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

We read in the data sheet of the manufacturer SEDIS: “The Photoglobe 4FA photo-goniometer (P4FA) consists of an arched structure, made of aluminium, powered by an engine that rotates around the virtual axis starting from the photometric centre of light source. The illuminator is positioned towards the arch and remains fixed during the execution of the photometric measurement. A hardware interface and a powerful management software allow to capture and process measurement values, via computer, fully automatically.”

And also:
. the light source is fixed for the entire duration of the measurement and can be mounted in any operating position;
. the photometer moves on the surface of a virtual sphere whose centre coincides with the photometric centre of the light source

Fascinating isn’t it? But, you will say, what is it for? In simple terms, we can say that it serves to create the PHOTOMETRIC CURVES, which are schemes indicating in which direction and at what intensity a unit will emit light. This is because a LED itself emits a light that varies depending not only on the characteristics of the LED, but also of the device on which it is mounted (the distance from the diffuser, the material of the diffuser used, the shape of the illuminating body and many other variables).

Why use a photo-goniometer?
First to allow the Research & Development Department to design with an advanced instrument; this means designing and optimising technical and aesthetic solutions checking immediately the answers of the finished product. During elaboration and design of a new model, the integration between formal requirements and aesthetic proportions with the functionality and performance of light is fundamental. In assessing prototypes from concept to their development, the use of this equipment allows faster setup of the final solution.

Finally, the availability of a photo- goniometer within the R & D corporate Department, allows to respond quickly to new evolving market demands and industry regulations.

Why photometric curves?
Intensity and direction of light shall be measured and “certified” to meet the conditions of use of the lighting design. One of the main reference standards for the lighting world is UNI-EN12464.

We highlight here below some general check parameters:

. luminance

. luminance distribution

. uniformity

. glare (UGR)

. light direction

. colour rendering index

. colour temperature

. flickering (of LED light)

. natural light control

In connection with the final context of use of the product, that is of its location, there are specific regulations and directives; this is also why the new Plexiform catalogue is divided into 4 main areas, an extra support at the stage of selection of our products for lighting design:

. architectural

. technical

. industrial

. Health & care

Architectural
In this area we can talk about rules but also about good advice: the light near the work surface of a kitchen is of course different from the dining area or the conversation corner of a living room. With Plexiform architects and interior designers can choose from a wide range of products, flexible solutions that combine light performance to the aesthetics of the design.

Technical
The world of lighting for workplaces and offices is governed by strict rules: a user’s visual comfort in a work space, where it is often necessary to mediate natural and artificial light, is in first place. Today we are continually stimulated by light sources of digital devices (computers, tablets, mobile) and even more so it is necessary to encourage the rest of the vision and the correct use of the devices, beyond their role of furniture.

Industrial
The lighting in factories, at production sites, in departments of the industries as well as in warehouses and superstores, require products with detailed features of solidity, safety, durability and of course lighting. In some environments there are special conditions for moisture and dust, or there is a need to respond to requirements of energy saving and cost containment, for devices that comply with the need for relamping.

Healt&Care
Designers specialised in assistance, care and hospitality know that lighting is key, because it aims to improve the quality of life of a patient/guest who requires a protected environment. In this case, light can improve the perception of the paths, the identification of specific areas and act positively on the alternation of periods of activity and rest (see article about circadian rhythm) with devices that manipulate the lighting in agreement with the various times of the day and that can overcome the lack of direct contact with natural light.

When did you start working with photography and when did you understand that it was a passion and/or a profession?
I have been interested in photography since I was a child: when I was 6, I had already a small Polaroid camera with which I took photos. Later on, in order to support this passion, I followed a path of artistic studies culminating in a degree in Photography. Therefore, I can say that I am one of those lucky ones for whom the profession came from a real passion.

Have you started soon as a freelance professional or as a photo studio assistant?
During my university years, I worked at a photographic studio in Brescia; once I got my degree, I worked in interior design publishing in Brescia and, thanks to this experience, I consolidated my interest and skills in what has become my field of expertise. The choice of the freelance profession came of its own accord precisely because it paved the way for new opportunities for personal and professional growth. The path has been uphill, but thanks to a clear corporate vision that combines the photographic aspect and the business aspect, I managed to make my way in this sector focusing on customer satisfaction and retention.

Is there any professional experience that you remember with particular satisfaction?
Surely, one of the greatest satisfactions was the publication of the first editorial in the magazine AD Italia, one of the most qualified magazines in the sector. It was a goal I had set myself, but I didn’t imagine that I would be able to reach it so soon and this made me very excited and gratified at the same time.

