[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-simes-magazine-n01-2022":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":203},{"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":198,"matched_pages":199,"match_count":200,"two_pages":201,"show_text":202},23218,"Magazine N.01 2022","simes-magazine-n01-2022","\u002Fmedia\u002Fimages\u002F21\u002F6f556bf23cf9455f51a8e1648e3a78-28e91b6bd8.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002F5b\u002F20fef18ca82679cb0ae2f08f4b765c-28e91a81c6.pdf","Simes",227,"simes","8.1 MB",[14,17,21,25,29,33,37,41,45,49,53,57,61,65,69,73,77,81,85,89,93,97,101,105,109,113,117,121,125,129,133,137,141,145,149,153,157,161,165,169,173,177,181,185,189,193,196],{"image":7,"text":15,"number":16},"",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002F21\u002F6f556bf23cf9455f51a8e1648e3a78-28e91b6bd8.2.png","1973 - 2023 \nIn 2023 SIMES celebrates an important \nbirthday with the satisfaction of having drawn a \npath marked by many conquests and with the \ndetermination to achieve new goals.\nSince over fifty years Simes has maintained a \nconstant intuition in intercepting the needs and \nthe wishes of the designers, the commitment \nto produce beautiful and reliable objects, \nthe desire to make the spaces pleasantly \naccessible and to add to the architectures a \nfourth dimension.\nAware that the light can transform the face of \nour houses and cities, Simes’s goal constantly \nremains to design light with passion, investing \nin continuous resources and energies to \ngenerate beauty, spreading the culture of light \nand putting at the service of lighting designers \nsolutions more and more refined and clever.\nThese 50 years have shown that the result \nof these choices is a constant growth and a \nquality destined to last over time. Every single \ninnovation opens up the road to the next one \nand the experience becomes fundamental to \nlay the foundations of new interesting scenarios \nin the lighting industry.\n",2,{"image":22,"text":23,"number":24},"\u002Fmedia\u002Fimages\u002F21\u002F6f556bf23cf9455f51a8e1648e3a78-28e91b6bd8.3.png","Rosetta Stone, 196 B.C. (Egypt), \nthe key that allowed to decode Egyptian \nhieroglyphics.\nWriting, the representation\nof language through a \nsystem of signs in different \nhuman civilizations. It’s the \nencoding of information \nto be communicated and \ntransmitted. The instrument \nthat has profoundly \ntransformed culture and \nsocieties, determining their \nevolution and their cultural \nprogress. The inspiration \nto create new codes and \nmeans of communication to \nexchange messages, through \ntime and space.\n3\nS I M E S  M A G  0 1\n2\nS I M E S  M A G  0 1\n",3,{"image":26,"text":27,"number":28},"\u002Fmedia\u002Fimages\u002F21\u002F6f556bf23cf9455f51a8e1648e3a78-28e91b6bd8.4.png","Punch cards for high automation loom\nJoseph Jacquard 1801\nInternational Morse code\nSamuel Morse | Alfred Vail 1835-1837\nBraille, tactile reading and writing system for visually impaired people\nLouis Braille 1809-1852\nVisual keyboard code - Manifesto Olivetti Lettera 22\nGiovanni Pintori 1956\n4\n5\nS I M E S  M A G  0 1\nS I M E S  M A G  0 1\n",4,{"image":30,"text":31,"number":32},"\u002Fmedia\u002Fimages\u002F21\u002F6f556bf23cf9455f51a8e1648e3a78-28e91b6bd8.5.png","eOAW\n“Point and Line to Plane”\nbecomes the inspiration \nto create a new graphic \nsystem of writing.\n6\n7\nS I M E S  M A G  0 1\nS I M E S  M A G  0 1\n",5,{"image":34,"text":35,"number":36},"\u002Fmedia\u002Fimages\u002F21\u002F6f556bf23cf9455f51a8e1648e3a78-28e91b6bd8.6.png","Abc ef\nA\nB\nC\nD\nE\nF\nGHI KL\nG\nH\nI\nJ\nK\nL\nMnO\nQR\nM\nN\nO\nP\nQ\nR\nP\nS\nS\nTUV\nXY\nT\nU\nV\nW\nX\nY\nW\nZ\nZ\nd\nj\nIP System® Code\nSimes 2023\n8\n9\nS I M E S  M A G  0 1\nS I M E S  M A G  0 1\n",6,{"image":38,"text":39,"number":40},"\u002Fmedia\u002Fimages\u002F21\u002F6f556bf23cf9455f51a8e1648e3a78-28e91b6bd8.7.png","“IP System®, the new \nalphabet for writing \nwith light.”\n10\n11\nS I M E S  M A G  0 1\nS I M E S  M A G  0 1\n",7,{"image":42,"text":43,"number":44},"\u002Fmedia\u002Fimages\u002F21\u002F6f556bf23cf9455f51a8e1648e3a78-28e91b6bd8.8.png","Wellbeing\nLighting\nKnowledge\nProject\nTechnology\nProduct\nEditorial\nExternal - Internal. You can observe the street by standing behind the glass of the window: \nnoises are muffled, movements become phantomatic and the street itself appears, through the \ntransparent glass, but firm and hard, as a separate entity, pulsating in a “beyond.”\nOr you open the door: you come out of isolation, you immerse yourself in this entity, you \nbecome active there and you participate in this pulse of life with all your senses. \nThus begins, with an invocation to act as artists, the book “Point and Line to Plane” by \nWassily Kandinsky. Published in 1926 as the ninth volume of the Bauhaus Bücher series, \nit was conceived by the author as the basic text of his course of painting, dedicated to \nillustrating and mastering the key elements of abstractionism. Why choose it as inspiration? \nWhy rediscover an invocation to artistic composition as a reference to present the new Simes \nlighting system? The reason lies in the “healing” function of light, of “right” light we should \nsay. In this first number of SIMES MAGAZINE we talked about it with architects and experts \nthrough conversations that helped us clarify the idea that designing light does not respond to \nsimple functions of accessibility of architectural space. \nRather, it emerges clearly that light is first and foremost an expressive means that coherently \narises from stories that direct the creation of residential, living and working spaces, as \nNikos Adrianopoulos, Greek architect, a specialist in the design of architectures with great \nspatialities and in which light is in constant dialogue with space and materials, reminds us. \nTogether light, when consciously designed and dosed, becomes a therapeutic tool, capable of \naffecting the way we live, feed, act, in fact our first vital trigger. In these pages Shelley Jones, \nresearcher, scholar, lecturer, reminds us of a dedicated life, especially after an accident that \nhas forever changed her way of perceiving light, to study the effects of light on our lives.\nSo imagining the key to framing the true soul of IP System, it seemed to us that the \ninvocation not to remain secure inside, but decide to act, go out, illuminate with our art \nthe new times that await us, was the right way to conceive a system of illumination that for \nits flexibility and modularity transforms what we call simply light, into a true design and \ncompositional instrument, able to “write” and “paint” architectural space, offering us the \npossibility to have light where it is needed and to the extent that our body requires it.\nThe words of Roberto Botti, founder and leader of the company allow us to understand how \ndetailed and profound the road was that led to the creation and engineering of that perfection \nthat we can admire today, a way of working that places design, care of the form, ease of use at \nthe base of any industrial choice, a process that requires an undoubted ability to invest time \nand resources by taking as its guide that “dream of light” that has been a central element for \nthe generations that have succeeded each other at the helm of SIMES.\n13\nS I M E S  M A G  0 1\n12\nS I M E S  M A G  0 1\n",8,{"image":46,"text":47,"number":48},"\u002Fmedia\u002Fimages\u002F21\u002F6f556bf23cf9455f51a8e1648e3a78-28e91b6bd8.9.png","Wassily Kandinsky\nPainting (of the light), \nespecially, has advanced w\nith almost’ fanta\nstic strides during the \nlast decades, and it has \nonly recently been freed\n from practical meaning\n and liberated fr\nom the necessity of \nresponding to the many \npurposes it had earlier b\neen forced to serv\ne. It has attained a level \nwhich imperiously demands \nthat an exact scientific \nexaminatio\nn be made about the \npictori\nal means and purposes of \npainting (abou\nt the space). Without such \nan investigation, further \nadvance is impossible-eit\nher - or the artist or \nthe general public.\n“Painting (of the light), especially, \nhas advanced with almost \nfantastic strides during the \nlast decades, and it has only \nrecently been freed from \n«practical» meaning and \nliberated from the necessity \nof responding to the many \npurposes it had earlier been \nforced to serve. It has attained \na level which imperiously \ndemands that an exact scientific \nexamination be made about the \npictorial means and purposes \nof painting (about the space). \nWithout such an investigation, \nfurther advance is impossible \n- either or the artist or the \ngeneral «public».”\n15\nS I M E S  M A G  0 1\n14\nS I M E S  M A G  0 1\n",9,{"image":50,"text":51,"number":52},"\u002Fmedia\u002Fimages\u002F21\u002F6f556bf23cf9455f51a8e1648e3a78-28e91b6bd8.10.png","Technology\nTechnology\nThe dream \nof light\nthe dream\nof light\n“Where does IP System originate from?\nFrom a dream, from a vision. \nBut above all from a deep and shared \nvocation and from having accepted a \ncomplex challenge, not stopping at ‘it is not \npossible’ and ‘you can’t’, but persevering \non the way of the continuous innovation. \nUp to completely rewrite the rules of the \ngame, breaking the boundary between \noutside and inside and overcoming \npreconceptions.”\nInterview with Roberto Botti,\nGeneral Manager of Simes S.p.A.