corte bertesina

Crediamo nell’impatto positivo
che un progetto può avere
nella rigenerazione
dell’ambiente circostante
sia naturale che urbano,
sociale ed economico.

corte bertesina

2017
Vicenza

Corte Bertesina is a project where environmental, social and agricultural values intersect: an 8-hectare forest which encloses vegetable gardens and farmland, a social farm, an agricultural food processing center and shop, a bed and breakfast, a visitor’s center for educational activities and residences.
Its construction process has been a virtuous experience shared by clients, designers and builders, where the use of innovative building methods and adaptive reuse allowed the project to reach objectives in sustainability, resource management and energy efficiency.

Located on the outskirts of Vicenza and only 3km from Piazza dei Signori, Corte Bertesina is a typical, rural, nineteenth century Venetian courtyard connected to a 17-hectare country estate with certified organic gardens of vegetables, grains and fodder. The gardens are protected inside a vast area planted in 2001 with trees native to the Po Valley: an oak forest, hornbeams, elms, maples, medium shrubs and hedges which today act as a refuge and nesting ground for local wildlife.

Since 2010, the estate also functions as a social farming center, offering job opportunities to young people with Down Syndrome.

The objective of the project has been to regenerate and complete the existing building core with the intention of developing new functional relationships: cultural and educational activities for the enhancement of the forest landscape, social farming activities through the involvement of young people with Down Syndrome, collaboration with local social cooperatives, preparation and sale of agricultural products, residences, bed and breakfast. Additionally, the project aims to intervene into the natural context as lightly as possible, absorbing from the surroundings visual, energetic and wellness potential for its future inhabitants.

The concept of sustainability was a driving force behind the social intentions of the project, encompassing the wellbeing of its users, the choice of building materials and construction techniques, and energy production and use.

The space of the historic courtyard is defined on the south edge by a long, linear wall in local stone built using traditional methods. The wall acts as a “filter” between public, social functions that occur in the courtyard and the private programs of the new residences. A ‘barchessa’, an open building historically used to house livestock and hay, can be found in the courtyard. Water emerges from spouts along the “barchessa” and travels through stone channels running the length of the wall, programmatically also acting as a filter and separator.

The new residential volumes are articulated linearly: light structures, hinged onto a stone wall which sits on a large, underground floor conceived to house the residents’ vehicles. A visual connection with the exterior landscape, the sun’s orientation and the control of natural ventilation are the main factors that informed the design solution. The roof covering is shaped to control natural light and maximize its photovoltaic potential: it produces 60 KW of energy, enough to support the court’s agricultural activities and a heat pump air conditioning and heating system for the buildings, all linked by a geothermic ring.

On the southeast, a simple volume clad in irregular larch planks completes the courtyard: it holds the cultural center, dedicated to the education and appreciation of the surrounding wooded landscape. Its glass wall guides the visitors’ attention towards the outdoor scenery and a network of trails inside the woodland.

The “barchessa” and historic buildings contain the bed and breakfast, gathering spaces for the social farm, food preparation areas and market spaces for the sale of the agricultural goods produced on-site.

From a construction standpoint, the intervention was approached with an innovative spirit, using the development of light, prefabricated construction methods which allowed the project to be concluded in a limited time frame. The design process resembled that of an industrial product and defined various construction components in wood, steel and stone built off-site by group of local industrial companies and artisans. The components were then assembled on-site using tectonic connectors.

The materials, produced by numerical control systems, are traditional and chosen to easily blend into the surrounding environment. Larch wood, conventionally used for its durability, was chosen as the main construction material. Throughout the project it can be found in the form of glued laminated beams and columns, interior and exterior enclosures, in door and window framing and shading, as flooring and in the design of custom-made furniture.

The techniques involved in the prefabrication of light construction elements were carried through the renovation of the historic buildings of the courtyard, linking the intervention to a concept of reversibility and respect of the existing structures: entirely prefabricated Xlam cells were inserted into the large nineteenth century ‘barchessa’, acting as living spaces of the bed and breakfast. The new cells, set upon a steel structure on the ground floor, form the new, earthquake proof skeleton of the brick building. A unique structural technique was experimented on the residential unit facing west (Carli house): the old brick façades were anchored every 50cm to a homogenous surface composed of Xlam panels, themselves supported by portals in glued laminated wood.

client

private

design team

G. Traverso, P. Vighy
L. Angelini, C. Baggio, C. Cavalieri, S. Dal Bianco, G. Dalla Gassa, G. M. d’Arco, A. Marzano

photo credits

Alessandra Chemollo

awards

Barbara Capocchin 8° International Biennial Architecture – Regional Price 2017_Honourable mention

 
links

www.casabellaweb.eu

art&caffeine

art&caffeine

2017
Milano

 

client

Faema Gruppo Cimbali

design team

G. Traverso, P. Vighy
C. Baggio, S. Dal Bianco

photo credits

traverso-vighy

vicenza light fest

vicenza light fest

2014
Vicenza

Vicenza light fest is an experimental project of urban lighting, conceived by TraversoVighy, placed within the Palladian city’s historic centre between December 6, 2013 and January 7, 2014.

