ARCHITECTURAL
project manufacturer
Duomo, Milan GE Lighting
76 PROJECTS Swarovski HQ, Wattens, Tyrol Martin Architectural
ITALY/AUSTRIA
GE LIGHTING TO THE RESCUE
Airstar Italy has teamed up with GE Light- Incorporating the GE lamps into its 400W
ing to provide lighting for Milan’s historic air filled units with an integrated reflector
cathedral, Duomo di Milano, as part of a to ensure no loss of light, Airstar was able
project to renovate the cathedral ceiling. to provide a solution which required mini-
Tasked with providing a lighting solution mum equipment and dramatically reduced
to illuminate the cathedral’s 60 metre high the risk of UV damage. The technology has
painted ceiling, Airstar needed to provide a enabled officials to document the ceiling
solution which would require the minimum with high quality photography and obtain
amount of equipment, and provide perfect a full 3D rendering of the dome and its
light diffusion, whilst protecting the ceiling’s original paintings.
masterpieces from UV damage. Speaking about the project, Airstar Presi-
Ultra Violet is the part of the light spec- dent and CEO Benoit Beylier said: “The re-
trum that can be harmful to paintings and sult is astonishing and everyone has been
other masterpieces and it is critical to keep very pleased with the project so far. Being
UV away from such priceless antiquities. 60 metres high much of the Duomo’s ceil-
That is why flash cameras are not permit- ing has not been seen in such detail since
ted in many ancient churches or museum it was originally painted. By combining
displays. GE’s UV control lamps and our air filled
Airstar selected GE Lighting’s specialist UV units with special light diffusing fabric we
control CSR lamps which give a 5600K were able to illuminate the ceiling without
colour temperature whilst providing more risking damage to these previously unseen
than 85% reduction in total UV emissions masterpieces and assist in what will be a
and 95% reduction in UVB and UVC, very important renovation project for this
which are the light rays that need to be historic cathedral.”
eliminated to preserve these critical icons.
www.gelighting.com
CRYSTAL CLEAR
Luxury crystal glass brand design requirements, are embed- rich gold-tone; at other times in after a market analysis the Martin
Swarovski recently graced its ded in the ground along the inner a mystical blue or a clear, bright Architectural Inground 200 was
headquarter building in Wat- path of the curtain. white. At times it is illuminated in chosen as the best fixture. We
tens (Tyrol), Austria in a nearly The unique curtain’s sleek, sculp- a variety of colours, like a light were able to verify our choice by
250 metre long transparent tural fabric, which defies weather refractive crystal, continuously a 1:1 test.”
metal curtain. The fabric, made of and corrosion, interacts with the changing the curtain’s appear- The 150W Inground 200 is a
26,250,000 flexible stainless steel sun and passing clouds in a fas- ance. robust and corrosion-resistant IP
rings, rises ten meters in height cinating play of light and shadow. “The main task was to illuminate 65/67 luminaire available in full
and is dynamically illuminated by At dusk, the light show begins as the stainless steel curtain in the spectrum CMY colour mixing, six-
133 Martin Architectural Inground static color scenes interact with the evening and to that end powerful color, or single color versions. The
200 colour changers. shifting shades of the evening sky. and visually appealing inground system provides programmable
The Martin Inground 200 fixtures, Through gentle color changes, luminaires were sought,” com- dimming for 0-100% intensity
whose stainless steel enclo- the visual impression of the mented lighting designer Stephan control.
sure rings, glass and cover met curtain material is transformed. Löper. “The fixture had to have a
Swarovski’s high material and Sometimes the curtain is lit in a colour and a dimmer feature and
www.martin.com
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60 |
Page 61 |
Page 62 |
Page 63 |
Page 64 |
Page 65 |
Page 66 |
Page 67 |
Page 68 |
Page 69 |
Page 70 |
Page 71 |
Page 72 |
Page 73 |
Page 74 |
Page 75 |
Page 76 |
Page 77 |
Page 78 |
Page 79 |
Page 80 |
Page 81 |
Page 82 |
Page 83 |
Page 84 |
Page 85 |
Page 86 |
Page 87 |
Page 88 |
Page 89 |
Page 90 |
Page 91 |
Page 92 |
Page 93 |
Page 94 |
Page 95 |
Page 96 |
Page 97 |
Page 98 |
Page 99 |
Page 100 |
Page 101 |
Page 102 |
Page 103 |
Page 104 |
Page 105 |
Page 106 |
Page 107 |
Page 108 |
Page 109 |
Page 110 |
Page 111 |
Page 112 |
Page 113 |
Page 114 |
Page 115 |
Page 116 |
Page 117 |
Page 118 |
Page 119 |
Page 120 |
Page 121 |
Page 122 |
Page 123 |
Page 124