[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-porro-modern-2011":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":236},{"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":231,"matched_pages":232,"match_count":233,"two_pages":234,"show_text":235},5554,"Modern 2011","porro-modern-2011","\u002Fmedia\u002Fimages\u002Fa5\u002F19aa5eb9f8565530105f42fe74eabf.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002F94\u002F99a2d2436ecad0388412bb9a2b9301.pdf","Porro",2071,"porro","4.4 MB",[14,17,21,25,29,33,37,41,45,49,53,57,61,65,69,73,77,81,85,89,93,97,101,105,109,113,117,121,125,129,133,137,141,145,149,153,157,161,165,169,173,177,181,185,189,193,197,201,205,209,213,217,221,225,229],{"image":7,"text":15,"number":16},"porromodern010COP.indd   1\nporromodern010COP.indd   1\n06\u002F04\u002F11   07.30\n06\u002F04\u002F11   07.30\n",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002Fa5\u002F19aa5eb9f8565530105f42fe74eabf.2.png","-\nMODERN NASCE DA UNA FORMA GEOMETRICA \nPURA: IL QUADRATO. E DA UN’IDEA \nSEMPLICE: IL SUO MOVIMENTO NELLO \nSPAZIO. UN MODULO CHE SI RIPETE, \nSVILUPPANDO OGGETTI DIVERSI PER \nMATERIALI, COLORI E DESTINAZIONI \nFUNZIONALI. OGGETTI DIVERSI \n–CONTENITORI, PIANI DI APPOGGIO, \nMENSOLE – MA ARMONICI PER PROPOR-\nZIONI E COERENZA FORMALE. \nNASCE UN PROGRAMMA APERTO, ARTICOLATO \nE FLESSIBILE PENSATO PER DISEGNARE \nSPAZI ATTRAVERSO SEGNI NITIDI \nED ELEGANTI, DEFINITI DAL RIGORE \nDELLE LINEE, DAL PREGIO DELLE \nFINITURE, DALLA QUALITÀ PROGETTUALE. \nUN SISTEMA CHE CONSENTE LA MASSIMA \nLIBERTÀ NEL CREARE LA COMBINAZIONE \nIDEALE DI ELEMENTI. UNA PRESENZA \nCHE SA ADEGUARSI A OGNI TIPO \nDI AMBIENTE.\n-\nMODERN ARISES FROM A PURE GEOMETRIC \nSHAPE: THE SQUARE. AND FROM A SIMPLE \nIDEA: ITS MOVEMENT IN THE SPACE. \nA MODULE REPEATING ITSELF TO GENERATE \nOBJECTS DIFFERENT IN MATERIALS, \nCOLOURS AND FUNCTIONAL PURPOSES. \nVARIOUS OBJECTS – CONTAINERS, \nTOPS, SHELVES – WHICH PROPORTIONS \nAND FORMAL CONSISTENCY ARE HARMO-\nNIOUS WITH. AN OPEN COLLECTION \nOF ELEMENTS ARISES, COMBINED \nAND FLEXIBLE, INVENTED TO DRAW \nSPACES THROUGH SHARP AND ELEGANT \nSIGNS, SHAPED BY RIGOROUS LINES, \nCAREFUL QUALITY AND REFINED DESIGN. \nA SYSTEM ALLOWING THE GREATEST \nFREEDOM TO CREATE THE PERFECT \nCOMBINATION OF ELEMENTS. A PRESENCE \nAPPROPRIATE FOR EVERY HABITAT.\n-\n",2,{"image":22,"text":23,"number":24},"\u002Fmedia\u002Fimages\u002Fa5\u002F19aa5eb9f8565530105f42fe74eabf.3.png","...”RIUSCIRÀ GRETCHEN A RISOLVERE 78 \nCRUCIVERBA IN 24 ORE NELLA METROPOLITANA \nDI MANHATTAN?”. Dalla presentazione del fi lm \n“Marathon-Enigma a Manhattan” di Amir Naderi, \nUSA, 2002. \nSPAZIO E TEMPO. ORIZZONTALE E VERTICALE. \nLE DUE LINEE SI INCROCIANO; CREANO GEOME-\nTRIE E VOLUMI SEMPRE UGUALI E SEMPRE \nDIVERSI. COME LA STRUTTURA DI UN CRUCIVERBA. \nEPPURE LA SOLUZIONE SFUGGE, SI NASCONDE \nDIETRO LO SKYLINE DEI GRATTACIELI O NEI \nLABIRINTI SOTTERRANEI DELLA METROPOLITANA.\n...”WILL GRETCHEN BE ABLE TO SOLVE \n78 CROSSWORDS IN 24 HOURS IN MANHATTAN \nUNDERGROUND?”. From the preview of the movie \n“Marathon” by Amir Naderi, Usa, 2002\nSPACE AND TIME. HORIZONTAL AND VERTICAL. \nTWO LINES CROSS CREATING GEOMETRIES AND VO-\nLUMES ALWAYS THE SAME AND ALWAYS DIFFERENT. \nLIKE THE STRUCTURE OF A CROSSWORD. BUT THE \nSOLUTION SLIPS, IT HIDES BEHIND THE SKYLINE \nOR IN THE UNDERGROUND LABYRINTHS.\n02 03\n“Riuscirà Gretchen \na risolvere 78 \ncruciverba in 24 ore \nnella metropolitana \ndi Manhattan?...”\n",3,{"image":26,"text":27,"number":28},"\u002Fmedia\u002Fimages\u002Fa5\u002F19aa5eb9f8565530105f42fe74eabf.4.png","04 05\nModern\nUNA QUINTA A PARETE, DOVE APPLICARE CON LIBERTÀ \nCONTENITORI SOSPESI, MENSOLE, ANTE SCORREVOLI, \nRINNOVA L’IMMAGINE DI MODERN. UN’ACCATTIVANTE \nSUPERFICIE CHE ARRIVA FINO A TERRA, UN QUADRO \nA MURO DA UTILIZZARE COME FOGLIO SU CUI DIVER-\nTIRSI A GIOCARE COI VOLUMI.\nA WALL PANEL RENEWS MODERN IMAGE AND \nALLOWS TO FIX FREELY SUSPENDED UNITS, \nSHELVES, SLIDING DOORS. A WINNING SURFACE \nREACHING THE FLOOR, A WALL PICTURE TO \nBE USED AS A PAPER TO PLAY WITH VOLUMES.\n",4,{"image":30,"text":31,"number":32},"\u002Fmedia\u002Fimages\u002Fa5\u002F19aa5eb9f8565530105f42fe74eabf.5.png","PARTICOLARE DEL CONTENITORE \nSOSPESO NELLA NUOVA ALTEZZA \nH. 30 CM, CHE TRASMETTE \nENERGIA COLORANDOSI DI GIALLO. \nMENSOLE SOSPESE DISPONIBILI \nIN DUE SPESSORI. \nDETAIL OF THE SUSPENDED UNIT \nIN THE NEW HEIGHT 30 CM, THAT \nCOMMUNICATES ENERGY WITH ITS \nYELLOW COLOUR. SHELVES AVAILABLE \nIN TWO THICKNESSES.