\n17\nS I M E S  M A G  0 1\n16\nS I M E S  M A G  0 1\n",10,{"image":54,"text":55,"number":56},"\u002Fmedia\u002Fimages\u002F21\u002F6f556bf23cf9455f51a8e1648e3a78-28e91b6bd8.11.png","Technology\nNature\nThe passion for light and our innate propensity \nto innovate, to look for fresh, unanticipated, and \nunexpected solutions, can be said to be two \nconstants in our history. SIMES has always produced \nwaterproof electrical equipment. We are experts \nin outdoor lighting and only exclusively produce \nwaterproof lighting fixtures. Everyone who looks at \nour products can immediately recognise the results \nof our research, the desire to place light quality at \nthe centre of the design, and the understanding \nthat the strength, beauty, and uniqueness of our \nwork lies not only in the products themselves but \nalso in the illumination they enable, in the options \nand opportunities they present in the contexts in \nwhich they are used, and in the potential to directly \ncreate architecture with and from light.\nIndeed, innovation. It is difficult to specify, \nguarantee, and sustain. Will we always be able \nto innovate is a question we ask ourselves all the \ntime. Then one understands how life teaches that \neach innovation inspires the next innovation; it is a \nflow, a continuous process, which feeds on its very \nnature, a nature which profoundly defines our DNA, \nmade up of a robust awareness and at the same \ntime an ability to look beyond what currently exists.\nThe dream\nIP System® was the result of a visionary notion that \nI had for many years and that slowly began to take \nshape in a dream. In a way, it was a tribute to the \ninterior lighting sector, where businesses have long \noffered systems, rails, on which products could be \nplaced as you wanted, and different sorts of spot \nlights. And for years, I questioned not only whether \nit was possible, but also how a system, such as an \noutdoor rail, might be practical. And “no” has been \nthe response for more than three decades.\nThe challenge\nA luminous silicone strip. Here is the intuition: the \nsilicone strip is actually an electrified gasket. We \nwould have had our own waterproof system if we \nhad been able to “collect” electricity using this \npremise at any location along the strip. When I \npresented this concept to my technical team, the \noutcome was, shall we say, quite significant: There \nwas complete silence in the office for five minutes, \nwhich felt to everyone like five years. Until the head \nof the engineering department said, “Yes, it might \nbe conceivable. But, we must create a needle \nsystem that can pierce the strip’. The idea, or \nvision, was that this needle system might capture \nthe energy by piercing the silicone and then find \nitself already wrapped in the material, safe from \nthe water. The prototype, created in just three days \nin a truly handcrafted manner, was the subject of \na frenzied race with staple fragments, resin, and \nLoctite. The first test, which involved intercepting \nthe copper component by penetrating the silicone \nstrip, was successful: we had our idea.  \n“I understood how life \nteaches that each innovation \ninspires the next innovation; \nit is a flow, a continuous \nprocess, which feeds on its \nvery nature, a nature which \nprofoundly defines our DNA.”\n18\n19\nS I M E S  M A G  0 1\nS I M E S  M A G  0 1\n",11,{"image":58,"text":59,"number":60},"\u002Fmedia\u002Fimages\u002F21\u002F6f556bf23cf9455f51a8e1648e3a78-28e91b6bd8.12.png","Technology\nThe development\nOne issue concerned how to insert the product \ninto the silicone strip by correctly intercepting \nthe copper tracks beneath the silicone strip while \npreventing the very tiny needles from naturally \nbending when inserted into a dense substance \nlike silicone. In a space of less than a millimetre \nand a half, the electrified strip we created for IP \nSystem® has a dual power source, one for lighting \nthe LED strip itself and one for powering the spot \nelements that are placed into it. So, the accuracy \nof needle insertion is a crucial issue that we \naddressed with a template-comb that serves as a \nguide for the needles and that, when put on the \nIP System®, slides and enables you to choose the \nideal location for applying a plug-in element: this \nhelps to guide the needles during insertion so they \ncan connect to the structure.\nAt the end of the first year of development we \nrealised that if the accessories and plug-ins \ninstalled on the track could not be removed, \nmoved and reinserted, IP System® would not fully \nmeet the expectations of the market. The brilliant \nidea of our engineers to develop, as mentioned, a \nsystem of needle connectors has brought with it \nseveral consequences and corrections, from the \nneed for special protection of the same to avoid \ninjuries during installation, to the creation of a \ntool that would allow any crooked needles and \ntherefore not working to be straightened: during \nthe removal of the spot elements from the track, \nin fact, the needles may become crooked.  And \nwith the needles crooked, it becomes impossible, \nduring a new insertion, to perfectly intercept \nthe dedicated copper tracks. It was not an easy \nissue to fix and yet fundamental in terms of \nfully developing the features of IP System®. We \ndeveloped a “needle straightener”, in fact a small \nmasterpiece of technology, because in order to \nguarantee a guide to needles with a diameter of \nless than a millimetre, the technical challenge \nwas complex. We have developed this accessory \nconsisting of four small components that acts \nat the same time as a protective cap to avoid \ninjuries during installation, and which becomes \na tool that allows you to straighten the needles, \nrealigning and tilting them by half a degree, thus \nrecovering the ideal angle to fit into the silicone \ntrack and perfectly hitting the copper strip. A \nmultifunctional cap that I can proudly call a \nmasterpiece of engineering.\nThe success of the idea\nIP System® is technically a IP54 product, therefore \nsuitable for outdoors and all wet environments, \nsuch as wellness SPA, wineries, indoor swimming \npools. But thanks to its design, details and \nfunctionality it can also be used indoors. It is a \nsystem that can give continuity between interior \nand exterior, a perfect hinge that coordinates the \ninternal lighting and ends in the external one. \nThe interior systems I was inspired by are usually \nlighting track where headlights can be attached. \nIP System® is a bright strip to which you can add \nspot elements. \nThere is not even such a thing for indoors, with \nincredible robustness, with attention to finish and \nwith above all diversified control.\nThis is thanks to two independent and separate \ncircuits: the first circuit illuminates the only LED \nstrip, generating a diffuse light; the second allows \nus to independently power the installed accessory, \nso we can independently control and dim the two \ncircuits. For getting the “right light” depends to a \nlarge extent on the ability to control.\nThis product paves the way for countless \ndevelopments, and some have already taken \nplace, such as the introductions of both recessed \nand suspended options in addition to the originally \nplanned surface mounted solution.\nEuroluce 2023 will be the chance to present \nthis evolution. The stand it will focus on a large \ntraining area to manipulate, touch and understand \nthe product. A space for exchange and comparison \nthat I believe is essential for gathering feedbacks \nof architects and designers \nDuring Light+Building 2022 we collected the \nvery first feedbacks from the market and they \nwas extraordinarily positive. Now the product is \nmature and lead us towards a very successful fair. \n20\n21\nS I M E S  M A G  0 1\nS I M E S  M A G  0 1\n",12,{"image":62,"text":63,"number":64},"\u002Fmedia\u002Fimages\u002F21\u002F6f556bf23cf9455f51a8e1648e3a78-28e91b6bd8.13.png","Technology\nLight+Building 2022 Autumn Edition\nPresentation of IP System® at Simes stand\n23\nS I M E S  M A G  0 1\n",13,{"image":66,"text":67,"number":68},"\u002Fmedia\u002Fimages\u002F21\u002F6f556bf23cf9455f51a8e1648e3a78-28e91b6bd8.14.png","Wellbeing\nWellbeing\nWellbeing \nof light\nInterview with Dr. Shelley James, \n“The Light Lady” for health and \nwellbeing that come from light.\nwellbeing\n of light\n“Too many people have a low-light diet: \nyou can work better, dance better, read \nbetter, digest better, sleep better and \nhave a better conversation, thanks to \nthe right light. And the difficult periods \nlead us to better realize how light is \nfundamental for healthy development \nin the important stages of life.” \n24\n25\nS I M E S  M A G  0 1\nS I M E S  M A G  0 1\n",14,{"image":70,"text":71,"number":72},"\u002Fmedia\u002Fimages\u002F21\u002F6f556bf23cf9455f51a8e1648e3a78-28e91b6bd8.15.png","Wellbeing\nHow did the different lights of the countries you \nvisited sound differently in your perception? Did \nthey affect your knowledge of light?\nThat’s a really fantastic question. I was born in \nJamaica and growing up I lived all over the world \nand I always knew that when I came back to the \nUK there would be something very different in the \nquality of environment. Not only because it was \ncolder, but because of the quality of the light. At \nart school I did my thesis on colour. At that time \nyou could take a train to tour Europe during the \nsummer, and so I went from the north of Norway \nto the south of Italy, taking photographs, making \nsketches and gathering information to understand \nthe interaction between the climate, geology, the \ncolour of people and the clothes they wore. And \nI was interested in the comparison between our \npersonal feeling for light and the way in which \ninstitutions tend to direct us in particular types \nof spaces, with particular colours, also because of \ntheir predictive policies. Because there is always a \npolitical, or democratic, dimension to our choices, \nand I was fascinated by it.