[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-wallanddeco-book-2020":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":309},{"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":304,"matched_pages":305,"match_count":306,"two_pages":307,"show_text":308},12789,"Book 2020","wallanddeco-book-2020","\u002Fmedia\u002Fimages\u002Fa4\u002F788b6a16563d77fc9f4da5c05a75e4-27081ca7b2.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002F18\u002F91234297c9bf6d2aeb8c0f262256da-27081bbd86.pdf","Wall&deco",2370,"wall-deco","6.2 MB",[14,17,21,25,29,33,37,41,45,49,53,57,61,65,69,73,77,81,85,89,93,97,101,105,109,113,117,121,125,129,133,137,141,145,149,153,157,161,165,169,173,177,181,185,189,193,197,201,205,209,213,217,221,225,229,233,237,241,245,249,253,257,261,265,269,273,277,281,285,289,293,297,301],{"image":7,"text":15,"number":16},"T W E N T Y  T W E N T Y\nC W C\n",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002Fa4\u002F788b6a16563d77fc9f4da5c05a75e4-27081ca7b2.2.png","C H A P T E R \nO N E\n",2,{"image":22,"text":23,"number":24},"\u002Fmedia\u002Fimages\u002Fa4\u002F788b6a16563d77fc9f4da5c05a75e4-27081ca7b2.3.png","B E Y O N D\nB O R D E R S\nNelle sue 21 Lezioni per il XXI Secolo Yuval Noah Harari scrive: “i gruppi umani sono definiti più da cambiamenti e \ntrasformazioni che dalla continuità”. L’identità, come una moderna carovana nomade, è in costante movimento. Un’onda da \ncavalcare. La narrazione crea il sentirsi a casa: il dove è meno importante della storia. L’aria è ferma, qui. Come un centinaio \ndi sentieri che si sono finalmente incontrati.\nIn his 21 Lessons for the XXI Century Yuval Noah Harari writes: “human groups are defined more by their changes and transformations \nthan by their continuity”. Identity, like a modern caravan, thunders onward. A wave to ride. Feeling at home comes from narration: \nthe where is less important than the story. There is a stillness in here. Like a hundred paths that finally reached each other. \nC ’ È  U N A  S O L A  T R I B Ù\nT H E R E  I S  O N L Y  O N E  T R I B E\nC W C\n4\nPaolo Badesco - Costantino Affuso .  \n \n \nWDBB2001\nBoîte à Bonbons \n2 0 2 0\n5\n",3,{"image":26,"text":27,"number":28},"\u002Fmedia\u002Fimages\u002Fa4\u002F788b6a16563d77fc9f4da5c05a75e4-27081ca7b2.4.png","Francesca Zoboli .   \n \nWDMP2001 \nMelting Pot\nC W C\n6\nMaría Gómez García .  \n \n \nWDOP2001\nOperosa\n2 0 2 0\n7\n",4,{"image":30,"text":31,"number":32},"\u002Fmedia\u002Fimages\u002Fa4\u002F788b6a16563d77fc9f4da5c05a75e4-27081ca7b2.5.png","Talva Design .  \n \n \nWDGR2001\nThe Groovers\nC W C\n8\nGupica .   \n \nWDBC2001\nBaja California\n2 0 2 0\n9\n",5,{"image":34,"text":35,"number":36},"\u002Fmedia\u002Fimages\u002Fa4\u002F788b6a16563d77fc9f4da5c05a75e4-27081ca7b2.6.png","Shout .  \n \n \nWDMD2001\nMelting Down\nC W C\n1 0\n2 0 2 0\n1 1\n",6,{"image":38,"text":39,"number":40},"\u002Fmedia\u002Fimages\u002Fa4\u002F788b6a16563d77fc9f4da5c05a75e4-27081ca7b2.7.png","Paolo Badesco - Costantino Affuso .  \n \n \nWDCP2001 \nCrystal Palace\nC W C\n1 2\nStudiopepe .  \n \n \nWDOK2001\nOkta\n2 0 2 0\n1 3\n",7,{"image":42,"text":43,"number":44},"\u002Fmedia\u002Fimages\u002Fa4\u002F788b6a16563d77fc9f4da5c05a75e4-27081ca7b2.8.png","Serena Confalonieri .  \n \n \nWDCA2001 \nCarnival\nC W C\n1 4\nShout .  \n \n \nWDYU2001\nYuko\n2 0 2 0\n1 5\n",8,{"image":46,"text":47,"number":48},"\u002Fmedia\u002Fimages\u002Fa4\u002F788b6a16563d77fc9f4da5c05a75e4-27081ca7b2.9.png","Tommaso Guerra .   \n \nWDOZ2001\nOzio\nC W C\n1 6\nGio Pagani .  \n \n \nWDFS2001\nFigli delle Stelle\n2 0 2 0\n1 7\n",9,{"image":50,"text":51,"number":52},"\u002Fmedia\u002Fimages\u002Fa4\u002F788b6a16563d77fc9f4da5c05a75e4-27081ca7b2.10.png","C W C\n1 8\nAntonella Guidi .   \n \nWDSL2001\nSlowmo\n2 0 2 0\n1 9\n",10,{"image":54,"text":55,"number":56},"\u002Fmedia\u002Fimages\u002Fa4\u002F788b6a16563d77fc9f4da5c05a75e4-27081ca7b2.11.png","Antonella Guidi .   \n \nWDMA2001 \nMatches\nC W C\n2 0\nFederico Pepe.  \n \n \nWDSS2001 \nSweet And Sour\n2 0 2 0\n2 1\n",11,{"image":58,"text":59,"number":60},"\u002Fmedia\u002Fimages\u002Fa4\u002F788b6a16563d77fc9f4da5c05a75e4-27081ca7b2.12.png","Federico Pepe .  \n \n \nWDPA2001 \nPaddles\nC W C\n2 2\nSerena Confalonieri .  \n \n \nWDME2001 \nMelrose\n2 0 2 0\n2 3\n",12,{"image":62,"text":63,"number":64},"\u002Fmedia\u002Fimages\u002Fa4\u002F788b6a16563d77fc9f4da5c05a75e4-27081ca7b2.13.png","Marco Lorenzetto .   \n \nWDMU2001 \nMutamenti\nC W C\n2 4\n2 0 2 0\n2 5\n",13,{"image":66,"text":67,"number":68},"\u002Fmedia\u002Fimages\u002Fa4\u002F788b6a16563d77fc9f4da5c05a75e4-27081ca7b2.14.png","Gio Pagani .  \n \n \nWDSA2001 \nSource d’Argent\nC W C\n2 6\nDraga&Aurel .  \n \n \nWDPR2001 \nPrimary\n2 0 2 0\n2 7\n",14,{"image":70,"text":71,"number":72},"\u002Fmedia\u002Fimages\u002Fa4\u002F788b6a16563d77fc9f4da5c05a75e4-27081ca7b2.15.png","Draga&Aurel .  \n \n \nWDSB2001 \nSonic Boom\nC W C\n2 8\nGiovanni Pesce .  \n \n \nWDOM2001 \nOptometriek\n2 0 2 0\n2 9\n",15,{"image":74,"text":75,"number":76},"\u002Fmedia\u002Fimages\u002Fa4\u002F788b6a16563d77fc9f4da5c05a75e4-27081ca7b2.16.png","Gupica .   \n \nWDBU2001 \nBlow Up\nC W C\n3 0\nChristian Benini .   \n \nWDZA2001 \nZabazoque\n2 0 2 0\n3 1\n",16,{"image":78,"text":79,"number":80},"\u002Fmedia\u002Fimages\u002Fa4\u002F788b6a16563d77fc9f4da5c05a75e4-27081ca7b2.17.png","The Elusive Otter .   \n \nWDNH2001 \nNature Hints\nC W C\n3 2\nCTRLZAK .  \n \n \nWDDR2001 \nDreamscape\n2 0 2 0\n3 3\n",17,{"image":82,"text":83,"number":84},"\u002Fmedia\u002Fimages\u002Fa4\u002F788b6a16563d77fc9f4da5c05a75e4-27081ca7b2.18.png","C W C\n3 4\nGio Pagani .  \n \n \nWDMW2001 \nIt Makes Me Wonder\n2 0 2 0\n3 5\n",18,{"image":86,"text":87,"number":88},"\u002Fmedia\u002Fimages\u002Fa4\u002F788b6a16563d77fc9f4da5c05a75e4-27081ca7b2.19.png","C H A P T E R \nT W O\n",19,{"image":90,"text":91,"number":92},"\u002Fmedia\u002Fimages\u002Fa4\u002F788b6a16563d77fc9f4da5c05a75e4-27081ca7b2.20.png","N O - S T O P\nU T O P I A\nIn tutto un altro tempo. Svegliati e immagina: una moto ad \nenergia solare e il deserto. Di cos’altro hai bisogno? Easy Rider è \ndavvero libero, ora. Pensavo alla No-Stop City degli Archizoom. \nOvunque fermo la moto, lì è casa mia. So che troverò un \nriparo quando arriverà la notte. Ci saranno cose, storie, eredità \nlasciate da quelli di prima. Lascerò anche le mie e me ne andrò. \nBenvenuto nella tua nuova casa, rider. Il sole è già alto.\nIn another time entirely. Wake up and imagine this: a sun-\npowered bike and the desert. What else do you need? Easy \nRider is finally free. I was thinking about Archizoom’s No-Stop \nCity. Wherever I park my bike that’s my home. I know I’ll find \na shelter when the night comes. There will be relics, stories, \nlegacies left behind before me. I will add mine and leave. \nWelcome to your new home, rider. The sun’s already up.\nU T O P I A\nC W C\n3 8\nDeBonaDeMeo .  \n \n \nWDRT2001 \nRuby Tuesday\n2 0 2 0\n3 9\n",20,{"image":94,"text":95,"number":96},"\u002Fmedia\u002Fimages\u002Fa4\u002F788b6a16563d77fc9f4da5c05a75e4-27081ca7b2.21.png","Talva Design.  \n \n \nWDMF2001 \nMy Favourite Perfume\nC W C\n4 0\nDraga&Aurel .  \n \n \nWDPI2001 \nPigmento\n2 0 2 0\n4 1\n",21,{"image":98,"text":99,"number":100},"\u002Fmedia\u002Fimages\u002Fa4\u002F788b6a16563d77fc9f4da5c05a75e4-27081ca7b2.22.png","Antonella Guidi .   \n \nWDEQ2001 \nEquilibrismi\nC W C\n4 2\nLorenzo De Grandis .  \n \n \nWD702001 \n70s\n2 0 2 0\n4 3\n",22,{"image":102,"text":103,"number":104},"\u002Fmedia\u002Fimages\u002Fa4\u002F788b6a16563d77fc9f4da5c05a75e4-27081ca7b2.23.png","Gio Pagani .  \n \n \nWDNQ2001 \nJe Ne Sais Quoi\nC W C\n4 4\nStudiopepe .  \n \n \nWDDB2001 \nDesert Botanica\n2 0 2 0\n4 5\n",23,{"image":106,"text":107,"number":108},"\u002Fmedia\u002Fimages\u002Fa4\u002F788b6a16563d77fc9f4da5c05a75e4-27081ca7b2.24.png","Silvia Stella Osella .   \n \nWDJH2001 \nJardin d’Hiver\nC W C\n4 6\nLorenzo De Grandis.  \n \n \nWDOD2001 \nOdyssey\n2 0 2 0\n4 7\n",24,{"image":110,"text":111,"number":112},"\u002Fmedia\u002Fimages\u002Fa4\u002F788b6a16563d77fc9f4da5c05a75e4-27081ca7b2.25.png","Bertero Projects .   \n \nWDBL2001 \nBlurry\nC W C\n4 8\nGio Pagani .  \n \n \nWDSC2001 \nSummer Night City\n2 0 2 0\n4 9\n",25,{"image":114,"text":115,"number":116},"\u002Fmedia\u002Fimages\u002Fa4\u002F788b6a16563d77fc9f4da5c05a75e4-27081ca7b2.26.png","Giovanni Pesce .  \n \n \nWDAL2001 \nAltrove\nC W C\n5 0\nInes Porrino .  \n \n \nWDSM2001 \nSan Miguel\n2 0 2 0\n5 1\n",26,{"image":118,"text":119,"number":120},"\u002Fmedia\u002Fimages\u002Fa4\u002F788b6a16563d77fc9f4da5c05a75e4-27081ca7b2.27.png","Giovanni Pesce .  \n \n \nWDND2001 \nNew Dawn\nC W C\n5 2\nGio Pagani .  \n \n \nWDDD2001 \nDon’t Let Me Down \n2 0 2 0\n5 3\n",27,{"image":122,"text":123,"number":124},"\u002Fmedia\u002Fimages\u002Fa4\u002F788b6a16563d77fc9f4da5c05a75e4-27081ca7b2.28.png","The Elusive Otter .   \n \nWDNP2001 \nThe Narrow Path\nC W C\n5 4\nDeBonaDeMeo .  \n \n \nWDQP2001 \nNe Me Quitte Pas\n2 0 2 0\n5 5\n",28,{"image":126,"text":127,"number":128},"\u002Fmedia\u002Fimages\u002Fa4\u002F788b6a16563d77fc9f4da5c05a75e4-27081ca7b2.29.png","Antonio Marras .  \n \n \nWDAM2001 \nAemme\nC W C\n5 6\nSilvia Stella Osella .   \n \nWDCH2001 \nCherish\n2 0 2 0\n5 7\n",29,{"image":130,"text":131,"number":132},"\u002Fmedia\u002Fimages\u002Fa4\u002F788b6a16563d77fc9f4da5c05a75e4-27081ca7b2.30.png","Giovanni Pesce .  \n \n \nWDSO2001 \nSonora\nC W C\n5 8\nAntonio Marras .  \n \n \nWDAR2001 \nAcadémie Royale\n2 0 2 0\n5 9\n",30,{"image":134,"text":135,"number":136},"\u002Fmedia\u002Fimages\u002Fa4\u002F788b6a16563d77fc9f4da5c05a75e4-27081ca7b2.31.png","Lorenzo De Grandis.  \n \n \nWDFR2001 \nFresque\nC W C\n6 0\nEva Germani .  \n \n \nWDAA2001 \nArs Amandi\n2 0 2 0\n6 1\n",31,{"image":138,"text":139,"number":140},"\u002Fmedia\u002Fimages\u002Fa4\u002F788b6a16563d77fc9f4da5c05a75e4-27081ca7b2.32.png","DeBonaDeMeo .  \n \n \nWDGE2001 \nGreat Expectations\nC W C\n6 2\nFederico Pepe .  \n \n \nWDOR2001 \nOrtogonale\n2 0 2 0\n6 3\n",32,{"image":142,"text":143,"number":144},"\u002Fmedia\u002Fimages\u002Fa4\u002F788b6a16563d77fc9f4da5c05a75e4-27081ca7b2.33.png","C H A P T E R \nT H R E E\n",33,{"image":146,"text":147,"number":148},"\u002Fmedia\u002Fimages\u002Fa4\u002F788b6a16563d77fc9f4da5c05a75e4-27081ca7b2.34.png","M A T E R I C \nF R E E D O M\nE se fossimo davvero esseri bi-dimensionali? Se vivessimo nell’universo \nteorizzato da Warren Ellis dove “l’informazione è concentrata solo sulla \nsuperficie”? \nPotremmo vedere infinite variazioni in un solo colpo d’occhio, come in \nun mazzo di diapositive sovrapposte. Vibranti, cangianti. La multi-realtà \nnasce dall’osservazione. \nQuello che è sparito potrebbe vivere in altre storie, ora. Facendo surf fra \nle pagine, da un libro all’altro.\nWhat if we were really two-dimensional beings? What if we were living, \nas Warren Ellis theorized, in a universe where “information lies only on \nthe surface area”?\nWe could see an infinite number of variations at a glance, stacked one \nupon the other, like transparencies. Flickering, vibrating. Multi-reality is \nborn out of observation. \nThe one who went missing could be living in other stories now. Surfing \ndown through a rack of books. \nL ’ I N F I N I T O  È  U N  M A Z Z O  D I  C A R T E\nI N F I N I T Y  A S  A  D E C K\nC W C\n6 6\nStudio Salaris .  \n \n \nWDCB2001 \nChalkboard\n2 0 2 0\n6 7\n",34,{"image":150,"text":151,"number":152},"\u002Fmedia\u002Fimages\u002Fa4\u002F788b6a16563d77fc9f4da5c05a75e4-27081ca7b2.35.png","Eva Germani .  \n \n \nWDSE2001 \nSentosa\nC W C\n6 8\nDraga&Aurel .  \n \n \nWDJG2001 \nJean Genie\n2 0 2 0\n6 9\n",35,{"image":154,"text":155,"number":156},"\u002Fmedia\u002Fimages\u002Fa4\u002F788b6a16563d77fc9f4da5c05a75e4-27081ca7b2.36.png","Paolo Badesco - Costantino Affuso .  \n \n \nWDQA2001 \nQasba\nC W C\n7 0\nDraga&Aurel .  \n \n \nWDDE2001 \nDelilah\n2 0 2 0\n7 1\n",36,{"image":158,"text":159,"number":160},"\u002Fmedia\u002Fimages\u002Fa4\u002F788b6a16563d77fc9f4da5c05a75e4-27081ca7b2.37.png","Talva Design .  \n \n \nWDAN2001 \nAnima Mundi\nC W C\n7 2\nStudio Salaris .  \n \n \nWDBA2001 - WDBA2002\nBarbotine\n2 0 2 0\n7 3\n",37,{"image":162,"text":163,"number":164},"\u002Fmedia\u002Fimages\u002Fa4\u002F788b6a16563d77fc9f4da5c05a75e4-27081ca7b2.38.png","Gio Tirotto .  \n \n \nWDPD2001 \nPerfect Day\nC W C\n7 4\nEva Germani .  \n \n \nWDBO2001 - WDBO2002\nBoboli\n2 0 2 0\n7 5\n",38,{"image":166,"text":167,"number":168},"\u002Fmedia\u002Fimages\u002Fa4\u002F788b6a16563d77fc9f4da5c05a75e4-27081ca7b2.39.png","Gio Tirotto .  \n \n \nWDMI2001 \nMineralia\nC W C\n7 6\nLorenzo De Grandis .  \n \n \nWDLY2001 \nLyric\n2 0 2 0\n7 7\n",39,{"image":170,"text":171,"number":172},"\u002Fmedia\u002Fimages\u002Fa4\u002F788b6a16563d77fc9f4da5c05a75e4-27081ca7b2.40.png","Studiopepe .  \n \n \nWDFP2001 \nFall to Pieces\nC W C\n7 8\nSerena Confalonieri .  \n \n \nWDCO2001 \nColumna\n2 0 2 0\n7 9\n",40,{"image":174,"text":175,"number":176},"\u002Fmedia\u002Fimages\u002Fa4\u002F788b6a16563d77fc9f4da5c05a75e4-27081ca7b2.41.png","Marco Lorenzetto .   \n \nWDOS2001 \nOsiride\nC W C\n8 0\nElisa Vendramin .   \n \nWDGL2001 \nGloriosa\n2 0 2 0\n8 1\n",41,{"image":178,"text":179,"number":180},"\u002Fmedia\u002Fimages\u002Fa4\u002F788b6a16563d77fc9f4da5c05a75e4-27081ca7b2.42.png","Christian Benini .   \n \nWDEL2001 \nElevator\nC W C\n8 2\nStudio Salaris .  \n \n \nWDLT2001 \nLithe\n2 0 2 0\n8 3\n",42,{"image":182,"text":183,"number":184},"\u002Fmedia\u002Fimages\u002Fa4\u002F788b6a16563d77fc9f4da5c05a75e4-27081ca7b2.43.png","Francesca Zoboli .   \n \nWDBM2001 \nBig Me\nC W C\n8 4\nAndrea Merendi .   \n \nWDSD2001 \nSun Dress\n2 0 2 0\n8 5\n",43,{"image":186,"text":187,"number":188},"\u002Fmedia\u002Fimages\u002Fa4\u002F788b6a16563d77fc9f4da5c05a75e4-27081ca7b2.44.png","Lorenzo De Grandis .  \n \n \nWDVI2001 \nVinyl\nC W C\n8 6\n",44,{"image":190,"text":191,"number":192},"\u002Fmedia\u002Fimages\u002Fa4\u002F788b6a16563d77fc9f4da5c05a75e4-27081ca7b2.45.png","",45,{"image":194,"text":195,"number":196},"\u002Fmedia\u002Fimages\u002Fa4\u002F788b6a16563d77fc9f4da5c05a75e4-27081ca7b2.46.png","Boîte à Bonbons\n5\nMelting Pot\n6\nOperosa\n7\nThe Groovers\n8\nBaja California\n9\nMelting Down\n11\nCrystal Palace\n12\nOkta\n13\nCarnival\n14\nYuko\n15\nOzio\n16\nFigli delle Stelle\n17\nSlowmo\n18\nMatches\n20\nSweet And Sour\n21\nPaddles\n22\nMelrose\n23\nMutamenti\n25\nSource d’Argent\n26\nPrimary\n27\nSonic Boom\n28\nOptometriek\n29\nBlow Up\n30\nZabazoque\n31\nNature Hints\n32\nDreamscape\n33\nIt Makes Me Wonder\n34\nRuby Tuesday\n39\nMy Favourite Perfume\n40\nPigmento\n41\nEquilibrismi\n42\n70s\n43\nJe Ne Sais Quoi\n44\nDesert Botanica\n45\nJardin d’Hiver\n46\nOdyssey\n47\nBlurry\n48\nSummer Night City\n49\nAltrove\n50\nSan Miguel\n51\nNew Dawn\n52\nDon’t Let Me Down\n53\nThe Narrow Path\n54\nNe Me Quitte Pas\n55\nAemme\n56\nCherish\n57\nSonora\n58\nAcadémie Royale\n59\nFresque\n60\nArs Amandi\n61\nGreat Expectations\n62\nOrtogonale\n63\nChalkboard\n67\nSentosa\n68\nJean Genie\n69\nQasba\n70\nDelilah\n71\nAnima Mundi\n72\nBarbotine\n73\nPerfect Day\n74\nBoboli\n75\nMineralia\n76\nLyric\n77\nFall to Pieces\n78\nColumna\n79\nOsiride\n80\nGloriosa\n81\nElevator\n82\nLithe\n83\nBig Me\n84\nSun Dress\n85\nVinyl\n86\nI N D E X \nCHAPTER ONE\nsoggetto \u002F subject\nPAG.\nP A G .  4\nCHAPTER TWO\nP A G .  3 8\nCHAPTER THREE\nP A G .  6 6\n70s\n96\nAcadémie Royale\n96\nAemme\n97\nAltrove\n97\nAnima Mundi\n98\nArs Amandi\n98\nBaja California\n99\nBarbotine\n99\nBig Me\n100\nBlow Up\n100\nBlurry\n101\nBoboli\n101\nBoîte à Bonbons \n102\nCarnival\n102\nChalkboard\n103\nCherish\n103\nColumna\n104\nCrystal Palace\n104\nDelilah\n105\nDesert Botanica\n105\nDon’t Let Me Down \n106\nDreamscape\n106\nElevator\n107\nEquilibrismi\n107\nFall to Pieces\n108\nFigli delle Stelle\n108\nFresque\n109\nGloriosa\n109\nGreat Expectations\n110\nIt Makes Me Wonder\n110\nJardin d’Hiver\n111\nJe Ne Sais Quoi\n111\nJean Genie\n112\nLithe\n112\nLyric\n113\nMatches\n113\nMelrose\n114\nMelting Down\n114\nMelting Pot\n115\nMineralia\n115\nMutamenti\n116\nMy Favourite Perfume\n116\nNature Hints\n117\nNe Me Quitte Pas\n117\nNew Dawn\n118\nOdyssey\n118\nOkta\n119\nOperosa\n119\nOptometriek\n120\nOrtogonale\n120\nOsiride\n121\nOzio\n121\nPaddles\n122\nPerfect Day\n122\nPigmento\n123\nPrimary\n123\nQasba\n124\nRuby Tuesday\n124\nSan Miguel\n125\nSentosa\n125\nSlowmo\n126\nSonic Boom\n126\nSonora\n127\nSource d’Argent\n127\nSummer Night City\n128\nSun Dress\n128\nSweet And Sour\n129\nThe Groovers\n129\nThe Narrow Path\n130\nVinyl\n130\nYuko\n131\nZabazoque\n131\nI N D E X  A \u002F Z \nA U G M E N T E D \nR E A L I T Y  A R E A\n+\nC O L O R  M A T C H\nsoggetto \u002F subject\nPAG.\n",46,{"image":198,"text":199,"number":200},"\u002Fmedia\u002Fimages\u002Fa4\u002F788b6a16563d77fc9f4da5c05a75e4-27081ca7b2.47.png","C W C\nA U G M E N T E D \nR E A L I T Y  A R E A\n+\nC O L O R  M A T C H\n",47,{"image":202,"text":203,"number":204},"\u002Fmedia\u002Fimages\u002Fa4\u002F788b6a16563d77fc9f4da5c05a75e4-27081ca7b2.48.png","L’esperienza creativa di Wall&decò diventa interattiva e \noff re un nuovissimo punto di vista per valorizzare al meglio \nl’interpretazione delle proprie grafi che.\nGrazie a una applicazione Wall&decò (Versione iOS \ne Android, scaricabili dagli app store) è possibile ora \nvisualizzare ogni design all’interno di un ambiente 3D, \nsfruttando la tecnologia della realtà aumentata. \nL’icona visibile sulle grafi che diventa il marker per attivare \nW&d Xtra Reality, la visualizzazione della ‘stanza virtuale’ \nal cui interno si posizionano i pattern della nuova collezione, \nopzionabili nelle varianti colore disponibili.\nThe creative Wall&decò experience is now interactive, \noff ering a brand-new point of view to enhance the \ninterpretation of its graphics.\nThanks to a Wall&decò application (available for iOS and \nAndroid, downloadable from app stores), it is now possible \nto view all designs in a 3D environment, with the use of \naugmented reality technology. \nThe icon visible on graphics becomes a marker to activate \nthe display of ‘virtual rooms’, where patterns from the new \ncollection can be positioned and viewed in all available \ncolour options.