The project, briefed by the municipal administration, was targeted to enhance the monumental heritage, the waterways and the urban spaces of the city for cultural and tourist attraction.

The design concept has been applied on three different levels: infrastructure, installations and visual axes.

infrastructure
An alteration to the public lighting system has characterized the main urban axes leading to the installations; the light from the historic sodium streetlights was filtered by special films for glare control and lighting levels reduction to emphasise the programmed light interventions and the shop windows, specially lit for Christmas.

visual axes
Particular emphasis was given to the street focal points: towers, palaces and gateways to the city, where the lighting of the vertical surfaces were key elements of the urban installation.

installations
The project was aimed at rediscovering the “invisible” places, spaces of value away from the normal trade flows in the town center.

Palladio’s Basilica, the central element of the visual axes of the city, was animated by a dynamic installation of lights and sounds (developed by Andrea Cera IRCAM). The inner surfaces of the Basilica’s arches, generally untouched by sunlight, are brought to the focus of the visitor.

The Basilica became a key element of the axes that converge to the system of the squares. The central walkway through the basilica placed on the city decuman, features a suspended lit art installation developed by students as part of the lighting course through the School of Architecture, University of Florida.

Another objective of the project was the appreciation of the city rivers. Special lighting installations have emphasized the presence of the waterways Bacchiglione and Retrone at St. Paul’s Bridge, St. Michael’s Bridge and Ponte Pusterla, where the presence of the rivers has been displayed through the reflections on the waterfront buildings and through the illumination of green space alongside.

The city squares located near to the main entrances of the historic walls were the subject of special lighting installations, such as the lighting of the Piazza e Porta Castello and the lighting of the gardens of Piazza Matteotti and Chiericati Palace (A. Palladio 1550). The porticoes of the building were enhanced by indirect white lighting, while the front garden is illuminated by a sequence of skeletal light columns, which are similar to the proportions of the Doric Palladian mansion.

Finally, the project concerns Viale Milano, a road leading from the railway station. A sequence of pressostatic spheres illuminates the verticality of the buildings of the ’60s, highlighting a place of today’s multi-ethnic and multi-cultural comparison.

 

client

Comune di Vicenza

design team

G. Traverso, P. Vighy
L. Angelini, G. Dalla Gassa, E. Panza

photo credits

Alessandra Chemollo  1-2-5-7-8-10-13
Dario Rigoni  9-11
Alberto Sinigaglia  3-4-6-12-14-15

vicenza light fest

picm verona

picm verona

2013

The proposal for the enlightenment of the Verona Walls is based on a process of reading and analysis of the various aspects and potentials that characterize the scope of the project: in addition to the primary historical monuments there are territorial values, urbanistic, social, environmental, nature and potential developments in tourism and educational.

It is important to emphasize that a strategic objective of the plan is to plan interventions that restore, step by step, a unified vision of the night landscape. The intent is then to focus progressive night scenes, consisting of interventions also punctual, dedicated to promoting different and complementary issues.

The proposed plan is based on the preservation of the dark as a possible method of control of the existing criticals (car parks, sports areas, roads inside and outside the perimeter walls), which may be of low visual impact by adopting respectful lighting systems of the dark-belt of exterior walls at a very low brightness, as a basis for future interventions emphasize lighting.

These actions have been organized into five “steps” complementary to the definition of night landscape:

STEP1_VISUAL AXIS IN THE NIGHT PERCEPTION

The walls becomes an historic perimeter and recognizable at a distance and connected visually permeable element to the historic center of Verona.

_Gates as key points of the prospective axes incoming and outgoing from the City

_Visual continuity of the doors with respect to the walls of the fortified system

_Development of the monument and its interiors

_Gates as connection points of the ring of the urban park

STEP2_CONNECTION OF THE MASTER BELT TO WATER

In the idea of perceiving the Magistral Walls as a viable single ring the connections to the Adige river becomes key elements for the night reading of the cornerstones of the system and will be enhanced with flood-lighting interventions.