When and how did you meet RossiniGroup?
My collaborator and I met Marco and Elisa Rossini at Euroluce 2015. At the fair, my collaborator, Sara Cozzoli, who deals with marketing and communication, had selected some particularly interesting companies on the basis of our vision and mission, and these companies included Rossini and 929 Milan as well. We seized the opportunity and went to the stand to show a selection of my works and leave a presentation folder. Everything started from there; we held a second meeting, this time at the RossiniGroup headquarters, with Marco Rossini and Nicola Pallotta, responsible for graphics, and then we started the photographic collaboration.

What is your approach to photograph light? Do you let it inspire you or prefer to interpret it according to your own idea? But, above all, how much does light count in an image?
In my opinion, light in photography is even more crucial than framing. In interior design, I work preferably with natural light that, although it cannot be controlled or managed, serves as a source of inspiration, giving life to atmospheric photos with unique feelings. On the contrary, photos in a studio provide for artificial light through the flash; in these cases, the control of light must be optimal and it is, therefore, necessary to arrange the lighting according to schemes designed to enhance the subjects / objects.

What is the RossiniGroup product that inspired you most?
Ben wall lamp immediately struck me for its rigorous design and the originality of the superimposition of the shapes; having photographed it in the chrome version, I have to admit that the finish immediately inspired me on a photographic level precisely because of its reflective properties. I also found the satin Dynamica of Plexiform very interesting as, with its simplicity, linearity and cleanliness, lends itself to many sophisticated design solutions.

How much improvisation, reflection and sharing is there in your work?
I believe that reflection is essential for the creation of top-level images in the interior design and still life sector. It is important to weigh up the frames not only on the basis of technical skills and artistic inspiration, but also on the basis of an overall view that takes into account all the elements and characteristics. Clearly, the creative vein, refined by experience, can facilitate and speed up the recognition of particularly successful shots or interesting glimpses.

Ritual question: Who are your models in contemporary photography, or in the past? Do you have one or more idols?
Candida Hoefer above all, for her rational cleanliness of the image and totemicity conveyed by her photos.

What do you think about this moment, where the social networking sites invite (oblige?) to express ourselves through private images and not only? Where everyone play the photographer? Do you find that social networking sites such as instagram or pinterest or other apps, which allow you to rework photos with your smartphone, depreciate the photographer’s work or, on the contrary, create a renewed interest in the profession?
Ritengo che social networks e immagini abbiano in comune la comunicazione: da sempre le immagini sono state un mezzo di comunicazione e i social networks sono la versione 2.0 della comunicazione odierna. Il fatto dunque che i social networks stessi utilizzino vari linguaggi di comunicazione tra cui, sempre più, anche le immagini non mi stupisce; credo tuttavia che nonostante l’interesse eccessivo e maniacale della società non solo per l’immagine, ma anche per la condivisione, permanga un netto divario tra la professione fotografica e la realizzazione di immagini quotidiane a scopo di condivisione sociale. Innanzitutto le competenze tecniche e di studio alla base di una professione oltre che l’esperienza acquisita in anni sul campo impongono già una separazione, inoltre lo sguardo creativo che spesso distingue i veri professionisti del settore è cosa rara e non di certo imprescindibile per la realizzazione di immagini che attestano le proprie vicende quotidiane. Anche la conoscenza del photo-editing per un professionista è molto avanzata e sebbene siano sempre più presenti applicazioni di editing e filtri ad uso comune sono comunque soluzioni riduttive che si adattano più che bene per scopi social, ma che a livello professionale spesso fanno sorridere. Non credo tuttavia che l’utilizzo di immagini tramite social sia svilente rispetto alla mia professione, li vedo proprio come ambiti separati; altro discorso sarebbe da fare per chi si improvvisa fotografo e cerca di ricavare da un passatempo un guadagno, spesso sono proprio tali soggetti a svilire il mercato.

Qual è il committente ideale, che ti aiuta a dare il meglio? Riesci a coniugare le esigenze del marketing con la tua interpretazione creativa?
I believe that social networking sites and images have communication in common: images have always been a means of communication and social networking sites are the 2.0 version of today’s communication. The fact that social networking sites use various communication languages, including images, is not surprising to me; however, I believe that despite the excessive and obsessive interest of society not only in the image, but also in sharing, there is still a clear gap between the photographic profession and the realization of everyday images for the purpose of social sharing. First of all, the technical and study skills at the base of a profession, as well as the experience acquired over the years in the field, already impose a separation, and the creative look that often distinguishes the true professionals of the sector is rare and certainly not unescapable for the creation of images that document our daily life. Even the knowledge of photo-editing for a professional is very advanced and although there are more and more editing and filtering applications for common use, they are reductive solutions that fit more than well for social networking purposes, but at a professional level often make you smile. However, I don’t think that the use of images through social networking sites debases my profession; I see them as separate areas; another matter is when there is one person who play the photographer and tries to make a profit from a pastime; often, just this persons debase the market.

