2018 CONTENT IN ENGLISH 89 And Perico? Perico found a way of being part of the show and keep his promise of distributing wine to the musicians and the public, with rehearsed times and trips, like any other actor. The chromatic dialogue between light- ing and images, where cool and warm colors alternated, wrote a visual rhyth- mic score that ‘dressed’ the music and created a synesthetic experience. The musical light was intended to arouse emotion with every dramatic effect of music, images and lights up to the impressive final explosion of ‘O Fortuna’. TECHNICAL AND ARTISTIC TEAM: Lighting: Ada Bonadei y Peggi Grassia (VANCRAM). Art Di- rection and Stage Design: David Pérez. Musical Direction: Luis Carlos Ortiz Izquierdo. Choir and Ensemble: Fernando Núñez López. Illustrations: Ana Yedros. Audiovisual Pro- duction: Mercè Rodríguez. Technical Direction: Guillermo García (NUNSYS), Antonio Megías (NUNSYS) y Chema Car- reras (ARTEC), Piano 1 y 2: Mario Mora y Blanca María Ruíz. Percussion: Miguel Ángel Orero, Miguel Ángel López, Ali- cia Robles, Julián Redondo y Javier Zanón. Flute and Piccolo: Oscar de la Cruz. Bassoon and Contrabassoon: Javier Caruda. Viola: Jimena Villegas. Violoncello: Leticia Prieto. Soprano Solo: Victoria Manso. Tenor Solo: José Ángel González. Cathedral Choir: Escolanía de la Venerable Hermandad de la Soledad de San Agustín and its Director, Juan Pablo de Haro. URBA CAIXAFORUM BARCELONA: DISCOVERING ARCHITECTURE WITH LIGHT CasaRamona, a modernist factory, is the central element in a lighting pro- ject aimed at restoring its presence and visibility in the city, with a design that maximizes the integration of light and architecture based on three main ac- tions: A fresh approach for the urban lighting that surrounds CaixaForum; an intervention on the facades to enhance the architectural elements; and the use of its skylights and windows, designed at the beginning of the XX century by the architect Josep Puig i Cadafalch. When the architecture studio, AIA Instal.lacions Arqui- tectòniques, and the lighting designer Michela Mezza- villa, won the 2014 competition of ideas proposed by the “Obra Social La Caixa” for the exterior lighting of Caixa- Forum Barcelona, their most important challenge was to improve the visibility and nighttime presence, of the museum, enhancing the modernist architecture of the city’s historic textile factory. The Factory was created by the architect Josep Puig i Cadalfalch and it was very in- novative, at the time, for the use of large windows and skylights as a lighting approach but was eclipsed by the fountains of Montjüic and the buildings of the Universal Exposition of 1929. The design proposed by AIA and Mezzavilla, was based on a respectful approach through a few key concepts that solved the existing lighting problems and maxi mized the integration of light and architecture so that the luminaries remained unnoticed yielding all the limelight to architecture. The design was established on four main pillars: the use of urban elements for the lighting, updating the existing lights of street and mon- uments; highlight the architectural elements by install- ing lighting on the floor, around the perimeter of the building; and illuminate from the elements integrated in the existing windows and skylights, as well as light up the towers in Casa Ramona as if they were jewels, emphasizing their essence. THE MAIN FACADE The design team proposed a combination of two integrat- ed systems: projection, from the urban lamp posts, and a grazing perimeter lighting system with LED, installed at the plinth of the building. On one side, the lighting by projection covers the level of lighting at the base, while the grazing perimeter light enhances the architectural elements, the Catalan vault and the texture of the brick. The urban lighting that surrounds the CaixaForum build- ing was also taken into consideration, as told by designer Michela Mezzavilla: “The grazing light was a touch but general lighting for the top part of the facade was needed. That is why the first level of the intervention was to bring the existing urban lighting up to date.” All the lighting was done with warm colored LEDs, to ob- tain a light shade that would be adequate to the mate- rial of the building. In the grazing lighting, the beam light with refractor lens, covers the height of the building, and the LED system enables adjustment of intensity and light tone. This facilitated adjustment of these parameters for the different heights of the building. In the new lighting by projection from the street lamps of the Hess house, a combination of LED luminaries, of vari- ous potencies and optics was used. They ranged from 17W, optical spot and luminous flux of 1,3klm, to 68W, optical flood/elliptical and luminous flux of 8,2klm. The median luminous level achieved on the facade was around 50 lux. These values can be controlled by regulating the flow of light to adjust it to the desired lighting effect and contrast. Furthermore, special anti-glare accessories have been