\nT H E\nW A L L & D E C Ò\nX T R A  R E A L I T Y\nColorMatch™ \nè \nl’innovativa \ntecnologia \nadottata \nda \nWall&decò che rappresenta l’unione tra percezione e tecnica \nnella gestione della qualità di stampa per parati di eccezionale \nfedeltà cromatica per una resa qualitativa eccezionale, ovvero \nmaggiore luminosità, pienezza, brillantezza del contrasto \ncromatico, volume, tridimensionalità e qualità nei dettagli e \nnella defi nizione del colore.\nOltre alla ricerca dell’alta fedeltà cromatica, ColorMatch™\nè in grado di assicurare una gestione industriale del colore, \nossia permettere un’elevata ripetizione del processo di \ncontrollo cromatico con una resa qualitativa superiore ai \nprofi li applicati dagli standard di settore. \nCon la tecnologia ColorMatch™, nonostante la goff ratura della \ncarta da parati e delle due diverse tecnologie di stampa utilizzate \nper realizzare i parati e il catalogo, la percezione dell’assetto \ncromatico è comunque parallela, ossia verosimile rispetto a quella \ndell’occhio umano indipendentemente dai diversi supporti di \nstampa, così da rendere i colori della grafi ca stampata a catalogo \nestremamente simili a quelli della carta da parati. \nColorMatch™, is the new technology adopted by Wall&decò, \nthe union between perception and technique in the \nmanagement of print quality for wall coverings of exceptional \nchromatic fi delity allowing an exceptional quality yeld \nresulting, in increased brightness , fullness, brilliance of color \ncontrast, volume, three dimensionality and higher color detail \nand defi nition.\nBesides the search for high color fi  delity, ColorMatch™  is \nable to ensure the industrial management of colors, and thus \nallows  the  high repeatability  of  the  color  control  process \nwith a superior quality yield compared to the profi  les used \nin the industry sector.\nWith  ColorMatch™  technology, despite the embossing \nof wallpaper and of the two diff erent printing technologies \nused to produce wall coverings and the catalogue, the \nperception of the color composition is in any case parallel, \ni.e. likely compared to that of the human  eye regardless of \nthe diff erent printing materials, so as to make the colors of \nthe graphics printed in the catalog extremely similar to those \nof the wall coverings. \nC O L O R M A T C H ™\nT E C H N O L O G Y\n",48,{"image":206,"text":207,"number":208},"\u002Fmedia\u002Fimages\u002Fa4\u002F788b6a16563d77fc9f4da5c05a75e4-27081ca7b2.49.png","WD702001\nWD702002\n70s\nLorenzo De Grandis .\nWDAR2002\nAcadémie Royale\nAntonio Marras .\nWDAR2001\n9 6\nLarghezza Rollo \u002F Roll width (47 cm) — Lunghezza Rollo \u002F Roll length (custom)\nC W C  A u g m e n t e d  R e a l i t y  A r e a  +  C o l o r M a t c h  1 : 4\nWDAM2001\nWDAM2002\nAemme\nAntonio Marras .\nWDAL2002\nAltrove \nGiovanni Pesce .\nWDAL2001\n9 7\nLarghezza Rollo \u002F Roll width (47 cm) — Lunghezza Rollo \u002F Roll length (custom)\n2 0 2 0\n",49,{"image":210,"text":211,"number":212},"\u002Fmedia\u002Fimages\u002Fa4\u002F788b6a16563d77fc9f4da5c05a75e4-27081ca7b2.50.png","WDAN2001\nWDAN2002\nAnima Mundi\nTalva Design .\nWDAA2002\nArs Amandi\nEva Germani .\nWDAA2001\n9 8\nLarghezza Rollo \u002F Roll width (47 cm) — Lunghezza Rollo \u002F Roll length (custom)\nC W C  A u g m e n t e d  R e a l i t y  A r e a  +  C o l o r M a t c h  1 : 4\nWDBC2001\nWDBC2002\nBaja California \nGupica .\nWDBA2002\nBarbotine \nStudio Salaris .\nWDBA2001\n9 9\nLarghezza Rollo \u002F Roll width (47 cm) — Lunghezza Rollo \u002F Roll length (custom)\n2 0 2 0\n",50,{"image":214,"text":215,"number":216},"\u002Fmedia\u002Fimages\u002Fa4\u002F788b6a16563d77fc9f4da5c05a75e4-27081ca7b2.51.png","WDBM2001\nWDBM2002\nBig Me\nFrancesca Zoboli .\nWDBU2002\nBlow Up\nGupica .\nWDBU2001\n1 0 0\nLarghezza Rollo \u002F Roll width (47 cm) — Lunghezza Rollo \u002F Roll length (custom)\nC W C  A u g m e n t e d  R e a l i t y  A r e a  +  C o l o r M a t c h  1 : 4\nWDBL2001\nWDBL2002\nBlurry\nBertero Projects .\nWDBO2002\nBoboli\nEva Germani .\nWDBO2001\n1 0 1\nLarghezza Rollo \u002F Roll width (47 cm) — Lunghezza Rollo \u002F Roll length (custom)\n2 0 2 0\n",51,{"image":218,"text":219,"number":220},"\u002Fmedia\u002Fimages\u002Fa4\u002F788b6a16563d77fc9f4da5c05a75e4-27081ca7b2.52.png","WDBB2001\nWDBB2002\nBoîte à Bonbons\nPaolo Badesco - Costantino Aff uso .\nWDCA2002\nCarnival \nSerena Confalonieri .