\n \n06 07\nModern\n",5,{"image":34,"text":35,"number":36},"\u002Fmedia\u002Fimages\u002Fa5\u002F19aa5eb9f8565530105f42fe74eabf.6.png","08 09\nModern\nUNA PEDANA CON ANTE A RIBALTA PENSATA \nPER RIPORRE ATTREZZATURE MEDIA SI APPOGGIA \nAD UN FONDALE ANIMATO DA PIANI E SUPERFICI: \nUN TOTAL LOOK GRIGIO, DOVE LA NUOVA ANTA \nSCORRE SU TUTTA LA LUNGHEZZA DELLA COMPOSIZIONE. \nA BASEBOARD WITH DROP LEAF DOOR TO STORE \nMEDIA EQUIPMENTS IS LEANED TO A BACKPANEL \nENLIVENED BY SHELVES AND SURFACES: A GREY \nTOTAL LOOK WITH THE NEW SLIDING DOOR RUN-\nNING ALONG THE WHOLE COMPOSITION.  \n \n",6,{"image":38,"text":39,"number":40},"\u002Fmedia\u002Fimages\u002Fa5\u002F19aa5eb9f8565530105f42fe74eabf.7.png","10 11\nModern\nIL BLU DECISO DELLA PEDANA A TERRA CONTRASTA \nCON LA MORBIDEZZA VISIVA DEL BIANCO MOON \nUTILIZZATO PER LA NUOVA PANNELLATURA, SU CUI \nSONO APPESI PIANO SOSPESO, CONTENITORE PENSILE \nE MENSOLA NELLO STESSO COLORE. \nTHE INTENSE BLUE OF THE BASEBOARD CONTRASTS \nWITH THE VISUAL SOFTNESS OF THE MOON WHITE \nUSED FOR NEW PANELING SYSTEM, WHERE SUSPENDED \nSHELF, HANGING UNIT AND SHELF OF THE SAME \nCOLOUR ARE FIXED. \n \n",7,{"image":42,"text":43,"number":44},"\u002Fmedia\u002Fimages\u002Fa5\u002F19aa5eb9f8565530105f42fe74eabf.8.png","SCANDITA IN PANNELLI VERTICALI \nDI VARIE DIMENSIONI, LA NUOVA \nPARETE DI MODERN OSPITA ELEMENTI \nPENSILI DI DIVERSA LUNGHEZZA \nE ALTEZZA. THE NEW MODERN WALL, \nFEATURED BY VERTICAL PANELS \nOF DIFFERENT DIMENSIONS, CARRIES \nHANGING ELEMENTS OF DIFFERENT \nLENGHT AND HEIGHT.\n \n12 13\nModern\n",8,{"image":46,"text":47,"number":48},"\u002Fmedia\u002Fimages\u002Fa5\u002F19aa5eb9f8565530105f42fe74eabf.9.png","14 15\nModern\nLINEE ORIZZONTALI E VERTICALI, BIANCO PURO \nE COLORAZIONI ACCESE SI UNISCONO IN QUESTA \nCOMPOSIZIONE DAL RIGORE ORTOGONALE. \nPOLTRONA JADE E LIBRERIA SYSTEM IN HEMLOCK \nTINTO NERO COMPLETANO LA SCENA. \nHORIZONTAL AND VERTICAL LINES, PURE \nWHITE AND BRIGHT COLORS MATCH TOGETHER \nIN THIS COMPOSITION WITH ORTHOGONAL \nRIGOUR. JADE CHAIR AND SYSTEM BOOKCASE \nIN BLACK STAINED HEMLOCK COMPLETE THE SCENE.\n",9,{"image":50,"text":51,"number":52},"\u002Fmedia\u002Fimages\u002Fa5\u002F19aa5eb9f8565530105f42fe74eabf.10.png","L’UNIFORMITÀ DEL BIANCO RACCORDA \nIL PIANO SOSPESO E LA PEDANA \nCON ANTA A RIBALTA, SCANDITA \nINTERNAMENTE DA UN RIPIANO \nCENTRALE E CASSETTI LATERALI \nIN HEMLOCK “CENERE”. DONANO \nVIVACITÀ LE LIBRERIE SIDEWALL \nPENSILI IN ARANCIO E ROSSO.\nTHE UNIFORMITY OF WHITE JOINS \nTHE SUSPENDED SHELF AND \nTHE BOARD WITH DROP-LEAF DOOR, \nINTERNALLY DIVIDED BY A CENTRAL \nSHELF AND LATERAL DRAWERS \nIN HEMLOCK “CENERE”. SIDEWALL \nHANGING UNITS IN ORANGE AND \nRED FINISHING GIVE LIVELINESS \nTO THE SPACE.\n16 17\nModern\n",10,{"image":54,"text":55,"number":56},"\u002Fmedia\u002Fimages\u002Fa5\u002F19aa5eb9f8565530105f42fe74eabf.11.png","18 19\nModern\nPROPORZIONE DEI VOLUMI E LINEARITÀ GRAFICA \nDISEGNANO LO SPAZIO. A DUE CONTENITORI \nIN LACCATO OPACO SU PIEDI “LAMA” H.15 CM, \nSONO SOVRAPPOSTI DUE PENSILI IN CRISTALLO \nCON FONDALE A SPECCHIO. \nPROPORTION OF VOLUMES AND GRAPHIC LINE-\nARITY DESIGN THE ENVIRONMENT. TWO GLASS \nHANGING UNITS WITH MIRROR BACK PANEL \nARE PLACED ABOVE TWO MATT LACQUERED DRAWER \nMODULES ON “LAMA” FEET H.15 CM. \n",11,{"image":58,"text":59,"number":60},"\u002Fmedia\u002Fimages\u002Fa5\u002F19aa5eb9f8565530105f42fe74eabf.12.png","PARTICOLARE DEI CASSETTI \nCHE SCANDISCONO LA BASE, \nOFFRENDO ALLA ZONA LIVING \nUNA NUOVA ORGANIZZAZIONE. \nLE DELICATE CROMIE \nDELL’HEMLOCK “CENERE” \nIMPREZIOSISCONO GLI INTERNI.\nDETAIL OF THE DRAWERS \nTHAT MARKS THE UNIT, GIVING \nTO THE LIVING AREA A NEW \nSETTING. THE DELICATE TONES \nOF HEMLOCK “CENERE” GIVES \nVALUE TO THE INTERNALS. \n20 21\nModern\n",12,{"image":62,"text":63,"number":64},"\u002Fmedia\u002Fimages\u002Fa5\u002F19aa5eb9f8565530105f42fe74eabf.13.png","22 23\n...perché la mela \ncade sempre per-\npendicolarmente \nal terreno, pensò \ntra sé e sé.\nIRRESISTIBLE, THE FORCE OF GRAVITY \nATTRACTS ANY BODY DOWNWARDS. IT’S THE \nFORCE THAT LETS THE FRUITS FALL AND GIVES \nNEW SEEDS TO THE EARTH. IT’S THE RESPECT \nFOR THE NATURE AND ITS LIMITS. IT’S \nAN ESSENTIAL FORCE, WITHOUT TRINKETRY. \nWHO IS INSENSITIVE TO ITS ATTRACTION? \nL’IDEA FU CAUSATA DALLA CADUTA DI UNA MELA, \nMENTRE SEDEVA IN CONTEMPLAZIONE.\n“PERCHÉ LA MELA CADE SEMPRE PERPENDICO-\nLARMENTE AL TERRENO”, PENSÒ TRA SÉ E SÉ. \n“PERCHÉ NON POTREBBE CADERE A LATO O VERSO \nL’ALTO MA SEMPRE VERSO IL CENTRO DELLA \nTERRA”. Da “Memoirs of Sir Isaac Newton’s \nLife” di William Stukeley. \nIRRESISTIBILE, LA FORZA DI GRAVITÀ \nATTRAE QUALUNQUE CORPO VERSO IL BASSO. \nÈ LA FORZA CHE FA CADERE I FRUTTI \nE CHE DONA NUOVI SEMI ALLA TERRA. \nÈ IL RISPETTO DELLA NATURA E DEI SUOI \nLIMITI. È UNA FORZA ESSENZIALE, SENZA \nFRONZOLI. CHI È INSENSIBILE AL SUO RICHIAMO?