Small houses, long balconies, tiny outdoor toilets and shared courtyards where the most fortunate could leave their bicycle, a veritable luxury in those days. It seems impossible, but near the Ghisolfa bridge, lilies were grown and taken to market, and not far away was the open countryside, with farms where you could buy eggs and fresh, still-warm milk.

And then, of course, the Duomo and the Galleria Vittorio Emanuele II, the disreputable neighbourhoods, the elite areas, the Sunday outings in your best clothes and a coffee at the bar as a special treat. At Christmas, people would leave gifts for the ghisa (municipal police) at the foot of the platform on which they stood to direct the traffic, because there has always been a lot of traffic in Milan, even before the economic boom of the seventies. The canals were crowded with vessels, and on the barges you could see crates bearing the lettering “A Ufo”, which stood for Ad usum fabricae: if the material was destined for the construction of the Duomo, then it was not subject to taxation, giving rise to the Milanese expression “a ufo”, meaning “freeloading”.
We could continue indefinitely on this wave of nostalgia for that serene and long-lost simplicity, but also about the struggle to make ends meet, and how people managed to scrape by. For the moment let us focus on the elements that inspired the plan and erection of our exhibition space at Euroluce 2019, which represents a major opportunity for us to get to meet so many people, those working in the sector first and foremost, but also the general public. Hence, we chose a setting inspired by the traditional courtyard tenement, with a tram as our symbolic means of transport through the Rossini world from 1929 to the present day.

We could continue indefinitely on this wave of nostalgia for that serene and long-lost simplicity, but also about the struggle to make ends meet, and how people managed to scrape by. For the moment let us focus on the elements that inspired the plan and erection of our exhibition space at Euroluce 2019, which represents a major opportunity for us to get to meet so many people, those working in the sector first and foremost, but also the general public. Hence, we chose a setting inspired by the traditional courtyard tenement, with a tram as our symbolic means of transport through the Rossini world from 1929 to the present day.
In these tenements, veritable miniature universes developed, where proximity strengthened ties, for better or worse. You would often hear singing, chatting, shouting… and privacy was not considered a fundamental concept at all. It was a world of sharing, of personal relations, of stories that were interwoven from one generation to the next; we felt that all this was very close to our own history. When you think about it, the life of a brand also includes transitions from one generation to the next, stories of ideas and products, people linked by a highest or lowest common denominator, there are special relationships built of friendship and work, as well of moments of discord, of course.
Around an ideal courtyard lie the exhibitive niches housing the product families; at the centre of the aggregation space and a display representing the famous balconies with their flower pots, the tables and chairs of the trattorias, and on the walls, the black and white images of city views. One key element of the setting is a map of Milan, already used as a “Made in Milan” marker in the latest TECH catalogue; then a picture of a classic tram, which to this day is one of the most popular ways of getting around the city – the locals are used travelling by public transport, and know almost all the stops by heart. On this map we see the milestones in our history symbolically meandering, a very personal chronicle highlighting the most important events and some interesting facts, taking in the people, products and innovations, which will be the subject of a separate article.

Here is what the designers from Lascia la Scia studio have to say:

“Our idea arose from a suggestion that emerged during a meeting with Rossini Illuminazione, and from a phrase found on the website: ‘Loving light since 1929’.
We wanted to create a home in which light lives, and where the history of Rossini Group develops. What’s more, in addition to presenting its collection at the fair this year, the company is also celebrating the major milestone of its 90th anniversary. So what better way to tell the story of living if not with a house? And what kind of building could be more traditional and typically Milanese than a courtyard tenement? In this way, we want to convey the elegance and spatially introverted character of this city, celebrating its urban structure of closed, hidden courtyards, waiting to be discovered.
The stand is developed around a courtyard, overlooked by the railed balconies typical of these tenements. Thus it becomes the perfect setting for the products of the outdoor collection, following an exhibition trail organized so as to present the new collections with the right amount of prominence, while also narrating the story of the company, not only focusing on thepast, but also looking forward to the future.
Milan is interpreted in its constant contrast between craftsmanship and factories, between innovation and tradition, with traditional materials set alongside new, technological ones.
The basiccolour palette selected for the stand and the use of materials both help to highlight the products on display: different colours identify the different applications and categories of the collections on show. With this project, we wanted to convey the solidity of this Italian group within its market of reference, deeply rooted in its history, but equally looking towards a future of increasing specialization and customization of its products”.