\nI began to understand how temperature affects \nthe behaviour of materials, how temperature and \nclimate affect the types of buildings we build \nand the types of windows: we have reversed our \nrelationship between the exterior and the interior \nin a really interesting way. This was to be the \nbeginning of my most intellectual understanding \nof what I already knew, and what we actually all \nknow. I mean, we are all creatures who perceive \nlight: we do it from the womb, in the first weeks of \nlife, and some recent studies demonstrate how it \nis the first experience of intense light to trigger the \nfirst breath in the newborn child. Just as we can \ntrack early dementia, early Huntington’s disease \nthrough changes in the eye’s ability to manage the \nlight of reflexes of people to light. We all do it, \nwe always do it. I cannot see you without seeing, \nwithout responding to the light in which you have \nchosen to be, whether you are actively choosing \nit or not.\nI worked in the branding industry, I collaborated \nwith important companies, to create environments \nthat reflected their logos, organising space \nand elements that would help communicate \ntheir identity. So I had to deal with a lot of \nconsumer research, things like “eye-tracking” and \n“tachystoscope”, where images flash very quickly \nto understand their visual impact on people and \ntheir permanence in memory. I realised how tiny \nvariations in colour profoundly changed people’s \nperceptions. I think I learned a lot about asking \nquestions in a way that would help me understand \nemotional responses to a physical signal. And \nthen, I fell off my bike, and this accident caused \nme a head injury. \nThis accident led me to reassess everything, all \nthe things we take for granted, all the predefined \nchoices. I had to choose what to spend my \nenergy on, I had to choose where to look, literally. \nS.J.\nStarting off from scratch again, almost stripped \nof every instrument: I had to choose and organise \nthe things from which to start again.\nSo, I started using light for figuring out how to \nuse it, taking care of myself to improve, in my \nstruggle with blurring and concentration. I \nstruggle to sleep, I struggle a little with pain and \nI have learned to use light to help me manage \nsome of these things. I was fascinated by it: I did \nexperiments with the press and the glass to begin \nto deceive the brain, because when you deceive \nsomeone, you can really understand what their \nunconscious reactions are. Likewise if you can do \nit with light, you can create an experience.\nSo I started working with the Eye Hospital, the \nRoyal College of Art and the University to create \nillusions with glass, because it’s a material that \nthe brain can’t handle, and it’s amazing how we \nmanage it in an extraordinary way. \nWorking with an important mathematician, \nRoger Penrose, on the uncertainty principle, I \ndiscovered that there is a type of glass, like this \none I’m wearing, that changes colour depending \non the light. It repels the UV wavelengths of \nfluorescent tubes, for example. I created a starry \ndodecahedron (which is one of the signs of ESA) \nthat I wanted to change colour, in a light box where \nthe lights look the same, but they have different \nwavelengths, and you can’t tell what the colour is \nuntil the light changes. So until the colour didn’t \nchange. I have studied and learned the notions \nto accomplish this project: the way the brain \nprocesses light and the way electrical circuits \nwork is so wonderfully connected. We are all a \nlittle wired and, in particular, our senses can be \nchanged according to our sensitivity at different \ntimes of the day.\n27\nS I M E S  M A G  0 1\n26\nS I M E S  M A G  0 1\n",15,{"image":74,"text":75,"number":76},"\u002Fmedia\u002Fimages\u002F21\u002F6f556bf23cf9455f51a8e1648e3a78-28e91b6bd8.16.png","Wellbeing\n“So I went from the north of \nNorway to the south of Italy, \ntaking photographs, making \nsketches and gathering \ninformation to understand \nthe interaction between the \nclimate, geology, the colour of \npeople and the clothes they \nwore. And I was interested \nin the attention between our \npersonal feeling for light and \nthe way in which institutions \ntend to direct us in particular \ntypes of spaces, with particular \ncolours, also because of their \npredictive policies. Because \nthere is always a political or \ndemocratic dimension to \nour choices.”\nDr. Shelley James\n28\n29\nS I M E S  M A G  0 1\nS I M E S  M A G  0 1\n",16,{"image":78,"text":79,"number":80},"\u002Fmedia\u002Fimages\u002F21\u002F6f556bf23cf9455f51a8e1648e3a78-28e91b6bd8.17.png","Wellbeing\nYour “Luna Project”, the social media campaign \non healthy lighting education, has been hugely \nsuccessful. It has reached more than 2.5 million \nadolescents worldwide and has raised awareness \nof the impact of light on people’s well-being. Can \nyou tell us about it?\nIt is only when you cross the default sensitivity \ncurve that you begin to have a problem. And I \nrealised how, because of the isolation caused by \nthe pandemic, the beautiful young people around \nme were stuck inside. This led me to develop a \nproject for them, using an online platform and an \ninvestment of a couple hundred pounds, creating \nthe “Luna Project”: it went viral, it was fantastic!\nI worked with a team of young teenagers. I always \nwork with my reference audience, because in the \nfield of design it is necessary. We always think we \nknow what’s right, but it’s really only when you see \nsomeone else using the product or experiencing it \nthat this becomes true, and teenagers vote with \ntheir thumb! They also know how to be very clear.\nThe project then developed involving a different \ntype of interlocutors: incredible and trusted \nproducers, for whom I gathered a number of \ntools to use in communication to talk to their \ncustomers. Because we realised that in this value \nchain, manufacturers themselves often don’t \nknow what they’re selling, or they’re still selling \nlight bulbs, but they’re talking about the system. \nBy creating specific videos and written resources \nthat could fit into a conversation about the effects \nof light and what the right light can do at the right \ntime, we made a valuable contribution to their \nconversations and sales pitches.\nWe ended up working with journalists, with \nscientists from all over the world to bring their \nknowledge to a concrete level of understanding for \npeople, to create better information based on real \nevidence. \n“Luna Pro” was a way to deal with or start a \nconversation with a professional buying lights, \nbecause most of them don’t know what they’re \nbuying. \nYou call yourself a “lumenologist.” It’s a very \nfunny thing. If I would ask you to define what light \nmeans to you?\nThe first thing to say is that light means nothing \nwithout the dark. I think it’s all here. Nothing \nexists without its opposite. But at the same \ntime, light is everything: we do not even exist if \nwe are functionally blind. We don’t really exist \nwithout light. It’s like the philosophical question \nof whether or not you exist if you’re not seen, but \nin terms of physiology if you put yourself in a \ndarkroom, you wouldn’t last long, mentally. \nI believe that light means life, and that it means \nnothing without darkness, because we all need \nboth, we need balance.\nS.J.\nS.J.\nTo what extent, how forcefully does light affect \npeople’s lives?\nI think it affects everyone, always, in ways you \njust don’t notice. It’s a bit like taking sand off \nyour shoe and realising the relief you feel when it’s \ngone. I think most people are used to a very poor \ndiet of light. I describe it very often: most people \nare like living off of cheap bars, snacks or coffee, \nand only when they taste a delicious meal do they \nrealise it. And what’s really amazing is that every \ntime you start talking to people about light and \ntheir experience of light, everyone has a story: \nsomeone has migraines, someone has a mother \nwith macular-degeneration, someone has a child \nwho is struggles with sleep, who feels depressed \nor who has attention deficit\u002Fhyperactivity (ADHD) \ndisorder. \nEvery person you talk to has a professional interest \nin light, because they are designing or building \nbuildings or are trying to rent their home or simply \nown as many as 40 or 50 lights. We are influenced \nby lighting very simply, but also in a very complex \nway and as soon as you start talking about what \ngoes unnoticed, people suddenly understand.\nThe other aspect of the same question is how \nmuch people are aware of the importance of light \nin their lives. You can live in a place full of light \nor you can just go to a place with low lights, sharp \nlights and the atmosphere is totally different. How \nmuch can people be aware of the importance of \nlight in their lives? \nYou can work better, or dance better, or travel \nbetter, or read better, or digest better, or sleep \nbetter or have a better conversation. I have come \nacross a wide range of sensitivities: I think I have \nmet people who are very aware of their environment \nand who are very sensitive to smell, taste and \nlight. And other people who are unaware, and \nthose who can then become aware. And for some \npeople it’s something like, “Oh yes, I understand \nwhy I should do it.” For other people, it’s nothing \nspecial. Some people aren’t very visual.\nIt is also interesting that when you collaborate \nwith a company like yours, which produces such \nbeautiful lights, you notice that when people \nunderstand, when they value their space, they are \nwilling to spend more. \nWhen people find themselves in a world where it \nis normal to have a well-lit environment, they are \nready to invest.