[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-simes-magazine-n02-2022":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":187},{"id":4,"title":5,"slug":6,"image":7,"source":8,"brand_name":9,"brand":10,"brand_slug":11,"file_size":12,"pages":13,"pages_count":182,"matched_pages":183,"match_count":184,"two_pages":185,"show_text":186},23217,"Magazine N.02 2022","simes-magazine-n02-2022","\u002Fmedia\u002Fimages\u002F1d\u002Fc9b03ceba7761621528dba6f1e9fa3-28e91be104.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002F22\u002F004a302d1d1b418e709b778623f578-28e91a81c6.pdf","Simes",227,"simes","4.1 MB",[14,17,21,25,29,33,37,41,45,49,53,57,61,65,69,73,77,81,85,89,93,97,101,105,109,113,117,121,125,129,133,137,141,145,149,153,157,161,165,169,173,177,180],{"image":7,"text":15,"number":16},"",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002F1d\u002Fc9b03ceba7761621528dba6f1e9fa3-28e91be104.2.png","Lighting control, flexibility, comfort and sustainability \nare the key themes around which Simes foresees the \nlighting of the future.\nWhen the advent of LEDs turned the lighting world \nupside down, we could not have imagined that \nelectronics and the potential to control light would \npave the way for a new revolution.\nDigitalisation, combined to an ever-incresing care \nfor the environment, is bringing a much-needed \nawareness and a shift from a human-centric to an \neco-centric approach.\nEven in the world of lighting, limiting our impact on \nthe planet and managing resources effectively and \nresponsibly is becoming a priority.\nDimming, the use of sensors and programmed \nflux reduction are some of the ways in which new \ntechnologies allow us to reduce consumption and \nprovide light only when and where it is needed.\nAvoiding light dispersion, especially towards the sky, \nbecomes the focus point of a shared and collective \ndesign aimed at reducing light pollution of the night \nsky.  \nThe use of comfort optics to avoid visual disturbance \nand glare and the development of tunable white \nsolutions are the result of a culture rooted in the \nconcept of personal well-being and respect for \nbiological rhythms.  \nWith the first edition of Simes MAG, we created a \nnew alphabet inspired by the concept of the Point \nand Line to Plane, to encourage the use of new forms \nof writing space through light.\nIn this second issue we want to project ourselves into \nthe future and talk about an increasingly present and \nnecessary culture where light, in addition to fulfilling \nspecific functions, now plays an important social \nrole.\n",2,{"image":22,"text":23,"number":24},"\u002Fmedia\u002Fimages\u002F1d\u002Fc9b03ceba7761621528dba6f1e9fa3-28e91be104.3.png","“Eco-centric design for \na new culture of light”\n2\n3\nS I M E S  M A G  0 2\nS I M E S  M A G  0 2\n",3,{"image":26,"text":27,"number":28},"\u002Fmedia\u002Fimages\u002F1d\u002Fc9b03ceba7761621528dba6f1e9fa3-28e91be104.4.png","Fire and rock art. \nThanks to the discovery of fire, the first source of \nlight, man can extend the hours of life and sediment \nhis own identity by using painted images as a \nnarrative tool. \nLight, the main trigger of life on our planet, \nhas accompanied the evolution of mankind \nsince its origins, revolutionising cultural, \nsocial, artistic and scientific aspects.\nAround fire, the first true form of controlled \nlight, mankind formed the first communities, \nlearnt to cook, to pass on values and \ntraditions; to experience the unknown as a \ncontinuous source of discovery. \nArchitecture, literature, visual arts, science \nhave all been influenced by this incredible \ninstrument of knowledge and, at the same \ntime, we have shaped our cities on the \nability to control light that technology has \nnow made possible.\nAll this has led us to a paradox: we \nhave turned night into day, altering the \nnatural balance that has made our long \nevolutionary journey possible to the \ndetriment of the ecosystem in which we \nlive. What possible future? \nWe need a new approach, a new culture of \nlight to rethink our habits in order to mitigate \nthe anthropic impact that is now out of \ncontrol. It is time to start a new journey.\n5\nS I M E S  M A G  0 2\n4\nS I M E S  M A G  0 2\n",4,{"image":30,"text":31,"number":32},"\u002Fmedia\u002Fimages\u002F1d\u002Fc9b03ceba7761621528dba6f1e9fa3-28e91be104.5.png","Planisfero Castiglioni, Diego Ribeiro di Siviglia, 1525\nThe nautical chart of the known world visually documents the theories on the sphericity of the earth.\nLunar phase\nThe study of our natural satellite and its phases opened the door to understanding our solar system.   \nPole star\nStargazing is the primary orientation tool for large-scale navigation on the sea.\nFilm “Metropolis”, Fritz Lang, 1927\nThe foreshadowing of the future world of industry and work is represented through the magic of artificial light.\n6\n7\nS I M E S  M A G  0 2\nS I M E S  M A G  0 2\n",5,{"image":34,"text":35,"number":36},"\u002Fmedia\u002Fimages\u002F1d\u002Fc9b03ceba7761621528dba6f1e9fa3-28e91be104.6.png","The Weather project, Olafur Eliasson, 2003\nLight becomes an artwork, sublimating its archetypal meaning. \nLight painting, Pablo Picasso, 1949-1955\nFascinated by this new photographic technique, the artist used light to “paint” in the dark.\nPhanteon, Agrippa, 27 b.C.\nThe Phanteon’s oculus was designed to mark the seasons and illuminate the emperor’s entrance at a precise time of the year.\nGeodetic Dome, Buckminster Fuller, 1955\nThe architectural relationship with light is realised with the design of the first geodesic dome.\n8\n9\nS I M E S  M A G  0 2\nS I M E S  M A G  0 2\n",6,{"image":38,"text":39,"number":40},"\u002Fmedia\u002Fimages\u002F1d\u002Fc9b03ceba7761621528dba6f1e9fa3-28e91be104.7.png","Infographic illustrating the impact of light \npollution on our ability to see stars and other \nobjects in the night sky (Image: NOIRLab\u002FNSF\u002F\nAURA, P. Marenfeld)\nThe spherical representation of the \nSkyglow phenomenon clearly highlights \nthe extension of man’s anthropic impact \non the celestial sphere.\nSkyglow\n00\nCity \u002F Inner\nCity Sky\n01\nCity \u002F Suburbia\nTransition\n02\nBright Suburban\nSite\n03\nSuburban\nSky\n04\nSuburban \u002F Rural\nTransition\n05\nRural\nSky\n06\nDark sky\nSite\n07\nExcellent\nDark Sky site\nANTHROPOCENE\nNATURAL\n11\nS I M E S  M A G  0 2\n",7,{"image":42,"text":43,"number":44},"\u002Fmedia\u002Fimages\u002F1d\u002Fc9b03ceba7761621528dba6f1e9fa3-28e91be104.8.png","Editorial\nIn his 1971 text “Designing for the Real World”, the designer Viktor Papanek calls for \ninclusiveness, social justice and sustainability, issues that have become indispensable to \nplanning in the fields of design, architecture and urbanism.\nDesign is not only a mean to shape something, but a tool for transformation, for investigation \nthat must take into account and respect social, ethical and ecological points of view. The role \nof the designer is therefore also a social one, a mediator capable of guiding choices towards \nsensitive and responsible design, in order to influence his interlocutors or possible decision-\nmakers to initiate changes towards virtuous paths. \nDesigning for and with light does not shy away from this responsibility, and today, more than \never, the approach of eco-centric and eco-systemic design has become central to meeting the \nchallenges that await us in rebalancing a planet sorely tested by the impact of human activity. \nIn a short space of time, humans have come to inhabit a tiny part of the earth, the cities. We \nnow know that they have a major role to play in shaping the future of our planet, as they are \nresponsible for 75% of CO2 emissions and are now home to more than 54% of the world’s \npopulation. An urban dimension that has lost contact with the countryside, which over time \nhas accumulated excesses and bad habits, and which continues to disrupt, if not destroy, the \nbalance that nature has always maintained in all its expressions. \nA multidisciplinary approach, collaboration and synergy between companies, designers, \nresearchers and universities at an international level are therefore becoming central. Sharing \nand participatory design now make it possible to imagine and realise visions that were \npreviously considered impossible. What Bruno Munari simply defined as “everything that was \nnot there before”, we could define as “dreams”. Actions that are no longer singular but plural, \ncapable of looking at development models in order to innovate according to the canons of \nglobal sustainability.\nLight is a vital trigger, well-being, an indispensable element of our lives, as well as a \nfundamental component for the entire ecosystem of the planet. We are reminded of this in \nthese pages by Kerem Asfuroglu, lighting designer, who tells us how designing light for dark \nskies is now a priority for large and small communities, in order to restore the balance between \nour increasingly densely populated urban areas and the environment.\nCircadian rhythms have always shaped the evolution of life on our planet. Thinking of \narchitecture as a symbiotic element in the relationship between man and nature is the key to \nmaking our “living space” sustainable. The architect Giovanni Traverso, co-founder of Traverso-\nVighy, shows us how it is possible to design reversible architecture, based on natural light in \ndialogue with artificial light, to create well-being and balance in living spaces.\nIn today’s scenario, where it is necessary to define design methods capable of guiding us \ntowards long-term strategies, the field of research and development becomes a fundamental \npillar for a company like SIMES, which has always made the “dream of light” its guiding \nprinciple. The words of the R&D team illustrate how hardware and software technology are \nrevolutionising the way we design light, and how multidisciplinarity is an essential value for \nnew challenges and the fulfilment of a dream.\nTechnology\nProduct\nLighting\nKnowledge\nProject\nWellbeing\n13\nS I M E S  M A G  0 2\n12\nS I M E S  M A G  0 2\n",8,{"image":46,"text":47,"number":48},"\u002Fmedia\u002Fimages\u002F1d\u002Fc9b03ceba7761621528dba6f1e9fa3-28e91be104.9.png","Designing with and \nfor the community \ndesigning with \nand for the \ncommunity\nObserving the starry sky is almost \nimpossible in today’s urban areas, large \nor small. We have slowly turned night into \nday. We therefore need to look at light \ndesign with an eco-systemic and ethical \napproach, as a social tool to engage \ncommunities and reduce our impact \non the planet, recovering something \nimportant that we have lost: the stars. \nInterview with Kerem Asfuroglu, lighting \ndesigner, graphic artist and founder of \nDark Source London, UK - Wexford IE\nWellbeing\nWellbeing\n15\nS I M E S  M A G  0 2\n14\nS I M E S  M A G  0 2\n",9,{"image":50,"text":51,"number":52},"\u002Fmedia\u002Fimages\u002F1d\u002Fc9b03ceba7761621528dba6f1e9fa3-28e91be104.10.png","Where did the Dark Sky movement come from, \nwhat does Dark Sky represent to you and what led \nyou to investigate this field?\nDark sky has always been there; we just hid it \nunder many layers of light and forgot about it. \nAlthough it’s much more diverse now, astronomers \nwere probably the first group to bring attention to \nthe growing problem of light pollution. The idea \nbehind the Dark Sky movement is to scratch away \nthe paint in order to get back to the original canvas \n– the natural night. It represents quiet skies \nand landscapes, not just the view of the stars. \nThis movement advocates the protection of our \noldest heritage, the true night that our ancestors  \nexperienced until very recently.\nThe advent of lighting helped us to tame the night, \nwhich for much of our existence has not always \nbeen a friendly environment for us humans. But \nnow we are in the Anthropocene. At no time in \nour history have we produced and consumed \nmore light than we do today. As a result, light \npollution is increasing at an alarming rate, \naffecting our health, nocturnal biodiversity and \nthe environment, and changing our perception of \nthe night, not just the night sky.