LUCE estratti LUCE 326_Carminati_Cappella della Sindone | Page 8

they tried to “define an illumination that,
starting from darkness and gradually ascending
to light, could interpret the original concept of
this monument, where everything is uniformly
lit with decreasing levels of illumination
that allow you to perceive the geometry
of the dome and to fully appreciate its depth.
A light that reveals, responding to the chromatic
characteristics of the materials.”
Today, this aesthetic and emotional experience
starts from the privileged entrance that was
once reserved for the sole Savoy family, which
from the wing of the Royal Palace – now Musei
Reali di Torino – leads directly into the main
circular hall, whose funereal black marble
cladding (earthly suffering) brings the visitor
to seek relief in the light that comes from above,
from the spectacular Guarini’s dome,
characterized by the use of an increasingly
lighter marble (eternal salvation).
On the first cornice, coinciding with the
entablature surmounting the Corinthian
columns and pilasters that articulate the
circular space near the accesses and the
sculptural groups, a truncated conical drum
is set, crossed by three large arches alternating
with as many concave pendentives, each
containing one of the six circular openings.
From the outside of these “eyes”, six 4000K
Win+1 projectors with 74° symmetrical optics
provide the diffused illumination necessary
to highlight the intrados of the openings
and the truncated conical surface.
On the overlying floor of the balcony, in
correspondence of the six arched windows
of the tholobate, two different types of lighting
fixtures have been installed, the light of which
radiates on the arches of the loggia (6 linear
projectors Strip Square 1284 with 15X45° elliptical
optic, 3000K) and on the surfaces of the drum
(6 Focus+3 spotlights with 55° symmetrical
optics, 4000K). Placed above the cornice
at the base of the arcades of the loggia, a series
of linear fixtures have the specific function
of illuminating the inside of the inverted
“basket” defined by the ingenious system made
of 36 superimposed marble arches that, thanks
to the gradually smaller height of the orders
of the arches, creates the optical illusion
of a dome that increasingly rises towards
the sky. The aim is here to allow the reading
of the play of volumes conceived by Guarini,
without excessively enhancing the architectural
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LUCE 326 / PROGETTARE LA LUCE
texture and avoiding unnatural shadows
(12 Strip Square 1032 linear spotlights with
custom made diffusing optics, 4000K).
The structure is then completed by a smaller
dome, where the dove of the Holy Spirit
surrounded by rays of light is visible from
a star-shaped fretwork that concludes the
“basket”, and by the external pinnacle
surmounted by the cross with the symbols
of the Passion of Christ. On the extrados
of the star are installed the luminaires designed
to illuminate the inner top part of the lantern
(6 Focus+3 spotlights with 55° symmetrical
optic). The illuminance values are higher
in this area, making it, in fact, the most
illuminated area of the whole dome.
At the same time, the LED light sources have
here a warm colour temperature, with a TTC
equal to 3000K, which deliberately differs
from the 4000K LED sources used for all
the other devices. This difference in colour
temperature also contributes to the perception
of the internal top part of the lantern as
the generating element of the “divine” light.
Outside, at the base of the dome, above the
roof that rests on the polygonal brick drum,
12 Focus+3 projectors (34° symmetrical optics,
3000K) provide the daily white lighting, while
12 RGBW projectors with 11° symmetrical optics
are designed to provide special lighting in case
of special occasions or liturgical recurrences.
This miscellanea of fixtures guarantees a skilful
play of lights and shadows that highlights
the peculiar arched structure of the dome.
The lighting system is completed by 6 Strip
Square 528 linear projectors (15X45° elliptical
optics, 3000K), which highlight the building
and the decorative elements of the lantern’s
telescopic structure, reducing shadows.
With a total installed power of 3.43 KW,
the planned scenarios guarantee an extremely
low daily energy consumption: 1.93 kW for
the white light scenario, and 2.83 kW for
the RGBW scenario for celebrations.
All luminaires are equipped with digital
drivers with DALI (in the case of white light
devices) or DMX (in the case of colour-change
devices) protocols, facilitating the user
in the selection of several pre-programmed
scenarios and at the same time ensuring
reliability and continuity of illumination
even after possible black-outs or voltage
fluctuations.
“A seguito della pubblicazione del bando
da parte dei Musei Reali, IREN ha subito
aderito con entusiasmo all’iniziativa.
Il progetto ha richiesto una lunga preparazione,
soprattutto mirata a individuare il corretto
posizionamento degli apparecchi, tale che gli
stessi non creassero problemi nella percezione
e nella lettura dell’architettura del Guarini.
È stato pertanto necessario predisporre
attacchi specifici destinati a ospitarli, e per
questo la realizzazione dell’impianto all’interno
della cupola è stato molto più complesso
rispetto a quello esterno. Per la realizzazione
sono state impiegate maestranze altamente
qualificate, tra cui una squadra di rocciatori
che con grande professionalità hanno collocato
uno a uno tutti gli apparecchi destinati
a valorizzare la cappella. Per l’illuminazione
dell’esterno, oltre al colore bianco, si sono scelti
il verde, il viola, il rosa, il rosso, l’oro e l’azzurro,
che richiamano i colori della liturgia e che
saranno attivati solo in occasione di eventi
particolari” / “Following the publication of the
tender by the Musei Reali, IREN immediately
enthusiastically joined the initiative.
The project required a long preparation, above
all aimed at identifying the correct positioning
of the lighting fixtures, so that they did not
create problems in the perception and reading
of Guarini’s architecture. It was therefore
necessary to arrange specific connections
to host them, and for this reason
the implementation of the system inside
the dome has been much more complex than
the external one. Highly skilled workers were
employed for the construction, including a
team of rock climbers who, with great
professionalism, placed one by one all the
fixtures designed to enhance the chapel.
For the lighting of the exterior, in addition to
the white colour, green, violet, pink, red, gold,
and blue have been chosen; colours that recall
those of the liturgy and that will be used only
during special events”
GIAN PAOLO ROSCIO
Responsabile / Head of Servizi a Rete
IREN Energia
“Il nostro affiancamento progettuale e tecnico
è avvenuto fin dalle prime fasi progettuali,
fornendo allo studio GMS le soluzioni
tecnologiche che potessero rispondere al
meglio a quelli che erano i requisiti, fino a
tutta la parte di cantiere e di programmazione
dell’impianto. Ci siamo poi affiancati alle
necessità dei Musei Reali per quel riguardava
la calendarizzazione degli scenari che
renderanno durante l’anno l’esterno di questa
architettura un landmark cittadino” /
“Our planning and technical support has been
carried out right from the very first design
stages, from providing the GMS studio with
the technological solutions that could best
respond to the requirements, up to the whole
part of the construction yard and system
programming. We then assisted the Musei
Reali in the setting of a calendar of scenarios
that will turn the exterior of this architecture
into a city landmark during the year”
KIMO DOGANI
Dipartimento Marketing Strategico /
Strategic Marketing dept.
Performance in Lighting