\nWDCA2001\n1 0 2\nLarghezza Rollo \u002F Roll width (47 cm) — Lunghezza Rollo \u002F Roll length (custom)\nC W C  A u g m e n t e d  R e a l i t y  A r e a  +  C o l o r M a t c h  1 : 4\nWDCB2001\nWDCB2002\nChalkboard\nStudio Salaris .\nWDCH2002\nCherish\nSilvia Stella Osella .\nWDCH2001\n1 0 3\nLarghezza Rollo \u002F Roll width (47 cm) — Lunghezza Rollo \u002F Roll length (custom)\n2 0 2 0\n",52,{"image":222,"text":223,"number":224},"\u002Fmedia\u002Fimages\u002Fa4\u002F788b6a16563d77fc9f4da5c05a75e4-27081ca7b2.53.png","WDCO2001\nWDCO2002\nColumna \nSerena Confalonieri .\nWDCP2002\nCrystal Palace\nPaolo Badesco - Costantino Aff uso .\nWDCP2001\n1 0 4\nLarghezza Rollo \u002F Roll width (47 cm) — Lunghezza Rollo \u002F Roll length (custom)\nC W C  A u g m e n t e d  R e a l i t y  A r e a  +  C o l o r M a t c h  1 : 4\nWDDE2001\nWDDE2002\nDelilah \nDraga&Aurel .\nWDDB2002\nDesert Botanica \nStudiopepe .\nWDDB2001\n1 0 5\nLarghezza Rollo \u002F Roll width (47 cm) — Lunghezza Rollo \u002F Roll length (custom)\n2 0 2 0\n",53,{"image":226,"text":227,"number":228},"\u002Fmedia\u002Fimages\u002Fa4\u002F788b6a16563d77fc9f4da5c05a75e4-27081ca7b2.54.png","WDDD2001\nWDDD2002\nDon’t Let Me Down \nGio Pagani .\nWDDR2002\nDreamscape\nCTRLZAK .\nWDDR2001\n1 0 6\nLarghezza Rollo \u002F Roll width (47 cm) — Lunghezza Rollo \u002F Roll length (custom)\nC W C  A u g m e n t e d  R e a l i t y  A r e a  +  C o l o r M a t c h  1 : 4\nWDEL2001\nWDEL2002\nElevator \nChristian Benini .\nWDEQ2002\nEquilibrismi \nAntonella Guidi .\nWDEQ2001\n1 0 7\nLarghezza Rollo \u002F Roll width (47 cm) — Lunghezza Rollo \u002F Roll length (custom)\n2 0 2 0\n",54,{"image":230,"text":231,"number":232},"\u002Fmedia\u002Fimages\u002Fa4\u002F788b6a16563d77fc9f4da5c05a75e4-27081ca7b2.55.png","WDFP2001\nWDFP2002\nFall to Pieces \nStudiopepe .\nWDFS2002\nFigli delle Stelle\nGio Pagani .\nWDFS2001\n1 0 8\nLarghezza Rollo \u002F Roll width (47 cm) — Lunghezza Rollo \u002F Roll length (custom)\nC W C  A u g m e n t e d  R e a l i t y  A r e a  +  C o l o r M a t c h  1 : 4\nWDFR2001\nWDFR2002\nFresque \nLorenzo De Grandis .\nWDGL2002\nGloriosa \nElisa Vendramin .\nWDGL2001\n1 0 9\nLarghezza Rollo \u002F Roll width (47 cm) — Lunghezza Rollo \u002F Roll length (custom)\n2 0 2 0\n",55,{"image":234,"text":235,"number":236},"\u002Fmedia\u002Fimages\u002Fa4\u002F788b6a16563d77fc9f4da5c05a75e4-27081ca7b2.56.png","WDGE2001\nWDGE2002\nGreat Expectations\nDeBonaDeMeo .\nWDMW2002\nIt Makes Me Wonder\nGio Pagani .\nWDMW2001\n1 1 0\nLarghezza Rollo \u002F Roll width (47 cm) — Lunghezza Rollo \u002F Roll length (custom)\nC W C  A u g m e n t e d  R e a l i t y  A r e a  +  C o l o r M a t c h  1 : 4\nWDJH2001\nWDJH2002\nJardin d’Hiver\nSilvia Stella Osella .\nWDNQ2002\nJe Ne Sais Quoi \nGio Pagani.\nWDNQ2001\n1 1 1\nLarghezza Rollo \u002F Roll width (47 cm) — Lunghezza Rollo \u002F Roll length (custom)\n2 0 2 0\n",56,{"image":238,"text":239,"number":240},"\u002Fmedia\u002Fimages\u002Fa4\u002F788b6a16563d77fc9f4da5c05a75e4-27081ca7b2.57.png","WDJG2001\nWDJG2002\nJean Genie\nDraga&Aurel .\nWDLT2002\nLithe\nStudio Salaris .\nWDLT2001\n1 1 2\nLarghezza Rollo \u002F Roll width (47 cm) — Lunghezza Rollo \u002F Roll length (custom)\nC W C  A u g m e n t e d  R e a l i t y  A r e a  +  C o l o r M a t c h  1 : 4\nWDLY2001\nWDLY2002\nLyrich \nLorenzo De Grandis .\nWDMA2002\nMatches \nAntonella Guidi .\nWDMA2001\n1 1 3\nLarghezza Rollo \u002F Roll width (47 cm) — Lunghezza Rollo \u002F Roll length (custom)\n2 0 2 0\n",57,{"image":242,"text":243,"number":244},"\u002Fmedia\u002Fimages\u002Fa4\u002F788b6a16563d77fc9f4da5c05a75e4-27081ca7b2.58.png","WDME2001\nWDME2002\nMelrose\nSerena Confalonieri .\nWDMD2002\nMelting Down\nShout .\nWDMD2001\n1 1 4\nLarghezza Rollo \u002F Roll width (47 cm) — Lunghezza Rollo \u002F Roll length (custom)\nC W C  A u g m e n t e d  R e a l i t y  A r e a  +  C o l o r M a t c h  1 : 4\nWDMP2001\nWDMP2002\nMelting Pot\nFrancesca Zoboli .\nWDMI2002\nMineralia \nGio Tirotto.\nWDMI2001\n1 1 5\nLarghezza Rollo \u002F Roll width (47 cm) — Lunghezza Rollo \u002F Roll length (custom)\n2 0 2 0\n",58,{"image":246,"text":247,"number":248},"\u002Fmedia\u002Fimages\u002Fa4\u002F788b6a16563d77fc9f4da5c05a75e4-27081ca7b2.59.png","WDMU2001\nWDMU2002\nMutamenti\nMarco Lorenzetto .\nWDMF2002\nMy Favourite Perfume \nTalva Design .\nWDMF2001\n1 1 6\nLarghezza Rollo \u002F Roll width (47 cm) — Lunghezza Rollo \u002F Roll length (custom)\nC W C  A u g m e n t e d  R e a l i t y  A r e a  +  C o l o r M a t c h  1 : 4\nWDNH2001\nWDNH2002\nNature Hints \nThe Elusive Otter .\nWDQP2002\nNe Me Quitte Pas \nDeBonaDeMeo .