\n“WHY SHOULD THAT APPLE ALWAYS DESCEND \nPERPENDICULARLY TO THE GROUND”, HE THOUGHT \nTO HIMSELF: OCCASIONED BY THE FALL \nOF AN APPLE, AS HE SAT IN A CONTEMPLATIVE \nMOOD: “WHY SHOULD IT NOT GO SIDEWAYS, \nOR UPWARDS? BUT CONSTANTLY TO THE EARTHS \nCENTRE?”. From “Memoirs of Sir Isaac \nNewton’s Life” by William Stukeley.\n",13,{"image":66,"text":67,"number":68},"\u002Fmedia\u002Fimages\u002Fa5\u002F19aa5eb9f8565530105f42fe74eabf.14.png","24 25\nModern\nEQUILIBRIO PERFETTO TRA GLI ELEMENTI DELLA \nCOLLEZIONE MODERN. LO SLANCIO VERTICALE DEI \n3 CONTENITORI PENSILI È BILANCIATO DAL PIANO \nSOSPESO BIANCO CON PIEDE CENTRALE, CHE FUNGE \nDA PIANO DA APPOGGIO. IN PRIMO PIANO TAVOLO \nMINIMO E SEDUTA H.CHAIR.\nPERFECT BALANCE AMONG MODERN ELEMENTS. \nTHE VERTICAL EXTENSION OF THE 3 HANGING \nUNITS IS BALANCED BY THE WHITE SUSPENDED \nSHELF, WITH CENTRAL FOOT. MINIMO TABLE \nAND H.CHAIR ARE DISPLAYED IN THE FOREGROUND.\n",14,{"image":70,"text":71,"number":72},"\u002Fmedia\u002Fimages\u002Fa5\u002F19aa5eb9f8565530105f42fe74eabf.15.png","DETTAGLIO DELLA MANIGLIA “BARRA”, \nPROPOSTA NELLA STESSA FINITURA \nDELL’ANTA. UN TRATTO SOTTILE \nCHE MARCA IL PROFILO DI MODERN \nSENZA ROMPERE L’UNIFORMITÀ \nVISIVA DELLA SUPERFICIE LACCATA. \nDETAIL OF “BARRA” HANDLE IN \nTHE SAME FINISHING OF THE DOOR. \nA THIN LINE THAT MARKS MODERN \nPROFILE WITHOUT BREAKING \nTHE VISUAL UNIFORMITY \nOF THE LACQUERED SURFACE.\n26 27\nModern\n",15,{"image":74,"text":75,"number":76},"\u002Fmedia\u002Fimages\u002Fa5\u002F19aa5eb9f8565530105f42fe74eabf.16.png","CROMIE PASTELLO E LE NOTE \nDECISE DELL’HEMLOCK TINTO NERO \nIN QUESTA COMPOSIZIONE CHE SI \nCARATTERIZZA PER LO SLITTAMENTO \nDI VOLUMI. LA PEDANA A TERRA, \nIL PIANO SOSPESO CON FONDALE \nE I CONTENITORI PENSILI VERTICALI \nSONO DISPOSTI CON IRREGOLARITÀ \nALLA PARETE, ESPLORANDO \nLA LIBERTÀ COMPOSITIVA OFFERTA \nDA MODERN. PASTEL TONES AND \nCLEAR FEATURES OF THIS BLACK \nSTAINED HEMLOCK COMPOSITION, \nCARACTHERIZED BY SLIDING VO-\nLUMES. BOARD, SUSPENDED SHELF \nWITH BACKPANEL AND VERTICAL \nHANGING UNITS ARE DISPLAYED \nIRREGULARLY ON THE WALL, \nEXPLORING THE CONSTITUENT \nFREEDOM OFFERED BY MODERN.\n28 29\nModern\n",16,{"image":78,"text":79,"number":80},"\u002Fmedia\u002Fimages\u002Fa5\u002F19aa5eb9f8565530105f42fe74eabf.17.png","“QUANDO HO SAPUTO DI CHI SI TRATTAVA, \nHO A LUNGO SPERATO CHE NON SI TRATTASSE \nDI LUI”. Da una dichiarazione di Horst \nRippert, l’ex-pilota della Luftwaffe \nche nella notte del 31 luglio 1944 abbattè \nl’F-5 dello scrittore francese Antoine \nde Saint-Exupéry.  \n“NON È UNA MELANCONIA COMPATTA E OPACA, \nDUNQUE, MA UN VELO DI PARTICELLE MINUTIS-\nSIME D’UMORI E SENSAZIONI, UN PULVISCOLO \nD’ATOMI COME TUTTO CIÒ CHE COSTITUISCE \nL’ULTIMA SOSTANZA DELLA MOLTEPLICITÀ \nDELLE COSE”. Da “Leggerezza”, in “Lezioni \namericane” di Italo Calvino, 1988, Garzanti.\nLA GEOGRAFIA DEGLI UOMINI (LE CASE, \nI BOSCHI, LE STRADE E I FIUMI) SI ALLONTANA,\nIL TEMPO SI DILATA. QUALI SONO I PENSIERI \nDELL’AVIATORE QUANDO IL SUO AEROPLANO \nSI STACCA DALLA PISTA? GLI OGGETTI SOSPESI \nSONO COME LE NUVOLE. SONO UN INVITO ALLA \nLEGGEREZZA. \n“WHEN I HAD LEARNT WHO HE WAS, I HOPED \nIT WAS NOT HIM”. From a Horst Rippert’s \ndeclaration, the Luftwaffe ex-pilot who \nshot down the F-5 airplane of the French \nwriter Antoine de Saint-Exupéry during \nthe night of the 31st of July 1944.\n“IT IS THEREFORE NOT A DENSE, OPAQUE \nMELANCHOLY, BUT A VEIL OF MINUTE PARTICLES \nOF HUMOURS AND SENSATIONS, A FINE DUST \nOF ATOMS, LIKE EVERYTHING ELSE THAT \nGOES TO MAKE UP THE ULTIMATE SUBSTANCE \nOF THE MULTIPLICITY OF THINGS”. \nForm “Lightness” in “American lessons” \nby Italo Calvino, 1988, Garzanti.\nTHE MEN’S GEOGRAPHY (HOUSES, FORESTS, \nSTREETS AND RIVERS) GOES AWAY, TIME \nEXPANDS. WHAT ARE PILOT’S THOUGHTS WHEN \nHIS AIRPLANE TAKES OFF? THE SUSPENDED \nOBJECTS ARE LIKE CLOUDS. THEY ARE \nAN INVITATION TO LIGHTNESS.\n30 31\n...un velo di parti-\ncelle minutissime \nd’umori \ne sensazioni...\nS \n",17,{"image":82,"text":83,"number":84},"\u002Fmedia\u002Fimages\u002Fa5\u002F19aa5eb9f8565530105f42fe74eabf.18.png","32 33\nModern\nCOMPOSIZIONI DI VOLUMI RITMATE DAL COLORE, \nDAL GIOCO DI SPESSORI, DALL’ACCOSTAMENTO \nDEI MATERIALI, RENDONO PIÙ RICCHI E PIACEVOLI \nGLI SPAZI DELL’ABITARE CONTEMPORANEO.\nLIBRERIA BIBLIOTECH IN HEMLOCK TINTO NERO. \nCOMPOSITIONS OF VOLUMES MARKED BY COLOUR, \nTHICKNESS PLAY, MATCHING OF MATERIALS, \nMAKE MORE PRECIOUS AND PLEASANT \nTHE ENVIRONMENT OF CONTEMPORARY LIVING. \nBIBLIOTECH IS DISPLAYED IN BLACK \nSTAINED HEMLOCK.