82 CONTENT IN ENGLISH 026 CD HAWKERS MADRID: FROM “BIT TO ATOM” WITH LIGHT & STUDIO The digital brand Hawkers is launching its first physical eyeglasses store, with lighting advice from Light & Studio. A unique experience produced in collaboration with the in- terior design studio Cul de Sac, where lighting marks the limits of space. The commercial establishment has opened its door in downtown Madrid to showcase a product that is going from “bit to atom”, showcased by a groundbreaking space and lighting, that seeks to offer the client a luxury product within every consumer’s reach. The consumer will be surprised to see Hawkers eye- glasses displayed on marble and stainless steel. The shelves of light will shine over the product revealing the quality of the colors and the reflection of the crystals in the eyeglasses, and they are convenient for touching and appreciating the product. Likewise, the customer will ap- preciate a dynamic space that brings out the colors of these youthful eyeglasses. COLOR, INNOVATION AND GROUNDBREAKING LIGHTING On its new adventure in off line trade, the brand born in Elche (Spain), intends to position the label among the first on the market yet remaining true to its style: protecting the boldness, defiance, innovation and rebelliousness that has characterized it from the very beginning. The store has three floors, each one with its own, totally different character and functionality. Here, we can find lighting that is full of contrasts, chiaroscuros and progres- sions of light and color. A GLASS BAR FOR YOUR EYES Winking at its surrounding, a glass bar opens up to wel- come the clientele and offer cool advice on finding the most suitable eyeglasses. The bar is framed by a modernist style room with the charm of the most authentic bars in Madrid and reinforces the classic contrast of Hawkers. This floor also houses one of the main novelties of the brand: prescription eyeglasses. The space for visual measurements is a scene within the store, a place where limits are lost and light plays a fundamental role in making the experience an unforget- table one. To create this environment, a lighting design was developed exclusively for the furniture of the store; it plays with contrasts and light points to highlight the bright colors of the eyeglasses. The custom made furni- ture speeds up the election, try out, and sales, simplifying the purchase process. The play on contrasts, chiaroscuros and progressions of light and color express the boldness, defiance, innovation and rebelliousness that characterize Hawkers The custom made furniture speeds up the election, try out, and sales, simplifying the purchase process ALBERTO CAMPO BAEZA: “LIGHT REACHES OUR SOUL IN AN INEFFABLE WAY” Interviewing Manuel Campo Baeza for the new phase of iCandela is a luxury he grants us in the context of FAMA- LAB, First Fair of Architecture and Laboratory of ideas (hna - ETSAM). Alberto Campo Baeza is known internationally as the ‘architect of light’. He believes Architecture is an idea constructed, and that the main components of ar- chitecture are: gravity, which constructs space, and light, which constructs time. His discourse is direct, clear and free of excesses; so is his work. He exudes passion for Architecture and teaching, a vision that is reflected in his books, articles and the classes he teaches around the world. Vision that has not gone unnoticed by the archi- tectural world and that has awarded him various prizes for his exceptional Architecture and for the poetic dimen- sion that his work communicates. His most recent award was a First Prize COAM 2017 for the Multi-Sport Center of the University Francisco, in Vitoria, Spain. After a few words with the architect his sensibility for Art, Literature and Music, emerges; they are the pillars of his work. 1. Magazine iCandela: If I say “To see a world in a grain of sand, and a heaven in a wild flower. Hold infinity in the palm of your hand”... Alberto Campo Baeza: That William Blake in his poem says it better and clearer than I could. 2. MiC: Architecture and Poetry, two arts that walk hand in hand? ACB: Yes, of course, both demand the utmost precision. 3. MiC: Has a musical piece ever inspired you architec- turally? ACB: Bach, always Bach, and nothing else than Bach. 4. MiC: Would you elaborate on one of your axi- oms “Without light there is no Architecture”? ACB: To me, without light there is no architecture in the same way that without air there is no music. 5. MiC: And shadows, what is their role in Architecture? ACB: “Sub umbra alarum tuarum” (Shelter me under the shadow of thy wings), says the Holy Scriptures. 6. MiC: Is it true that some employees of Caja de Gra- nada were moved upon contemplating your building for the first time? ACB: Yes, it is true. Light reaches our soul in an ineffable way. 7. MiC: In your book: “I want to be an architect”, you state that an architect “is a creator, a thinker, an art- ist, a technician, a constructor... but at the same time a physician, a cook and a poet”. In another life, would you be an architect again? ACB: Yes, of course! 8 MiC: Touching on the surgical accuracy needed for Architecture, a quality you admire so much in your father and that is present throughout your work: rigorous, intense, of pure geometry... Do lighting designers also have to be ‘good surgeons’, show that quality? ACB: Absolutely. 9 MiC: You emphasize that artificial lighting must respect natural lighting. Is this something that is per- ceived in the bulk of Alberto Campo Baeza’s work? What is the best way to balance artificial and natural lighting? ACB: I still do not know, but I keep trying. 10 MiC: Architectural lighting should be clear, naked and, in your own words, used as a “material”. Can you tell us about the “materiality” of light? ACB: Newton explains the material, corpuscular nature of light better than me. 11 MiC: Many of your works have an apparent simplic- ity yet they are not simple. Is it a way of appraising the space more directly? ACB: Yes, of course. 12 MiC: During creation, stripping and object or build- ing of everything that is unnecessary...is very diffi- cult. Would you say your creative process is “complex” vis-a-vis your results? Please, tell us more about your way of working? ACB: Time, time, time. Work, work, work. 13 MiC: At the risk of sounding cliché, “is less more”? ACB: Yes, it is. 14 MiC: What is your opinion on Technology and its im- portance regarding Architecture? And Lighting? ACB: Technology helps very much... 15 MiC: You have been a professor of Economy in the Superior Technical School of Architecture of Madrid (ETSAM), for more than 35 years, and you have taught classes and given lectures around the world. How does the discipline of Lighting stand in the studies of Architecture? ACB: It could be better. 16 MiC: In the same train of thought, what is the dif- ference between learning Architecture, teaching Ar-