\nS.J.\nS.J.\n“Your eyes keep growing until \nyou’re 18 and need daylight \nto grow fully.”\nLuna Project | Workplace facts\nLuna Teens™ Series\n“Workers are often exposed \nto just 100 lx, 10% of the light \noutside on a cloudy day for \nmore than 50% of the day.”\n30\n31\nS I M E S  M A G  0 1\nS I M E S  M A G  0 1\n",17,{"image":82,"text":83,"number":84},"\u002Fmedia\u002Fimages\u002F21\u002F6f556bf23cf9455f51a8e1648e3a78-28e91b6bd8.18.png","Wellbeing\nI was thinking about how, for instance, a very well-\nknown scientist, designer, and artist like Johannes \nItten attempted to paint a hospital differently \nduring the Bauhaus era so that patients would \nfeel better just by gazing at a different colour. So, \nit was something that design began to consider, \nhaving an impact on people. After “Luna Pro \nSeries” have people given feedback on how they \nperceive light differently?\nYes, the answer is yes. And it’s always wonderful \nwhen you see someone make a change and find \nthat their situation has improved thanks to it. And \none of the things I’m doing is going for examples \nof people doing it, not necessarily because of \nme, but because they felt the need. For example, \none person I collaborated with had worked on a \nfarm and realised that when he started working at \nhome, he felt really unhappy. So, he found himself \nsuffering from ‘Seasonal Affective Disorder’ \n(SAD), deciding to change the lights of his home. \nFeedback is there, even when people around \nme say, “Oh, yeah, I understand why” and start \nspending a little more on the lights of a school \nor hospital. It is extraordinary, but it does not \nnecessarily have to be very expensive. And I \nrealized that there are people all over the world \nwho have already realised how important light is \nand what it can do for them, more than it can \ndo for their business. I looked at several areas: \nI installed better quality lighting in a school with \nlanguage and hearing problems, and we found \nthat students and teachers could communicate \nmore clearly with everyone, simply by changing \nthe quality of light: students were more confident, \nand teachers could improve their work. I spoke to \nan industrialist, who spent a lot of money lighting \nhis new offices, and found that his employees \nwere so satisfied with the lighting that they invited \nfriends and relatives to say “ohh! Look where I \nwork!”. And again, at the nursing facilities I work \nwith, there has been a decline in falls, and the \nwaiting lists for people to move in have grown \nas a result of the improved living conditions and \nhappier, more comfortable residents.\nWe have brought a different approach to the field \nthat complements the information we receive from \nscientists. My job is to walk around with a torch \nand say, “Look!”.\nA lot of what I actually do is just celebrate people \nwho have made their choices and really see the \nbenefits in human terms, in environmental terms, \nand because very often the energy saving creates \nless light pollution. But also for companies, which \nhave more satisfied employees, hospitals with \nhappier patients, homes where children come \nhome early and tidy up their things better. It’s \na very simple thing to tell when you find people \ndoing it. \nS.J.\nSIMES is working to reduce the power of light \nbecause it is interested in the wellbeing of \npeople. Simes wants to design the perfect light for \npeople’s wellbeing. We start to think of branding \nas a cultural action, not just as something \ncommercial. Can private companies do more to \nraise public awareness of light? \nYes, there are ways that manufacturers can start \nmaking a difference in their business but also in \nthe world they want to be in. And one of these is \nto think about the environment more broadly. Very \noften lighting organisations are tempted to sell \nlight, but they are actually selling an environment, \nthey are selling a world. And this is one of the \nproblems: very often the initial cost seems to be \nvery high compared to a cheap alternative. \nI’ve helped some people create a sort of bigger \nscenario, to help their customers see the big \npicture. That’s why this magazine will be so \nwonderful: many big companies talk about these \nthings, but they don’t really do it: they don’t take \ncare of their surroundings or have a culture where \nthey expect people to respond to e-mails until late \nat night. You have to do what you say, be credible, \nand this creates respect and trust over time: there \nis confidence in evidence. There are scientists and \norganisations where you can get an answer. I am \nthinking, for example, of light pollution, and how \nit affects the ability to sleep, how it affects plants \nand animals. If you want to make a statement \nabout the effect of your product, then it’s really \nuseful to have evidence about it, whether it’s your \nown or someone else’s. And that’s why working \nwith young scientists, young curious minds is a \ngreat thing to do. This is a valid way in which an \norganisation can create a culture of excellence, \nalways testing the information it believes it \nknows, confronting new ways of thinking, and \nfinding partners who want to do this: scientists \nare increasingly aware of the need to outreach for \ninvolvement in a kind of translational research.\nImagine that you have a precise idea of light in \nyour mind right now: if we were to compare it to \nmusic, what kind of music would it be? \nI think it would probably be something like \nBach, not just for its mathematical structure but \nbecause it can be compared to a Rubik’s cube: \nyou can take it at different levels. You can take \nit tonally, you can take it rhythmically, you can \ntake it geometrically. It is very intentional music \nand yet the overall impression is very natural. The \nwonderful thing about Bach is that there are young \nmusicians playing him. It’s a bit like Shakespeare, \nyou can make riffs with it.\nI often work in many art schools and encourage \nstudents to be aware of how light affects how \nsomeone understands their work and this can be \nan interesting trick in Instagram’s world.\nS.J.\nS.J.\nAbstracts of the “Luna Project” campaign edit by Dr. Shelley \nJames for the knowledge of the lighting impact in everyday \nwellbeing.\n32\n33\nS I M E S  M A G  0 1\nS I M E S  M A G  0 1\n",18,{"image":86,"text":87,"number":88},"\u002Fmedia\u002Fimages\u002F21\u002F6f556bf23cf9455f51a8e1648e3a78-28e91b6bd8.19.png","Project\nProject\nDesign\nwith light\n“An architectural project is born \nindissolubly linked to something \ninteresting, like light that can be \nlike a flowing music.”\nFor Nikos Adrianopoulos, stories, \npeople and places are the essential \nstarting point for any project, where \nlight is not a simple complement, but \nis at the same time reason and result \nof architecture. For an authentic \nsense of the act of ‘giving birth’.\nInterview with greek architect and lighting \ndesigner Nikos Adrianopoulos.  \nDesign \nwith light\n34\nS I M E S  M A G  0 1\n",19,{"image":90,"text":91,"number":92},"\u002Fmedia\u002Fimages\u002F21\u002F6f556bf23cf9455f51a8e1648e3a78-28e91b6bd8.20.png","Project\n“It’s not possible for me to live \nand not care about proper \nlighting. It’s not just a part of \nmy job, that will naturally make \nwhat I do much more interesting. \nWithout light architecture just \ndoesn’t exist.”\nN.A.\nN.A.\nN.A.\nWhat type of architectural practice is yours? How \nwould you define it?\nIf I had to sum it up in one sentence, I’d say «I’m \ninterested in anything that’s interesting». I need \nto find a project, client or location interesting, or \nall three of these things. There always has to be \nsomething to make me feel that the end result will \nbe interesting. One of these three conditions is a \npre-requisite, but all three together would be the \nideal scenario. Then, it could be a project in the \ncentre of Athens or a villa on an abandoned island, \nit wouldn’t matter – the important thing is that it \nmust awaken something in my imagination, in my \nemotions. This is my fundamental rule. I can’t define \nit in a more precise way, it just has to be something \nI find interesting.\nSo, it starts with a story, the story behind a potential \nproject. Could be a story involving people, or the \nstory of a place.\nPrecisely. From time to time, when a location is so \nimpressive and extraordinary you just feel you have \nto take it on at all costs, even though some other \nconditions may not be optimal. For example, there \nmay not be enough budget, but if it’s a project that \nyou feel you must take on, that’s totally fine. It’s \na basic rule of mine that I continue to follow - at \na certain point a project will become a necessity, \nsomething that I really have to do. There’s no other \nway. I won’t just do it because I have to. It has to be \nsomething that excites me.\nLight is very important to you and to your work, \nso much so that you’ve decided to become a light \ndesigner as well as an architect. So, I would like to \nask you the following - what does light mean to you?