\nNow that we have a clear understanding of the \nadverse effects of light pollution, if we don’t do \nsomething about it, we would be actively choosing \nto be a part of the problem. As a lighting designer, \nit was important to me that our profession remains \nrelevant to the times we live in and addresses \nthese issues as we play a significant role in \ninfluencing how light is used and perceived. Light \npollution is not only an environmental issue, it is \nalso a cultural problem.  \nHow did the Dark Sky movement start?\nThe Dark Sky movement began with astronomers \nshowing great interest as light pollution blocked \nour view of the stars, distant galaxies, and \nplanets, hindering our understanding of the \ncosmos and the universe. The movement has \ngained great importance in recent years, mainly \nbecause these views got aligned with the concerns \nfrom environmental protection and biodiversity \nconservation \ngroups \nas \nwe \nhave \nbecome \nincreasingly aware of the adverse effects of light \npollution on plants, insects, and pollinators. The \ndecline in insect population is heavily related to \nartificial light at night. The more we understood \nthe impact of Artificial Light at Night, the more \nthese groups got united under the Dark Skies or \nthe “Anti-Light Pollution” movement.\nLight pollution has never been worse in our history, \nbut we have also never been better equipped to \ntackle light pollution as we are now. We know \nits impact and how it can be eliminated so we \nhave no excuse not to act on it. One interesting \nthing about light pollution is that, of all types of \npollution, it is the probably the easiest to rectify \n– you just turn it off, and it’s gone. Unfortunately, \nyou cannot do that with other types of pollution.\nK.A.\nDesigning light for darkness. It may seem like a \ncontradiction. What are the basic principles that \nguide your design and how much do the context \ninfluence it?\nThere is certainly a contradiction in designing \nlight in order to curate darkness. Darkness is a \nbig word, and there’s a big spectrum between \na well-lit space and pitch-black darkness. What \nwe try to do in every project is to find reductions \nacross the board and still deliver a visually-\nintriguing image after dark. However, we are not \nonly driven by visual aesthetics, the final visual \noutput is the outcome of our uncompromising \nenvironmental approach. This is about using light \nas judiciously and conservatively as possible to \nachieve maximum impact and significant CO2 and \nlight pollution reduction targets. \nSpace plays a very important role in determining \nthe degree of customisation of the design, and in \ndetermining what aspect of the “dark canvas” we \nchoose to show or remove. Geographical location \n(latitude) and the nature of the environment are \nalso fundamental. Whether it’s a rural or urban \nreality suggests how bright is too bright and \nhow dark is too dark. Even the terms we use for \ncommunicating light such as “brightness” and \n“darkness” can be highly subjective from both \ncultural and individual perspective.\nThe basic principles to tackle light pollution can \nbe summarised as “use the right light, at the \nright time, in the right place.” In a nutshell, this \nmeans using warm colour temperature, angling \nit downwards, not letting light to escape above \nthe horizon line, dimming it down or switching off \nwhen you don’t need it.\nIf we are in a lit context where the light can be \nborrowed from the surroundings, we try to use \nit to our advantage by introducing as minimal \nlight as possible. On the other hand, when we’re \nworking with pitch-black darkness, the light has to \nbe used in a very measured way so that we don’t \naffect the environment and the original nature of \nthe nightscape in that area and beyond.\nRural areas and small communities VS big cities \nand authorities? Who can influence whom? Where \ncan the change to design in a different way with a \ndifferent approach start?\nThere are indeed big differences between small \nand large communities, such as cities and towns. \nWhether it’s a rural town or an urban city, the \nsuccess and momentum of the project often rely \non the local community which then grows into \nsomething much bigger. We have been fortunate \nenough to work with a wide range of communities \nwith different strengths and weaknesses, and \nwhat we have found is that there is no “one \nsize fits all”. However, we need to recognise the \nachievements of the small communities which are \noften overlooked. Big change begins with small \nsteps. The growing popularity of this movement \nowes a lot to small or rural communities as they \nhave brought so much attention to this movement \nby putting up a big fight to protect their natural \nresource of dark skies. This has influenced larger \ncommercial developments to consider dark skies \nas a unique selling point from the outset, rather \nNight map of Tokyo city\nK.A.\nK.A.\nK.A.\n83% of the earth’s population lives under \nheavily polluted skies that prevent them \nfrom seeing the night sky. \nWellbeing\n17\nS I M E S  M A G  0 2\n16\nS I M E S  M A G  0 2\n",10,{"image":54,"text":55,"number":56},"\u002Fmedia\u002Fimages\u002F1d\u002Fc9b03ceba7761621528dba6f1e9fa3-28e91be104.11.png","“The idea behind the Dark \nSkies movement is scratching \nthe paint in order to get back \nto the original canvas – the \nnatural night. It represents quiet \nskies and landscapes, not only \nthe view of the stars.\nThis movement advocates \nthe protection of our oldest \nheritage, the true night \nwhich our ancestors had \nbeen experiencing until very \nrecently.”\nKerem Asfuroglu\nWellbeing\n19\nS I M E S  M A G  0 2\n18\nS I M E S  M A G  0 2\n",11,{"image":58,"text":59,"number":60},"\u002Fmedia\u002Fimages\u002F1d\u002Fc9b03ceba7761621528dba6f1e9fa3-28e91be104.12.png","K.A.\nK.A.\nthan as an afterthought. However, the ultimate \nsuccess of this movement will be defined by the \nfate of the big cities. Much work still needs to be \ndone to demonstrate that urban areas can also be \nequipped with environmentally friendly lighting. \nWhile rural communities are more accustomed to \ndarkness, it can still be intimidating concept for \nthe city dwellers. Maybe demonstrating successful \napplications of less light would be an appropriate \napproach for the cities to start with. \nIs it easier to work with small communities or big \ncities?\nBoth are fun. We have found that the more you \ninvolve people, organisations and authorities \nin the design and decision-making process, the \nmore they become influential stakeholders who \nensure the longevity of the project. Because \nof my experience in community work, I really \nenjoy achieving something meaningful through a \ncollective grassroots approach - from the bottom \nup. When you create a Dark Sky project, you need \nto make sure it lasts and you can only do that if \npeople feel that they are part of the process. It \nshould be their making, not something imposed \non them or decided for them behind closed \ndoors. The Dark Sky movement relies heavily on \ncollaboration at all levels. \nSmall communities can be agile and fast when \nthey set their minds to a goal. Larger authorities \nand municipalities need more time because \nthey have to deal with more bureaucracy due \nto the large number of stakeholders. However, \nlarge authorities can set long-term goals and \ndevelop highly ambitious projects that can have \na significant impact. There are certainly pros and \ncons to both sides and the two spheres are not \ncompletely separate.  For example, we worked \nclosely with the community of Presteigne and \nNorton to create the first Dark Sky Community \nin Wales. The lighting improvement project was \na great success because it had the full support \nof the local and the County Council. This \nprompted Powys County Council to consider \nrolling similar schemes out across the county, \nthereby empowering many other communities to \npursue dark skies accreditation if they so choose. \nThe Presteigne dark skies plan exemplifies how \na small community might be bestowed with an \nagency and platform to transform their nocturnal \nenvironment, yet strikingly, it has had a far more \nextensive impact across Wales, an outcome that \nwas entirely unanticipated. \nSpeaking of stakeholders and projects, can you \ngive us a specific project that illustrates this \nalternative perspective for on eco-centric lighting \ndesign?\nOne of my favourite projects is the Newport Dark \nSky masterplan which is located on the west \ncoast of Ireland in County Mayo. The project \nwas commissioned with the aim of eliminating \nthe light pollution, a growing concern for the \nregion due to the town’s proximity to Mayo Dark \nSky Park which is home to a rich but sensitive \nnocturnal biodiversity. Working closely with the \nlocal community, an architectural lighting design \nproposal was developed that would continue \nto celebrate the church building but avoid \nlight pollution whilst enhancing the night-time \nexperience for both people and biodiversity.\nSt Patrick’s Church is located in Newport, and \nis a small town with a big ambition to become \nthe first Dark Sky Community in Ireland. The \nlocal community sought a design solution to \ntackle light pollution caused by the town’s \nrevered landmark architecture. The project aims \nto demonstrate how the judicious use of light \ncan eliminate light pollution and protect the \nenvironment while creating a strong night-time \nimage. This empowering project illustrates the \neffectiveness of small but organised communities \nin taking environmental action despite the lack of \nresources. \nCommunity involvement was an important part of \nthe design development, with activities ranging \nfrom participation in the lighting tests to the \ninstallation of light shields on site. Local opinion \nwas vigorously sought through several public \nconsultations to ensure that the lighting design \nstruck a healthy balance between the needs of the \npeople and the biodiversity.\nThe project advocates the visual and physical \nmanifestation of an environmental ethos through \nthe considerate use of light on a publicly respected \narchitecture as a communication platform. The \nproject challenges the conventional wisdom \nthat architecture needs to be fully lit to show its \npurpose or communicate its value. It reverses the \nrelationship between light and dark by highlighting \nthe carefully selected features of the architecture, \nwhile leaving unlit surfaces in abundance to \nprovide a confident canvas and strong outline of \nthe building against the night sky. Up-lighting is \nonly used where light spill can be contained within \narchitectural features such as niches and recesses. \nBack-lighting of the windows on the front façade \nadds visual interest by revealing the design of the \narched windows and the colourful stained glass. \nAll other windows borrow light from the interior \nlighting as they are not actively lit. The ability to \nview the warmly lit windows from different angles \nthroughout the project was intended to create a \nhomely and welcoming glow while the church is \nopen to visitors.\nThe previous lighting scheme solely focused on \nemphasising the verticality of the architecture \nthrough excessive floodlighting whilst the new \nlighting aimed to restructure this hierarchy \nby balancing the vertical and the horizontal \nexperience. As a result, the church grounds were \ntreated as an extension of the façade lighting \nto encourage social activity after dark. This \ntransformed the church’s night-time role from \nbeing an object of interest to a destination worth \nvisiting both for the locals and visitors.\nThe new lighting scheme, which has resulted in a \nreduction of 2 tonnes of CO2e per year (including \nthe re-lamping of the interior), aims to demonstrate \nthat even a façade lighting project can create a \nstrong night-time image through the judicious \nuse of light. 2200K CCT (warm white) has been \nused throughout to minimise the environmental \nimpact whilst providing a consistently warm and \nLighting trials in the community \nof Newport, Ireland. \nDesign: Kerem Asfuroglu\nWellbeing\n20\n21\nS I M E S  M A G  0 2\nS I M E S  M A G  0 2\n",12,{"image":62,"text":63,"number":64},"\u002Fmedia\u002Fimages\u002F1d\u002Fc9b03ceba7761621528dba6f1e9fa3-28e91be104.13.png","Graphic illustration of the lighting \nmasterplan for the city of Newport.