Let’s start with the “why”: we looked up the Italian word evento in the dictionary. Here’s what we found:

/ɪˈvɛnt/

noun
1. Afact or incident that has already occurred or that may occur, usually significant to an objective or subjective situation: to judge by events; to await events; to challenge events, to face danger and adversity with great courage; memorable event, a fact or occurrence of great importance, worthy of being remembered.

In our case the most fitting example is the last one: a fact or occurrence of great importance, worthy of being remembered.

Naturally, for all of us, the company’s ninety years are filled with so much history, in particular for the family, and so much light. A light that has brightened almost a century of moments, places and people that at different times and in different ways have contributed to create the Rossini (Illuminazione) we all know today.

So why celebrate? First of all, as an acknowledgement of those who first believed in the idea of starting their own business, and who carried on despite everything, including the war. So our thanks go to Otello Rossini, who on 4 October 1929 moved from the Veneto region to Milan and set up his trade, which within a few years became a store on via Melzo, with the first Murano artistic lamps.

Our thanks to Eugenio Rossini, and his cousin Angelo, who took up the reins and gave the “firm” new impetus, expanding its spaces, products and figures before handing the business on to Ruggero Rossini, Angelo’s son. To be followed by the new generations… but we’ll come to that later.

There are numerous reasons for our desire to celebrate this event. For example, we would like to view our Ninetieth as a starting point and not as the finishing line at the end of the race… That would be all too predictable, and would limit the plans, dreams and ideas that still drive us on. We see the concept of Ninetieth on a different level, not only as a piece of history for a museum, but as a push towards total and constant updating. If we were to talk about the result of so many years in business and the fortunes of three generations in increasingly particular markets, we might use this word: awareness.

Awareness is another important reason why: all that history, patiently built, bit by bit, today leads to a clearer, shared vision; the ideas are more defined, the vision broader, the choices, while they may not always be winning ones, all contribute to moving forward, learning from each lesson. This is clear to those leading the Group today: Elisa, Dario and Marco, a remarkable case of division of roles and competences between siblings, and an average age that has at times surprised people: “I never imagined you were so young!” It is thanks to them, too, that the Group is now so strongly immersed in the reality of the market, without ever forgetting the roots that are fortunately still deeply felt. It is these roots that lead us to think of our Ninetieth year as a watershed between the years spent “fine-tuning” a complex organization and the present, where each pawn is positioned – almost – perfectly.

 So, having established that this 90th anniversary must be dynamic, and never self-congratulatory, open to all of our world and very meaningful, what official name should we give it? What does the number 90 bring to mind? So many things! It is the highest number in the Italian Lotto, and we find it in astronomy, mathematics, chemistry, leisure and sport… the number 90 is always present, and it always has a precise meaning. But then we thought about the constant issuing of new updates in the digital sphere, and “Nine Point Zero” seemed like a great way to represent the link with research, technology and the future. From a static number to a dynamic one, destined to change, along with the Rossini brand and all it represents.

Come applicare quindi il concetto 9.0 alle attività dell’anno/anniversario? Con un progetto visivo che ci accompagnerà per tutto il 2019 negli eventi istituzionali, come Euroluce, e nella comunicazione social e commerciale interna ed esterna. Per prima cosa abbiamo voluto dedicare un marchio speciale all’anniversario, che potesse connotare un po’ tutto attraverso i numeri delle date. Poi abbiamo disegnato, non senza fatica data la mole di materiale, un percorso composto da tante tessere che (non necessariamente in ordine cronologico perché ci si dilungherebbe forse troppo), alla fine daranno un quadro dei momenti salienti a beneficio di chi è un po’ curioso e vuole conoscere non solo i fatti ma anche qualche aneddoto e qualche curiosità.

So how do we apply the 9.0 concept to the activities for this year/anniversary? With a visual project that will accompany us throughout 2019, at institutional events like Euroluce, and in our social media and commercial communications, both internally and externally. First off, we decided to create a special anniversary logo that would contain and convey everything using the key dates. Then we designed an exhibition trail, which was quite a challenging task considering the mass of material. It is made up of different puzzle pieces (not necessarily in chronological order to avoid making it too long), which all together give a snapshot of the key moments, for the benefit of those who are curious and wish to read a few anecdotes and interesting asides as well as the concrete facts.