\nWDQP2001\n1 1 7\nLarghezza Rollo \u002F Roll width (47 cm) — Lunghezza Rollo \u002F Roll length (custom)\n2 0 2 0\n",59,{"image":250,"text":251,"number":252},"\u002Fmedia\u002Fimages\u002Fa4\u002F788b6a16563d77fc9f4da5c05a75e4-27081ca7b2.60.png","WDND2001\nWDND2002\nNew Dawn\nGiovanni Pesce .\nWDOD2002\nOdyssey \nLorenzo De Grandis .\nWDOD2001\n1 1 8\nLarghezza Rollo \u002F Roll width (47 cm) — Lunghezza Rollo \u002F Roll length (custom)\nC W C  A u g m e n t e d  R e a l i t y  A r e a  +  C o l o r M a t c h  1 : 4\nWDOK2001\nWDOK2002\nOkta \nStudiopepe .\nWDOP2002\nOperosa \nMaría Gómez García .\nWDOP2001\n1 1 9\nLarghezza Rollo \u002F Roll width (47 cm) — Lunghezza Rollo \u002F Roll length (custom)\n2 0 2 0\n",60,{"image":254,"text":255,"number":256},"\u002Fmedia\u002Fimages\u002Fa4\u002F788b6a16563d77fc9f4da5c05a75e4-27081ca7b2.61.png","WDOM2001\nWDOM2002\nOptometriek \nGiovanni Pesce .\nWDOR2002\nOrtogonale \nFederico Pepe .\nWDOR2001\n1 2 0\nLarghezza Rollo \u002F Roll width (47 cm) — Lunghezza Rollo \u002F Roll length (custom)\nC W C  A u g m e n t e d  R e a l i t y  A r e a  +  C o l o r M a t c h  1 : 4\nWDOS2001\nWDOS2002\nOsiride \nMarco Lorenzetto .\nWDOZ2002\nOzio \nTommaso Guerra .\nWDOZ2001\n1 2 1\nLarghezza Rollo \u002F Roll width (47 cm) — Lunghezza Rollo \u002F Roll length (custom)\n2 0 2 0\n",61,{"image":258,"text":259,"number":260},"\u002Fmedia\u002Fimages\u002Fa4\u002F788b6a16563d77fc9f4da5c05a75e4-27081ca7b2.62.png","WDPA2001\nWDPA2002\nPaddles\nFederico Pepe .\nWDPD2002\nPerfect Day \nGio Tirotto .\nWDPD2001\n1 2 2\nLarghezza Rollo \u002F Roll width (47 cm) — Lunghezza Rollo \u002F Roll length (custom)\nC W C  A u g m e n t e d  R e a l i t y  A r e a  +  C o l o r M a t c h  1 : 4\nWDPI2001\nWDPI2002\nPigmento \nDraga&Aurel .\nWDPR2002\nPrimary \nDraga&Aurel .\nWDPR2001\n1 2 3\nLarghezza Rollo \u002F Roll width (47 cm) — Lunghezza Rollo \u002F Roll length (custom)\n2 0 2 0\n",62,{"image":262,"text":263,"number":264},"\u002Fmedia\u002Fimages\u002Fa4\u002F788b6a16563d77fc9f4da5c05a75e4-27081ca7b2.63.png","WDQA2001\nWDQA2002\nQasba\nPaolo Badesco - Costantino Aff uso .\nWDRT2002\nRuby Tuesday \nDeBonaDeMeo .\nWDRT2001\n1 2 4\nLarghezza Rollo \u002F Roll width (47 cm) — Lunghezza Rollo \u002F Roll length (custom)\nC W C  A u g m e n t e d  R e a l i t y  A r e a  +  C o l o r M a t c h  1 : 4\nWDSM2001\nWDSM2002\nSan Miguel \nInes Porrino .\nWDSE2002\nSentosa \nEva Germani .\nWDSE2001\n1 2 5\nLarghezza Rollo \u002F Roll width (47 cm) — Lunghezza Rollo \u002F Roll length (custom)\n2 0 2 0\n",63,{"image":266,"text":267,"number":268},"\u002Fmedia\u002Fimages\u002Fa4\u002F788b6a16563d77fc9f4da5c05a75e4-27081ca7b2.64.png","WDSL2001\nWDSL2002\nSlowmo \nAntonella Guidi .\nWDSB2002\nSonic Boom \nDraga&Aurel .\nWDSB2001\n1 2 6\nLarghezza Rollo \u002F Roll width (47 cm) — Lunghezza Rollo \u002F Roll length (custom)\nC W C  A u g m e n t e d  R e a l i t y  A r e a  +  C o l o r M a t c h  1 : 4\nWDSO2001\nWDSO2002\nSonora \nGiovanni Pesce.\nWDSA2002\nSource d’Argent \nGio Pagani .\nWDSA2001\n1 2 7\nLarghezza Rollo \u002F Roll width (47 cm) — Lunghezza Rollo \u002F Roll length (custom)\n2 0 2 0\n",64,{"image":270,"text":271,"number":272},"\u002Fmedia\u002Fimages\u002Fa4\u002F788b6a16563d77fc9f4da5c05a75e4-27081ca7b2.65.png","WDSC2001\nWDSC2002\nSummer Night City\nGio Pagani .\nWDSD2002\nSun Dress\nAndrea Merendi .\nWDSD2001\n1 2 8\nLarghezza Rollo \u002F Roll width (47 cm) — Lunghezza Rollo \u002F Roll length (custom)\nC W C  A u g m e n t e d  R e a l i t y  A r e a  +  C o l o r M a t c h  1 : 4\nWDSS2001\nWDSS2002\nSweet And Sour \nFederico Pepe .\nWDGR2002\nThe Groovers \nTalva Design .\nWDGR2001\n1 2 9\nLarghezza Rollo \u002F Roll width (47 cm) — Lunghezza Rollo \u002F Roll length (custom)\n2 0 2 0\n",65,{"image":274,"text":275,"number":276},"\u002Fmedia\u002Fimages\u002Fa4\u002F788b6a16563d77fc9f4da5c05a75e4-27081ca7b2.66.png","WDNP2002\nWDNP2001\nThe Narrow Path\nThe Elusive Otter .\nWDVI2002\nVinyl\nLorenzo De Grandis .\nWDVI2001\n1 3 0\nLarghezza Rollo \u002F Roll width (47 cm) — Lunghezza Rollo \u002F Roll length (custom)\nC W C  A u g m e n t e d  R e a l i t y  A r e a  +  C o l o r M a t c h  1 : 4\nWDYU2001\nWDYU2002\nYuko \nShout .\nWDZA2002\nZabazoque \nChristian Benini .\nWDZA2001\n1 3 1\nLarghezza Rollo \u002F Roll width (47 cm) — Lunghezza Rollo \u002F Roll length (custom)\n2 0 2 0\n",66,{"image":278,"text":279,"number":280},"\u002Fmedia\u002Fimages\u002Fa4\u002F788b6a16563d77fc9f4da5c05a75e4-27081ca7b2.67.png","T W E N T Y  T W E N T Y\nT A B E L L E  C O L O R E\nC O L O R  C H A R T S\nC O M E  U T I L I Z Z A R E  L E  T A B E L L E \nC O L O R E  P E R  E S P L O R A R E  L A \nC O L L E Z I O N E  W A L L & D E C Ò .