\n",18,{"image":86,"text":87,"number":88},"\u002Fmedia\u002Fimages\u002Fa5\u002F19aa5eb9f8565530105f42fe74eabf.19.png","LA SOVRAPPOSIZIONE DI PIANI \nA TAGLIO VIVO E DI DIVERSO \nSPESSORE CONFERISCONO ALLA \nCOMPOSIZIONE UN FORTE EQUILIBRIO. \nIL PIANO SOSPESO IN HEMLOCK \nSI INSERISCE LEGGERO TRA \nIL PANNELLO A PARETE E LA BASE \nIN LACCA BIANCA.\nTHE OVERLAPPING OF ROUGH-CUT \nSURFACES OF DIFFERENT THICKNESS \nGIVES THE COMPOSITION A STRONG \nBALANCE. THE SUSPENDED SHELF \nIN HEMLOCK IS PERFECTLY PLACED \nBETWEEN THE WALL PANEL AND THE \nWHITE LACQUERED BASE.\n34 35\nModern\n",19,{"image":90,"text":91,"number":92},"\u002Fmedia\u002Fimages\u002Fa5\u002F19aa5eb9f8565530105f42fe74eabf.20.png","36 37\nModern\nARMONIA DI FORME E COLORI PER QUESTA \nCOMPOSIZIONE: L’ESSENZA NATURALE DEL MONGOI \nPER I PENSILI, LA LACCA LUCIDA PER LA PEDANA \nE IL PIANO SOSPESO, IL CRISTALLO PER I VANI \nCONTENITORI. SUL LATO, LIBRERIA SIDEWALL \nSU BASE GIREVOLE IN VARIE TONALITÀ.\nHARMONY OF SHAPES AND COLOURS IN THIS \nCOMPOSITION: NATURAL ESSENCE OF MONGOI \nFOR THE HANGING UNITS, GLOSSY LACQUER FOR \nTHE BOARD AND THE SUSPENDED SHELF, GLASS \nFOR THE CONTAINERS. ON THE SIDE, PIVOTING \nSIDEWALL UNITS IN DIFFERENT FINISHINGS.\n",20,{"image":94,"text":95,"number":96},"\u002Fmedia\u002Fimages\u002Fa5\u002F19aa5eb9f8565530105f42fe74eabf.21.png","I CASSETTI DELLE PEDANE \nPOSSONO ESSERE ATTREZZATE \nCON ELEMENTI IN ALLUMINIO \nPER CD E DVD.\nSULLA SINISTRA DETTAGLIO \nDEL PENSILE IN MONGOI.\nTHE DRAWERS OF THE BOARDS \nCAN BE EQUIPPED WITH ALUMINIUM \nELEMENTS FOR CD AND DVD. \nON THE LEFT A DETAIL OF \nTHE HANGING UNIT IN MONGOI.\n38 39\nModern\n",21,{"image":98,"text":99,"number":100},"\u002Fmedia\u002Fimages\u002Fa5\u002F19aa5eb9f8565530105f42fe74eabf.22.png","40 41\nModern\nLA COMPOSIZIONE ALLA PARETE SI COMPLETA \nCON UNA PEDANA A TERRA IN HEMLOCK, PREGIATA \nESSENZA DALLE VENATURE CHIARE E DALLA SUPER-\nFICIE RUVIDA AL TATTO DALLA FORTE NATURALITÀ. \nPOLTRONE JADE IN PELLE BIANCA E STRUTTURA \nIN FRASSINO TINTO NERO.\nTHE WALL COMPOSITION IS COMPLETED BY \nA BOARD IN HEMLOCK, A PRECIOUS ESSENCE \nWITH LIGHT VEINS AND TACTILE ROUGH \nSURFACE, FEATURED BY A STRONG NATURAL-\nNESS. JADE CHAIRS IN WHITE LEATHER \nAND STRUCTURE IN BLACK STAINED ASH.\n",22,{"image":102,"text":103,"number":104},"\u002Fmedia\u002Fimages\u002Fa5\u002F19aa5eb9f8565530105f42fe74eabf.23.png","“ENIGMATICO NELLA SUA SEMPLICITÀ, NELLA \nMONOTONA RIPETIZIONE DI QUATTRO LATI ED \nANGOLI UGUALI, GENERA UNA SERIE DI INTERES-\nSANTI ED INFINITE FIGURE...”. Da “Il Quadrato” \ndi Bruno Munari, 2005, Editore Corraini.\nOGNI FORMA PARLA UNA LINGUA DIVERSA. \nPER COMPRENDERLA NON BASTA GUARDARE. \nBISOGNA ESERCITARSI: SI COMINCIA \nDALL’ALFABETO, POI SI PASSA ALLA GRAMMATICA \nE ALLA SINTASSI. IL MAESTRO BRUNO MUNARI, \nCHE NELLA LINGUA DELLE FORME SAPEVA SCRIVERE, \nLA LEZIONE SUL QUADRATO LA COMINCIAVA COSÌ: \n“ALTO E LARGO QUANTO UN UOMO CON LE BRACCIA \nAPERTE, IL QUADRATO STA, FIN DALLE PIÙ \nANTICHE SCRITTURE E NELLE INCISIONI RUPESTRI \nDEI PRIMI UOMINI, A SIGNIFICARE L’IDEA \nDI RECINTO, DI CASA, DI PAESE”.\n“ENIGMATIC IN ITS SIMPLICITY, IN THE \nMONOTONOUS REPETITION OF FOUR EQUAL \nSIDES AND FOUR EQUAL ANGLES, IT CREATES \nA SERIES OF INTERESTING FIGURES...”. \nFrom “The square” by Bruno Munari, 2005, \nCorraini Editor.\nEVERY SHAPE SPEAKS A DIFFERENT LANGUAGE. \nIT IS NOT ENOUGH TO LOOK TO UNDERSTAND IT. \nTRAINING IS NEEDED: FROM THE ALPHABET \nTHROUGH THE GRAMMAR TO THE SYNTAX. \nTHE MASTER BRUNO MUNARI, WHO KNEW HOW \nTO WRITE THE LANGUAGE OF THE SHAPES, \nUSED TO START THE LESSON ON THE SQUARE \nWITH: “THE SQUARE IS HIGH AND AS WIDE \nAS A MAN WITH HIS ARMS OUTSTRETCHED. \nIN THE OLDEST WRITINGS AND IN THE ROCK \nINSCRIPTIONS OF EARLY MAN, IT SIGNIFIES \nTHE IDEA OF ENCLOSURE, OF HOME, \nOF SETTLEMENT”.\n42 43\n...enigmatico \nnella sua semplicità, \ngenera interessanti \ned infi nite fi gure.\n",23,{"image":106,"text":107,"number":108},"\u002Fmedia\u002Fimages\u002Fa5\u002F19aa5eb9f8565530105f42fe74eabf.24.png","44 45\nModern\nMODERN È IL PROTAGONISTA INDISCUSSO DELLA ZONA \nLIVING. IL VALORE DEL PROGETTO E DEL SEGNO \nSONO IN PRIMO PIANO, PERCEPIBILI NELLA COMPO-\nSIZIONE.\nMODERN IS THE MAIN CHARACTER OF THE LIVING \nAREA. THE IMPORTANCE OF PROJECT AND DESIGN \nARE IN THE FOREGROUND AND RECOGNIZABLE \nIN THE COMPOSITION.\n \n",24,{"image":110,"text":111,"number":112},"\u002Fmedia\u002Fimages\u002Fa5\u002F19aa5eb9f8565530105f42fe74eabf.25.png","46 47\nModern\nCOME UNA GRIGLIA GRAFICA, IL NUOVO MODULO \nRASTER BILANCIA PIENI E VUOTI, OFFRENDO \nSPAZIO APERTO A LIBRI E OGGETTI.  \nAS A GRAPHIC GRILL, THE NEW RASTER MODULE \nBALANCES OPEN AND CLOSED UNITS, GIVING \nFREE SPACE TO BOOKS AND OBJECTS.\n",25,{"image":114,"text":115,"number":116},"\u002Fmedia\u002Fimages\u002Fa5\u002F19aa5eb9f8565530105f42fe74eabf.26.png","48 49\nModern\nL’USO DI CROMIE ACCESE DÀ VITA A PAESAGGI \nDOMESTICI PIÙ SFIZIOSI, DA PROGETTARE \nIN CHIAVE PERSONALE. MODERN CON MODULO RASTER \nSOSPESO, UNA GABBIA GRAFICA COSTITUITA \nDA VANI QUADRATI APERTI. PEDANA CON ANTA \nA RIBALTA IN LACCATO OPACO.\nTHE USE OF BRIGHT TONES CREATES CHARMING \nHOMELIKE VIEWS, TO BE PLANNED ACCORDING \nTO PERSONAL TASTE. MODERN WITH RASTER \nHANGING UNIT, A GRAPHIC CAGE FEATURED \nBY OPEN SQUARE UNITS. BOARD WITH DROP \nLEAF DOOR IN MATT LACQUERED.\n",26,{"image":118,"text":119,"number":120},"\u002Fmedia\u002Fimages\u002Fa5\u002F19aa5eb9f8565530105f42fe74eabf.27.png","DETTAGLIO DELLA PEDANA CON ANTA \nA RIBALTA E RIPIANO INTERNO \nPER OSPITARE ATTREZZATURE MEDIA.\nDETAIL OF THE BOARD WITH DROP \nLEAF DOOR AND INTERNAL SHELF \nTO PLACE MEDIA EQUIPMENT.\n50 51\nModern\n",27,{"image":122,"text":123,"number":124},"\u002Fmedia\u002Fimages\u002Fa5\u002F19aa5eb9f8565530105f42fe74eabf.28.png","52 53\nModern\nUNA PEDANA BIANCA È SORMONTATA DA UN PIANO \nSOSPESO NELLA STESSA FINITURA, CHE FUNGE \nDA BASE DI APPOGGIO PER UN MODULO RASTER \nROSSO OPACO IN UNA VERA E PROPRIA COMBINAZIONE \nDI FORME PURE. SEDIE NEVE E TAVOLI FRACTAL \nIN PRIMO PIANO.\nA WHITE BOARD IS OVERLAPPED BY A SUSPENDED \nSHELF IN THE SAME FINISHING, THAT ACTS \nAS LAYING SURFACE FOR A MATT RED LACQUERED \nRASTER UNIT: A REAL COMBINATION OF PURE \nSHAPES. IN THE FOREGROUND NEVE CHAIRS \nAND FRACTAL TABLES. \n",28,{"image":126,"text":127,"number":128},"\u002Fmedia\u002Fimages\u002Fa5\u002F19aa5eb9f8565530105f42fe74eabf.29.png","CON UN TOCCO DI DELICATEZZA, \nSENZA RINUNCIARE ALLA SOLIDITÀ \nTECNICA, LA GRIGLIA MODULARE \nQUADRATA DI MODERN VIENE ALLEG-\nGERITA NEGLI SPESSORI, IN UN \nLAVORO DI CALIBRATA SOTTRAZIONE \nCHE DÀ VITA AD UNA MATRICE AEREA, \nDA CUI PARTIRE PER SVILUPPARE \nVOLUMI ANCHE IMPORTANTI.\nWITH A TOUCH OF DELICACY, \nWITHOUT GIVING UP TECHNICAL \nFIRMNESS, MODERN SQUARE MODULAR \nGRID IS LIGHTENED IN ITS \nTHICKNESS, A WORK OF MEASURED \nSUBTRACTION THAT CREATES AN AE-\nRIAL MATRIX AS A STARTING POINT \nTO DEVELOP SIZEABLE VOLUMES.\n54 55\nModern\n",29,{"image":130,"text":131,"number":132},"\u002Fmedia\u002Fimages\u002Fa5\u002F19aa5eb9f8565530105f42fe74eabf.30.png","56 57\nModern\nLA COMPOSIZIONE 4X3 MODULI RASTER IN HEMLOCK, \nPROPOSTA SU PIANO SOSPESO E PEDANA IN LACCA \nBIANCA, CONFERISCE BELLEZZA NATURALE ED ORDINE \nGEOMETRICO ALLA CAMERA DA LETTO.\nTHE 4X3 RASTER COMPOSITION IN HEMLOCK, \nDISPLAYED ON SUSPENDED SHELF AND WHITE \nLACQUERED BOARD GIVES NATURAL BEAUTY \nAND GEOMETRICAL ORDER TO THE BEDROOM.\n",30,{"image":134,"text":135,"number":136},"\u002Fmedia\u002Fimages\u002Fa5\u002F19aa5eb9f8565530105f42fe74eabf.31.png","“ACCANTO AL PIATTO, A DESTRA, SI METTONO \nIL COLTELLO E IL CUCCHIAIO, A SINISTRA \nLA FORCHETTA O LE DUE FORCHETTE, SECONDO \nIL NUMERO DELLE PORTATE; SE UNA DI QUESTE \nÈ DI PESCE SI METTONO ACCANTO AL PIATTO \nANCHE IL COLTELLO E LA FORCHETTA DA PESCE, \nRISPETTIVAMENTE A DESTRA E A SINISTRA \nDEL PIATTO (…) I BICCHIERI SI METTONO \nIN ORDINE DECRESCENTE DI GRANDEZZA DAVANTI \nAL PIATTO, A DESTRA. (…) SE NON C’È MINESTRA \nIN BRODO, IL CUCCHIAIO NON SI METTE”. \nDa “Il Nuovo Galateo” di Frichi Arborio Mella, \n1968, Edizioni Sansoni.\nORDINE E RIVOLUZIONE, REGOLE E FANTASIA. \nLA ZONA PRANZO È UNA TERRA DI FRONTIERA: \nOGNI INVITATO HA IL SUO POSTO, OGNI RECI-\nPIENTE E OGNI POSATA LA SUA POSIZIONE, \nOGNI PIETANZA LA SUA RICETTA. EPPURE OGNI \nCUOCO HA I SUOI SEGRETI, OGNI TOVAGLIA \nLE SUE MACCHIE, OGNI COMMENSALE QUALCHE \nPENSIERO CHE LO DISTOGLIE DALLA MINESTRA \nO DALLA CONVERSAZIONE.\n“CLOSE TO THE DISH, ON THE RIGHT, \nKNIFE AND SPOON ARE PLACED, ON THE \nLEFT THE FORK OR TWO FORKS, ACCORDING \nTO THE QUANTITY OF COURSES; IF ONE \nOF THESE IS A FISH COURSE, FISH KNIFE \nAND FORK ARE PUT RESPECTIVELY ON THE \nRIGHT AND LEFT OF THE DISH (…) GLASSES \nARE PLACED IN A DECREASING ORDER SIZE \nIN FRONT OF THE DISH, ON THE RIGHT.\n(…) IF THERE IS NO SOUP, THE SPOON \nHAS NOT TO BE PUT”. From “The new good \nmanners” by Frichi Arborio Mella, 1968, \nSansoni Editor.\nORDER AND REVOLUTION, RULES AND IMA-\nGINATION. THE LUNCH AREA IS A BORDER \nLAND: EACH GUEST HAS HIS OWN PLACE, \nEACH RECIPIENT AND CUTLERY ITS OWN \nPOSITION, EACH COURSE ITS OWN RECIPE. \nDESPITE EVERY COOK HAS HIS SECRETS, \nEVERY TABLECLOTH ITS STAINS, EVERY \nGUEST SOME THOUGHTS DIVERTING HIM AWAY \nFROM THE SOUP OR THE CONVERSATION.