 

STEP3_STAGES OF A HISTORIC ROUTE

In the night landscape PICM will highlight some places, chosen for their importance and complexity of the historical stratification of the defensive system, that will be highlighted with lighting systems dedicated to bring out the specifics:

_the Scaligerian walls will be illuminated with warm grazing light to bring out the texture of alternate courses of bricks and river’s stones

_the Venetian walls made by bricks will be exploit with a frontal amber light

_the Austrian walls made by stone are illuminated with white light from the inside to make it read the loopholes from in the backlit

STEP4_REMOTE PERCEPTION OF THE MASTER BELT

The main factors of the unified perception of the Master belt are:

_the inside top of the Scaligerian towers, in the hilly stretch of the Walls, identifiable from the historic center.

_the sequence of landmarks that give a reading of the fortificated system from circulatory roads in flat areas. Emphasis will be given also to the continuity of embankments/walls, where visible from the infrastructure system, by lighting systems at low luminance that can emerge from the belt of the dark perimeter.

The itinerary outside the walls, which climbs up to the hill, will remain deliberately perceived as a night city break, in which the sensation of darkness can bring to citizens the memory of history.

 

STEP5_PERMEABILITY OF THE WALLS: THE REAPPROPRIATION OF URBAN PARKS

The park along the walls will be illuminated with light points to improve the green area and the main pedestrian routes, with particular attention to the valuable situations and the existing monumental tree species. All lighting of the green will be contained below the maximum of the embankment so as not to interfere with the reading of the external walls and valorizing the spaces that remain protected from the noise and the views (not always consistent ) to the external part of the walls.

All sources used are of LED technology, which ensures high levels of luminous efficiency, low maintenance, ease of control, along with high color rendering index.

The leds are produced with different color temperatures, useful to the design strategies. They have a light warm white Spectra (3000 ° K), white gold (2800 ° K) and amber (2500 ° K), which are compared in a uniform manner with existing lighting in the city.

 

 

competition

2° classified

client

Comune di Verona

design team

R. Narboni, G. Traverso, P. Vighy
L.V. Bozzetto, F. Benati,
L. Angelini, E. Panza

 

tvzeb

Progetto: Giovanni Traverso, Paola Vighy Collaboratori: G. Dalla Gassa, E. Panza Fotografie: Alessandra Chemollo, Francesco Castagna

bosco retreat

bosco retreat

2012
veneto

 

client

private

design team

G. Traverso, P. Vighy
G. Dalla Gassa

photo credits

Alberto Sinigaglia
traverso-vighy

casa alberti

casa alberti

2012
Vicenza

 

 

client

traverso-vighy

design team

G. Traverso, P. Vighy
G. Dalla Gassa, E. Panza

photo credits

Alessandra Chemollo

salvagnini euroblech

salvagnini euroblech

2012
hannover

 

client

Salvagnini Italia Spa

design team

G. Traverso, P. Vighy
G. Dalla Gassa

photo credits

traverso-vighy

salvagnini headquarters

salvagnini headquarters

2012
sarego

 

client

Salvagnini Italia Spa

design team

G. Traverso, P. Vighy
G. Dalla Gassa

photo credits

Alessandra Chemollo

notte e tempo

La luce, il mezzo attraverso il quale noi vediamo,
è elemento capace di effettuare una completa
trasformazione della percezione dello spazio
e in grado di stimolare una esperienza sensoriale
nuova ed emozionante.

notte e tempo

2012
vicenza

Notte e Tempo (Night and Time) is an urban installation developed with extremely low levels of light which emerge from the dark cavity of the city, where many lampposts were purposely dimmed.

The lighting project is conceived as a glowing “book cover” to the event “Vicenza, Città dell’architettura n°0” on the façade of Palazzo Cordellina in Vicenza (September 21st and 30th, 2012).

The installation, commissioned by the Vicenza Department of Cultural Affairs, seeks to attract tourists and visitors to the breadth of architectural exhibits inside the building.

The design is a 4-minute, repetitive light show realized with light projected from a complex system of moving gobos and LED spotlights (Coemar): a story narrated in the darkness of Via Riale, which reinterprets the compositional aspects of Palazzo Cordellina’s façade, bringing to life single architectural elements of which columns, windows, mascarons, metopes and triglyphs.

