Delta Light’s team of engineers and optic experts is on a continuous quest to match the company’s credo for design with an optimal quality of light. Light and ambiance is not only for indoors. By combining light and architecture, outdoor settings also remain vibrant at night. With the Frax we have taken our fascination for the perfect beam outside. Clean-cut light distribution to boost your outdoor experience. With 7 different light effects and multiple installation options, Frax has been designed for every aspect of the urban architecture: any form, any material or any composition.
OPTICAL PRECISION Frax is based on Delta Light’s LED Caset® technology, which combines multiple LEDs with individual collimator lenses per LED to generate a clean-cut light distribution. The individual lenses create a multi-layered light distribution to generate a clean 8° or 14° beam angle. Other beam angles or other light effects are obtained by adding microlenses in front, sculpting the light into a 26° or 47° beam angle or into a linear or wallwash effect. As such, no matter which size of Fragma is being used, each beam angle will have the same outcome.
VISUAL WELL-BEING Frax not only cares about the perfect light effect, it takes care about the passer-by as well. Frax can be provided with an additional honeycomb or a kap to reduce the possibility from directly looking into the light source. Both of them reduce any undesired light effect and the glare associated with it.
MADE FOR HARSH ENVIRONMENTS IP65 wet rated IK 06 thanks to 5mm thick glass for Frax S IK 08 thanks to 8 mm thick glass for Frax M UV-resistant components for extended lifespan Thermal protector inside to prevent the luminaire from overheating D-Lock: in-house designed moisture lock to prevent humidity from entering the luminaire
INSTALLATION MADE EASY Apart from the extensive optical possibilities, Frax also offers a range of different mounting options. Standard, the luminaire comes on a round base but one can also opt to install the luminaire head on a pin, on a strap or on a simplified bracket with the Base version. That way, Frax can easily be transformed to install in between the greenery, around a tree, pole or any other surface. To facilitate the installation of multiple Frax luminaires, a degree scale is integrated on the hinge, perfect for precise aiming and a proper repetitive light effect.
MATERIALS AND FINISHING To avoid the problem of oxidation and corrosion of outdoor products, Delta Light uses a prime selection of aluminium alloys with a low content in copper. The protection by anodizing treatment, on all suitable components including die-cast aluminium ones, improves the resistance against corrosion. The titanium-based conversion layer offers a further protective layer for protection prior to the final polyester painting.
We apply extensive pre-painting surface treatments for maximum protection against corrosion, such as acid washing to clean the surface, rinsing with demineralized water to remove residue, and the application of a chemical conversion treatment to protect against rusting.
Our polyester powder color coating is based on saturated polyester resins, electrostatically applied and oven cured at 200°, guaranteeing high resistance to atmospheric ageing and UV light exposure. Extra resistant surface paint is guaranteed by filiform corrosion testing with an exposion of over 1500h.
All coating procedures are followed by daily careful testing. Strict controls are constantly maintained over the parameters of every step in the process, such as purity, pH, chemical concentrations, temperature, etc. This ensures the best achievable substrate penetration and uniformity of the conversion coat, thereby ensuring optimum corrosion resistance and powder-coat adhesion.
The complex of the former Monastery of Santa Monica occupies a vast area of over 20,000 square meters in the south-west area of the historic center of Cremona.
Among the monasteries in the area it is the oldest.
In 1480, at the behest of Bianca Maria Visconti, the congregation of San Salvatore was reformed and the monastery named after Santa Monica became the largest and most important convent of female cloister in the city.
The iconographic map of Cremona, drawn up by Antonio Campi in 1583, represents the Monastery in its complete form.
The factory revolved around the main cloister, organized according to the usual arrangement of the conventual premises.
To the east, towards the city, the functions with greater relations with the outside world: the Parlatori, the Church and to the north the minor cloister which housed the hospital, the warehouses, the wash houses, the “tonseria” and the lodgings of settlers and workers . To the south and west, overlooking the alluvial area of the ancient route of the Po, the gardens and the so-called “rooms of the Abbess”.
Santa Monica, like many other monasteries, after the suppression of religious orders with Joseph II (1782/84), and then with the French domination, was converted into a barracks.
But it was the post-unification military interventions of the late 1800s that produced profound transformations.
In many environments the vaults were in fact demolished, replacing them with wooden floors and the church was lofted.
From the second post-war period the complex was gradually abandoned.
A project of such complexity required different interpretations and different visual angles: the urban scale, the new functions, the historical reconstruction, the restoration.
The first goal we set ourselves was to give back to the city a large strategic area, trying to open the “fence” that the historical functions and the long period of abandonment had stolen from the community.
This was possible thanks to a reinterpretation of the original functions which, even in a cloistered monastery, have a hierarchy of progressive confidentiality.
The project had to reconcile the historical and artistic value of the Monastery with a specialized function, often with a high technological content.
Our intent was to draw from this balance an opportunity for mutual enhancement between conservation needs and innovation.
The restoration was accompanied by an archaeological and stratigraphic investigation phase that allowed a careful reconstruction of the history of the monastery from its origins, and to rediscover a rich mural painting - in the church in the chapter house, in the refectory and in other smaller rooms - which testifies, together with the articulated geometry of the vaults, the wealth of the monastery.
The project was the opportunity for a stratigraphic reading of the different moments of transformation.
Significant from this point of view was the construction of the aula magna in the former church, which followed the classic scheme of monastic churches consisting of an external church, open to the city, and an internal church
with the nuns’ choir. It is the part of the monastery that has undergone the most violent changes. The demolition of the partition wall between the external and internal church, the plugging of the colonnade that separated the three naves and the inclusion of the mezzanine, have profoundly changed the perception of space. Without erasing the traces of the transformations, with the partial removal of the mezzanine and the demolition of the infill between the four columns in botticino, we have brought back to view the portion of the external church with the frescoes by De Longe and Natali restored.
The prolonged abandonment has given us a very degraded complex with large areas already in collapse, but also in this case we have tried not to erase the traces of this stage in the life of the 'factory', even if it is traumatic.
Emblematic in this sense in the south wing of the cloister is the choice of enhancing the traces of the collapse of the vaults by letting natural light penetrate the heart of the building, thanks to the gaps generated by the collapse
and without venturing into philologically questionable reconstructions.
Natural light plays a decisive role above all in defining the materiality of the surfaces - lime plasters, sagramature, dull, and exposed brick -, while artificial light, in addition to giving accent to the frescoes, defines the internal volumes and marks the hierarchy of the environments with a balance between direct and indirect lighting, always at the service of architecture.
Two elements above all characterize the intervention: The new metal inserts and the light.
The brown-colored steel of the stairs, “Polanceau” trusses, stays, braces and reverse trusses underlines the consolidation interventions and the access system, as distinctive elements of the new phase of the 'factory'.