Which is the ideal client, who helps you to give the best? Can you combine the marketing needs with your creative interpretation?
Clearly, I have a photographic style that characterizes my works and the artistic/creative approach is certainly fundamental since it is a matter of making shots of objects or interior design, but I always have an open attitude towards my client. It is always necessary to listen to the needs of the client not only because of the needs themselves, which can give valuable information on how to prepare the work, but also because we must take into account that the client is certainly the one who knows his/her product or the interior he/she has made better than others, understanding strengths and weaknesses and being able to provide useful information for the success of the photo shoot. Of course, confidence and a certain freedom of action in my work, once I have listened to the initial directives, are essential for me because they allow me to express my qualities and skills in the best possible way.

In percentage terms, how much does post-production count in your work?

Photo-editing is certainly indispensable in my work, but contrary to what many people think, miracles cannot be performed, so it is always appropriate to start from a well-made photo. Probably, if I had to venture a percentage, I would give 70% importance to the shoot and 30% importance to post-production.

White, black or colour?   Colour

Renzo Piano or Zaha Hadid? Renzo Piano
Book o film? Film
Favourite film? Il cielo sopra Berlino di Wim Wenders
If it were a book?  L’uccello che girava le viti del mondo di Murakami Haruki
Sea or mountain? Mare
Diary or tablet? Tablet
Restaurant or trattoria? Ristorante
Favourite sports?  Tennis, running e yoga
Coffee or infusion? Caffè
Bag or backpack? Borsa
Which museum would you recommend? Metropolitan Museum of Art New York

A place that you have recently photographed and that has remained in your heart?
The Vendicari reserve, characterized by a landscape in continuous transformation: from the countryside, to the marsh and, last but not least, beach and sea.

What haven’t you photographed yet and would you like to photograph?
I would like to photograph Chatsworth, a historic residence located in Derbyshire.

How do you combine private life and working life, since Sara is your collaborator and partner?
It is not always easy because the risk of getting work to home and talking about it is always actual; on the contrary, the difficult thing is to carve out some free time. Moreover, even though each of us has his/her own area of expertise, we do not always agree on how to deal with certain situations and this can create tensions, but I must admit that we are both sufficiently aware that we are not influenced by work decisions in the private sphere. However, there is a great advantage that working in close contact with one’s partner entails, namely spending a lot of time together and being involved in the same reality by sharing experiences, new knowledge and even managing concerns together, thus alleviating stress and frustration.

Mattia Aquila

The most important novelty of the new Plexiform catalog is the division into four areas of use. One of these is Technical, which suggests solutions for the most diverse environments and applications, from office to retail sector as well as for home use. The dynamics of work and sales spaces is flexible, as it is linked to many factors: type and size of the environment, operating positions, common areas and representation spaces. Pluma, Sofy, the new Cielo and Tesis versions with the application of Sistema 9; in the technical products, there is an indispensable element that dictates and commands the choice, i.e. visual comfort: for a quality light and to the service of those who enjoy it. Now, you find some more information about our selection of Technical products, although the brand-new general catalog offers 20 products among absolute novelties and super tested models, the tradition of light systems made in Plexiform.

Meanwhile, the keywords that characterize this chapter are: versatility, soft and indirect light, anti-glare view, modularity, UGR, visual comfort, system. In this regard, here is Pluma, a bidirectional LED device, for stand-alone suspension installation, consisting of an extruded aluminum frame and a transparent PMMA screen that, thanks to a laser micro-engraving, is transparent when turned off and full white solid volume when turned on. Then, there is Sofy, unidirectional LED device with soft light due to the central micro-prismatic screen, suitable for recessed installation on modular false ceilings with built-in and recessed plasterboard construction. The square body is white painted sheet-steel with PMMA diffuser and full light effect. Another product is Cielo, an essential product that, in the new version with the S9 lens application, has an accurate light emission (30° light beam) but never dazzling, thanks to the structure of the S9 module, consisting of a transparent polycarbonate lens that guarantees a low luminance with exceptional visual comfort (UGR <9). It is the ideal product in workplaces and offices with video terminals. Finally, we have Tesis, a historical device of the Plexiform collection, proposed in the LED or fluorescent version and also in the new version with S9 module. Unidirectional or bidirectional lighting fixture, particularly suitable for system configurations, suspended ceiling, ceiling or wall installation and available in the two versions Tesis floor light and Tesis recessed light. The body, simple and linear, is in extruded aluminum and extends in length. Of course, here we mentioned the main features, but if you consult the catalog, you will find all the other information about materials, installations, applications, sources, electrification, light emissions, regulations and custom configurations.

