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

 

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

soprana 100

soprana 100

2010
vicenza

 

client

Gioielleria Soprana

design team

G. Traverso, G. Dalla Gassa

photo credits

traverso-vighy

urban nature skatepark

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

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

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

illy lighting

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

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

spidi day 06

spidi day 06

2005
porto marghera – vegapark

client

Spidi sport Srl

design team

G. Traverso, P. Vighy

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

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

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

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

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