For example, on social media, we will issue one piece after another, until we reach the final date, which will culminate in a veritable autumn festival, an opportunity to get together with colleagues, friends, clients and suppliers, partners and – why not – even some of our more stimulating competitors. Our website will include a dedicated section, where we will gradually put together all the stages in the journey through the Rossini world, with the recurring theme of our Milanese history and identity, because Milan was and is the city of reference for the Rossini family and its business: without forgetting their original roots, it was in Milan that they found the ideas and pace of life that enabled them to grow. And what is our means of transport on this metaphorical journey? A classic Milanese tram, of course! Still intact and handsome as ever after almost a century running along the tracks, to the rhythm of its unmistakable bell.

Let’s take the latest edition of the TECH catalogue. Now that it is in print and smells of fresh ink everything’s fine (at the most we may notice a small typo that escaped even the most attentive proofreading), but if we think for example of all the people involved in it, we realise it was a huge project. Who worked on it? First and foremost the Sales Management in close contact with Marketing and Purchases, then the designers and the Engineering department, the photographer and graphic designers, the printer. So how do we go about it? First we need to analyse the sales figures, understand which products need modifying, and which ones to extend the range of finishes and models of, remove from the range or, even more difficult, create from scratch… In short we need to respond to market signals and requirements, which are often complex and can vary from one location to another. In the lighting industry, a huge number of models need to be offered, especially in the case of a generalist company like Rossini Illuminazione, which has made the extent of its range one of its strengths. The TECH catalogue features many categories: LEDs, wall, ceiling, suspension and recessed luminaires, spotlights, ceiling lights, lamps and luminaires, modular systems and profiles, tracks and cable systems, table and floor lamps, office lights, lighting for outdoors, for the medical sector, the contract industry and so on. And every product, in turn, is available in at least several dimensions, finishes and colours, or even with different light sources (a traditional lamp holder or an integrated LED driver). It goes without saying that organising thousands of references into one printed volume that is easy to consult and provides clear information requires considerable experience, and at the same time we have to bear in mind who will be consulting it, whether professionals (electricians, wholesalers, designers and planners, architects), or end consumers.

The product list often changes from one season to another, in the same way that pre- and after-sales services change.  Printed previews may anticipate the main catalogue, as occurred with the June volume, which anticipated the new technical features, or the brochure featuring aluminium profiles and LED strips, which today can be customised down to the centimetre in 16 different types. So the main catalogue will also deal with these topics in depth, following on from the initial level of information. This means constantly working to provide customers with information.

But let’s get back to producing the catalogue: once the difficult job of selecting the products to be featured has been completed, the next stage is photographing them. We need to produce photographic material for the new luminaires and update the photos of products that are being re-proposed with new technical images. Then there are reports of lighting projects that have been developed, which describe where and how a specific model was used. So we need to manage and store thousands of files, not only of photographs, but also of copy (in Italian and English), which the graphic design office will need so that it can finally design the page layout. After the first dummy* is ready, many more will follow, with various types of corrections. The colours of the photographs and colour samples are optimised (if necessary they are perfected after production), corrections are made to the text and information sheets, the page sequence is decided – and will change many times along with the table of contents – before it becomes definitive. The table of contents… or rather the “tables of contents” which along with the introduction form page layout and copy work of their own. Then if it’s a more advanced table of contents, because it provides a whole range of information in the actual classification, you can image how much work goes into it.

The total number of pages must always be a multiple of 4, otherwise the printed material cannot be bound correctly. The last step before it goes to the printing machine is producing a prototype copy called a “blueprint” because before the advent of the digital age it was printed in blue. When the “blueprint” is approved with a nice stamp that says “print approved”, the work goes ahead. During the printing stage, the final result of each page needs to be checked to make sure that the paper reacts properly with the inks, because it may be affected by dry or damp weather. The printed sheets are left to dry and are then sent to be cut and bound using special stitching on the spine. The delivery of a new catalogue is so exciting! But the greatest surprise is managing to keep to the timescale.

And that’s the whole process behind a Rossini Illuminazione or Plexiform catalogue: lots of enthusiasm, lots of effort and of course… lots of light! By the way, stay connected, coming soon another article, which explores the brand new TECH catalogue by Rossini Illuminazione!