\n58 59\n...i bicchieri si \nmettono in ordine \ndecrescente di \ngrandezza...\nRI\nRI\nRI\nRI\nRI\nRI\nRIGH\nGH\nGH\nGH\nGHT AN\nAN\nAN\nAN\nAN\nAND LE\nLE\nLE\nLE\nLE\nLEE\nLEFT\nFT\nFTT\nFT\nFTT OF \nF \nF \nF TH\nTHH\nTH\nTHHE DI\nDI\nDI\nDIISH\nSH\nSH\nSHH\nSH\nSH (…)\n…)\n…)\n…)\n…)\n…)\nAR\nAR\nAR\nAR\nARR\nA E PL\nPL\nPL\nPL\nPLLAC\nAC\nAC\nAC\nAC\nACED\nED\nED\nED\nEDD\nED IN A DE\nDE\nDE\nDE\nDE\nDEECR\nCR\nCR\nCR\nCRR\nCR\nC EA\nEA\nEA\nEA\nEA\nE SI\nSI\nSI\nSIING\nNG\nNG\nNG\nNGG\nNG ORD\nRD\nRD\nRD\nRD\nRDDE\nIN\nIN\nIN\nIN\nIN\nIN\nIN FRO\nRO\nRO\nRO\nRO\nR NT\nNT\nNT\nNT\nNTT OF TH\nTH\nTH\nTH\nTH\nTHE DI\nDI\nDI\nDI\nDI\nDIISH\nSH\nSH\nSH\nSH\nSHH, ON\nON\nON\nONN\nO\nTHE\nHE\nHE\nHE\nHE\nHE RI\n(…\n(…\n(…\n(…\n(…\n(…) IF\nIF\nIF\nIF\nIF THE\nHE\nHE\nHE\nHE\nHEERE\nRE\nRE\nRE\nRE\nRE\nREE\nRE IS NO\nNO\nNO\nNO\nNO\nNO SOU\nOU\nOU\nOU\nOUU\nOUP,\nP,\nP,\nP\nTHE\nHE\nHE\nHE\nHE\nHE\nH\nSP\nHA\nHA\nHA\nHA\nHAA\nH S NO\nNO\nNO\nNO\nNO\nN T \nT \nT \nT TO\nTO\nTO\nTO\nTO\nTO\nTOO BE PU\nPU\nPU\nPUU\nPUT”\nT”\nT”\nT”\nT”\nT”. Fr\nFr\nFr\nFr\nFr\nFrom\nom\nom\nomm “Th\nTh\nTh\nTh\nTh\nThe ne\nne\nne\nne\nne\nn\nma\nm nner\ner\ner\ner\ner\ner\ner\ne s”\ns”\ns”\ns”\ns”\ns” by Fr\nFr\nFr\nFr\nFr\nFr\nFric\ni hii Arb\nrb\nrb\nrb\nrbor\nor\nor\nor\norio\nio\nio\nio\nio Mel\nel\nel\nel\nel\ne la\nla\nla\nla\nla\nlaa,\nSa\nS nson\non\non\non\non\non\non\non\no i Ed\nEd\nEd\nEd\nEd\nEd\nEd\nEddit\nit\nit\nit\nit\nittor\nor\nor\nor\norr.\nOR\nO DEER AN\nAN\nAN\nAN\nAN\nANN\nAND RE\nRE\nRE\nRE\nRE\nRE\nREEVO\nVO\nVO\nVOO\nVOO\nVO\nVOLUUTIION\nON\nON\nONN\nON\nO , RU\nRU\nRU\nRU\nRU\nRULE\nLE\nLE\nLEE\nLES AN\nAN\nAN\nAN\nAN\nAN\nANN\nAND\nGI\nG NAATI\nTI\nTI\nTI\nTI\nTI\nTI\nTION\nON\nON\nON\nONN\nON\nON. TH\nTH\nTH\nTH\nTH\nTHH\nT E LUUNCCH AR\nAR\nAR\nARR\nAR\nA EA\nEA\nEA\nEA\nEA\nE\nIS A B\nLA\nL NDD: EA\nEA\nEA\nEAA\nEA\nEA\nEAA\nEA\nEA\nEA\nEA\nEACH\nCH\nCH\nCH\nCH\nCHH\nCH\nCH\nCH GUE\nUE\nUE\nUE\nUE\nUEE\nUEE\nUE\nUE\nUEESTT HAS\nAS\nAS\nAS\nAS\nAS\nAS\nAS HIS\nIS\nIS\nIS\nIS\nIS\nIS\nIS OWN\nWN\nWNN\nWNN\nWN\nWN PL\nEA\nEA\nEA\nEA\nE CH\nCH\nCHH\nCH\nCHH REC\nEC\nECC\nEC\nEC\nEC\nEC\nEC\nEC\nE IP\nIP\nIP\nIP\nIP\nIP\nIP\nIP\nIP\nIPP\nI IE\nIE\nIE\nIE\nIE\nIE\nIE\nIENT\nNT\nNT\nNTT\nNT\nNT\nNT\nNT\nNTT AND\nNDD CUT\nUT\nUT\nUT\nUT\nUT\nUT\nUT\nUT\nUTLE\nLE\nLEE\nLE\nLE\nLE\nLE\nLE\nL RY\nRY\nRY\nRY\nRY\nRY\nRY\nRY ITS\nTS\nTS\nTS\nTS\nTS\nT\nPO\nP SIITI\nTI\nTI\nTI\nTI\nTI\nTION\nON\nON\nON\nON\nON, EA\nEA\nEA\nEA\nEA\nEAACH\nCH\nCH\nCHH\nCH\nCH COUURS\nRS\nRS\nRS\nRS\nRSE IT\nIT\nIT\nIT\nIT\nIT\nIT\nITS OW\nOW\nOW\nOW\nOW\nOW\nOWN R\nDE\nD SPPIT\nIT\nIT\nIT\nIT\nI E EV\nEV\nEV\nEV\nEV\nEVVER\nER\nER\nERR\nER\nERRY COOOKK HAS\nAS\nAS\nAS\nAS\nAS\nAS HIS\nIS\nIS\nIS\nIS\nIS\nIS\nIS SEC\nEC\nEC\nEC\nEC\nECR\nEV\nE ERRY TA\nTA\nTA\nTAA\nTAABL\nBL\nBL\nBL\nBL\nBL\nB EC\nEC\nEC\nEC\nECC\nECLO\nLO\nLO\nLOO\nLO\nLOTHH ITS\nTS\nTS\nTS\nTS\nTS STA\nTA\nTA\nTA\nTA\nTA\nTA\nTAIN\nIN\nIN\nIN\nIN\nIN\nI S,\nS,\nS,\nS,\nS,\nS,\nS\nEV\nGU\nG ESST SO\nSO\nSO\nSO\nSOO\nSOME\nME\nME\nME\nME\nME\nME\nMEE THO\nHO\nHO\nHOO\nHOO\nHO\nHO\nHOO\nHOUGGHTTS DI\nDI\nDI\nDI\nDI\nDII\nDIIVE\nVE\nVE\nVE\nVE\nVEE\nVERT\nRT\nRT\nRT\nRT\nRTT\nRTIN\nIN\nIN\nIN\nIN\nINN\nI G H\nFR\nF OM THE SOUP ORR THE CONVERSATTI\n",31,{"image":138,"text":139,"number":140},"\u002Fmedia\u002Fimages\u002Fa5\u002F19aa5eb9f8565530105f42fe74eabf.32.png","60 61\nModern\nLA MODULARITÀ DI MODERN OFFRE RISPOSTE \nMULTIPLE ALLE ESIGENZE DIFFERENZIATE DELLA \nZONA PRANZO. UNA MADIA LUNGA E STRETTA \nRIALZATA SULLA NUOVA BASE IN METALLO \nVERNICIATO, È SCANDITA IN 3 VANI. \nTAVOLO MINIMO E POLTRONCINE SOFT CHAIR.\nMODERN MODULARITY OFFERS MULTIPLE SOLUTIONS \nTO THE DIFFERENT NEEDS OF THE DINING ROOM. \nA LONG AND NARROW CUPBOARD ON VARNISHED \nMETAL FEET IS COMPOSED BY THREE MODULES. \nMINIMO TABLE AND SOFT CHAIR ARMCHAIR.\n",32,{"image":142,"text":143,"number":144},"\u002Fmedia\u002Fimages\u002Fa5\u002F19aa5eb9f8565530105f42fe74eabf.33.png","62 63\nModern\nLA PANCA MODERN LIGHT, UNA C DI SOLI 12 MM \nDI SPESSORE, APPARE NELLO SPAZIO COME UNA \nLINEA DECISA DALL’ESTETICA RIDOTTA AI MINIMI \nTERMINI. ALLA PARETE UNA COMPOSIZIONE SOSPESA \nIN HEMLOCK TINTO NERO ALTERNA MODULI A GIORNO \nE ANTE IN LACCATO GRIGIO.\nMODERN LIGHT BENCH, A C-SHAPE WITH ONLY 12 MM \nTHICKNESS, APPEARS IN THE ENVIRONMENT \nAS A STRONG LINE WITH AESTHETICS REDUCED \nTO THE MINIMUM TERMS. THE WALL COMPOSITION \nIN BLACK STAINED HEMLOCK COMBINES OPEN \nMODULES AND LACQUERED GREY DOORS.