\nDesign: Kerem Asfuroglu\nGraphical simulations of \nintervention areas. \nDesign: Kerem Asfuroglu\nWellbeing\n23\nS I M E S  M A G  0 2\n",13,{"image":66,"text":67,"number":68},"\u002Fmedia\u002Fimages\u002F1d\u002Fc9b03ceba7761621528dba6f1e9fa3-28e91be104.14.png","K.A.\nK.A.\nwelcoming feel to the built environment. As a \nresult of the improvement, it is estimated that \nlight pollution in the city has been reduced by \n40%.\nProjects like this, how much time do they take \nfrom start to finish?\nIn general, it takes a while to get there. For \nexample, it took us five years to set up the first \nDark Sky Community in Wales. Even with the \nbest of intentions, it’s a process that takes time \nto reach its full potential. Rushing into it before \nstrong support and a roadmap are in place can \ncause problems down the line. The Newport \nDark Sky Masterplan actually started before we \nbecame involved. We’ve been working on it for \nthe last three years with the ambition to bring \nthe community’s vision to life. Projects of this \nscale take time because the design is not the \nfirst stage. Design is the final manifestation and \noutcome of all the conversations, interactions \nand public consultations you carry out. It has to \ntick all the boxes, not just of what works best for \nthe architecture, but also for your environmental \nobjectives and people’s expectations. Rather \nthan designers, we often act as communicators \nor diplomats, always trying to find the perfect \nbalance between the interests of all stakeholders. \nIt took us two years to complete the first phase of \nNewport, and I imagine it will take another two to \nthree years to complete the whole project. Quality \ntakes time.\nWhat role can lighting companies play in raising \nawareness in communities? How can they \nempower people to be active agents of change?\nIt’s clear that the individuals and companies can \nplay a big role in reducing light pollution. The \ntools we use as designers, the lighting fixtures  \nwe specify and the manufacturers we work with \nreally define what we can deliver. Dark Sky is a \ngrowing trend but not yet a mega-development \nsphere yet, so the budgets can be tight but the \ngoals are always ambitious which is a professional \nchallenge. There is a clear demand for dark sky-\nfriendly luminaires with full cut-off, warm colour \ntemperature, and adaptive controls, like dimming \nand presence detection. I think lighting design \nwill continue to evolve as we find better ways to \nwork with less. Finding creative ways to avoid \nwasting light and materials is already part of the \nsustainable design trend and culture, whether \nit’s related to Dark Skies or not. We already have \nto change the way we do things to make sure \nwe are environmentally responsible. So there’s \na lot of scope for companies to get involved in \nthis movement, see the potential and adapt their \napproach.\nI think a lot can be achieved if a Dark Sky Friendly \napproach is designed from the start, not as an \nafterthought. We have a lot to learn from each \nother. There’s a lot of power in individuals and \nI think we’re seeing more and more that it’s \nabout bringing together the right people, the right \nmindset, and the right companies which share the \nsame values together. My experience with different \nK.A.\ncommunities has enriched my professional vision. \nI then bring this knowledge to other communities, \nwhich is a form of cross-pollination. I learn as \nmuch from the communities I work with as they \nlearn from me. It’s the nature of grassroots \ncommunity work that really nourishes us. If you \ntake care of the people, the people will take care \nof you.\nNow let us move on to a more conceptual and \nabstract question. What does light mean to you?\nLight is a great source of inspiration for me. It \nis rays, it is waves and it is photons travelling \nat 300,000km per second. Light is information \nand we process it incredibly quickly because we \nare designed to receive 80% of our information \nvisually, so it plays a very important role in \nour lives. For me, light is the balance between \nbrightness and darkness. Think of it like this: if \nlight and dark were to overpower each other, you \nwouldn’t be able to see. The visual experience is \none of balance. I’m still growing as a student of \nlight and dark. Perhaps you should ask me again \nin five years’ time.\nSight is one of our main senses, but if we were to \nperceive light through the sense of hearing, what \nkind of music would it be for you?\nThat’s difficult because I have a very eclectic \ntaste in music. One day it might be classical, the \nnext day rock and the third day electronic. I think \nit is pretty much the same with light. You never \nconsume the same media over the years; you are \nalways evolving and changing. My understanding \nof light, the culture around it and our interaction \nwith it is constantly changing. Light is a rich \nharmony that can manifest itself in any kind of \nmusic.\nIf you were stranded on an island, what kind of \nlight would you want to look at?\nI can’t answer that because it’s difficult to choose \nthe best form of light. I enjoy the wild variety that \nnature can offer. But if I had to choose, I think the \nless glaring and brighter light is the best music for \nmy eyes. The light that respects the dark.\nK.A.\nK.A.\nBefore lighting intervention\nAfter lighting intervention\nWellbeing\n24\n25\nS I M E S  M A G  0 2\nS I M E S  M A G  0 2\n",14,{"image":70,"text":71,"number":72},"\u002Fmedia\u002Fimages\u002F1d\u002Fc9b03ceba7761621528dba6f1e9fa3-28e91be104.15.png","Photographs of Newport Cathedral \nafter lighting intervention.\nWellbeing\n27\nS I M E S  M A G  0 2\n26\nS I M E S  M A G  0 2\n",15,{"image":74,"text":75,"number":76},"\u002Fmedia\u002Fimages\u002F1d\u002Fc9b03ceba7761621528dba6f1e9fa3-28e91be104.16.png","“We can learn a lot from each \nother. There’s a lot of power \nin individuals, and I think we’re \nseeing more and more that \nit’s about bringing the right \npeople, the right mindset, \nand the right companies \nwhich share the same values \ntogether. \nI learn a lot from the \ncommunities I work with, as \nmuch as they learn from me. \nIt’s the essence of grassroots \ncommunity effort that truly \nnurtures us. If you take care \nof the people, the people \ntake care of you.”\nKerem Asfuroglu\nBefore lighting intervention\nAfter lighting intervention\nWellbeing\n28\n29\nS I M E S  M A G  0 2\nS I M E S  M A G  0 2\n",16,{"image":78,"text":79,"number":80},"\u002Fmedia\u002Fimages\u002F1d\u002Fc9b03ceba7761621528dba6f1e9fa3-28e91be104.17.png","Architecture in \nsymbiosis with man \nand environment  \nInterview to the architect Giovanni Traverso,\nCo-founder traverso-vighy \nVicenza, IT\nThe circadian nature of biological \nrhythms now becomes a central \nparameter in the design of circular \nbuildings. Interior and exterior merge \ninto a single ecosystem thanks to the \nskilful dialogue between natural and \nartificial light. \narchitecture in \nsymbiosis with m\nan an enviroment\nWellbeing\nWellbeing\n30\n31\nS I M E S  M A G  0 2\nS I M E S  M A G  0 2\n",17,{"image":82,"text":83,"number":84},"\u002Fmedia\u002Fimages\u002F1d\u002Fc9b03ceba7761621528dba6f1e9fa3-28e91be104.18.png","We are often used to thinking of architecture \nas something sculptural, linked to our historical \nheritage, a form that is almost immutable in time. \nIn your projects (Studio Traverso-Vighy), on the \nother hand, an approach emerges that you define as \n“reversibility” applied to architecture, almost as if it \nwere a living organism. \nCould you describe how this circular vision of yours \nhas developed?\nI believe this vision has matured over time, starting \nfrom our formative years and then perfected in our \nmore recent works, which are also the most radical \nin this sense. I think it all started with the generation \nto which I belong. Born in ‘69 and graduated in ‘94, \nI grew up in a world that had mainly developed in the \ntwenty to thirty years following an explosive building \nboom. Indeed, about 80% of italian construction \ncan be attributed to the period after the Second \nWorld War. \nPerhaps it derives from an “allergy” to this \ncementification \nand, \nconversely, \na \nsensitive \nappreciation for the landscape of my territory. I \ncome from a small city, Vicenza, where there are \nopen spaces, mountains, hills, intact environments \nthat have often been contaminated by this trend. \nProbably unconsciously, even in our studies, we have \nalways sought an antidote to this cementification. \nBoth Paola Vighy and I (ed. Traverso-Vighy studio) \ngraduated in architecture at the Iuav University \nof Venice and later studied in London at Bartlett \nUniversity where we learned an architecture thought \nmore for “craft pieces” and components typical of \nthe entire strand of English architecture of those \nyears and where we followed a master’s course in \nLight & Lighting. Returning to Italy, we opened our \nstudio in a very fertile situation characterized by a \nvery flexible economy made up of small enterprises \nwhere it was possible to produce any piece with high \ntechnology at relatively low costs. We experimented \nwith the first non-traditional buildings. To construct \nour first architectures, bricks, mortar, or plasterboard \nwere not needed, but a dry assembly of predefined \ncomponents. \nThen, over the years, the use of computers has \nbecome increasingly predominant in the studio, \nand this architecture has become digital, making it \npossible to control the single piece, build it three-\ndimensionally, and arrive, as it has been precisely \nin the latest projects of the studio, to produce \neverything with a perfectly digital method. We \napplied this process to traditional materials because \ntraditional architecture, which by definition is made \nof local materials available within a small radius \nfrom the construction site, relies on materials like \nlarch wood from the mountains, steel from local \ncarpentries, glass, and stone from the territory. \nAll materials workable with CNC numerical control \nor laser cutting. We are talking, therefore, about \nautomatic processes on traditional materials, of \nwhich we have tried to resume the use and the \nknowledge of processing and finishing. For example, \nwood that dries when it rains to avoid treatments \nor varnishes also for the love of what John Ruskin \ncalled “patina”, i.e., that thing that attacks the \nmaterials and makes them able to merge with the \nenvironment. \nThus, the first buildings were of this type, and then \nlittle by little, we developed our path, our current in \nG.T.\na perspective of recycling materials from buildings \nat the end of life. I think about glass, aluminium, or \nsteel, or materials that can also be directly reused, \nsuch as wooden beams and planks.  So yes, perhaps \nour buildings are somewhat of an organism. \nI believe this is a way of proceeding in continuity \nwith the environment. It is a way that joins a word \nvery much in vogue today, which is circularity. I \nhope that this method of work can be as ethical as \npossible and become an example to share with the \npeople we collaborate with. \nAlso, our working system is crucial: we design \neverything in the design phase. No choice is made on \nthe construction site because everything is already \npredetermined in the project phase, in which all our \ninternal and external collaborators at the studio, \nincluding engineers, structuralists, mechanics, \nelectricians, geologists, or surveyors, participate. \nVery often, in this phase, we consult craftsmen who \nmake prototypes, we fine-tune them, and then in the \nexecutive design, the finished product appears. This \nvery detailed design also allows cost control, i.e., \noffers as a whole “bypassing” as much as possible \nthe traditional accounting of a construction site and \nthe arising of economies. This has led to progressive \ngrowth for clients and the studio with increasingly \nambitious commissions.