*a term used by graphic designers and printers to indicate a draft of the hard copy

The line and the dot. On the one hand, the clean linearity of our aluminium profiles and lighting systems, our legacy and the tradition that our products carry on. On the other hand, the LED spot, the light source, which is today the key for projects and luminaires. The solidity and functionality of aluminium together with the ethereal and imperceptible nature of light.

Today, Plexiform seeks to be this “i”.

Linear, strong and coherent, but also young, dynamic and versatile. It seeks to be this “spot”; indeed, four of them at the same time. The four coloured spots which stand out and illuminate the uniform white carpet seen on the cover. The four souls of the new Plexiform catalogue: four points that are fixed yet projected towards the future.

Plexiform is here. With a brand new catalogue and 4 product sections supporting planning and design.

The range of the approximately 50 product families is divided into four application areas, which, of course, can be combined in accordance with project’s requirements. The lighting sector requires more and more support in the design phase, as well as the development of flexible products. In this catalogue, Plexiform has identified its target and its dedicated content, asking themselves some questions that could put into practice the customer’s needs, from the planning and design phase to the usage tips.

ARCHITECTURAL

Design aesthetics is a fundamental factor. Light designs spaces and defines volumes.
A chapter entirely dedicated to the lighting design, targeted to architects, lighting specialists, specialized lighting dealer or – why not? – a combination of them working together on a project. Remo, Eiffel, Rift, Sistema 9 and Folio are a few of the architectural luminaires which offer proven, flexible solutions particularly important when design aesthetics is essential to create interior layouts. Visual performance combined with the typically Italian taste for beauty. For a product that stands out not only for its lighting efficiency but also, and above all, for its style. 

TECHNICAL

Lighting systems for different kinds of environments. Visual comfort for offices; versatility and efficiency for the retail sector.
A chapter which offers lighting solutions for a wide range of environments and applications, from offices to retail and including the domestic sphere. The dynamics of work or sales places is flexible because it depends on many factors: type and size of the space, workstations, common areas and representative rooms. Pluma, Sofy, the new Cielo S9 and Tesis S9, the choice between the Technical luminaires depends on one essential element: the visual comfort. A quality of light that suits to the user needs.

INDUSTRIAL

The project calls for particular technical specifications. Key concepts: relamping, large areas, energy efficiency.
A chapter of solutions dedicated to the industrial environments, where tested products are required to develop complex projects for extended areas. Essential plus points? Excellent luminosity, energy efficiency and product solidity. Not forgetting visual impact. Nest, Cool and Pencil combine these features and are recommended in production laboratories, facilities, warehouses, buildings and anywhere a specific technical solution complying with the standards is required.

HEALTHCARE

A sector which requires targeted products. Focus on wellbeing, light for human being.
A chapter for a sector which, more than others, requires dedicated products and specific designing skills, using devices chosen to enhance the quality of light (and therefore of life) in protected environments. Products such as Natura, Hacca and Synto embody the concept of light at the service of human being, following the new idea of lighting, which first and foremost, must “love” the user. Functional lighting… but let us also call it welcoming and emotive light, especially when installed in health centres and sensitive areas.

Plexiform’s new philosophy establishes what, why and how.

What to present in a product catalogue, in terms of variety, technology and quality. How to interact with the market through an Italian production centre by using digital/non-digital communication services and project tools. As in the case of a catalogue necessarily based on a printed edition.

Why to maintain a constant open dialogue with the target audience, knowing that plans and researches bring about a constant development in supply and demand. The interchange between the company and its customers therefore becomes a positive dialogue at a time when market dynamics and other factors have created a particular economic period.

And here it is: a catalogue with a completely new look and content, which shows not only the luminaires but also their functionality, technical features, areas of application, plus referenced projects by Plexiform. The concept of service is positively highlighted in this edition.

Download here the new catalogue.

The growth has also led to an evolution of the labor skills: thanks to the fact that many plants were imported from Europe, including the training of personnel and the quality control on site, the level has increased and allowed to avoid losing job orders. Not to mention that even in China, the professional training of technicians and engineers is seen as an asset in which to invest: innovation and proprietary technologies can only increase the credibility of resources and improve the models of production and export.

