26|REPORTAJE Luciano Romano depth. Along this way the transition towards the sea level will appear, in which the tunnels will become blue. All the way is lighted by the escalators themselves, which incorporate in their banister custom made fluorescent ele- ments that flood with light all the spaces crossed by them. The colour tempe- rature of the lamps varies from warm to cool, emphasizing the materiality of the finishing. The absence of visible luminaries and the smooth light of soft shadows with which these luminescent surfaces flood the volumes from below, dematerialize the presence of people providing a first strange sensation that finally penetrates in the observer. Just before leaving the escalator the end of the skylight can be envisaged, which throws light over our heads. The interior of the skylight, as previously said, is full of RGB LEDs of 9w each one, controlled by a complex DMX system which allows an individual control and which reproduces different light sequen- ces, so each day a different composition designed by Bob Wilson can be seen. Once we are in this point a corridor leads us to our platform. This is lighted through great panels located on the walls which contain holographic images back lighted by a custom made system which allows to light panels bigger than two meters height placing high power LED strips in its ends. These holograms show, by means of the movement in the observer’s glance, a wide ocean with waves moving constantly. Finally we reach the platform with lighting incorporated to the benches flooding the walls of the tunnel, in the end of which the train that will take us to our destination will appear. In general the use of fluorescent lamps has been prioritized due to its long life span, using metal halides whe- re a more accurate light beam control has been required, and LED when an accurate regulation or small size solu- tions were needed. In all this description we have not talked about other art works designed by Oliviero Toscani or Ilya Kabakov among many other artists that have collaborated in the project. We have not talked neither about the huge columns that Oscar Tusquest has transformed into imaginary aquatic plants which emit light, nor about the ceilings that act as huge light reflectors for the indirect light coming from the cornices. We have not talked about many other situations and details that have been lighted in order to include them in this big scenogra- phy. Undoubtedly this is a project that needs to be visited to appreciate all its complexity and to let ourselves be lead by the series of stimulus that we are invited to. More information: www.aia.cat