\n“There’s no place like another”, to borrow from \nDorothy’s famous line in “The Wizard of Oz”, to \nwhat extent does context influence design choices \nto create buildings designed for human wellbeing? \nThe context totally influences the design choices. \nNaturally, the ideal situation would be to have a \nhouse on top of a hill, surrounded by nature 360°, \nlike in the Renaissance. In our time, however, we \nhave to somehow carve out the context, because in \narchitectural terms, context means views and points \nto look at. Context is also exposure and orientation \nto the sun, because passive buildings, like the ones \nwe design, have to make the best use of the sun \nthroughout the seasons, to warm in winter and stay \ncool in summer. For this reason they need a sensible \nexposure to the sun. The design of the building \nenvelope in relation to the context is important \nbecause it determines the relationship between \nthe occupant and the external environment. We \nstrongly believe in the concept of circadianity, i.e. \nthe fact that people live and work in an “external” \nenvironment even though they are inside a case. \nIt is well known that in modern civilisation one of the \nstress problems for many people is precisely the fact \nthat we are more and more in enclosed spaces, in \nmeans of transport, in the presence of artificial light, \nlosing contact with the seasons, with meteorology, \nwith the variations and modulations of light, which \nare instead extremely positive in regulating our \nbiorhythms for our well-being. This is therefore an \naspect common to all our buildings, where we always \ntry to have or recreate a contact with the outside, \nwhich can be horizontal towards the garden, towards \na valley, but also, as in some projects such as the \n“Spidi Sport Showroom”, open upwards towards the \nsky, just by capturing the modulations of light. \nThe context can also have another level of reasoning, \nwhich in our case started from the project of our \nstudio in 2011. For a building to be zero energy, \nG.T.\n1785. The father of mountaineering, \nHorace Bénédict de Saussure, during his \nexpeditions to Mont Blanc, invented the \ncyanometer, an instrument to measure the \nintensity of blue in the sky.\nWellbeing\n32\n33\nS I M E S  M A G  0 2\nS I M E S  M A G  0 2\n",18,{"image":86,"text":87,"number":88},"\u002Fmedia\u002Fimages\u002F1d\u002Fc9b03ceba7761621528dba6f1e9fa3-28e91be104.19.png","Corte Bertesina, Vicenza, 2017\nDesign team: G. Traverso, P. Vighy, L. Angelini, C. Baggio, \nC. Cavalieri, S. Dal Bianco, G. Dalla Gassa, G. M. d’Arco, A. Marzano\nPhoto: Alessandra Chemollo\nWellbeing\n34\n35\nS I M E S  M A G  0 2\nS I M E S  M A G  0 2\n",19,{"image":90,"text":91,"number":92},"\u002Fmedia\u002Fimages\u002F1d\u002Fc9b03ceba7761621528dba6f1e9fa3-28e91be104.20.png","“The context totally influences \nthe design choices. Naturally, \nthe ideal situation would be to \nhave a house on top of a hill, \nsurrounded by nature 360°, like \nin the Renaissance. \nIn our time, however, we have \nto somehow carve out the \ncontext, because in architectural \nterms, context means views and \npoints to look at. Context is also \nexposure and orientation to the \nsun, because passive buildings, \nlike the ones we design, have \nto make the best use of the sun \nthroughout the seasons.”\nArchitect Giovanni Traverso\nTVZEB, Zero energy building, Headquarters traverso-vighy studio, Vicenza, 2012\nDesign team: G. Traverso, P. Vighy, G. Dalla Gassa, E. Panza\nPhoto: Alessandra Chemollo, Francesco Castagna\nWellbeing\n36\n37\nS I M E S  M A G  0 2\nS I M E S  M A G  0 2\n",20,{"image":94,"text":95,"number":96},"\u002Fmedia\u002Fimages\u002F1d\u002Fc9b03ceba7761621528dba6f1e9fa3-28e91be104.21.png","TVZEB, Zero energy building, Headquarters traverso-vighy studio, Vicenza, 2012\nDesign team: G. Traverso, P. Vighy, G. Dalla Gassa, E. Panza\nPhoto: Alessandra Chemollo, Francesco Castagna\nWellbeing\n39\nS I M E S  M A G  0 2\n",21,{"image":98,"text":99,"number":100},"\u002Fmedia\u002Fimages\u002F1d\u002Fc9b03ceba7761621528dba6f1e9fa3-28e91be104.22.png","G.T.\nG.T.\nG.T.\nwhich is what we are aiming for in all our buildings, \nit is necessary to know all the potentials of the \nsite, energy potentials that are given not only by \nthe sun, which I have already mentioned, but also \nby the geothermal potential of the ground, by the \nwinds and by the trees that provide shade: so the \ncontext means, as it used to mean out of necessity, \nbeing able to optimise the energy performance of a \nbuilding in relation to the potential of the site. So \nyes, I believe that context has a double value: an \nenergetic one and a qualitative one, which is also \nlinked to the well-being of the occupants.\nWhat are the design challenges of integrating \nnatural light with its artificial component, and how \nwell is today’s technology able to merge the two? \nThe challenges lie precisely in the word integration, \ni.e. trying to make artificial light more and more like \nnatural light, so that it can gradually replace it in \nterms of both intensity and quality, so that it can \nbe as warm as the sun or as cold as the sky, and \nso that it can change. I think this is a very topical \nissue. All the new solid-state technologies, more \ncommonly known as LEDs, combined with the \never-increasing proliferation of control systems, \nexpressed through the programmability of light and \nthe use of sensors, allow light to become a positive \nlight for people again. Artificial light, as revolutionary \nas it has been in prolonging human life in the dark, \nhas in turn conditioned its quality because it has \nbeen static light, often glaring, with a constant \ncolour temperature. I think first of tungsten, then \nfluorescent, then discharge, and so on. The LEDs, \non the other hand, by its very nature, is an electronic \ncomponent, so it is easily modifiable, and I think \nit is precisely in this modifiability that it can play \nits strength, and in many of our projects we have \nexperimented with precisely this possibility of using \nthe LEDs as a continuous integration as an emulation \nof natural light. It can work for emulation in closed \noffice spaces and it can also work for integration in \nstrongly naturally lit daylight spaces.\nOn the subject of raising awareness of spaces \nwhere light plays an increasingly important role \nin people’s well-being, what role can brands play \non of this aspect, which is very often neglected by \ndesigners? \nWhat I hope is that lighting brands will be able to \nembrace this change and the need for a change \nof perspective, from light measured in Lumens to \nlight measured in quality. It is no longer so much \na question of being able to make the most efficient \nlamp possible, as the best engineers would do \nwith monochromatic light in the greatest quantity, \nbut of being able to give priority to well-being, to \nmodulation, also because in reality we all work more \nand more in front of a screen in situations where we \nalready have the light, it is already inside the device \nwe are working with.\nFrom micro to macro, from residential to \ncommercial, the scalability of a process is essential. \nHow does the design methodology change, if at all, \ndepending on these aspects?\nNo, I don’t think it changes, and the beauty of our \nwork is that it’s multi-scale, where micro and macro \nconstantly mix at different levels and scales, but the \nmethod is always the same. Designing a small space \nor a large space always follows the same rules of \nanalysis and synthesis that are part of the design \nprocess, so the attention and priorities are always \nthe same, so yes, only the scale changes.\nSpidi Showroom, Meledo, Vicenza, 2006\nDesign team: G. Traverso, P. Vighy, A. Rizzotto, J. Taylor, E. Stella, \nG. Piccioli (structure), Steam Padova, W. Fasolo (services)\nPhoto: Ruggero Zigliotto, traverso-vighy\nWellbeing\n40\n41\nS I M E S  M A G  0 2\nS I M E S  M A G  0 2\n",22,{"image":102,"text":103,"number":104},"\u002Fmedia\u002Fimages\u002F1d\u002Fc9b03ceba7761621528dba6f1e9fa3-28e91be104.23.png","G.T.\nG.T.\nSo far we have been talking about natural light. \nGoing Dark, on the other hand, is an international \nevent, which you are organising, that puts the \ntheme of light designed for the night at the centre \nof the dialogue between designers. What prompted \nyou to investigate such a “side project”?\nThe simple answer is that even the night is part \nof the natural cycle of light, because when the \nsun crosses the horizon we enter the realm of the \nstars. In a broader sense, it is this attention to \nsustainability and the world of light that has probably \nbeen sensitised by our studies and experiences. \nBut the incredible thing is that science, companies \nand the whole world of lighting are moving towards \ntechnologies that lead to greater product efficiency, \nto solutions that consume less and less and yet \nproduce an incredible amount of light. \nOur planet, seen from a satellite or from another \nplanet, is getting brighter every day. This means that \ninstead of using these technologies to reduce light \npollution and therefore consume less and make our \nplanet a little more sustainable, we are using them \nto make more light. This is an intrinsic problem \nof light, because unfortunately the relationship \nbetween us humans, the inhabitants of this earth, \nand light is always a bit dialectical in the sense that \n“our sun” has enormous light mutations. We live \nvery well with a candle, just as we live very well in \nthe middle of a desert with many lux, because we \nhave a visual system that adapts to the amount of \nlight available. \nThis mechanism, combined with artificial lighting, \nhas created a real competition for light. When I \nwas studying, the manuals said that a shop should \nhave an average of 300 lux. Now for a shop, we \nwant to have at least 1,000-2,000 lux. In the \ncommercial spaces of our metropolises, these \nvalues become even 10,000 or 50,000 lux. This \ndynamic then triggers another situation. When a \nshop is illuminated at 1,000 lux, the one that is \nilluminated with 300 lux wants to have 2,000 lux. \nAll this outlines a race to the light: in reality, the \nmore light I produce, the more our visual system \nadapts to the new levels, increasing the perception \nof darkness around requiring higher levels of \nillumination for compensation.\nSo how do we solve this problem, which seems \ncrazy when you look at it from a distance? \nIf the image of the first industrial revolution was \nsmoke, steam and tangible pollution in the air, \ntoday it is the production of light, light pollution. \nBut many of us are asleep when we waste all this \nlight, pretending to be concerned about it. But if \nyou could see all the light we produce and dissipate, \nand if you could also see how much energy it takes \nto throw all that light into the sky, it would be easier \nto understand that it is not working.\nIn my opinion, it is therefore necessary to be able \nto take advantage of the cultural factor of this \nreality by working to create a community made up \nof companies of lighting designers, astronomers \nand people who deal with the sky and measure \nit: this is Going Dark. Bringing people together to \nunite knowledge, know-how, everyone with their \ntelescope, with their projector, in front of a historic \narchitecture to illuminate and try to make these \nexperiments, measure them together. Going Dark is \na highly experiential and creative workshop aimed \nat meeting and confronting different skills, taking \nmeasurements together in a scientific way to find \nthe point of balance in terms of fauna, man, the \nenvironment, architecture illuminated at night and \nthe well-being of the starry sky. \nAll this in Monteriggioni, an incredible setting \nthat will be the starting point for Going Dark. All \nthe activities then take place at Abbadia Isola, \na medieval monastery older than the Castle of \nMonteriggioni, perhaps less known because less \nvisited by tourists, but always a historical stop on \nthe Via Francigena that connects Canterbury to \nRome. It was a hospital, a place where pilgrims \nstopped, slept and where there is a cathedral. This \nsmall village-convent, which has recently been \nrenovated and where a new museum of Etruscan \nart has been created, will also host this year, for \nthe second time, Going Dark, bringing together an \ninternational community of lighting designers in a \nplace where, incredibly, the Milky Way can still be \nseen.