 

client

Comune di Vicenza
La città dell’architettura n°0

design team

G. Traverso, A. L. Friel
Andrea Cera (sound design)

photo credits

traverso-vighy

ave maria

Progetto: Giovanni Traverso, Paola Vighy Collaboratori: G. Dalla Gassa, S. Iyer, E. Panza, V. Rossetto Fotografie: Diego Caldieraro, Alessandra Chemollo, Alberto Ferrero

casa ceschi

Progetto: Giovanni Traverso, Paola Vighy Collaboratori: G. Dalla Gassa, S. Iyer, E. Panza, V. Rossetto Fotografie: Alessandra Chemollo

soprana 100

soprana 100

2010
vicenza

 

client

Gioielleria Soprana

design team

G. Traverso, G. Dalla Gassa

photo credits

traverso-vighy

tv loft

tv loft

2009
vicenza

 

client

traverso-vighy

design team

G. Traverso, P. Vighy

photo credits

traverso-vighy

palermo airport retail

Progetto: Giovanni Traverso, Paola Vighy Collaboratori: N. Capellari, C. Cavalieri, G. Dalla Gassa, E. Muterle, V. Rossetto, M. Teran Parades Fotografie: Alberto Sinigaglia

urban nature skatepark

Progetto: Giovanni Traverso Collaboratori: E. Thunstrom, O. De Vries, A. Malmberg, O. Carlsson-Freden, A. Camilla, M. Jacob Ostlund, D. Kristoffer

nest 4 three

nest 4 three

2009
vicenza

 

client

private

design team

G. Traverso, P. Vighy
G. Dalla Gassa, E. Panza

photo credits

Alessandra Chemollo

nuova porta milano

nuova porta milano

2009
Vicenza

 

competition

 

client

traverso-vighy

design team

G. Traverso, P. Vighy
G. Dalla Gassa, V. Rossetto

photo credits

traverso-vighy

traverso-vighy at expa

traverso-vighy at expa

2009
palermo

 

client

EXPA

design team

G. Traverso, P. Vighy
G. Dalla Gassa, D. Giglio, V. Rossetto

photo credits

traverso-vighy

colombaia

colombaia

2008
lapio

 

client

private

design team

G. Traverso, P. Vighy
G. Dalla Gassa

photo credits

Alberto Sinigaglia
traverso-vighy

padiglione italiano shanghai

padiglione italiano shanghai

2008
shanghai

 

competition

 

client

traverso-vighy

design team

G. Traverso, P. Vighy
M. Vio, C. Cavalieri,
G. Dalla Gassa, V. Rossetto,
V. Perozzo, A. Gobbetti
F. Contin (video)
C. Zanarotti, P. Nichele (landscape)
G. Piccioli (structure)

photo credits

traverso-vighy

traverso-vighy workbox

traverso-vighy workbox

2008
palermo

Workbox is a temporary office mounted on the East terrace of the airport of Palermo as a working basis for the yard.

The small office was designed around the drafting table and the window view of the sea that is in front of the airport.

The pinewood prefab structure can easily be assembled and taken apart.

 

client

Linea Aeroportuale Sole

design team

G. Traverso, P. Vighy
N. Capellari, C. Cavalieri,
G. Dalla Gassa, E. Muterle,
V. Rossetto, M. Teran Parades

photo credits

traverso-vighy

manfrotto that’s design

manfrotto that's design

2008
milano

 

client

Vitec Group
Salone del mobile 2008

design team

G. Traverso, P. Vighy
G. Dalla Gassa

photo credits

traverso-vighy

casa carli-lercher

casa carli-lercher

2007
vicenza

 

client

private

design team

G. Traverso, P. Vighy
G. Dalla Gassa, E. F. Stella

photo credits

Claudio Navone
Sabine Lercher

venice airport retail

venice airport retail

2007
venezia

 

client

Linea Aeroportuale Sole

design team

G. Traverso, P. Vighy
C. Cavalieri, G. Dalla Gassa, V. Rossetto

photo credits

traverso-vighy

caselli autovie venete

caselli autovie venete

2007
veneto

The project was designed to respectfully integrate the booths within the environmental context.

Special consideration was given to landscape features as well as limiting environmental pollution such as particulates and noise.

The new tollbooths are located within the territory in a discreet and continuous manner, using the elements that are drawn from the surrounding landscape.

The earth dunes and the rows of poplar cypresses recall the riverbanks, the coastal dunes and the rows of trees that are characteristic qualities of the scenery along the Venice-Trieste route. The earth dunes planned for the project also diminish sound, protecting the surrounding territory’s integrity, and allow water to be collected in a single basin, water that can then be purified from the particulates and used to water the green areas.

