24|REPORTAJE Andrea Resmini, cedida por Bisazza T he project, designed by Oscar Tusquest Blanca, is framed within a series of commissions for the construction of the stations of the new metro net of the city that the Metropolitana di Napoli has entrusted to several internationally well-known ar- chitects. Together with Oscar Tusquets other architects such as Gae Aulenti, Alessandro Mendini or Karim Rashid were selected, and new designs by Rem Koolhas, Alvaro Siza and Benedetta Tagliabue are expected for the future. It is a clear bet to improve the quality of these quotidian spaces, many times set aside in terms of aesthetics, mistakenly thinking that its highly functional requi- rements are an impediment. This is a project that has clearly looked towards good references such as the metro sta- tions in Stockholm and Munich. The first time Oscar Tusquets presen- ted us his proposal we understood that we would not only light a metro station, we should also make the spaces and itineraries become a sensorial experien- ce, where light would be crucial. Since the earlier sketches the most important decisions of the project showed up and they have been the leitmotiv of all the later development. First of all the big light well of 40 meters height that pier- ces all the space and communicates the exterior with the deep underground. A cone-shaped skylight of unprecedented dimensions, which reminds us about the roman salt mines near Naples and which articulates the descent itinerary. Se- cond, the treatment of the surfaces that makes visible, by using earthy and blue colours, the level of the sea. More than a half of the station is immersed and the transition from stony and earthy layers towards the aquatic depths is shown all the way down, until the deepest part is reached where it is possible to see through the eye of the skylight that a few minutes before we were looking from the square above and that now is revealed as a light glow that orientates our glance immersed in the deep sea. Plastic experience The scenographic component of the space is a constant and it is implied in every detail. The light had to be part of this plastic experience giving the right light to each material, helping draw the space, but also making each luminaire to be integrated in the space. The de- sign has to solve as well the lighting of artworks designed by William Kentridge and Bob Wilson among others. The first artist designed a mosaic mural located in the downwards area, with stony and coarse textures, and the second one a LED installation located alongside the conic skylight with point to point control which allows its use as a big colourful display which constantly transforms the appearance of the cone, providing a constant play of vibrating intensities. Uniform distribution of light The first downward floor, with black ceilings and walls covered with cera- mics, is lighted with several fluorescence downlight points. It is necessary to have a uniform distribution of light as well as a steady performance of the lamps and a low consumption. The down- lights act as multiple points that break the concrete layer that separates the lobby ceiling from the square floor, as if letting the sunlight come inside. They are organized in order, modifying their interdistance according to the required lighting levels, so the group presents a fakely random arrangement, which emphasizes the perforation like effect of this surface. The way down starts here and it will not end until reaching the bottom, by means of the escalators that with only one landing cover the almost 40 meters