\n“In my opinion, it is therefore \nnecessary to be able to take \nadvantage of the cultural \nfactor of this reality by working \nto create a community made \nup of companies of lighting \ndesigners, astronomers and \npeople who deal with the sky \nand measure it: this is Going \nDark.”\nArchitect Giovanni Traverso\n“Going Dark”event, Abbadia a Isola, Monteriggioni, Tuscany, 2023\nHosts: Giovanni Traverso & Paola Vighy, Light Collective\nWellbeing\n42\n43\nS I M E S  M A G  0 2\nS I M E S  M A G  0 2\n",23,{"image":106,"text":107,"number":108},"\u002Fmedia\u002Fimages\u002F1d\u002Fc9b03ceba7761621528dba6f1e9fa3-28e91be104.24.png","We have to ask you. What is light to you? What does \nit represent?\nProbably the studies we did, the Masters in \nLighting in London after our architecture degree, \nreally changed the way we look at architecture. We \nare perhaps architects who work with the mindset \nof a lighting designer. We think of our spaces in \nterms of the orientation and movement of the sun. \nWe think of spaces as being made of light, so in our \ndesign the light comes before the envelope and the \nmaterials of the architecture. \nWe often say that a space can be built with light, \nbecause without light there is no perception of \nspace. So I think that light is the primary material \nthat we think about and on which we try to order all \nthe other surfaces. The architectures we design are \nan example of this, because the materials can work \nwith light, they can return it, they can modulate it \nin a useful way for the definition and quality of the \nspace we are going to design.\nSight is one of our main senses, but if we were to \nperceive light through the sense of hearing, what \nkind of music would it be for you?\nWell, it could be many kinds of music, I would \nanswer. Also, I think the analogy is extraordinary. \nG.T.\n“We often say that a space \ncan be built with light, because \nwithout light there is no \nperception of space. So I think \nthat light is the primary material \nthat we think about and on \nwhich we try to order all the \nother surfaces.”\nArchitect Giovanni Traverso\nAs you mentioned, we get about 85% of the \ninformation about the world around us through the \nvisual system, so all the other senses are really a \nbit undersized compared to other animal species \nwhere they may have extraordinary hearing and \nsmell and very limited vision. But the analogy is \nstrong because this is also the culture of light, and \nwe connect to the discussion we had earlier about \nbrands and businesses. \nLight is something that needs to be modulated \nbecause it is modulated in nature. If you walk in \na forest, you hear music: it is the light breaking in \nthe leaves, it is the meadow in full light, it is the \ndarkness of a cave, it is the firefly at night. This is \nmusic, and when you transpose it, it is light. From \na technical point of view, it was not possible to do \nmuch with artificial light, perhaps because of a lack \nof resources. We had a tungsten bulb and that’s it; \na fluorescent bulb and that’s it. Colour temperatures \nthat could be dimmed and slightly cooled. Perhaps \nonly in the theatre, and with a great waste of energy, \ncould music be made of light, but only there, or \nperhaps in the cinema. Following on from what I said \nearlier, I believe that today light can once again be \nmusic, can once again be modulated to be pleasant, \ncomfortable, stimulating, circadian in terms of our \nwell-being.\nG.T.\nSalvagnini campus, Seregno, Lombardy, 2020\nDesign team: G. Traverso, P. Vighy, C. Baggio, \nS. Dal Bianco, E. Panza, V. Pesavento\nPhoto: Alessandra Chemollo\nWellbeing\n45\nS I M E S  M A G  0 2\n44\nS I M E S  M A G  0 2\n",24,{"image":110,"text":111,"number":112},"\u002Fmedia\u002Fimages\u002F1d\u002Fc9b03ceba7761621528dba6f1e9fa3-28e91be104.25.png","Bosco retreat, Veneto, 2012 \nDesign team: G. Traverso, P. Vighy, G. Dalla Gassa\nPhoto: Alberto Sinigaglia, traverso-vighy\nWellbeing\n47\nS I M E S  M A G  0 2\n",25,{"image":114,"text":115,"number":116},"\u002Fmedia\u002Fimages\u002F1d\u002Fc9b03ceba7761621528dba6f1e9fa3-28e91be104.26.png","Light and wellbeing \nfor inclusive sport\nThe Swiss Bike Park in Oberried is a unique \nplace; it is a platform for education and \nexperience that aims to promote healthy and \nsafe cycling for the entire population. Sarina \nHuber, manager of the park, tells us about \nthe soul of this place. The team responsible \nfor the lighting project, describes the main \nprinciples behind the choices for targeted, \ncontext-sensitive lighting. \nInterview with Sarina Huber, co-executive \nboard partner manager, and with the team \nresponsible for the lighting project from \nRegent Lighting Switzerland.   \nlight and wellb\neing for inclus\nive sport\nProject\nProject\n49\nS I M E S  M A G  0 2\n48\nS I M E S  M A G  0 2\n",26,{"image":118,"text":119,"number":120},"\u002Fmedia\u002Fimages\u002F1d\u002Fc9b03ceba7761621528dba6f1e9fa3-28e91be104.27.png","S.H.\nS.H.\nS.H.\nThe Swiss Bike Park is a social project, a place for \neveryone, both professional and amateur cyclists. \nIt combines the needs of different users and is an \ninteresting platform for training and experience. Can \nyou describe how this place is lived and used? What \nhappens here every day? What kind of visitors do \nyou welcome?\nThe Swiss Bike Park is a social project for everyone: \nevery year we welcome over 26.000 park visitors, \nincluding 15.000 children! Our park is open to \neveryone - amateur, elite and disabled athletes - free \nof charge. Children, school classes, older people, the \nnational mountain bike teams, everyone is welcome \nhere. It’s the togetherness that makes our park so \nspecial! \nWe focus on “experiencing and learning”, but of \ncourse we never forget to have fun! The safety of our \nvisitors is important to us. \nSport is healthy, fun and brings people together, \nthat’s what we want to live at the Swiss Bike Park.  \nThe Swiss Park is also a leading project in terms \nof accessibility for people with disabilities. In what \nways this “inclusion spirit” is expressed?\nThe Swiss Bike Park is a place of movement and also \na place of encounter. To ensure that everyone can \ntake part in our social project and meet each other, \nwe have focussed on accessibility. \nOn one hand, all rooms inside the building are easily \naccessible by wheelchair and all door frames are \nextra wide so that wheelchairs can move around \nthe building without any problems. Naturally, all \ntoilets and shower rooms in the park are also easily \naccessible by wheelchair and are tailored to the needs \nof people with a corresponding impairment. \nOn the other hand, care has also been taken outside \nthe building to create the best possible conditions \nfor wheelchair users: the cobblestones have been \nspecially laid without joints so that wheelchairs can \nglide better over this surface.\nInclusion is an important topic at the Swiss Bike \nPark, which is why an induction loop for people with \na hearing impairment has been installed in one of our \nlecture rooms; in addition, numerous control panels \n(for example in the lift) are also labelled in Braille. \nThrough this park, your foundation promotes \nsporting activity, but also the healthy and safe use \nof bicycles among the entire population.  You have a \nbroad mission, aimed not only at “bike fans” but at \nthe whole nation.\nWhat kind of cultural events take place in the park? \nWhat are your strategies and goals for the future? \nHow is the tourism responding to your proposal?\nThe Swiss Bike Park building is called the \n“Clubhouse” because the platform should not only \nbelong to us, but to everyone who visits the park and \nis therefore part of the “club”. Everyone who gets \ninvolved here should be part of the story and have \na direct benefit, and with MyBikeDay (MyBikeDay - \nBike4Kids) we are hosting the biggest Swiss event \nfor young cyclists. \nYoung people from all over Switzerland travel to the \nSwiss Bike Park as the final event, where they can \nexpect the coolest challenges (with and without \nbikes) great bands, food and chill village, celebrity \nguests and much more. \nWe have also founded the Swiss National Veloforum \n(www.veloforum.ch). The Veloforum is the most \nimportant national platform for cycling and brings \ntogether the areas of leisure, mobility, sport, \ntechnology and transformation, and our park can \nalso provide a wonderful and incomparable setting \nfor concerts, events and celebrations of all kinds. \nSarina Huber\n“The Swiss Bike Park is a \nsocial project for everyone.\n Sport is healthy, fun \nand brings people together, \nthat’s what we want to live at \nthe Swiss Bike Park.”\nProject\n50\n51\nS I M E S  M A G  0 2\nS I M E S  M A G  0 2\n",27,{"image":122,"text":123,"number":124},"\u002Fmedia\u002Fimages\u002F1d\u002Fc9b03ceba7761621528dba6f1e9fa3-28e91be104.28.png","What are your strategies and goals for the future? \nThe Swiss Bike Park Oberried is unique in Switzerland \nfor many reason. As an attractive meeting and \nprevention centre for the entire population, it acts \nas a beacon project as well as a tourist magnet and \ncombines the needs of elite, popular and disabled \nsports. Innovative and digital, the Swiss Bike \nPark is the perfect symbiosis of active leisure and \ntechnology. \nThe idea of a bike park for cycling fans developed into \nthe vision of a unifying social project for the whole \nof Switzerland, and the park is available to everyone \nfree of charge for training. Both competitive athletes \nand recreational cyclists benefit from it, whereby \nthe focus is always on “learning and experiencing”. \nAs a training and experience platform, the park also \noffers a wide range of courses and services.\nWe know that this unique project was planned, \ndeveloped and realized over 18 years. We also \nknow that the Clubhouse was built with the latest \nMinergie-A standard. Could you describe the main \nstrategies that guided the design of the park in \nterms of technologies and materials used?\nSustainability was and is very important to us: when \nbuilding the park, we chose regional materials, for \nexample wood from Switzerland, built a rainwater \nretention system for washing the bikes, and installed \na 75 kWh photovoltaic system on the roof of the \nclubhouse and the bike shed. \nThere are various places in the park that provide \na habitat for animals, like dry stone walls (for \namphibians, frogs) and woodpiles (nesting places \nfor birds, etc.) \nThe building also sets new standards in terms of \ninnovation and technology, with an intelligent heat \nexchanger heating system and the building meeting \nthe latest Minergie-A standards. \nFinally, the digitalisation of the park facilities \n(A-Sport) in our park has also been implemented at \nthe highest level.  \nWe are an outdoor lighting company and we promote \nthe culture of light as a tool for creating wellbeing. \nWe believe that even through light we can make a \nplace accessible, safe and comfortable and that we \ncan illuminate how and where needed, saving energy \nand avoiding disturbing effects for the human vision \nand the environment. We are very happy to have \nbeen involved in this project because it represents a \nspecial and innovative concept. \nYou have chosen to light up the space with great \ncare and attention. Have these choices had a \npositive impact on your activities? Do you think that \nthe lighting project has contributed to making this \nplace even more attractive?\nIt is extremely important to us that our employees \nand guests, children, young people, senior citizens, \ntop athletes and people with disabilities, feel at \nhome here. Even during the planning phase, great \nimportance was attached to creating a pleasant \natmosphere. In one of the most modern bicycle \nworkshops in Switzerland, the combination of large \nwindows and perfect lighting sets new standards \nand the lighting in the entire catering area also \ncreates a sense of well-being for all our guests. We \norganise almost 200 events a year, which is why \nwe rely on flexible lighting elements (from event \nlighting and product presentations to gala dinners \nunder dimmed lighting), and great importance was \nalso given to comfort and brightness outside the \ncompany building thanks to the uniform exterior \nlighting concept. The entire area, from the car park \nto the farmhouse and clubhouse, is optimally lit, \nwhich also benefits safety and, not least, prevents \naccidents. \nS.H.