\n",33,{"image":146,"text":147,"number":148},"\u002Fmedia\u002Fimages\u002Fa5\u002F19aa5eb9f8565530105f42fe74eabf.34.png","64 65\nModern\nL’ALTERNANZA DI PIENI E VUOTI \nCARATTERIZZA LE VARIANTI FORMALI \nDEL CONTENITORE SOSPESO CON ANTE \nAPERTURA PUSH-PULL. \nTHE COMBINATION OF OPEN AND CLOSED \nMODULES MARKS THE VERSIONS \nOF THE WALL UNIT WITH PUSH-PULL \nOPENING.\n",34,{"image":150,"text":151,"number":152},"\u002Fmedia\u002Fimages\u002Fa5\u002F19aa5eb9f8565530105f42fe74eabf.35.png","66 67\nModern\nCOMPOSIZIONE MODERN CON ANTE “SMALL” \nCHE RIVOLUZIONANO L’ASPETTO ESTERIORE \nCONFERENDO TRIDIMENSIONALITÀ E NUOVA \nDINAMICITÀ ALLA SUPERFICIE, UN VOLUME \nCOMPATTO MA DI ESTREMA FUNZIONALITÀ. SEDIA \nNEVE, TAVOLO FRACTAL E LIBRERIA EX-LIBRIS.\nMODERN COMPOSITION WITH “SMALL” DOORS THAT \nREVOLUTIONIZES THE AESTHETICAL VIEW GIVING \nTHREE-DIMENSIONALITY AND NEW DYNAMISM TO \nTHE SURFACE, A COMPACT VOLUME BUT EXTREMELY \nFUNCTIONAL. NEVE CHAIR, FRACTAL TABLE \nAND EX-LIBRIS BOOKCASE.\n",35,{"image":154,"text":155,"number":156},"\u002Fmedia\u002Fimages\u002Fa5\u002F19aa5eb9f8565530105f42fe74eabf.36.png","68 69\nModern\nI NUOVI FRONTALI CREANO UN GIOCO \nGRAFICO MOLTO PIACEVOLE DI PROFILI \nE BORDATURE. UNA SCELTA ESTETICA, \nCHE FACILITA L’APERTURA E RENDE \nSUPERFLUA LA PRESENZA DI \nMANIGLIE, PER UN EFFETTO VISIVO \nANCORA PIÙ PULITO E D’IMPATTO.\nTHE NEW FRONTS CREATE A VERY \nPLEASANT GRAPHIC EFFECT OF \nPROFILES AND RIMS. AN AESTHETIC \nCHOICE THAT SIMPLIFIES THE OPENING \nAND MAKE THE HANDLES UNNECESSARY, \nFOR A VISUAL AND IMPACT EFFECT \nEVEN MORE PURE.\n",36,{"image":158,"text":159,"number":160},"\u002Fmedia\u002Fimages\u002Fa5\u002F19aa5eb9f8565530105f42fe74eabf.37.png","70 71\nModern\nLA FUNZIONALITÀ STRIZZA L’OCCHIO ALL’ESTETICA \nNELLA MADIA MODERN IN VERDE SU BASE IN METALLO \nDELLO STESSO COLORE, VERO E PROPRIO OGGETTO \nSCULTURA. SUDDIVISA IN 3 VANI, RISPONDE AI BISOGNI \nDELLA SALA DA PRANZO TRASFORMANDONE L’ASPETTO. \nTAVOLO MINIMO E SEDIE NEVE CON BRACCIOLI.\nTHE FUNCTIONALITY WINKS AT THE AESTHETIC \nOF THE GREEN MODERN CUPBOARD ON METAL FEET \nIN THE SAME FINISHING: A REAL OBJECT-SCULPTURE. \nDIVIDED INTO THREE MODULES, IT FULFILLS \nTHE DINING ROOM NEEDS, CHANGING ITS LOOK. \nMINIMO TABLE AND NEVE ARMCHAIRS.\n",37,{"image":162,"text":163,"number":164},"\u002Fmedia\u002Fimages\u002Fa5\u002F19aa5eb9f8565530105f42fe74eabf.38.png","72 73\nModern\nI CASSETTI CON FRONTALI IN VERDE, \nNASCONDONO INTERNI IN HEMLOCK \n“CENERE”. PARTICOLARE DEL VANO \nCON ANTA A RIBALTA, ATTREZZATO \nCON RIPIANO ESTRAIBILE IN ALLU-\nMINIO. THE DRAWERS WITH GREEN \nLACQUERED FRONTS HIDE INTERNAL \nBOXES IN HEMLOCK “CENERE”. \nDETAIL OF THE MODULE WITH \nDROP LEAF DOOR, EQUIPPED WITH \nPULL-OUT ALUMINIUM SHELF.\n",38,{"image":166,"text":167,"number":168},"\u002Fmedia\u002Fimages\u002Fa5\u002F19aa5eb9f8565530105f42fe74eabf.39.png","74 75\nModern\nMADIA CON VANI A GIORNO IN \nHEMLOCK TINTO NERO E CHIUSURE \nIN OPACO BIANCO MOON SU BASE \nIN METALLO VERNICIATO H.15 CM.\nCUPBOARD WITH OPEN MODULES IN BLACK \nSTAINED HEMLOCK AND MOON WHITE MATT \nLACQUERED DOORS ON VARNISHED METAL \nFEET H.15 CM\n",39,{"image":170,"text":171,"number":172},"\u002Fmedia\u002Fimages\u002Fa5\u002F19aa5eb9f8565530105f42fe74eabf.40.png","“TETRIS (IN RUSSO: Tе т р ис ) È UN VIDEOGIOCO \nDI LOGICA E RAGIONAMENTO INVENTATO DA ALEKSEJ \nPAŽITNOV IL 6 GIUGNO 1984, MENTRE LAVORAVA \nPER L’ACCADEMIA RUSSA DELLE SCIENZE DI MOSCA”. \nDall’Enciclopedia Online Wikipedia. \nECCO UN VIDEOGAME ANNI OTTANTA: LE GEOMETRIE \nCOLORATE PRENDONO VITA E SCOMPAIONO SENZA \nSOLUZIONE DI CONTINUITÀ, PIXEL DOPO PIXEL. \nLA LORO FORZA STA NELLA CAPACITÀ \nDI ADATTARSI ALLO SPAZIO. SONO MATTONCINI \nDI PLASTICA COLORATA: SI UNISCONO FINO \nA CREARE UNA NUOVA FORMA. POI RITORNANO \nNEL NULLA. PRONTI A RINASCERE.\n“TETRIS (RUSSIAN: Tе т р ис ) IS A VIDEO \nGAME BASED ON LOGIC AND REASONING INVENTED \nBY ALEKSEJ PAŽITNOV ON JUNE 6, 1984, WHILE \nHE WAS WORKING FOR ACADEMY OF SCIENCE OF \nTHE USSR IN MOSCOW”. \nBy online encyclopedia Wikipedia.\nHERE IT IS: A VIDEOGAME OF THE 80’S. \nTHE COLORED GEOMETRIES LIVE AND DISAPPEAR \nWITHOUT INTERRUPTION, PIXEL BY PIXEL. \nTHEIR POWER IS IN THE ABILITY TO FIT \nTHE SPACE. THEY ARE SMALL BRICKS OF COLORED \nPLASTIC: THEY JOIN TOGETHER TO CREATE \nA NEW SHAPE. THEN THEY COME BACK TO NOTHING. \nREADY TO REBIRTH. \n76 77\n...pixel dopo pixel. \nLa loro forza sta \nnella capacità di \nadattarsi allo spazio.\n",40,{"image":174,"text":175,"number":176},"\u002Fmedia\u002Fimages\u002Fa5\u002F19aa5eb9f8565530105f42fe74eabf.41.png","78 79\nModern\nL’ARTICOLAZIONE MODULARE DI MODERN \nDIVENTA UN GIOCO DI FORME E COLORI PRIMA-\nRI, CHE CONTRAPPONE CONTENITORI IN HEMLOCK  \nMASSICCIO AD ANTE LACCATE IN DIVERSI COLORI. \nTAVOLO FRACTAL, SEDIE SPINDLE, LIBRERIE \nSIDEWALL PENSILI.