 

The dunes are covered with vetiver and cortaderia richardii (toe toe grass), plants that have been chosen for their easy maintenance and are, therefore, particularly cost-effective over time in terms of economy and resources (e.g. water).

Both the office facilities and the technical-electrical facilities are located within the dunes both to integrate them into the landscape and to contain thermal dispersion.

 

competition

3° classified

client

traverso-vighy

design team

G. Traverso, P. Vighy
M. Vio, A. Rizzotto, E. Stella

photo credits

traverso-vighy

illy lighting

Progetto: Giovanni Traverso, Paola Vighy, Marina Vio Collaboratori: M. Lai, G. Piva, A. Cipriano, C. Person, A. Viviona

spidi showroom

Progetto: Giovanni Traverso, Paola Vighy Collaboratori: A. Rizzotto, J. Taylor, E. A. Stella Fotografie: Ziliotto, traverso-vighy

disegno luce out

disegno luce out

2006

All the OUT products use 2 or 3 new integrated 3-5x1W LED sources.

Each source can be oriented ±180°  and its projection beam can be adjusted

between 20° and 40°.

Materials: brushed stainless steel and RAL 9003 aluminium

IP protection: 54

 

client

DisegnoLuce

design team

G. Traverso, P. Vighy

photo credits

traverso-vighy

battistero padova lighting

battistero padova lighting

2006
padova

The frescoes of Padua Cathedral Baptistery were executed between 1376 and 1378 by Giusto de’ Menabuoi.
They were commissioned by Fina Buzzaccarini, the wife of Francesco the Old of Carrara, who wanted to be buried near her husband.

 
The new lighting Concept for the frescoes is about the integration of the natural lighting coming from the dome windows with a colour temperature changeable artificial light.

Main characteristic of natural light is its continuous mutability of colour and intensity. The natural light colour changes with the sun altitude and with weather conditions.
This colour change modifies the perception of frescos surfaces. The overcast days with cold light exploit the characteristic bluish colours, the sun highlight the gold decoration of frescoes.

The new lighting project guarantee the standards of conservation  and lighting comfort and want to exploit the characteristic frescoes colour also during the night time with the new integrated artificial lighting system.

The artificial light, positioned on the perimeter wooden base of the frescoes follows the colour temperature of artificial light.

The lighting system uses a combination of halogen light (Osram IRC dicroich lamps) and cold LED light (5500°K batwing) to maximise the colour rendering performance and colour temperature range.

The combination of the different lighting sources has been studied with an accurate spectrum analysis to simulate and integrate the natural light.

The entrance of natural light inside the Baptistery space has been simulate and mapped on solstices and equinox to control the direct light radiation and understand the integration lighting levels in different season conditions. 

Screening system on dome windows has been developed to control UV radiation and direct light penetration.

 

client

Diocesi di Padova

design team

G. Traverso, A. Rizzotto

photo credits

traverso-vighy

torcia freeled

torcia freeled

2006

client

Fanton Spa

design team

G. Traverso, J. Zanotto

photo credits

traverso-vighy

spidi dummies

spidi dummies

2005

client

Spidi sport Srl

design team

G. Traverso, P. Vighy

photo credits

traverso-vighy

cucchiaio

cucchiaio

2005

Cucchiaio is a bifacial modular bookcase made up of elliptical section upright supports in anodized satined aluminium and horizontal components shaped in hollow multiply wood of Birch or Okumè.

The connection between vertical and horizontal elements is made of support couplings in anodized satined steel.

Floor and ceiling fixing components are in turned aluminium.

 

client

Nero3 Srl

design team

G. Traverso, P. Vighy
C. Person, J. Zanotto

photo credits

Gianni Sabbadin

spidi day 06

spidi day 06

2005
porto marghera – vegapark

client

Spidi sport Srl

design team

G. Traverso, P. Vighy

photo credits

traverso-vighy

muvrino

muvrino

2005

The system of tables projected for Nero3 has an elevated formal quality and, because of the refined technique of the work, it allows for the limited use of resources (light metallic alloys and multilayered precious woods).

The form is inspired from nature (the cobblestones from the seashore of Galeria-Corse).

The plan is a shell made through the superimposition of several specifically shaped sheets of multilayered wood in Okumè or Birch, held by truncated aluminium cone shaped legs. The structural nodes are resolved with spherical joints in rubber.