\nS.H.\nS.H.\nProject\n53\nS I M E S  M A G  0 2\n52\nS I M E S  M A G  0 2\n",28,{"image":126,"text":127,"number":128},"\u002Fmedia\u002Fimages\u002F1d\u002Fc9b03ceba7761621528dba6f1e9fa3-28e91be104.29.png","Project\nProject\nProject\n55\nS I M E S  M A G  0 2\n",29,{"image":130,"text":131,"number":132},"\u002Fmedia\u002Fimages\u002F1d\u002Fc9b03ceba7761621528dba6f1e9fa3-28e91be104.30.png","Designing light for a demanding client who pays \nattention to the smallest details. A stimulus or a \nbrake?\nThe aim of all the members and sponsors of \nthe Swiss Bike Park was to have lighting that \nmatched the quality of the product on display and \nthe architectural project. With this in mind, we \nconceived the lighting project as an integral part \nof a broad and shared process aimed at ensuring \nvisual well-being. An accessible and safe place \nwhere careful lighting design has helped to make the \nspaces inside and outside the building even more \nattractive and comfortable. We gained the client’s \ntrust with an initial proposal based on the pre-\nexisting historic building. We designed it with some \nup and down light effects positioned on the façade \nand combined with linear elements. The idea was so \nconvincing that it gave us carte blanche for the next \nsteps. We kept to the line of targeted and punctual \nlight. The decisions were discussed and validated \nwith the architect from time to time and it was very \nstimulating work.\nThe Swiss Bike Park is a complex project in terms \nof its spatial configuration, consisting of different \nbuildings, historical origins and uses: transit and \nlogistical hubs alternating with relaxation and rest \nareas. How did the lighting design evolve?\nFirst of all, we have to contextualise the project. \nThe Swiss Bikepark is located in a large valley, in a \nnatural and agricultural context, far from industrial \nareas or urban centres, so it is very dark at night. \nFor the lighting project, we wanted to respect the \nenvironment by using luminaires that would not \ndisturb the darkness. \nSimes products were ideal for this project because \nthey direct the light exactly where it is needed \nand the intensity can be adjusted at any time. The \ntechnical flexibility provided by the DALI protocol \nwas essential, as it allowed us to control each \nindividual group of products by setting the required \nlight level and minimising spillage. The assumption \nthat we would be able to control and adjust the light \naccording to our needs was the driving force behind \nthe development of the entire project. In the outdoor \nexhibition area dedicated to bicycles, we favoured \nscenic and point lighting rather than street lighting \nThe Swiss Bike Park is the result of a broad \nand collaborative project in which light has \nplayed a very important role, both in the \nnatural context in which the park is located \nand in the functions it has to perform.\nIn the story of the lighting project we find \nout in detail about the challenges and \nchoices made.   \nwith diffuse light distribution. The key solution for \nlighting these large paved areas was to use Stage \nmasts in an original cluster configuration to create \ndownward pointing spot effects. \nIn this way we respected the environment and the \nneeds of the space. \nThis area is not open in the evening, except for \nspecial occasions such as private events where \nthe space is used by small groups of customers. \nThis type of lighting allows people to find their \nway around the space and feel safe, using only the \nnecessary amount of light. The whole system is \ncontrolled by motion detectors that activate when \npeople pass by.\nWe have also defined the lighting levels to be \nachieved at night. When movement is detected in \nthe room, the lighting is switched on and adjusted \nto a level that ensures safe use. When it is no longer \nneeded, it switches off. \nThis is also why we developed a project with a \nconsiderable number of luminaires. Each of them \ncontributes to a targeted and well-controlled effect. \nEach point of light is individually controlled, all the \ntargets are well defined and we always use light \nonly where it is needed. Another very stimulating \nsituation from a design point of view was the lighting \nof the trees. We are referring to the large plane trees \nlit with Miniround, special semi-circular luminaires \nthat are recessed into the ground. The final solution \nwas the result of a long discussion with the client, \nbased on the need to be able to sit outside in the \nsummer and enjoy the space until late in the evening \nin a pleasant and relaxing atmosphere. \nThe lighting approach could have been based on \nthe use of standard or pendant luminaires, but the \nfinal choice was the intelligent use of in-ground \nluminaires placed between the seats that would \nfurnish the space: a light on the ground, light and \npleasant, would have created the right atmosphere. \nThe plane trees would then grow and develop a \nbeautiful screen of foliage, transforming the natural \nelement into a welcoming green corner, enhanced \nby soft and convivial light. All this was done in full \ncompliance with Swiss regulations, which are very \nstrict, especially in Bavaria (DE), with regard to light \npollution. \nAnother interesting aspect of the project was the \nfaçade of the main building, which has a dark \nProject\n56\n57\nS I M E S  M A G  0 2\nS I M E S  M A G  0 2\n",30,{"image":134,"text":135,"number":136},"\u002Fmedia\u002Fimages\u002F1d\u002Fc9b03ceba7761621528dba6f1e9fa3-28e91be104.31.png","“In the lighting design, we \nmade sure to respect the \nsurroundings by using \nlights that would not disturb \nthe darkness.”\nwood cladding with irregular grooves and varying \ndepths. We tested several products and carried \nout numerous lighting tests in the presence of the \narchitect and the client to understand which solution \nwould best express the materiality and irregularity of \nthe façade. \nThe conclusion was to outline the perimeter of \nthe architectural volume with a strip of light: the \nSimes Led Tube proved to be the best solution; its \ntransparent diffuser allowed us to achieve the right \nlighting effect and discreetly emphasise the shape \nof the architecture. \nFor the first floor terrace of the clubhouse and the \noutdoor area in front of the restaurant, we chose Bell \nbecause, in our opinion, it created a nice aesthetic \ncontrast and softened the more austere design \nof the other areas in a “playful” way. In addition, \nits bronze reflector warms the colour of the light \ndirected downwards, giving the right warmth to the \nevening environment. The lighting effect and elegant \naesthetics of this luminaire have been received with \ngreat enthusiasm. We can safely say that this is the \nproduct that receives the most positive feedback \nfrom visitors. \nA park entirely dedicated to the bicycle, which here \nbecomes a synonym for sport and social integration. \nThe VeloHaus plays a very important role in this \ncontext. What is its function and what was the \napproach that determined the choice of lighting?\nThe VeloHaus plays a very important role. It is \nnot just a bike depot, as it might seem, but a real \nexhibition and sales area. \nThe Swiss company Thömus, the main sponsor of the \nSwiss Bike Park and synonymous with the highest \nquality in the bicycle sector, identified this space as \nthe perfect location for its open-air showroom. The \ncompany currently sells 90% of its bikes through \nthe 60-metre exhibition area of the VeloHaus, and \nthe park is essential to allow customers to try and \ntest the bikes on site. \nGiven the strategic importance of this part of the \nproject, the lighting design had to stand out and give \nmaximum prominence to the products on display. \nThat is why we immediately thought of IP SYSTEM®: \nWe knew it could offer an innovative functional and \naesthetic interpretation of this area.\nThe linear and diffuse light of Highlighter, combined \nwith the spot accent effects of Flower Zoom directed \nat the bikes, transforms the space into a scenic \nstage where the quality of the bikes is highlighted. \nWe really think it was a winning choice and the result \nspeaks for itself.\nLighting design team from Regent Lighting Switzerland\nProject\n58\n59\nS I M E S  M A G  0 2\nS I M E S  M A G  0 2\n",31,{"image":138,"text":139,"number":140},"\u002Fmedia\u002Fimages\u002F1d\u002Fc9b03ceba7761621528dba6f1e9fa3-28e91be104.32.png","Project\n60\n61\nS I M E S  M A G  0 2\nS I M E S  M A G  0 2\n",32,{"image":142,"text":143,"number":144},"\u002Fmedia\u002Fimages\u002F1d\u002Fc9b03ceba7761621528dba6f1e9fa3-28e91be104.33.png","Dialogue between \ndesign culture and \nlighting culture \nWhat lies behind a Simes product? \nA shared language and method where \nnothing is left to chance and every \nintuition, component or design is the \nresult of a constant dialogue between \npast, present and future. Material \nand immaterial elements combine to \ndescribe a unique language that is the \nSimes alphabet. \ndialogue betwee\nn design and li\nght culture\nInterview with the Simes R&D team and Simone \nRossato, a professional and external collaborator \nspecialising in light digitisation. \nTechnology\nTechnology\n63\nS I M E S  M A G  0 2\n62\nS I M E S  M A G  0 2\n",33,{"image":146,"text":147,"number":148},"\u002Fmedia\u002Fimages\u002F1d\u002Fc9b03ceba7761621528dba6f1e9fa3-28e91be104.34.png","Design study and evolution \nof the Bell family\nIn a contemporary scenario, where product \ndevelopment is related to increasingly complex \ndesign dynamics, what is the method applied by \nyour team? How do you understand the needs \ncoming from the market?  To what extent are these \nrequirements drivers for the development process \nof a new product?\nThe starting point for product development is to \nidentify the needs of potential customers through \nmarket research, territory analysis and dialogue with \ndesigners and industry experts. \nThe aim of our R&D department is to design and \ndevelop a product that meets these needs. Our work \ntherefore sometimes takes the form of updating \nthe product range with completely new luminaires, \nsometimes it takes the form of updating existing \nmodels.\nThe development phase begins with a sketch of \nthe idea, the purpose of which is to give shape to \nthe needs identified. We usually start with a 3D \nmodelling programme to work out the initial product \nshapes, which are shared and discussed with the \nwhole team in weekly technical meetings. We \nthen develop an initial 1:1 scale prototype in wood \nor cardboard to study the size and proportions of \nthe product. Once this phase has been validated, \nwe move on to the detailed study of the shape by \n3D printing several variants on a rapid prototyping \nmachine. \nAt this point, we move on to the actual engineering \nof the product to determine its functional internal \ncomponents and evaluate the manufacturing \ntechnologies. This phase involves analysing the \ndesign of the moulds, the type of light source, the \ncolour of the light and its distribution. The real \nchallenge for us is to maintain the aesthetic ideal \nachieved when defining the design and to adapt the \nengineering to it.\nAt this point, if the validated prototype meets all \nthe requirements, we evaluate its expansion into a \nrange. Rarely do we design a “one shot” product, \nour aim is to satisfy all lighting requirements through \napplications that vary in size and light intensity.\nHow is the work distributed within the R&D team?  \nThe R&D team at Simes is made up of people from \ninside and outside the company, each bringing a \ndifferent set of skills to the table. \nThe company owner is an integral part of the team \nand helps to maintain a common language and \nwork in harmony, overseeing formal consistency \nand validating the direction to be taken. Guidance \nis certainly important, but equally important is the \nability to translate ideas into actions, sketches and \nproposals. It is not easy to turn an idea into what is \noften a very complex physical object, so the ability \nto work as a team and translate ideas into reality \nis crucial.