\nMODERN MODULARITY BECOMES A GAME OF SHAPES \nAND OF PRIMARY COLOURS, THAT OPPOSES \nCONTAINERS IN MASSIVE HEMLOCK TO LACQUERED \nDOORS IN DIFFERENT FINISHINGS. FRACTAL TABLE, \nSPINDLE CHAIRS AND SIDEWALL HANGING UNITS.\n",41,{"image":178,"text":179,"number":180},"\u002Fmedia\u002Fimages\u002Fa5\u002F19aa5eb9f8565530105f42fe74eabf.42.png","L’ALTERNANZA ALLA PARETE \nDI CONTENITORI APERTI E VANI \nCHIUSI COLORATI DA VITA A VERE \nE PROPRIE SCULTURE TRIDIMENSIONALI \nDA COMPORRE A PIACERE, A METÀ \nSTRADA TRA UN’OPERA POP E UNA \nCOSTRUZIONE IN LEGO FUORI SCALA.\nTHE WALL COMBINATION OF OPEN \nAND CLOSED COLOURED MODULES \nGIVES LIFE TO REAL THREE-DIMENSIONAL \nSCULPTURE TO BE COMBINED \nACCORDING TO PERSONAL TASTE, \nHALF WAY BETWEEN A POP WORK \nOF ART AND A LEGO CONSTRUCTION \nBEYOND THE SCALE.\n80 81\nModern\n",42,{"image":182,"text":183,"number":184},"\u002Fmedia\u002Fimages\u002Fa5\u002F19aa5eb9f8565530105f42fe74eabf.43.png","82 83\nModern\nCOMPOSIZIONE SOSPESA REALIZZATA CON STRUT-\nTURE E ANTE BATTENTI IN HDS. VANI A GIORNO \nIN HEMLOCK TINTO NERO.\nWALL COMPOSITION MADE WITH STRUCTURE AND \nHINGED DOORS IN HDS. OPEN UNITS IN BLACK \nSTAINED HEMLOCK.\n",43,{"image":186,"text":187,"number":188},"\u002Fmedia\u002Fimages\u002Fa5\u002F19aa5eb9f8565530105f42fe74eabf.44.png","84 85\nModern\nL’INNESTO ASIMMETRICO DI VOLUMI MODERN \nSU UN PIANO SOSPESO BIANCO CON PIEDE LATERALE. \nPOLTRONA JADE, CONTENITORI PENSILI MODERN.\nASYMMETRICAL COMBINATION OF MODERN VOLUMES \nON SUSPENDED SHELF WITH LATERAL FOOT. \nJADE ARMCHAIR AND MODERN WALL HANGING UNITS.\n",44,{"image":190,"text":191,"number":192},"\u002Fmedia\u002Fimages\u002Fa5\u002F19aa5eb9f8565530105f42fe74eabf.45.png","86 87\nModern\nCONTENERE, ESPORRE, SORREGGERE, APPOGGIARE, \nARMONIZZARE. COME SFONDO O DA VERO \nPROTAGONISTA, IL SISTEMA MODERN DI CONTE-\nNITORI, PIANI D’APPOGGIO E MENSOLE SI APRE \nAD INFINITE INTERPRETAZIONI.\nTO STORE, DISPLAY, SUPPORT, LAY, HARMONIZE. \nAS BACKGROUND OR FOREGROUND, THE MODERN \nCOMPOSITION OF STORAGE UNITS, LAYING \nSURFACES AND SELVE, OPENS TO INFINITE \nINTERPRETATIONS.\n",45,{"image":194,"text":195,"number":196},"\u002Fmedia\u002Fimages\u002Fa5\u002F19aa5eb9f8565530105f42fe74eabf.46.png","88 89\nModern\n",46,{"image":198,"text":199,"number":200},"\u002Fmedia\u002Fimages\u002Fa5\u002F19aa5eb9f8565530105f42fe74eabf.47.png","90 91\nModern\nPER UNA SALA DA PRANZO CHE NON VUOLE RINUN-\nCIARE ALLA PUREZZA DEL DISEGNO, È PENSATA \nQUESTA COMPOSIZIONE MODERN: UNA SUCCESSIONE \nDI CONTENITORI PENSILI IN HEMLOCK NATURALE \nCHIUSI DA ANTE A RIBALTA SU CUI SI SOVRAPPON-\nGONO VANI A GIORNO. TAVOLO MINIMO, SEDIE NEVE.\nTHIS MODERN COMPOSITION IS THOUGHT FOR \nA DINING ROOM THAT DOESN’T WANT TO GIVE \nUP TO THE PURITY OF DESIGN: A SEQUENCE \nOF HANGING UNITS IN NATURAL HEMLOCK WITH \nDROP LEAF DOORS AND OPEN MODULES ON THEM. \nMINIMO TABLE AND NEVE CHAIRS.\n",47,{"image":202,"text":203,"number":204},"\u002Fmedia\u002Fimages\u002Fa5\u002F19aa5eb9f8565530105f42fe74eabf.48.png","92 93\nModern\nCOMPLETA LA COMPOSIZIONE UN MODULO PENSILE \nVERTICALE CON RIPIANI DOVE INSERIRE PIATTI, \nBICCHIERI, E TUTTO L’OCCORRENTE PER APPA-\nRECCHIARE LA TAVOLA. \nTHE COMPOSITION IS COMPLETED BY A VERTICAL \nHANGING UNIT WITH SHELVES TO STORE DISHES, \nGLASSES AND THE NECESSARY TO LAY THE TABLE.\n",48,{"image":206,"text":207,"number":208},"\u002Fmedia\u002Fimages\u002Fa5\u002F19aa5eb9f8565530105f42fe74eabf.49.png","94 95\nModern\n",49,{"image":210,"text":211,"number":212},"\u002Fmedia\u002Fimages\u002Fa5\u002F19aa5eb9f8565530105f42fe74eabf.50.png","96 97\nModern\nSTUPISCE PER LE SUE LINEE IPER-SOTTILI \nLA PANCA MODERN LIGHT, CHE METTE IN RISALTO \nLE POTENZIALITÀ STRUTTURALI DEL MATERIALE \nABBINANDOLO CON TUTTE LE COLORAZIONI PORRO. \nTHE BENCH MODERN LIGHT, AMAZING FOR ITS \nHYPERTHIN LINES, HIGHLIGHTS STRUCTURAL \nPOTENTIALITIES OF THE MATERIAL, COMBINING \nIT WITH ALL PORRO COLOURS.\n",50,{"image":214,"text":215,"number":216},"\u002Fmedia\u002Fimages\u002Fa5\u002F19aa5eb9f8565530105f42fe74eabf.51.png","98 99\nModern\n",51,{"image":218,"text":219,"number":220},"\u002Fmedia\u002Fimages\u002Fa5\u002F19aa5eb9f8565530105f42fe74eabf.52.png","100 101\nFiniture e colori – Finishings and colours\nLegni . Woods\nW30 \nHemlock \nL01-G01-V01 \nBianco moon\nL03-G03-V03 \nArdesia\nL02-G02-V02 \nGrigio perla\nL55-G55-V55 \nNero \nHds . Hds \nHDS \nBianco \nW20 \nMongoi \nW31 \nHemlock tinto nero\nColori . Colours\nColori . 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