 

client

Nero3 Srl

design team

G. Traverso, P. Vighy
C. Person, J. Zanotto

photo credits

Gianni Sabbadin

casa a porta lupia

casa a porta lupia

2004
vicenza

client

private

design team

G. Traverso, P. Vighy
G. Muñoz, C. Person

photo credits

traverso-vighy

spidi day 05

spidi day 05

2004
villa piovene sarmego

client

Spidi sport Srl

design team

G. Traverso, P. Vighy

photo credits

traverso-vighy

casa marcoaldi

casa marcoaldi

2004
lapio

client

private

design team

G. Traverso, P. Vighy
G. Dalla Gassa

photo credits

Alberto Sinigaglia

steel&style event

steel&style event

2003
milano

client

Salvagnini Italia Spa
Salone del mobile 2003

design team

A.Cibic, G. Traverso, P. Vighy
M. Messina, C. Person

photo credits

traverso-vighy

spidi warehouse

spidi warehouse

2003
meledo

client

Spidi sport Srl

design team

G. Traverso, P. Vighy
F. Ceretta, G. Muñoz, C. Person

photo credits

traverso-vighy

movy

movy

2003
vicenza

client

Movy

design team

G. Traverso, P. Vighy
C. Person

photo credits

traverso-vighy

travelling salvagnini pavilion

travelling salvagnini pavilion

2002

Every year Salvagnini develops its commercial activities through numerous fairs in Asia, Europe, and America and through open houses in diverse showrooms of foreign centers.

The aim of the project is the construction of a multi-level, modular, itinerant pavilion that in turn expresses the product and modular systems produced by Salvagnini.

The pavilion is composed of modules (3x3m), for the bar and the office, that can be placed horizontally or in double layers, to adapt to diverse requirements.

The portable structure of the module was thought to be completely made with the machinery produced by Salvagnini: beams and columns in 3mm punched and folded sheet metal, the joints are constructed with 15mm steel plates cut with a laser.

The curtain walls were made with ultra-light materials to simplify its assemblage and to guarantee adaquate sound isolation: aluminium and polycarbonate resin thermoplastic.

In 2002, this structure was erected in the fairs of Bari, Bologna, Milan, Paris, Lyon, Sinsheim, Hannover, Stockholm, Birmingham, and Chicago.

 

client

Salvagnini Italia Spa

design team

G. Traverso, P. Vighy
F. Ceretta, C. Person
K. Haselrieder

photo credits

traverso-vighy

spidi logistics

spidi logistics

2002
lonigo

client

Spidi sport Srl

design team

G. Traverso, P. Vighy
C. Person

photo credits

traverso-vighy

spidi day 02-03

spidi day 02-03

2001
villa piovene orgiano

client

Spidi sport Srl

design team

G. Traverso, P. Vighy

photo credits

traverso-vighy

church living

church living

2001
arcugnano

client

private

design team

G. Traverso, P. Vighy
L. Scalari, G. Muñoz

photo credits

traverso-vighy

cappella bacci frescoes

cappella bacci frescoes

2000
arezzo

The Chapel Maggiore of the Basilica of San Francesco, frescoed by Piero Della Francesca over the course of the XV century, was reopened to the public after its restoration in April of 2000.

The project needed, on the one hand, to resolve the delicate problem of an insertion of a body of light into the frescoed interior space, and on the other hand, to succeed in guaranteeing optimal lighting conditions whether from the point of view of uniformity in lighting or from that of conservation.

The project finally foresaw the advent of a removable element placed on the ground at the centre of the frescoed space. This idea was examined from a technical lighting standpoint by selecting the light sources most suitable to the correct perception of colours and verifying the geometries of the light at each frescoed area whether through experiments on site or through simulations with scale models.

The central lighting element, from which departed 48 different beams of light, was a synthesis of lighting outlets, orientation and cooling technology, and the expected formal aesthetics for its insertion into the interior of the Chapel.

This element consisted of four slenderly shaped legs on which rested a thin oval platform at around two meters high.  The platform housed all the universal joints for the various orientations of the light sources.  Within the inside of the legs passed all of the electrical connections into the base where all the lighting outlets and controls were located.

 

client

Enel Spa 

design team

G. Traverso, P. Vighy
G. Muñoz, M. Bizzaro, S. Valenti
TiFS Ingegneria Padova (artistic supervision)

photo credits

traverso-vighy

iuav daylight laboratories

iuav daylight laboratories

1999
venezia

ARTIFICIAL SKY

The artificial sky is in a room with approximate dimensions of 3x3x2.5m, where the walls are entirely reflective and the ceiling is a homogeneous surface with diffusing back light. The result is a seemingly infinite space that simulates the conditions of an overcast sky with uniform luminance.