\nOver the years our technique has evolved, and we \nhave learnt to work very effectively in teams based \non the initial brief. It is now rare for an interpretation \nof a concept to be deemed invalid. More often it is \nanalysed and refined. This is possible because of \nthe shared vision and our ability to work consistently \nwith the team’s objectives.\nIn your development process, how often do you \nhave to rethink solutions because there are changes \nor problems that could not be solved at the time? \nHow many rework phases are there in this process?\nThe product rework phases often depend on the \ncomplexity of the project and the technologies \nused. In the design definition phase, we may rework \nthe aesthetics of the product several times until \nwe find what we consider to be the “ideal beauty”. \nOnce this has been found, the engineering phase \ncan be used to make micro dimensional corrections \nto meet technical requirements such as heat \ndissipation or mechanical resistance to impact. \nIn the specific case of the Mini Bell garden \nstake, for example, we initially considered using a \ntechnology we were familiar with, aluminium die-\ncasting, to produce the stake joint, only to realise \nthat this would not have been the ideal solution. \nAfter testing the mould in the foundry, we were \nbitterly disappointed with its dysfunctionality in \nrelation to the part. So, in keeping with the original \ndesign, we changed direction completely and opted \nfor a shell mould so as not to change the design. \nThis example reminds us that it is never too late to \nrethink and improve the production technology of \na part, even if this requires additional effort and \nunexpected investment. This process influences \nthe final quality of the product; every mistake and \nevery rethink can lead to a significantly better \nresult than the one achieved in the previous step.\nR&D\nR&D\nR&D\nTechnology\n64\nS I M E S  M A G  0 2\n",34,{"image":150,"text":151,"number":152},"\u002Fmedia\u002Fimages\u002F1d\u002Fc9b03ceba7761621528dba6f1e9fa3-28e91be104.35.png","Thermal testing of Bell product \nwith electronic components \nBell product aluminium die-cast body, \njust removed from the mould\n“Our corporate values are \nclear, transparent and easily \nidentifiable in our products. \nTechnical components that \nmay seem cold at first glance \nare in fact peculiar and help \nto consolidate a unique \nlanguage, a kind of Simes \nalphabet.”\nSimes Research and Development team\nTechnology\n66\n67\nS I M E S  M A G  0 2\nS I M E S  M A G  0 2\n",35,{"image":154,"text":155,"number":156},"\u002Fmedia\u002Fimages\u002F1d\u002Fc9b03ceba7761621528dba6f1e9fa3-28e91be104.36.png","Look by Simes, wall applique \nwith glass diffuser \nCool by Simes, applique with \nlighting void\nWhat is the most challenging phase for the R&D \nteam? The one that focuses more on the design \nside or the technical side?\nBoth are important, but once the design of the \nproduct has been defined, the challenge is to meet \nthe required technological needs without making \nany aesthetic changes. For us, it is a question of \ntaking this shape in all the versions required by the \nmarket, and in this case several critical elements \ncome into play: heat dissipation, light distribution, \nthe structure of the product and its resistance. The \nreal challenge is to take into account and exploit all \nthese technical factors, while remaining faithful to \nthe shape and proportions defined at the outset.\nMaintaining formal and technical coherence within \nthe Simes catalogue is equally challenging. This \nis because the Simes philosophy is to present \nproducts on the market that are translated into a \ncomplete family logic, in all its application variants, \nin an eloquent fil rouge of the company’s vision. \nThe product developed will always be recognisable \nand traceable to the company, both technically and \naesthetically. This is a central part of our design \nmethodology.\nOur company values are clear, transparent and \neasily identifiable in our products. Technical \ncomponents that may seem “cold” at first glance \nare actually distinctive and help to consolidate a \nunique language, a kind of Simes “alphabet”.\nThe unexpected or unanticipated can change your \npoint of view. Sometimes the technical solution \ndoes not come, so you have to start again by \nlooking at things from a different angle. Has this \never happened to you? How do you deal with the \nunexpected?\nIn a world where technology is constantly evolving \nand the market is increasingly competitive, it is \neasy to get stuck in a routine and lose the ability \nto surprise. But it is in these moments that the \nunexpected can become the engine of creativity. \nSometimes a sudden inspiration can change the \ncourse of things.\nFor example, a few years ago, during the \ndevelopment of the Look wall luminaire, a very \ncompact object with top and bottom glass and a \ndouble light emission, a new family called Cool was \nborn. \nDuring one of our technical meetings, while \nexamining a sample of the Look, which was not \nyet complete with all its components and lacked \nthe glass for light diffusion, we were so fascinated \nby the aesthetics of this hollow object installed on \nthe wall that we decided to study this very light and \nminimalist aesthetic. \nThe indirect light effect on the surface of the \npiece created a particularly pleasant comfort \nand diffusion. The result was so convincing that \nwe developed a whole collection based on this \naesthetic philosophy.\nThis is how the “Full and Void Luminous” collection \nwas born, a series of lighting solutions that are \ncharacterised by a synthesis of the strength of \naluminium and the lightness of its forms. \nThe hollow object allows us to look beyond, leaving \nspace for the vision of architecture. The small \ndimensions of the LEDs allowed us to fit the circuit \nin a very small space, reinforcing the feeling of total \nlightness. \nThis has been the driving concept for the company \nfor several years. In the end, we can say that in \ndevelopment, the unexpected can turn into great \nopportunities.\nYou mentioned that observation and dialogue with \nthe market, or more generally with the outside \nworld, is part of your inspirational background. \nHow important is it for you to look for inspiration in \nother areas that are not necessarily relevant to the \nworld of lighting?\nI think it is crucial to be curious, to constantly look \nfor sources of inspiration and stimulation outside \nour field. I think it really makes a difference. \nWe take our cue from everyday objects, from our \ninterests and passions, and we appropriate what \ncan be good ideas; recognising the potential of a \ntechnical solution that belongs to fields far removed \nfrom lighting and being able to translate it into our \nproducts is fundamental. \nFairs such as Euroluce or Light+Building are \nessential because they allow us to pick up on \ntrends and interpret the direction of our sector. But \neven fairs that are not strictly related to lighting can \nbe useful for developing an idea or research. \nIn fact, the most difficult years for us were the \nyears of the pandemic, when it was impossible to \nmove, to meet customers, to travel. In those years \nit was not easy to develop products because it was \nnot easy to understand the needs of the market and \nto have a clear sense of the direction to take.\nAnother source of great growth and exchange is \nundoubtedly the comparison with the professionals \nwe work with. From a digital point of view, for \nexample, the confrontation with specialists in \nthe field gives us the opportunity to learn about \nnew software and protocols that can be used in \ncombination with our products.\nR&D\nR&D\nR&D\nTechnology\n68\n69\nS I M E S  M A G  0 2\nS I M E S  M A G  0 2\n",36,{"image":158,"text":159,"number":160},"\u002Fmedia\u002Fimages\u002F1d\u002Fc9b03ceba7761621528dba6f1e9fa3-28e91be104.37.png","Brique\n1995\nSkill\n2013\nGhost\n2016\nGhost linear by Simes, \ndesign Marc Sadler, winner of the \nCompasso d’Oro Honourable Mention  \nEvolution of the wall \nrecessed luminaires.\nHow important is the collaboration with external \ndesigners? Is the consecration of a design idea the \nresult of multi-handed work or does the designer \nwork independently on the basis of assigned input? \nCan you cite an example that has stuck with you?\nCollaboration with external designers is important \nin the development process of a new product. We \nhave worked with various professionals and the \nhistory of Simes teaches us that it is a collaborative \nwork and never an autonomous one. \nIt can happen that the company needs to develop \na product with a different approach, and therefore \nthe need arises for a comparison, a broader vision, \ndifferent ideas, and in these cases, it becomes \ncrucial to work with an external designer. This \npartnership is never immediately activated. On \nthe contrary, it involves an initial phase of getting \nto know the company and its mechanisms, of \nunderstanding the philosophy behind the products, \nto identify our design “alphabet” for a successful \nsharing of intentions. This is the only way to develop \na lasting collaboration of productive exchange and \ncomparison. \nWe had the opportunity to work with Marc Sadler on \nthe Ghost project and we can say that his approach \nis quite unique. He focuses on the technology \nand functionality of the product and translates \nthese considerations into innovative forms. His \napproach is different from that of the last thirty \nyears of Italian design, which has focused more on \nform and less on technology. It was precisely this \nmeeting point that allowed us to find the perfect \nmatch with Sadler. Working together has been a \nspecial and enriching experience. It was an open \nand shared path where we studied and discussed \nthe solution together to arrive at a new concept of \nwall recess. I don’t know if a product as complex \nand revolutionary as Ghost would have been born \nwithout Sadler, because its story begins way back \nin 1995 with Brique, the first recessed luminaire \ndesigned by the company, with a box recessed in \nthe wall and a luminaire body protruding from the \nwall. In 2013 it evolved into Skill, which no longer \nrequired a recessed box, but installed the luminaire \nbody directly into the wall. Then, in 2016, came a \nnew turning point with Ghost, which we can define \nas the third phase in the evolution of the recessed \nwall light, namely the dematerialisation of the lamp \nbody: the product actually disappears to show only \nthe light. \nSadler’s character was not only fundamental to the \ndevelopment of the idea, but also brought a great \ndeal of knowledge about materials, allowing us to \ndiscover properties of cement that we did not know \nabout at the time. His character was fundamental \nin arriving at an innovative solution and creating \nsomething that had never been seen before.\nR&D\nTechnology\n71\nS I M E S  M A G  0 2\n",37,{"image":162,"text":163,"number":164},"\u002Fmedia\u002Fimages\u002F1d\u002Fc9b03ceba7761621528dba6f1e9fa3-28e91be104.38.png","Digital beam and motion sensors \nfor total light control.\n“The revolution we are \nexperiencing today with \ndigitalisation is focused on the \nfunctionality of the product \nand its interaction with people \nand society, for intelligent \nenergy management.”\nSimes Research and Development team\nR&D\nR&D\nR&D\nThere has been talk of digitalisation, i.e. of software \nand protocols that are “invading” products. Is this \ntransition more or less challenging compared to \nwhat the transition to LEDs was for Simes in the \npast, considering the historical period?