\nLight is everything to me. The most important part \nof any moment has to do with light. For example, the \nlighting control that I use to do yoga in the morning \nmust generate light that makes me feel good but \nthere shouldn’t be a huge amount of uncontrollable \nlight. Light that helps me relax, that allows me to \nlisten to the music I like in the right conditions – this \nis the most important thing for me. It’s all about \nthe moment. It must be felt. When we started this \nchat, you saw me dim the lights in the room I’m in. \nIt’s always so important – it’s not possible for me to \nlive and not care about proper lighting. I mean, it’s \nnot just a part of my job, it’s not just something that \nwill naturally make what I do much more important, \nmuch more interesting. Without light architecture \njust doesn’t exist. If we talk about architecture, you \ncan like or not like something because its volume, \nmass and dimensions can be clearly perceived and \ndistinguishable, and basically because light is the \nlink between all of these elements and your eyes. \nIf light is not used in the way it should be, I would \nargue that nothing is beautiful enough just to exist \nby itself. it is beautiful because it is lit in the way it \nis, and good architects make sure of that.\nLight conditions during the various phases of the \nday, such as the way a building faces the sun, are \nkey elements to use. Something is perceived as \nbeautiful precisely because someone has thought \nabout what the best views at certain specific times \nof the day would be. No building is beautiful all the \ntime, some angles and trajectories are not good at \nall, however what determines its success is the fact \nthat someone has thought of the best possible way \nto make it look beautiful in different ways most of \nthe time, and for the longest period.\nLighting design by Nikos Adrianopoulos Architecture & Lighting\n“Ncaved” Villa, Serifos Island - Greece, 2020\n@ Ph. Yiorgis Yerolymbos\n37\nS I M E S  M A G  0 1\n",20,{"image":94,"text":95,"number":96},"\u002Fmedia\u002Fimages\u002F21\u002F6f556bf23cf9455f51a8e1648e3a78-28e91b6bd8.21.png","Project\nAAA Rock Villa\nMykonos, Greece, 2021\n39\nS I M E S  M A G  0 1\n",21,{"image":98,"text":99,"number":100},"\u002Fmedia\u002Fimages\u002F21\u002F6f556bf23cf9455f51a8e1648e3a78-28e91b6bd8.22.png","Project\nHow does light fit into your design process? When \ndo you think about light and how do you model or \nexperiment with it in your design process?\nThe interesting part of the unique approach I employ \nis an acknowledgment that at the very moment I \nam designing, I am also creating light. It’s a very \ndifferent awareness from thinking about creating a \nproject and then calling someone in to light it. It’s \na completely different process, which allows me to \nfully understand the reasons why certain volumes of \nlight have been created. I have researched, defined \nand modelled them for a reason. I have created \nthem to avoid certain problems or to cover up \nothers. Therefore, I know that these volumes exist, \nhow to manage them from every point of view, and \nhow to take advantage of the characteristics of the \nmaterials that I know will be used in the project. \nAnd so, for instance, I can achieve the right line in \nanticipation of lighting that specific material from \nthe proper angle. I always avoid comparisons with \nthose involved in lighting design because that’s not \nquite right as I create and provide light. I design and \nlight anything. It’s a different, much more creative \napproach.\nSo do you conceive the spatial aspect of your \nprojects through light? When you imagine it, is there \nalready some type of light?\nYes, this is a fundamental rule. When an idea \ncomes, light is usually one of the strongest elements \nin the design as when you create something, you \nknow how you will light it, you know how it will be \nlit in daylight, and you know how you can make it \ndifferent at night using artificial light. It’s something \nyou’ll know straight away, not later on. So, yes, when \nI create, I have a certain type of light in mind. It \ndoesn’t always happen like this, but usually this is \nhow I like to conceive light.\nHow do you define what type of light to include in \nyour projects? Warm light, diffused light, clear light \nor cold, neutral or artificial light. How deep do you \ngo into the design process? Do you contact possible \nsuppliers to define this aspect?\nAfter so many years now, this has become an \ninstinct, an automatic impulse. I mean, it’s often \nto do with the mass, volume or material itself being \ncreated that will suggest the way it should be lit. \nA gradient effect or points of light to emphasise a \ncertain feature - the right light is actually the right \nuse of shadow. This is the light. If you respect this \nbasic rule, then you know when to use diffuse light, \nwhen to use spotlight because you want or don’t \nwant a particular shadow play.\nIf there is a very strong element, there won’t be a \ngreat contrast with lighting because it is already \nstrong in itself - bright, very shiny and attractive. \nLighting expectations will be lowered because \nthis element will emerge by itself. It’s a kind of \nautomatic balance. Maybe for someone that’s a big \nproblem, but for me it’s something really natural, a \nfeeling that guides me in my choices. It’s something \nthat just comes together. No, I don’t usually go to \nsuppliers to discuss this. \nNikos, do you usually make models of your \narchitecture, or do you only work with 3-D computer \nand photographic simulations?\nNo, no... I don’t work with 3D models.\nLet’s talk about the project we are collaborating on, \nthe Villa in Athens. How did you conceive the type \nof light for that project?\nIt’s a detached house, an old house that has been \ncompletely renovated and we can say that this was \na project that came up at the right time because \nI’d just visited your showroom and came across \nthe IP System®. At the exact moment I saw it, I \nimagined I would be able to use it to provide a kind \nof connection and continuity between the villa’s \ninterior and exterior. I usually work on summer villa \nprojects, and in this type of work the connection \nbetween the interior and exterior is generally very \nimportant for the success of the project and the \nproper functionality of the house. This connection \nis always necessary and the IP System® helps to \nachieve this. I will use these continuous lines of \nyours, creating something new, which I will make by \nmyself. I’m going to use it, I’ll use the external rail, \nbut I’ll embed it in the wooden ceiling. This will be \na kind of hybrid installation between you and me.\nI’m very confident about the success of this project. \nI’m working on continuous lines between the interior \nand exterior, thus giving the client the opportunity to \nadd a spot wherever they want. The ability I have to \ncontrol, to have the right amount of light, to create \nspots anywhere I want is exactly what I need from \nthis specific project. Furthermore, I usually use the \nceiling as a reflecting surface, and the IP System® \nhas suggested the perfect solution for me in this \ncase. I have my solution and you’ll have a nice \nproject. We’ll all be happy.\nThe nature of any project means that you have to \ndeal with certain challenges and problems. The \nIP System® is proving to be a truly flexible system \nthat is growing, evolving and able to respond to any \nunexpected demands.\nYes, you can see that! I am also curious and happy \nto say that this is the first time I’ve used it, and \nI’m using it on a large scale, that is, as the main \nelement, which is taking up an entire area, so I’m \nalso very curious to see the results.\nYou are passionate about music? If the light were \nmusic what kind of music would it be?\nWhat question?! Well, you know, it should flow. It \nwouldn’t be stagnant like a lake, it would be rather \nlike a river. A river from flowing slow or fast, depends \non the curves and how high it starts, but can range \nfrom classical music to classical jazz, hip-hop, \nanything else... I have a wide variety of inspirations, \na large amount of music that I love, so it’s not always \nthe same that gets me involved or comes to mind.\nBut the sure thing is that it will flow, it will not \nremain quiet. My light is a flowing music.\nN.A.\nN.A.\nN.A.\nN.A.\nN.A.\nN.A.\nN.A.\nPantheon Estate\nMykonos, Greece, 2020\nAAA Rock Villa\nMykonos, Greece, 2021 \n40\n41\nS I M E S  M A G  0 1\nS I M E S  M A G  0 1\n",22,{"image":102,"text":103,"number":104},"\u002Fmedia\u002Fimages\u002F21\u002F6f556bf23cf9455f51a8e1648e3a78-28e91b6bd8.23.png","IP System®\nProject\nProject of a private villa\nwith IP System®\nAthens, 2022\n“At the exact moment I saw \nit, I imagined I would be able \nto use it to provide a kind of \nconnection and continuity \nbetween the villa’s interior \nand exterior. I usually work \non summer villa projects, \nand in this type of work the \nconnection between the \ninterior and exterior is generally \nvery important for the success \nof the project and the proper \nfunctionality of the house. \nThis connection is always \nnecessary and IP System® \nhelps to achieve this.”\n43\nS I M E S  M A G  0 1\n42\nS I M E S  M A G  0 1\n",23,{"image":106,"text":107,"number":108},"\u002Fmedia\u002Fimages\u002F21\u002F6f556bf23cf9455f51a8e1648e3a78-28e91b6bd8.24.png","Lighting\nknowledge\nLighting knowledge\nThe experience \nof light\nWith hundreds of visitors a year to \nits head office, Simes is dedicated \nto spreading the culture of light. The \ncompany is a well and truly thriving \neducation and discussion hub on \noutdoor lighting topics.\nSimes roof garden lit by IP System®,\nFlower, Zip and Linea Continua.\nBronze sculpture by Davide Rivalta, ‘Gorilla’, 2022\nThe \nexperience \nof light\n45\nS I M E S  M A G  0 1\n44\nS I M E S  M A G  0 1\n",24,{"image":110,"text":111,"number":112},"\u002Fmedia\u002Fimages\u002F21\u002F6f556bf23cf9455f51a8e1648e3a78-28e91b6bd8.25.png","Lighting knowledge\nSimes’ corporate offices have served as a hub for \nstrategic importance throughout its history. Ever \nsince the years where the company changed the \nSimes logo to read “SIMES, light for architecture” \nand, in doing so, declared that it was closely \nconnected to the design world. Simes’ corporate \nheadquarters have evolved into a place of welcome \nand an expression of a taste for beauty that applies \nto all scales. \nSince its founding as SIMES (società-italiana \n-materiale-elettrico-stagno) in 1973, the company \nhas grown from a modest machining shop to a \ncutting-edge reality housed in a cutting-edge \nproduction facility that attracts a large number of \nclients, architects, and designers every year. \nMany initiatives for sharing and training have been \nspearheaded this past year by IP System®.  