At the center of the space there is a support surface for the model of study and for the measurement equipment.

In this workshop you can take data such as photos, and photometric data with luminance.

The lighting data is produced in a dimensionless mode, using the daylight factor.

This factor is defined as the ratio between the luminance level within the model and the luminance measured on a surface placed outside in a horizontal position. Using this factor, information can then be obtain regarding the luminance correlated to the site, on any day of the year at any time using simple mathematical models.

The data obtained in this laboratory, once processed through the application of different mathematical models may be representative not only of an overcast sky overcast type, but also a clear sky.

ARTIFICIAL SUN

The artificial sun consists of a large parabolic reflector, designed to emit rays parallel to each other and capable of assuming different height. This reflector illuminates a swivel, where you place the scale model of the object of study, and are able to rotate it automatically to assume the various positions of the solar azimuth.

This equipment is located in a completely black room, so as to almost totally eliminate any diffused light.
Also in this lab, photographic luminance data can be taken.
The illumination data is found in a dimensionless mode, using a particular photometric factor of sunlight.

This factor is defined as the ratio between the data within the model of the measured luminance and the luminance measured on a surface placed perpendicularly to the rays of the artificial sun.
Even in this case, simple mathematical models can transform factor in luminance values ​​in function of the transparency of the atmosphere of the site.

 

client

VEGA Parco Scientifico Tecnologico di Venezia

design team

G. Traverso, P. Vighy
Ufficio progettazione GE lighting

photo credits

traverso-vighy

necropoli vaticana

necropoli vaticana

1999
roma

The cultural criteria that guided the project was to give the visitor a kind of initiatory journey that leads them outside the urban environment, through the spaces of the Necropolis, highlighted by different lighting perceptions, to the tomb of St. Peter, which symbolically is at the heart of the homonymous Basilica and of Christianity.

At the end of this trip, which runs mainly along what was originally an open path highlighted by raking light and the moon, a change in color and direction of light occurs, prior to reaching the tomb which appears and is finally illuminated with ‘accent lighting’.

The sensitivity of the subject involves the lighting design of strong emotional valences that can only be achieved through interventions that use the primary observation of the spectral characteristics and the intensity of the sources.

The basic choices are:
1. the use of optical fibers to differentiate production elements from those of projection of light, so as to simplify maintenance operations, and solve the problems of thermal emissions in the environment of the Necropolis
2. the use of two types of light sources for optical fibers: incandescent lamps and metal halide lamps. The first with warm light used to illuminate the Mausoleums and spaces of the tomb of St. Peter, the second to make the light colder for those who were walking in the open air.

 

competition

2° classified

client

Enel Spa

design team

L. Fellin, G. Traverso, P. Vighy
M. Vio, M. Bizzarro, G. Muños, M. Lovato

photo credits

traverso-vighy

umbrella stand

umbrella stand

1999
milano

The design for this stand was focused on the need to create a trade show system that possessed low assembly and storage costs, and at the same time maintained high quality formal standards.

With this in mind, a modular structure system with parts that could be easily assembled and stored within an extremely reduced volume of space was studied.

The base module is a shaped, poplar plywood structure with a metal joint that facilitates assembly operations.

The space inside is controlled and adjusted using printed, semi-transparent PVC separating panels and an integrated lighting system.

The wall closures are built using PVC canvas “skins” that can be interchanged and, as a consequence, easily renovate the outer appearance of exhibit space at a very low cost.

The same philosophy of easy assembly and storage space reduction was applied to the inner furnishings.

 

client

Pegaso Srl

design team

G. Traverso, P. Vighy
G.Muñoz, S. Fries

photo credits

traverso-vighy

daylight analyses palazzo ragione

daylight analyses palazzo ragione

1998
padova

The study conducted on the Palazzo della Ragione in Padova employs a method of studying natural light with scale models and laboratories using an artificial sun and sky. This was part of a phase of surveys commissioned by the city of Padova, to create a basis of useful information for both the preservation of the extraordinary interior frescoes and the design of artificial lighting systems.

The analysis of the natural light was conducted through three types of investigation:
1. Knowledge of the distribution of luminance levels in seasonal conditions such as at the solstice and equinox: through laboratory experimentation conducted on scale models.