Photo by Mattia Aquila

In the new Plexiform catalog, Architectural is a chapter devoted to design involving professional figures such as architects, lighting designers and specialized retailers or, why not, project solutions that arise from the collaboration of all these subjects. Remo, Eiffel, Rift, Sistema9 and Folio are some of the Architectural products that offer flexible and proven solutions, especially suitable when design aesthetics is a major factor in building a space that combines light performance with an Italian aesthetic taste. It is a product that distinguishes itself not only for its light efficiency but also, and above all, for its shape. A fitting example took place in the outskirts of Milan where, near the area that hosted EXPO in 2015, exactly in Pero, they built a residential complex consisting of two buildings for a total of 58 apartments.
The lighting of the complex (Residenza La Quercia) was managed and signed by RossiniGroup (Rossini Illuminazione and Plexiform) upon a Masterplanstudio’s architectural and lighting engineering project.

In particular, they chose Dinamica family from the Plexiform catalog, which proved to be perfect to illuminate the entrance and the large stairs, underlined by the geometric and net lines of the recessed bodies.

The devices were installed on the wall, following a geometric but not rigorous arrangement, which plays with the fancy of the designer and the modularity of the product, emphasizing its dynamism. Installation flexibility, a direct but not dazzling light output, an arrangement that follows the course of the steps: the devices design emphasizes the passage from one floor to the other and the geometric and sharp-edged lines of the building, which are also recalled in the layout of the Serizzo slabs placed in the floor at the entrance. It is for an architectural light that defines the volumes and draws the spaces, accompanying the users (in this case, the residents of the complex) on their way. Here, a special role is played by light cuts, which are particularly suitable where the spaces are wide and the boundaries are not well defined, useful to accompany the users on their path, to illuminate and, at the same time, reassure.

Location project by Masterplanstudio srl

Photo by Mattia Aquila

We mentioned some prominent products in the Architectural chapter. Here is a gallery of Remo, Eiffel, Rift, System9 and Folio.

Plexiform.it

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!

 Light is an element that lends itself to a thousand interpretations, while technology contributes tirelessly to improve creativity and spectacle. The post-production techniques, the definition of images that mix photographic contributions, video footage and special effects, have broadened the horizon of those who work in advertising. Those who were, until yesterday, simple art directors (friends of the agencies, don’t hold it against us) who had to reconcile the visual aspect with the other half of the creative couple, namely the copy, now find themselves to propose products that are very close to multimedia art. Even the latest devices (plasma TV, round screens, tablets and mobile that evolve quickly), are conceived and designed so as to exploit light in all its forms.

However, light is not coveted by lovers of photography only. Light is psychedelic, magical. It is able to make amazing even the most obvious thing. A renowned car manufacturing company (Audi) understood it well, since it made its new commercial a play of lights lasting thirty seconds. Lines, tunnels, palaces with lights that intertwine and blend until converging in the car that, at the end of the commercial, everyone would want to have in his/her garage.

And if even one of the most famous bands in the world, the Coldplay, prefers light spells rather buxom girls in its music video, there is a reason why. In “The speed of sound”, the lights dance accompanied by Chris Martin’s voice and become more intense and dynamic as the music flares up, in fact. However, light is not just poetry. It is also or, above all, used to sell. In a store, proper lighting plays a fundamental role, both to attract the attention of potential customers and to enhance the merchandise. Did you know that butchers use warm color lights (3000 / 3200K), just to enhance the shades of red meat? In addition, did you know that in clothing stores they advise a light with a CRI (Color Rendering Index) at around 90, which allows to realistically render the actual colors of the fabrics and the difference between them?

Which is the best Rossini product for a store? Of course, MAYA: a LED projector for three-phase track. It comes in three different sizes and relative powers (13W, 25W and 32W), in warm color temperature (3000K) and cold color temperature (4000K). By using an accessory, you can even change the opening of the light beam, from the standard opening to 40° up to reach 10° and 20°. You can also choose the color of the device: gray or white. To be mounted on a compatible three-phase track already installed in a store or on our GROOVE track, available in the ceiling version or built-in version. Light has the great gift of improving what is before your eyes and, as you know, in the shopping malls, it changes to enhance the characteristics of the products on display: jewels shine in a particular way, some food has more attracting colors, even fruits look riper and the seafood fresher.

 In the end, light can be many different things: the light of the sun’s rays that wake us up in the morning, the light we see on stage when the curtains open, the light that invades us when we are at a concert or the light that enlightens our PCs. However, in all its forms, light has the power to make everything it touches more attractive.