Another factor that affects the economy of scale is the cost of energy: in China, electricity costs up to 5 times less than in Italy – which is still one of the European countries with the highest cost – and although now there is shortage of energy production due to the growing demand, it is a value that obviously affects the industry positively. It seems that the goal of the Chinese strategic project is to play the role of “a large manufacturer at the service of the world”. It is clear that the competitive price is the main lever of the two-way economic development: China manufactures a lot, we buy a lot and the end customer can choose among a wide range of products that are conceived, engineered and distributed in Italy. When the product is Made in China, we state it to be in compliance with the law first, but especially to properly inform our customer.
In addition, the ability to react quickly to market demands is a plus that governs the largest trade mechanisms in every sector: from fashion to automotive, from telecommunications to electronics, going especially to the consumer goods. Modern China – compared to today’s market – cannot be relegated to the role of contractor, but should be understood as a moving force able to change the world of industry and innovation in ever-faster times. In other words: by enlightened entrepreneurs, it is worth knowing better, rather than ignoring, a power that can change the rules or even create them. However, how did we come to this stage? China’s economic growth began in 1978, when the state abandoned the economic and political uncooperative behaviour to strive towards the opportunities of a free market. A year later, they introduced the “Special Economic Zones”, areas in which the factories receiving commissions and orders from abroad were tax-advantaged. In the nineties, they established the “Technology Developed Zones”, areas in which they intended to plan research and development activities, including through the use of funding from abroad. These areas included a university dedicated to research, a center of technological innovation and a commercial enterprise for the production and sale of products resulting from the joint research of these entities.

Innovation, change, research… once again, these are the key words of the economic and production growth: from1980 until early 2000 (World Bank estimates), China has recorded an average annual increase in GDP of 10%; according to IHS Global Insight, in 2010, the world manufacturing was covered by the production in China for 19.8%, a truly significant figure. Precise economic planning and regulations that have controlled many aspects (such as the population growth), have made China one of the richest economic countries in the world, surpassing even the United States that, according to Global Insight analysis, had kept the world manufacturing production record for 110 years before being surpassed. The absolute value to pursue is a “product with a perfect value for money” but, in the meantime, the advice is to learn how to evaluate the product for what it is, above all, by analyzing its price on the market. If a lamp has a background of design, research, craftsmanship, customization, industrial quality, then it adequately represents the brand system of values, regardless of the place where it is built. This also applies to the cost: the consumer today can easily compare prices of similar products and verify the credibility of the company that is proposing them. To sum up: for us, manufacturing some models in China means planning design and concept in Italy and finding a reliable Chinese partner (yes, not everyone is reliable) who can build them exclusively, within a reasonable time and at attractive costs.

Our business partners have an internal European person of reference, who can easily talk to our technical department by solving the linguistic and cultural problem. We want to be clear: our products have always indicated the origin of the device, as it is right and proper from a regulatory point of view. And today we do even more, telling about some products that have long been made in the People’s Republic of China and customized by our logo, which certifies the “authorship”, i.e.:

. Argo

. Kora

. Fringe

. Login

All well-made products, as evidenced by the sales and the steady appreciation of the experts who choose them and use them every day: this demonstrates that Italy and China, perhaps, today are not that far away!

The choice of the Overlite showroom (member of RossiniGroup) as a location for the vernissage is not random. With a total area of ​​1400 square meters and over 60 lighting brands available, it is a unique exhibition in the city; it is the ideal partner to adequately illuminate the works by Domenico David. Talking about lighting, art and exhibition areas, which better brand than ERCO, one of the leading brands in the field (among the other projects signed by the German brand, we mention Milano Duomo, the Uffizi Gallery in Florence and the Imperial Forums in Rome).

On the one hand, then, light in painting: Domenico David tells how light has always been crucial in the figurative art. Through a very interesting historical overview, he explained to a curious and interested audience, the role of light inside the painting, expressed by colors and strokes on canvas: from Giotto to Caravaggio, Leonardo, Rembrandt up to Rothko. Looking at his works, where the forms are abstract and are basically color volumes, the reference to Rothko comes out in a clear and immediate way. However, David, as a good teacher (he is professor at the Accademia di Belle Arti in Brera), introduced the topic of light in philosophy and in the Italian language. From the myth of Plato’s cave to the concept of “making light”, namely enter, explore, uncover and reveal the truth: because light comes before the colour and, finally, the human eye that is there to perceive not only the colors, but also the shadow.