2. Checking the amount of ultraviolet radiation: through surveys carried out within the building.

3. Identification of critical areas of visual comfort: by laboratory measurements in scale models.

The results obtained by the simulation with physical models were then brought back to the actual conditions which occur in Padova through the application of analytical models in two particular extreme weather conditions: corresponding to the sky if completely covered and the sky if completely clear.

In addition to the surveys carried out on the models, a series of reliefs were also prepared inside the hall itself, to verify the reliability of the values ​​obtained from the calculations made ​​in the laboratory and to get specific information such as the light transmittance of the glazing.

 

client

Steam Srl

design team

G. Traverso, P. Vighy
M. Strada, M. Vio, G. Andreotti

photo credits

traverso-vighy

folotec office block

folotec office block

1998
vicenza

Profili Italia is a company that designs and produces technical profiles for the furnishing and building industries.

This project concerns the completion of the outdoor areas of their new headquarters and the design of the indoor offices.

The outdoor areas were organized using paths that visually connect the vertical supporting elements of the two entrances. Pedestrian entryways framed by pools of water, green areas of the parking lots and a small, artificial wooded area that divides the block from the main road are distributed along these connecting lines.

The indoor offices are organized on three levels and look out onto the outdoor garden through a large, continuous glass façade.

The project theme was aimed at allowing natural light to penetrate deeply into the building through the façade, reaching the hallways that connect the office spaces. In order to achieve this, the furnishings were specifically designed in stainless steel and glass, with large, extra-clear, sanded-finish glass panels that divide and modulate the workspace, diffusing the light that enters through the glass wall.

 

client

Profili Italia

design team

G. Traverso, P. Vighy
G. Muñoz, E. G. Kleres

photo credits

traverso-vighy

collapsible building

collapsible building

1997
vicenza

The Vicenza Calcio company commissioned the studio to design the building with two specific requirements in mind: the project had to be built within a very limited time (three months from the date of the commission to the opening of the shop) and the building had to be mobile in case the city administration initiated restructuring works of the stadium.

The studio designed a completely collapsible structure in steel and glulam timber that could be screwed onto a non-reusable concrete foundation.

The building is located just within the stadium walls and occupies a space of 60m² on a small plot between pre-existing buildings. The building structure is modular with a rectangular layout measuring 13.2 m long.

The front façades are made completely out of glass and the steel fastenings are embedded into the pavement to underline the idea of continuity between the indoor and outdoor spaces.

The outdoor panelling and the sandwich insulation roof panels were used horizontally and manufactured in sizes according to the building’s length; the panels were attached using fastening systems that allow complete disassembly.

 

client

Vicenza Calcio s.p.a.

design team

G. Traverso, P. Vighy
E. G. Kleres, G. Muñoz, G. Andreotti

photo credits

traverso-vighy

centro ottico berico

centro ottico berico

1997
vicenza

The shop is located in the outskirts of Vicenza, along one of the main roads that enter the city center.

The aim of the project was to create a point of reference for eyewear and photographic supply sales.

The shop was conceived as an open and informal space. All details related to product display and customer comfort were designed with particular attention to the lighting system.

The partitions, the streamlined, false ceiling  and all furnishings were built using one, single material: poplar plywood. This choice gives the shop a subdued, elegant  appearance, while at the same time providing a cost-effective solution.

 

client

Centro Ottico Berico

design team

G. Traverso, P. Vighy
T. Pretto

photo credits

traverso-vighy

pendoleria in basilica palladiana

pendoleria in basilica palladiana

1996
vicenza

The reconstruction project changed the logic of the use of the area surrounding the old shop n.38 under the main vault of the Basilica Palladiana.

The demolition of the part of the floor that divides the shop of the first floor from the stores of the mezzanine has in fact allowed the grand vault, made with a type of brick of medieval origin, to be placed in light and, thanks to the insertion of the new stairs, to expand the commercial surfaces also to the second level.

The new stairs are a principal element, but in spite of its dimensions, it does not interfere with the reading of the antique wall that makes the background with the armoured wooden door recovered during the work of restoration.

The stairs are a lightweight mettalic structure, physically independent from the pre-existing structure.  The framework is constructed of slender squared tubing on which to rest numerous steps of thin folded sheet metal.  Also, an analogous relationship to the materials of the exhibition was maintained and made recognizable and in dependent through the deliberate use of limited materials and colors:  treated steel with an iron varnish for the entire structure, the stone of Vicenza for the floors of the shops and acid treated glass for the horizontal floors of the exposition.

 

client

Gioielleria Soprana

design team

G. Traverso, P. Vighy
M. Lovato, D. Farnetani

photo credits

Lorenzo Brasco

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