The \ncompany decided to create a special format and \ninclude everyone interested in specialising in the \ninstallation of this new lighting system through a \nparticular training session because this is a very \ninnovative product. \nTherefore, IP System® was portrayed as having \ntwo souls: the technical and the emotional. The \ntechnical soul was portrayed through the practical \napplication of the steps required for a proper product \ninstallation, and the emotional soul was portrayed by \nadorning the business with new lighting effects both \ninside and outside. \nThe Simes corporate office is actually a true \ndiffuse showroom, a living organism that changes \ncontinuously \nin \nresponse \nto \nnew \nproduct \ndevelopment. A visit to Simes transforms into an \naesthetic experience, a chance for renewal and \ninspiration to be experienced both by day and \nby night, thanks to its exhibition rooms and the \ncountless pieces of art that occupy the space.\nA visit to the company during the day displays all the \ntechniques used in the creation of an outdoor lighting \nproduct as well as the vast array of options available \nto the designer. At night, daily work activities give \nway to the calm and evocative ambiance of a space \nwhere light takes centre stage.\nArtworks, roof gardens, hallways, and façades all \nvary their appearance and drastically alter how \nspace is perceived. The all-pervading charm of \ntwilight enables one to completely comprehend the \npotential of light and the true effect it is capable of \nproducing when understood and handled with care.\nFor guests and visitors, the Simes \nheadquarters have always represented \nthe first and most effective way of \nconveying its message. There is more to \nit than just being a place to concentrate \nall the intellectual and productive \nprocesses of the company. It’s about \ntranslating a concept of beauty and \nwellbeing into a way of doing business \nthat is precise and effective. \n“The idea of bringing art \ninto the company comes \nfrom the desire to create an \nattractive setting full of beauty \nfor myself, my staff and our \nmany guests.” \nRoberto Botti, General Manager of Simes\n46\n47\nS I M E S  M A G  0 1\nS I M E S  M A G  0 1\n",25,{"image":114,"text":115,"number":116},"\u002Fmedia\u002Fimages\u002F21\u002F6f556bf23cf9455f51a8e1648e3a78-28e91b6bd8.26.png","Lighting knowledge\n48\n49\nS I M E S  M A G  0 1\nS I M E S  M A G  0 1\n",26,{"image":118,"text":119,"number":120},"\u002Fmedia\u002Fimages\u002F21\u002F6f556bf23cf9455f51a8e1648e3a78-28e91b6bd8.27.png","IP System®\nIP System\nProduct\nProduct\nWineries\n...and also\nindoors\ngenerally\nSpa and \nwellness \ncenter\nPorches, \noutside areas \nand\nroof gardens\nIP System® is the first linear light \nsystem for outdoor and humid \nenvironments with two independent \nelectrical circuits, one dedicated \nto supply the linear rod composed \nof a silicone rod and the other one \ndedicated to supply all the additional \nplug-in luminaires.\n50\n51\nS I M E S  M A G  0 1\nS I M E S  M A G  0 1\n",27,{"image":122,"text":123,"number":124},"\u002Fmedia\u002Fimages\u002F21\u002F6f556bf23cf9455f51a8e1648e3a78-28e91b6bd8.28.png","Product\nSurface\nDownlight with \nfix optic\nMicro-tiltable \nprojector\nComfort optic\nSuspended\nComfort optic with \nsingle-control\nRecessed\nSuspended\n1. HIGHLIGHTER INSTALLATION\n2. PLUG-IN FIXTURES\nIP System\n®\nLinear lighting system plug-in IP54\nIP SYSTEM®  is the first innovative dual \npower light system for outdoor environment \nIP54. It is an IP rated system composed \nby a silicone rod (general lighting) and a \nnumber of additional luminaires (spot light \nfor accent lighting, downlights and pendant \nfor wider beam effects). The additional \nluminaires are connected to the rod \nthrough an innovative plug-in electrical and \nmechanical connection, which guarantees \na high protection level on all products. IP \nSystem® can be used in any environment, \nfrom \ntypical \noutdoor \napplication \n(gazebos and pergolas) to indoor humid \nenvironments (wellness, SPA and wineries). \nIts elegant design in surface mounted \nversion, recessed or suspended version, \nleads IP System® to be perfectly used also \nin normal indoor application even where the \nIP rating is not required. IP System® has \ntwo 24V independent electrical circuits: \none dedicated to supply the silicone rod \nand the other one dedicated to supply all \nthe additional plug-in luminaires. The latter \nin combination with single-control plug-\nin products, allow you to create endless \nscenarios. \nRemote \ndimmable \npower \nsupplies allow accurate light management.  \nTECHNICAL DESCRIPTION\nHighlighter lighting rod supplied with 5,0m \nsilicone 4-poles cable for two independent \nelectrical circuits: one to supply the light \nrod and the other specifically dedicated to \nsupply the plug-in fixtures. Continuous light \nsource made of co-extruded opal silicone. \nPROTECTION CLASS\nLIGHTING SYSTEM IP SYSTEM: IP54\nPLUG-IN FIXTURES: IP65\nThe lighting rod Highlighter without\nplug-in products installed guarantees an\nIP65 protection rating.\nThe lighting rod Highlighter with plug-in \nfixtures installed and never removed\nguarantees an IP65 protection rating.\nThe lighting rod HIGHLIGHTER, after\ninstallation, removal and repositioning\nof plug-in fixtures, guarantees an IP54\nprotection rating.\nPATENTED\nREGISTERED DESIGN\nREGISTERED TRADEMARK \nISOLATION CLASS\nCLASS III   \nMECHANICAL RESISTANCE\nIK08 HIGHLIGHTER\nIK07 PLUG-IN FIXTURES\nRemote power supply 24Vdc not included.\nThe overall consumption of the plug-in \nfixtures on each lighting rod HIGHLIGHTER\n(regardless of its length 1, 2, 3 or 4m) must\nnot exceed 60W.\nThe lighting rod Highlighter can be \nshortened every 5cm on request with a \nsurcharge (this process must be carried out \nexclusively by SIMES).\nCOLORS \nHIGHLIGHTER \nSURFACE, \nSUSPENDED AND PLUG-IN:\n               White\n               Black\nCOLOR HIGHLIGHTER RECESSED:\n               Black\n.01\n.09\n.09\n52\n53\nS I M E S  M A G  0 1\nS I M E S  M A G  0 1\n",28,{"image":126,"text":127,"number":128},"\u002Fmedia\u002Fimages\u002F21\u002F6f556bf23cf9455f51a8e1648e3a78-28e91b6bd8.29.png","Product\nIP System® enriches the architectural \nproject with a new lighting expressions, \nwith a high grade of aesthetic, together \nwith the exclusive capability to maintain \nthe same design language that goes \nfrom in - to - out, and vice-versa with a \ngreat flexibility.\nLinking indoor \nand outdoor\n54\n55\nS I M E S  M A G  0 1\nS I M E S  M A G  0 1\n",29,{"image":130,"text":131,"number":132},"\u002Fmedia\u002Fimages\u002F21\u002F6f556bf23cf9455f51a8e1648e3a78-28e91b6bd8.30.png","Product\nFLOWER ZOOM 60 plug-in\nTRENDY plug-in\nFLOWER 35 plug-in\nHIGHLIGHTER\nThe mechanical and electrical connection of all plug-\nin products to the light rod is via a double installation \nprocess:\n- The two metal clips hook the black anodised \naluminium profile externally and permanently ensure \nthe product plug-in to the light rod; \n- The four pins, necessary for the 24V electrical \nconnection, pierce the silicone strip housed in the \nprofile and intercept a dedicated line that has an \nindependent power line from the rod itself.\nThe painted aluminium side covers complete the fixture \nby hiding the fastening clips external to the profile. The \nend caps create an aesthetic and functional closure as \nthey become an additional safety element for the joining \nof the components.\nCEILING plug-in\nFINGER plug-in\nFLOWER ZOOM 60 COMFORT\nplug-in with individual control\nFLOWER 35 COMFORT plug-in\nElectrical \nplug-in\nconnection\nIP System® has been \npatented for its special \nelectrical connection that \nallows the installation \nof plug-in products \nanywhere in the system \nand their possible \nrepositioning.\n56\n57\nS I M E S  M A G  0 1\nS I M E S  M A G  0 1\n",30,{"image":134,"text":135,"number":136},"\u002Fmedia\u002Fimages\u002F21\u002F6f556bf23cf9455f51a8e1648e3a78-28e91b6bd8.31.png","Product\nHighlighter\nOFF\nHighlighter\nON\nFlower 35 plug-in\nON\nFlower 35 plug-in\nON\nAccent lighting\nThe lighting and dimming of space-oriented plug-in products \nalone, creates a theatrical and emotional atmosphere that \nfocuses on specific details.\nGeneral and accent lighting\nThe simultaneous lighting and dimming of Highlighter and plug-\nin products creates a balance between the two types of lighting \nand dampens the contrasts of light and shade produced by the \nplug-in luminaires.\nHighlighter\nON\nFlower 35 plug-in\nOFF\nThe presence of two separate and independent \npower supply lines, one for the supply of the light \nrod (Highlighter) and the other specifically dedicated \nto the supply of the plug-in fixtures, allows the \ntwo different elements to be either switched or \ndimmed separately. It will then be possible to create \ndifferent scenarios and vary them according to the \napplications.\nIP System® therefore needs two separate power \nsupplies both remote (dimmable or ON-OFF), one \nto control the light rod and one to power the plug-in \nproducts. The intensity of the light emitted may be \nmodulated thanks to the possibility of wiring with \ndimmable 24V remote power supplies.