David’s works are illuminated in the showroom in a masterly way by ERCO, a German company founded in 1934, which made lighting its reason for being. As Massimiliano Scaletti, technical manager of the company in its Italian headquarters, tells us, light is not only emotional matter, but it is first and foremost a science, a practice that requires study and technique. Illuminating an exhibition area or an artwork requires the combination of the right product and the right design, like the illumination prepared by the technical staff of Overlite in cooperation with ERCO design office. David’s works on display are illuminated through some binary projectors used for the indoor lighting of the Duomo, products that enhance and bring out the play of light and color present on the canvas, highlighting the strokes in the background and giving a real materiality and almost physical and three-dimensional presence to the volumes painted on a two dimensional area. Therefore, Mr. Scaletti explained the technical coordinates to evaluate a lighting product, which are also dictated by the effect tone wants to obtain or the demands by the clients. They use special tools, such as LED color temperature, the beam angle of the luminous flux or the use of accessories such as profilers to give almost theatrical lighting and focusing more on some details. Often, the most successful projects are the result of collaboration between the design and the lighting designer, like the case of the Imperial Forums whose project was signed by Francesca and Vittorio Storaro (awarded with the Academy award for three times). The speech ended by listing the several projects implemented by Erco, not only in the art field (there are also private buildings or retail areas like Apple store).

The works are on display (and for sale) at the Overlite showroom until February 27. An event not to be missed by those who wish to experience light that becomes painting and painting that becomes light.

Our company was founded in a small warehouse in 1929, Milan, with the name “Ditta Rossini Otello”. We started our activity by selling art objects made by the Venetian glassmakers. The Murano glass chandeliers made their first appearance in 1946 and since the 50’s, people realized that this market could grow, thanks to the constant availability of a range of products.
Today, we can define ourselves a modern and cutting-edge company, in terms of organization and technology, with a fully computerized warehouse.
The richness of our catalog as for models, types, colours and finishes, has always bene one of our strengths. Today, we manage about 5000 references and the range is always increasing.

Edition number 1 dates back to 1961 and, year after year, we reached edition number ZERO. Because from four sides and a dozen products, the offer has now become so broad as to be in two different catalogs. DECO edition and TECH edition.

Number ZERO: a new beginning, a revival, a new life. In fact, today we are taking a historic step.
 The choice is dictated by the need for almost daily updates, based on evolving technologies that our industry has met with the appearance and development of LED. To give customers a continuous adaptation to technological developments, to achieve the best performances of luminous efficiency and maximum energy efficiency, we decided to create two different issues that will have different developments.

Two different languages, two different ways of doing light, a single and common brand: Rossini Lighting. Now, we tell you about that in detail.

DECO: Furnish with light
The DECO catalog is divided into a proposal with a modern taste and a proposal with a classical taste. Lamps having more essential and minimal lines, materials such as glass, aluminium, fabric and polycarbonate; but also more refined and traditional chandeliers, enhanced by the use of glass blowing and the artistic works created by Venetian glassmakers. Independent chapters are dedicated to the lamps for the bathroom (where you can find mirrors as well), fans (different models, both classical and essential) and accessories (spare parts, lampshades and light bulbs).

This ornamental offer does not neglect LED technology: there are many devices with LED light source, which enable better light and energy efficiency as well as consumption reduction.

TECH: Technology in light
The TECH catalog is divided into 8 chapters, distinguishing between indoor and outdoor products. Indoor lighting includes indoor built-in devices (devices to be built-in, light cuts and solutions where lighting becomes an architectural element in drawing spaces and delimiting volumes), a section on wall-ceiling-suspended indoor equipment (products for multiple installations and with a technical taste and clean lines), profiles and systems (devices suitable for offices or business areas, thanks to their modularity and flexibility), tracks and projectors (for the retailing and exhibition world).

The outdoor offer is divided into built-in devices (for wall or floor, driveway or walkable areas, to signal walking or illuminate porches), wall products (for light effects on surfaces or to illuminate outdoor areas diffusely), ground products (poles for gardens and streetlamps for residences) and projectors (for a diffused lighting of facades or green areas). It is a wide range of LED products, updated according to the current quality standards and that aims at constant developments, in line with technological development and in compliance with environmental and industry regulations. The technical files of each product show all necessary data in a clear and intuitive way for a reasoned and aware choice of the device and its light source.

PLEXIFORM products on Archiproducts
929MILANO products on Archiproducts

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