to energy saving principles . Digital technologies also enable a continuous dialogue between the lighting design and the design of the other environmental aspects such as sound , climate and multimedia . The work of the lighting designer is evolutionary and requires expertise and constant updating . However , it is equally important that the architect is also educated in the expressive potential of light , in controlling its changeability and in the energy and conservation issues connected to it . |
Photo © Ruggero Zigliotto |