\nThe advent of the LEDs about twenty years ago \nmade it possible to address the aesthetic dimension \nof the product in a different way, thanks to the \nsize of the light source, which made it much more \nmanageable and easier to design than traditional \nsources. \nThe revolution we are experiencing today with \ndigitalisation, on the other hand, focuses on the \nfunctionality of the product and its interaction \nwith people and society, for intelligent energy \nmanagement. \nThe subject of lighting control is crucial, not only \nbecause it offers a great deal of design freedom, \nbut above all because it is a tool for saving \nenergy and improving individual comfort and well-\nbeing. Simes wants to move towards a concept \nof simple, dynamic and digital light, and digital \nbeam technology is certainly a tool for making a \nsignificant step forward in the world of lighting. \nThe skilful manipulation of light can make all the \ndifference in a lighting project. \nIn the context of smart cities, lighting has become \na critical component of urban infrastructure, \nplaying a vital role in improving public safety, \nenergy efficiency and sustainable development. \nBy integrating IoT technology, smart lighting \nsystems can collect and analyse data on energy \nconsumption, enabling real-time adjustments and \noptimisations.\nThis exchange of information also makes it \npossible to reduce maintenance times and costs by \nintervening in even the most complex networks in a \ntargeted and timely manner.\nElectronics has become so important that new \nprofessionals are emerging, essential to the overall \ndevelopment of not only the individual product but \nalso the lighting system. How does this change the \nsituation? Could product design be affected?\nWe can already see how the reality has changed. \nToday, for example, home automation is used in \nmany homes. If we transfer these expectations to \noutdoor lighting, we will increasingly want to be \nable to manage outdoor lighting in the same way \nas we manage indoor lighting. Technically, this \nmeans that the protocols need to be able to talk to \neach other. The real challenge will be the product’s \nability to integrate with a range of solutions that \nare already on the market, but which will become \nincreasingly standardised in the future.\nIf the goal remains to have the product communicate \nwith other devices, the design of Simes products \nwill necessarily have to take these new paradigms \ninto account. \nOne of the most obvious aspects could be the \nmaterial of construction of the lamp bodies. \nAluminium is an incredible material in terms of its \nability to be recycled, its lightness, its durability \nand its sustainability, but it is notorious for being \na barrier to the passage of electromagnetic waves, \nas it tends to screen out the Wi-Fi signal, which is \nessential for the transmission of the digital signal. \nSo, our task as designers will be to find solutions \nthat allow us to maintain high standards of product \nquality and sustainability, but also to enable \ncommunication and data exchange. \nOne of the questions we might ask ourselves is: \ndo we design products with inserts in alternative \nmaterials that can receive the signal, such as glass \nor plastic, or do we move the control to the outside \nof the product so as not to change its design and \nstructure?\nThe need for hybrid skills, moving between \ncomputer engineering and programming, is leading \nto the emergence of new professionals to support \ncompanies with a constantly updated vision. What \ndo you think about this?\nDigital technologies are evolving at an incredible \npace, making it difficult for non-specialist \ncompanies to remain competitive. If you are not \nable to keep up with this evolution, you risk being \nleft behind. An effective solution to this challenge \nis to work with professionals and consultants who \nare specialised in the field and develop ongoing \ncontacts by keeping up-to-date on the continuous \nprogress of the sector. In fact, what is needed is an \n“interpreter” who is constantly inside and outside \nthe company. An osmotic figure working on several \nfronts. A person who is close to the company, who \nis constantly out in the field, absorbing the stimuli \nof a world that is changing at breakneck speed.\nTechnology\n72\n73\nS I M E S  M A G  0 2\nS I M E S  M A G  0 2\n",38,{"image":166,"text":167,"number":168},"\u002Fmedia\u002Fimages\u002F1d\u002Fc9b03ceba7761621528dba6f1e9fa3-28e91be104.39.png","T1\nT2\nVIRTUAL MIDNIGHT\nSunrise\nSunset\n100% of the flux\nDimming % Reduction of flux\nBack to 100%\nVIRTUAL MIDNIGHT mode reduces \nthe power at certain times of the night, \nleading to an important energy saving.\nLighting management is an issue involving both \nphysical and technological aspects. In particular, \nmodern lighting projects are characterised by a \nstrong component of technological innovation, \nwhich includes both hardware (the luminaire) and \nsoftware (the management and development of \nthe back-end). As digital developers, how are you \naddressing this challenge? What are the current \nscenarios in lighting and digital worlds?\nI take up some concepts from your question. \nThere are two key aspects in lighting management: \nhardware, i.e. the physical product, and software, \nwhich is becoming increasingly important. Both \nthese aspects are evolving to meet today’s \nchallenges. For example, product sustainability \nlegislation has introduced requirements for energy \nefficiency and waste reduction. Our goal is to make \nthe most of LEDs technology, which has enabled \nus to significantly improve energy efficiency and \naddress issues such as carbon footprint and \nsustainability in product design. Thanks to the \ntechnology, we can now manage power intensity \nextremely easily.\nAnother important aspect is the removal of \nbarriers in the communication and data exchange \nbetween different devices, managed with software \nand protocols. This allows us to make a project \naccessible to anyone and to easily process the \ncollected data. \nMatter technology is a concrete example of this \nnew transmission. Leading global players are \ncollaborating to develop a protocol that converges \ndata from different platforms, such as DMX and \nDALI, so that it is available to everyone in a \nmeasurable and comparable way. This allows us \nto improve light management and make it more \naccessible for all.\nThe control of light is a philosophy, but \nat the same time it is also a very specific \ntechnological and research aspect that \nhas become more and more demanding \nbut also increasingly necessary to be \nable to respond to market requirements \nin the best way. We interview Simone \nRossato, an external collaborator and \nmember of a company specialised in \nthe digitalisation of light.\nWhen we talk about data control via software \nplatforms, such as DALI for example, which Simes \nalso works with, do you think these are technologies \nfor the exclusive use of the designer or is it something \nthat is already reaching the end customer? Let’s \ntake important jobs as an example, showrooms \nrather than large residences or hotels where we \nwant to set up lighting control like dimming, timing, \ncolour change. Are these settings manageable via \nmobile phone by unqualified personnel, or do we \nstill need to have them managed by insiders?\nI think some distinctions need to be made.  The \nuser-friendly approach has been improved over \ntime to allow most users to easily manage the \nswitching and dimming of the light via apps and \nmobile devices.\nHowever, when it comes to data and consumption \nevaluations, we need to call upon figures such as \nthe utility manager, the person who translates this \ndata and makes it possible to understand how \nefficient and how productive a system is. In this \ncase, the utility manager has the ability to evaluate \nand process the data needed to improve system \nperformance and pass it on to those in charge. \nFinally, if we talk about the actual programming of \nlighting management systems, then we are talking \nabout specific and highly qualified figures, with \nexclusive skills that are functional to the design of \nthe system. The professional in this case assesses \nhow far one can go with one technology and where \nit would be better to rely on another, making a \ncross of solutions to reach the expected result.\nS.R.\nS.R.\nTechnology\nOFF\nOFF\nON\n74\n75\nS I M E S  M A G  0 2\nS I M E S  M A G  0 2\n",39,{"image":170,"text":171,"number":172},"\u002Fmedia\u002Fimages\u002F1d\u002Fc9b03ceba7761621528dba6f1e9fa3-28e91be104.40.png","How do you manage the research and development \nof new technologies in your company? How long \ndoes this work take?\nOur company is dedicated to providing integrated \nand specialised solutions in the field of electronic \ncomponents for lighting products. \nOur approach is based on a method that involves, \nfirst of all, analysing the manufacturing company \nand its products. To do this, we have to talk to \nthe customer, travel and conduct audits at the \ncompany’s premises, and get to know and validate \nthe production processes involved. Our work \naims at constant product improvement through \ncontinuous testing and evaluation of results. \nWe identify the solutions that perform best, the \nrepeatability of failure and other functional and \nstrategic parameters. This process takes up a large \npart of our time and we are investing more and \nmore in this area because we have realised that \nthis is the right way to stay ahead of the times and \nsometimes even manage to anticipate trends. We \nlike to define ourselves as value-added partners, \ni.e. developers of innovative solutions for lighting \ncompanies.\nHow did the collaboration with Simes begin and \nhow do you work together on a product digitisation \nproject?\nOur collaboration with Simes, which started several \nyears ago, has been very stimulating because \nit has opened us up to the unexpected and to \nseemingly impossible challenges. It is one of the \nmost innovative companies in the lighting sector \nand has helped us to overcome the technological \nlimits of the market. Simes had the brilliant \nintuition to bring into the outdoors, products that \nuntil then had only been conceived for indoor use. \nThis idea was a game changer: we collaborated \nwith Simes to develop a lighting system that \nsimultaneously worked as an energy propagator. \nThis led to the development of a light strip with \ndiffuse light, capable of powering, at any point \nalong its length, other luminaires, thus combining \na continuous light effect with spot effects. This \nwas a very exciting challenge as it allowed us to \nmanage two independent power supplies, two \npossible dimmings and even to change the colour \ntemperature of the light.\nThe result was very innovative both on a software \nand hardware level; Simes thus developed a very \nsophisticated system, which is now protected \nby no less than 7 international patents, capable \nof managing multiple pieces of information \nsimultaneously from a “simple” silicon LEDs strip. \nIt was a unique project and a remarkable example \nof how synergy between two companies can lead to \nextraordinary results.\nAs a digital professional, how important is it for you \nto share with your stakeholders the direction of the \nmarket, which is moving towards the production \nof ever smaller and more powerful objects that \ncan be managed with less energy and with shared \nprotocols?\nIt is fundamental for us to make culture and share \nour technical know-how with lighting companies. \nWe have to educate people and show them how \ntheory is transformed into a real, developed \nproduct. This combination is important in order \nto arrive at a common result: understanding how \ncentral light is in our lives. In addition, we must \nalso show the concreteness of this process, i.e. the \nfinal product, as a real example of how applicable \nand functional the theory is. This is how we can \ninfluence the market and contribute to the creation \nof increasingly efficient and sustainable products.\nAs a final question, we would like to ask you: What \ndoes light mean to you?\nTo answer this I have to reveal a secret: my \nbackground is not only technical, but also medical. \nSo, I don’t just see light as an insider, but always \napproach it in a more biological way. I don’t want \nto go too far into this, but studies have been \ndone showing that it is possible to accelerate the \ngrowth of certain organisms, simply by changing \ntheir circadian rhythm. 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