\nGeneral lighting\nThe lighting and dimming of the sole Highlighter rod, creates \na uniform and diffused lighting suitable for, as example, to \nperform functional and work activities.\nSeparate\nlighting \nand\ndimming\n58\n59\nS I M E S  M A G  0 1\nS I M E S  M A G  0 1\n",31,{"image":138,"text":139,"number":140},"\u002Fmedia\u002Fimages\u002F21\u002F6f556bf23cf9455f51a8e1648e3a78-28e91b6bd8.32.png","Product\nFlower ZOOM 60 comfort\nplug-in with individual control\nTrendy plug-in\nFinger plug-in\nCeiling 4 LED plug-in\nFlower 35 comfort plug-in\nCeiling 2 LED plug-in\nFlower 35 plug-in\nCeiling 2 LED plug-in\nTrendy plug-in\nFlower ZOOM 60\ncomfort plug-in\nCeiling 4 LED plug-in\nFlower ZOOM 60\nplug-in\nIP System® Surface\nHighlighter surface\nBlack anodized extruded aluminium body 1, 2, 3 \nor 4m long to be fixed on the surface and painted \naluminium side covers. \nIP System® Recessed\nHighlighter recessed\nBlack anodized extruded aluminium body 1 or 2m \nlong. Provided with anodized aluminium housing to be \nrecessed in plasterboard or Aquapanel® panels.\nIP System® Suspended\nHighlighter suspended\nBlack anodized extruded aluminium body 2m long, \npainted aluminium side covers and 1,5m adjustable \nsteel suspension cable. In single-emission version with \nHighlighter light directed downwards or in bi-emission \nversion with Highlighter light directed one down \nand one up. The control of the two Highlighters is \nindependent.\n60\n61\nS I M E S  M A G  0 1\nS I M E S  M A G  0 1\n",32,{"image":142,"text":143,"number":144},"\u002Fmedia\u002Fimages\u002F21\u002F6f556bf23cf9455f51a8e1648e3a78-28e91b6bd8.33.png","Product\nSide cover\nMetal clips for the mechanical fixation\nof the plug-in product to the profile\nPins for the electrical connection\nInternal aluminium profile\nthat houses the silicone strip\nCeiling\nIP System®  Surface\nThe surface version of Highlighter allows to install \nIP System® directly on ceilings or walls without the \nneed for any housing.  The accessories “90 degree \ncorner Joint” and “Linear Joint” further increase the \ndesign freedom giving the possibility to compose the \ndesired IP System®  configuration.  \nHighlighter surface mounted is available in our \nstandard colors Black .09 and White .01 or, on \nrequest, in any special colours for maximum design \nfreedom in the project.\nIP System® is configurable with additional plug-in \nproducts with different features and functions that \ncan be installed and then repositioned at any point \nof the lighting rod Highlighter, maintaining a high \ndegree of IP protection.\n62\n63\nS I M E S  M A G  0 1\nS I M E S  M A G  0 1\n",33,{"image":146,"text":147,"number":148},"\u002Fmedia\u002Fimages\u002F21\u002F6f556bf23cf9455f51a8e1648e3a78-28e91b6bd8.34.png","110°\n1026 \u002F 2026 \u002F 2976 \u002F 4026\n30\n34\nProduct\nHIGHLIGHTER 1m \u002F 2m \u002F 3m \u002F 4m\nLighting rod\nLED MODULE 3000K CRI90 850lm\u002F1m 15W\u002F1m\n(on request 2700K CRI90 800lm\u002F1m)\n(on request  4000K CRI90 893lm\u002F1m) \n24Vdc PWM\nRequires constant voltage 24Vdc remote power \nsupply.\nOn each lighting rod Highlighter regardless of its \nlength (1,2,3 and 4m) the total consumption of \nadditional plug-in products shall not exceed 60W. \nThe line dedicated to plug-in products need to be \npowered with a dedicated power supply.\n1,0m length\n2,0m length\n3,0m length\n4,0m length (2 profiles of 2,0m \nwith a unique strip LED of 4,0m)\n90 degree corner junction\nLinear junction\nAccessories\nJUNCTIONS FOR HIGHLIGHTER SURFACE\nIn painted steel\nCOLORS:\n .01 White\n .09 Black\nHIGHLIGHTER Surface\n65\nS I M E S  M A G  0 1\n64\nS I M E S  M A G  0 1\nS.9001W \nS.9002W \nS.9003W \nS.9004W \nS.9090\nS.9091\n",34,{"image":150,"text":151,"number":152},"\u002Fmedia\u002Fimages\u002F21\u002F6f556bf23cf9455f51a8e1648e3a78-28e91b6bd8.35.png","Product\nRecessed housing\nInternal aluminium profile that\nhouses the silicone strip and \nrecessing box attachment\nPlasterboard\nMetal clips for the mechanical fixation\nof the plug-in product to the profile\nPins for the electrical connection\nIP System®  Recessed\nThe recessed “trimless” version of IP System®  allows \nto install lighting rod Highlighter totally flush with \nthe ceiling in plasterboard and\u002For in Aquapanel® \npanels. \nThe recessing box is designed for installation on \nthe  supporting structure of the plasterboard. It \nis designed to host the lighting rod Highlighter \non which all additional plug-in products will be \ninstalled. The built-in IP System® has a body and \nrecessing box in black anodized aluminium, and is \navailable in lengths of 1 meter and 2 meters.\nIP System® is configurable with additional plug-in \nproducts with different features and functions, which \ncan be installed and then repositioned anywhere on \nthe Highlighter lighting rod, ensuring a high degree \nof IP protection.\n66\n67\nS I M E S  M A G  0 1\nS I M E S  M A G  0 1\n",35,{"image":154,"text":155,"number":156},"\u002Fmedia\u002Fimages\u002F21\u002F6f556bf23cf9455f51a8e1648e3a78-28e91b6bd8.36.png","1050 \u002F 2050 \n80\n37\n97\n14\n110°\nProduct\nLED MODULE 3000K CRI90 850lm\u002F1m 15W\u002F1m\n(on request 2700K CRI90 800lm\u002F1m)\n(on request 4000K CRI90 893lm\u002F1m)\n24Vdc PWM\nRequires constant voltage 24Vdc remote power \nsupply.\nOn each lighting rod Highlighter regardless of \nits length (1 and 2m), the total consumption of \nadditional plug-in products shall not exceed 60W. \nThe line dedicated to plug-in products need to be \npowered with a dedicated power supply.\nHIGHLIGHTER 1m \u002F 2m\nLighting rod \nCOLOR:\n .09 Black\nHIGHLIGHTER Recessed\n1,0m length\n2,0m length\n69\nS I M E S  M A G  0 1\n68\nS I M E S  M A G  0 1\nS.9005W \nS.9006W \n",36,{"image":158,"text":159,"number":160},"\u002Fmedia\u002Fimages\u002F21\u002F6f556bf23cf9455f51a8e1648e3a78-28e91b6bd8.37.png","Product\nInternal aluminium profile\nthat houses the silicone strip\nMetal clips for the mechanical fixation\nof the plug-in product to the profile\nPins for the electrical connection\nCeiling\nSide cover\nSide cover\nStainless steel cable \nhook clip\nThe suspended version of the IP System® offers \nthe possibility of anchoring the system to ceilings, \nporches or pergolas through adjustable steel \ncables. Proposed in single-emission version (with \nlight downwards) and bi-emission (with light both \ndownwards and upwards) IP System®, suspension is \nanother variant of the system, ideal both in indoor \nand outdoor spaces.\nIn the bi-emission version, the IP System® has \nadded to the system the indirect and diffused light \ncomponent even towards the ceiling. IP System®, bi-\nemission is composed of a central body that houses \ntwo light strips Highlighter (one upwards and the \nother downwards) controllable independently, for \nthis you need 3 remote power supplies: one for the \nstrip light downlight, one for the up-light strip and \none for the additional plug-in products.\nIP System®  Suspended\n70\n71\nS I M E S  M A G  0 1\nS I M E S  M A G  0 1\n",37,{"image":162,"text":163,"number":164},"\u002Fmedia\u002Fimages\u002F21\u002F6f556bf23cf9455f51a8e1648e3a78-28e91b6bd8.38.png","110°\n110°\n100\n30\n2025\n56\n34\n250\n250\nProduct\n2x LED MODULE 3000K CRI90 850lm\u002F1m 15W\u002F1m\n(on request 2700K CRI90 800lm\u002F1m)\n(on request 4000K CRI90 893lm\u002F1m) \n24Vdc PWM\nHighlighter bi-emission requires 3 remote power supplies \nin 24vdc constant voltage: one for the strip down-light \n(2m length), one for the up-light strip (1,5m length) and \none for additional plug-in products. The product comes \nwith adjustable steel suspension cables (1,5m length) \nplaced 25 cm from its ends. The product also comes with \ntwo power cables of 5m length.\nYou can install the plug-in products only on the Lighting \nrod Highlighter down-light. The total consumption of \nadditional plug-in products must not exceed 60W.\nThe painted aluminium ceiling rose accessory is useful \nfor masonry installations that need to hide the electric \ncorrugated. The accessory is composed by two ceiling roses.\n2,0m Bi-emission independent up and down-light \n2,0m Single-emission down-light\nCeiling Rose \nLED MODULE 3000K CRI90 850lm\u002F1m 15W\u002F1m\n(on request 2700K CRI90 800lm\u002F1m)\n(on request 4000K CRI90 893lm\u002F1m) \n24Vdc PWM\nSingle-emission Highlighter requires 2 remote power \nsupplies in 24vdc constant voltage: one for the down-light \nstrip (2m length) and one for additional plug-in products. \nThe product comes with adjustable steel suspension \ncables (1,5m length) placed 25 cm from its ends. The \nproduct also comes with two power cables of 5m length.\nThe total consumption of additional plug-in products shall \nnot exceed 60W.\nHIGHLIGHTER 2m\nLighting rod \nCOLOR:\n .01 White\n .09 Black\nHIGHLIGHTER Suspended\n73\nS I M E S  M A G  0 1\n72\nS I M E S  M A G  0 1\nS.9082W \nS.9087W \nS.9080\n",38,{"image":166,"text":167,"number":168},"\u002Fmedia\u002Fimages\u002F21\u002F6f556bf23cf9455f51a8e1648e3a78-28e91b6bd8.39.png","1050\u002F2050\u002F3050\n32\nProduct\nBlack polycarbonate diffuser must be carefully cut by \nthe installer with a circular saw where plug-in products \nwill be installed.\nFor transport reasons, the black diffuser accessory \ncan only be supplied when ordering the lighting rod \nHighlighter.\n1,0m length\n2,0m length\n3,0m length\nBLACK SHIELDING\nAvailable for each version \nof the lighting rod Highlighter\nHighlighter off, with polycarbonate black diffuser.\nThe polycarbonate black diffuser is a screening element. \nWhen Highlighter is off, the black diffuser turns the silicone \nstrip into black.\nHighlighter on, with polycarbonate black diffuser. \nThe polycarbonate black diffuser is a screening element. \nWhen Highlighter is on, the polycarbonate diffuser would turns \ninto light grey and the light emitted will be of around 50%.\nWhen Highlighter is OFF\nWhen Highlighter is ON\nACCESSORY Black shielding diffuser\nThe black shielding diffuser is an aesthetic \naccessory compatible with all versions of the \nlighting rod Highlighter.\nIn smoked black polycarbonate allows you to make\nHighlighter completely black when turned off and\ncreate a screened light effect of about 50% when \nthe light rod is on. Available in lengths of 1, 2, and \n3m has a thickness of 1 mm.\nThe black diffuser accessory can be easily cut by \nthe installer using a circular saw and positioned \nvery close to the plug-in products on the lighting \nrod Highlighter.\nACCESSORY Black shielding diffuser\n75\nS I M E S  M A G  0 1\n74\nS I M E S  M A G  0 1\nS.9095\nS.9096 \nS.9097 \n",39,{"image":170,"text":171,"number":172},"\u002Fmedia\u002Fimages\u002F21\u002F6f556bf23cf9455f51a8e1648e3a78-28e91b6bd8.40.png","Product\n76\n77\nS I M E S  M A G  0 1\nS I M E S  M A G  0 1\n",40,{"image":174,"text":175,"number":176},"\u002Fmedia\u002Fimages\u002F21\u002F6f556bf23cf9455f51a8e1648e3a78-28e91b6bd8.41.png","65°\n65°\n55\n42\n178\n168\n55\n42\n105\n95\n12°\n43°\n65\n85\n40\n92\nProduct\nCEILING Plug-in comfort\nTRENDY Plug-in\nLED MODULE 3000K CRI90 580lm 4,2W\n(on request 2700K CRI90 536lm)\n(on request 4000K CRI80 714lm)\nRated input power 5,2W 24Vdc PWM.\nLED MODULE 3000K CRI90 580lm 4,2W\n(on request 2700K CRI90 536lm)\n(on request 4000K CRI80 714lm)\nRated input power 5,2W 24Vdc PWM.\n24Vdc electrical connection from \nthe HIGHLIGHTER lighting profile.\nSpot beam with lenses\nFlood beam with lenses\nTRENDY 3 LED plug-in\nFix downlight IP65 \nLED MODULE 3000K CRI90 1040lm 8,4W\n(on request 2700K CRI90 960lm)\n(on request 4000K CRI80 1280lm)\nRated input power 10,4W 24Vdc PWM.\n24Vdc electrical connection from \nthe HIGHLIGHTER lighting profile.\nLED MODULE 3000K CRI90 520lm 4,2W\n(on request 2700K CRI90 480lm)\n(on request 4000K CRI80 640lm)\nRated input power 5,2W 24Vdc PWM.\n24Vdc electrical connection from \nthe HIGHLIGHTER lighting profile.\nWide Flood beam with reflectors\nWide Flood beam with reflectors\nCEILING 2 LED plug-in comfort\nLinear fix downlight IP65 \nCEILING 4 LED plug-in comfort\nLinear fix downlight IP65 \nPLUG-IN FIX OPTIC\nIP System® allows to combine a diffuse light\neffect, \nprovided \nby \nthe \nlighting \nrod \nHighlighter, with additional ambient and \naccent light effects provided by the plug-in \nproducts who are available with different \noptic configurations.\nCEILING is a linear downlight that thanks \nto its rearward optics, guarantees a \ntotal absence of glare and an excellent \ndistribution of the beam on the ground. The \nglass is properly interposed between the \ninternal reflectors and the external cowls \nfor even more professional visual comfort. \nCeiling plug-in is ideal for illuminating \ndouble height spaces or where a good even \nhorizontal illumination is required.\nTRENDY plug-in is a downlight with fixed \ncomfortable optics consisting of 3 lenses and \nits cowls. Despite its reduced dimensions, it \nensures excellent levels of lighting and visual \ncomfort.\nDie-cast EN AB-47100 aluminium housing \nwith \nhigh \ncorrosion \nresistance. \nClear \ntoughened glass 4 mm thick. Comfort optic: \nclear lenses with the retracted position of \nthe LED. No visible stainless steel screws. \nFast clip-on fixtation system and pins for \nthe electrical connection. Silicone gaskets. \nPlug-in fixtures protected against the reverse \npolarity. Double powder paint. Constant \nvoltage 24Vdc from the electrical connection \nto the HIGHLIGHTER lighting profile.\nThe overall consumption of the plug-in \nfixtures on each lighting rod Highlighter \n(regardless of its length 1, 2 or 3m) must \nnot exceed 60W\nP.N. Removal or replacement of the \nadditional fixtures must be carried out by \na qualified professional through the use of \nspecial tools.\nPROTECTION CLASS \nIP65\nISOLATION CLASS\nCLASS III   \nMECHANICAL RESISTANCE\nIK07\nRemote power supply 24Vdc not included.\nPATENTED\nREGISTERED DESIGN\nCOLORS:\n           White\n           Black\n.01\n.09\n79\nS I M E S  M A G  0 1\n78\nS I M E S  M A G  0 1\nS.9050W \nS.9045W \nS.9030W \nS.9031W \n",41,{"image":178,"text":179,"number":180},"\u002Fmedia\u002Fimages\u002F21\u002F6f556bf23cf9455f51a8e1648e3a78-28e91b6bd8.42.png","14°\n41°\n 35\n90\n355°\n30°\n90°\n85\n22°- 43°\nØ 60\n120\n355°\n30°\n90°\n120\n22°\nProduct\nFLOWER 35 Plug-in\nFLOWER ZOOM 60 Plug-in\nFLOWER 35 plug-in\nTiltable micro-projector with fix optic IP65\nFLOWER ZOOM 60 plug-in\nTiltable projector with adjustable optic IP65\nMODULE LED 3000K CRI90 492lm 5,4W\n(on request 2700K CRI90 426lm)\n(on request 4000K CRI80 570lm) \nRated input power 7,0W 24Vdc PWM\nMODULE LED 3000K CRI90 492lm 5,4W\n(on request 2700K CRI90 426lm)\n(on request 4000K CRI80 570lm) \nRated input power 7,0W 24Vdc PWM\n24Vdc electrical connection from \nthe HIGHLIGHTER lighting profile.\nSpot beam with lens\nFlood beam with lens\nMODULE LED 3000K CRI90 852lm 8,6W\n(on request 2700K CRI90 807lm)\n(on request 4000K CRI80 1056lm) \nRated input power 10,4W 24Vdc PWM\n24Vdc electrical connection from \nthe HIGHLIGHTER lighting profile.\nFrom Medium to Flood beam with lens\nMODULE LED 3000K CRI90 492lm 5,4W\n(on request 2700K CRI90 426lm)\n(on request 4000K CRI80 570lm) \nRated input power 7,0W 24Vdc PWM\nMedium beam with lens\nIP System® offers a wide range of adjustable \nplug-in solutions.\nFLOWER 35 plug-in is a micro-projector \nwith IP65 comfortable directional optics \nengineered to be applied to the lighting rod\nHIGHLIGHTER. \nIt \noffers \nhigh \nlighting \nperformance while maintaining minimum \ndimensions. It’s available with fixed Spot optic \n14°, with fixed Medium optic 22°, with fixed \nFlood optic 41° or in the COMFORT version \nwith rearward optic and honeycomb.\nFLOWER ZOOM 60 plug-in is a multifocal \nprojector with adjustable beam even when \ninstalled. The gradual adjustment that brings \nthe beam from Medium 22° to Flood 43° is \nalways possible and takes place with a simple \nmanual rotation of the front bezel. Also Flower \nZOOM 60 plug-in is available in the COMFORT \nsolution, with rear and honeycomb optics.\nFLOWER \nZOOM \n60 \nCOMFORT \nWITH \nINDIVIDUAL CONTROL confirms all the \ntechnical and lighting characteristics of \nthe similar product FLOWER ZOOM 60 \nCOMFORT, also adding an important electronic \ncomponent. Through the DALI interface, each \nelement can be controlled and managed \nindividually both in terms of switching on and \noff, both in terms of flux regulation.\nDie-cast EN AB-47100 aluminium housing \nwith \nhigh \ncorrosion \nresistance. \nClear \ntoughened glass 4 mm thick. Comfort optic: \nclear lenses with the retracted position of \nthe LED. No visible stainless steel screws. \nFast clip-on fixtation system and pins for \nthe electrical connection. Silicone gaskets. \nPlug-in fixtures protected against the \nreverse polarity. Double powder paint extra \nresistant. Constant voltage 24Vdc from the \nelectrical connection to the HIGHLIGHTER \nlighting profile.\nThe overall consumption of the plug-in \nfixtures on each lighting rod Highlighter \n(regardless of its length 1, 2 or 3m) must \nnot exceed 60W.\nP.N. Removal or replacement of the \nadditional fixtures must be carried out by \na qualified professional through the use of \nspecial tools.\nPROTECTION CLASS \nIP65\nISOLATION CLASS\nCLASS III   \nMECHANICAL RESISTANCE\nIK07\nRemote power supply 24Vdc not included.\nPATENTED\nREGISTERED DESIGN\nCOLORS:\n           White\n           Black\nPLUG-IN TILTABLE OPTIC\n.01\n.09\n81\nS I M E S  M A G  0 1\n80\nS I M E S  M A G  0 1\nS.9011W \nS.9010W \nS.9020W \nS.9012W \n",42,{"image":182,"text":183,"number":184},"\u002Fmedia\u002Fimages\u002F21\u002F6f556bf23cf9455f51a8e1648e3a78-28e91b6bd8.43.png","Ø 60\n120\n355°\n30°\n90°\n120\n1\n4\n2\n3\n5\n16°- 40°\n0%\n0%\n100%\n50%\n20%\nPRODUCT\nDIMMER\n21°\n13°\n40°\n 35\n92\n355°\n30°\n90°\n85\n16°- 40°\nØ 60\n120\n355°\n30°\n90°\n120\nProduct\nFLOWER ZOOM 60 COMFORT INDIVIDUAL CONTROL Plug-in\nFLOWER ZOOM 60 COMFORT plug-in with individual control\nTiltable projector with adjustable comfort rearward optic and honeycomb IP65\nFlower ZOOM with individual control 1\nFlower ZOOM with individual control 2\nFlower ZOOM with individual control 3\nFlower ZOOM with individual control 4\nFlower ZOOM with individual control 5\nOPERATING SCHEME OF FIVE FLOWER ZOOM PLUG-IN WITH INDIVIDUAL CONTROL\nA maximum of n.5 Flower ZOOM 60 Individual controll can be installed on one \nHighlighter, regardless of its length. 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The \nrearward source, that ensures a uniform \nand comfortable light, together with the \nchance to adapt the suspension cable for \nany requirement, means Finger plug-in to \nbe the perfect element to ensure the right \natmosphere to any relaxing and social area, \nwith the proper quantity of light perceived \nfrom the human eye.\nDie-cast EN AB-47100 aluminium housing \nwith \nhigh \ncorrosion \nresistance. \nClear \ntoughened glass 4 mm thick. Comfort optic: \nclear lenses with the retracted position of \nthe LED. No visible stainless steel screws. \nFast clip-on fixtation system and pins for \nthe electrical connection. Silicone gaskets. \nPlug-in fixtures protected against the \nreverse polarity. Double powder paint extra \nresistant. Constant voltage 24Vdc from the \nelectrical connection to the HIGHLIGHTER \nlighting profile.\nThe overall consumption of the plug-in \nfixtures on each lighting rod Highlighter \n(regardless of its length 1, 2 or 3m) must \nnot exceed 60W.\nP.N. 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