\nIl colore è la tua guida nella nostra collezione.\nAbbiamo creato le palette per favorire la tua ispirazione, unendo \ni soggetti grafici per gruppi di colori affini che definiscono \nmood diversi. \nNelle Tabelle Colore, all’interno di ogni palette troverai i \nsoggetti grafici con indicazione del numero di pagina in cui è \npossibile consultare la grafica ambientata e il codice prodotto \ndi riferimento. \nNelle colonne a destra del nome potrai vedere a quali colori \ndella palette corrisponde il singolo decoro. \nPer una ricerca ancora più veloce e sistematica, il nostro sito è \nla risorsa più importante per navigare nella collezione: \nsu www.wallanddeco.com puoi individuare un soggetto grafico \nfiltrando la ricerca per palette, colore, nome e codice.\nH O W  T O  U S E  T H E  C O L O R \nC H A R T S  T O  E X P L O R E  T H E \nW A L L & D E C O  C O L L E C T I O N .\nIt is color that guides you through our collection.\nWe have created palettes to favour your inspiration, \ngrouping graphic subjects according to colours which \ndefine different moods. \nColor chart contain graphic subjects for each palette, \ncomplete with the page number to view the graphic \nsettings and product codes of reference. \nThe columns to the right of the name enable you to view \nthe colours of the palette for each single decoration. \nOur website is the most valuable resource for an \neven faster and systematic search when browsing our \ncollection: \ngo to www.wallanddeco.com to identify a graphic subject \nby filtering according to palette, colour, name and code.\n9\nBaja California\nWDBC2001\n●\n●\n●\n30\nBlow Up\nWDBU2001\n●\n●\n●\n5\nBoîte à Bonbons\nWDBB2001\n●\n●\n●\n14\nCarnival\nWDCA2001\n●\n●\n●\n12\nCrystal Palace\nWDCP2001\n●\n●\n●\n●\n33\nDreamscape\nWDDR2001\n●\n●\n●\n17\nFigli delle Stelle\nWDFS2001\n●\n●\n34\nIt Makes Me Wonder\nWDMW2001\n⭘\n●\n●\n●\n20\nMatches\nWDMA2001\n●\n●\n●\n●\n●\n●\n23\nMelrose\nWDME2001\n●\n●\n●\n11\nMelting Down\nWDMD2001\n●\n●\n●\n●\n6\nMelting Pot\nWDMP2001\n●\n●\n●\n●\n●\n25\nMutamenti\nWDMU2001\n●\n●\n32\nNature Hints\nWDNH2001\n●\n●\n●\n●\n13\nOkta\nWDOK2001\n●\n●\n●\n7\nOperosa\nWDOP2001\n⭘\n●\n●\n●\n29\nOptometriek\nWDOM2001\n●\n●\n●\n●\n●\n16\nOzio \nWDOZ2001\n●\n●\n●\n22\nPaddles\nWDPA2001\n●\n●\n●\n27\nPrimary\nWDPR2002\n●\n●\n●\n●\n18\nSlowmo\nWDSL2001\n●\n●\n●\n●\n●\n28\nSonic Boom\nWDSB2001\n●\n●\n26\nSource d’Argent\nWDSA2001\n⭘\n●\n●\n●\n21\nSweet And Sour\nWDSS2001\n⭘\n●\n●\n●\n●\n8\nThe Groovers\nWDGR2001\n●\n●\n●\n●\n●\n15\nYuko\nWDYU2001\n⭘\n●\n●\n31\nZabazoque\nWDZA2001\n●\n●\n●\n●\n14-0852 TCX\n19-4004 TCX\n18-5624 TCX\n17-4540 TCX\n17-1461 TCX\nsoggetto \u002F subject\ncod. var. 01\nB E Y O N D  B O R D E R S\n20-0146 TPM\nPANTONE®\nMOOD\nBronzage®\n",67,{"image":282,"text":283,"number":284},"\u002Fmedia\u002Fimages\u002Fa4\u002F788b6a16563d77fc9f4da5c05a75e4-27081ca7b2.68.png","43\n70s\nWD702001\n●\n●\n59\nAcadémie Royale\nWDAR2001\n⭘\n●\n●\n●\n56\nAemme\nWDAM2001\n⭘\n●\n●\n●\n50\nAltrove\nWDAL2001\n⭘\n●\n●\n61\nArs Amandi\nWDAA2001\n●\n●\n48\nBlurry\nWDBL2001\n●\n●\n●\n●\n57\nCherish\nWDCH2001\n●\n●\n●\n●\n45\nDesert Botanica\nWDDB2001\n●\n●\n●\n53\nDon't Let Me Down\nWDDD2001\n⭘\n●\n●\n●\n42\nEquilibrismi\nWDEQ2001\n⭘\n●\n●\n●\n60\nFresque\nWDFR2001\n●\n●\n62\nGreat Expectations\nWDGE2001\n⭘\n●\n●\n●\n46\nJardin D'Hiver\nWDJH2001\n●\n●\n44\nJe Ne Sais Quoi\nWDNQ2001\n●\n●\n●\n40\nMy Favourite Perfume\nWDMF2001\n●\n●\n●\n●\n55\nNe Me Quitte Pas\nWDQP2001\n●\n●\n●\n52\nNew Dawn\nWDND2001\n⭘\n●\n●\n●\n47\nOdyssey\nWDOD2001\n●\n63\nOrtogonale\nWDOR2001\n●\n●\n●\n41\nPigmento\nWDPI2001\n⭘\n●\n●\n●\n●\n39\nRuby Tuesday\nWDRT2001\n●\n●\n51\nSan Miguel\nWDSM2001\n●\n●\n58\nSonora\nWDSO2001\n⭘\n●\n●\n●\n49\nSummer Night City\nWDSC2001\n⭘\n●\n●\n●\n●\n54\nThe Narrow Path\nWDNP2001\n●\n●\n●\nsoggetto \u002F subject\ncod. var. 01\nU T O P I A\n16-1448 TCX\n191540 TCX\n19-815 TCX\n14-1118 TCX\n18-1564 TCX\nMOOD\nPANTONE®\nBronzage®\n72\nAnima mundi\nWDAN2001\n●\n●\n●\n73\nBarbotine\nWDBA2001\n⭘\n●\n●\n84\nBig me\nWDBM2001\n●\n●\n●\n●\n75\nBoboli\nWDBO2001\n●\n●\n67\nChalkboard\nWDCB2001\n●\n●\n79\nColumna\nWDCO2001\n●\n●\n●\n71\nDelilah\nWDDE2001\n●\n●\n82\nElevator\nWDEL2001\n●\n●\n78\nFall to pieces\nWDFP2001\n●\n●\n●\n●\n81\nGloriosa\nWDGL2001\n●\n●\n●\n69\nJean genie\nWDJG2001\n●\n●\n●\n83\nLithe\nWDLT2001\n●\n●\n●\n77\nLyric\nWDLY2001\n⭘\n●\n●\n●\n76\nMineralia\nWDMI2001\n●\n●\n●\n80\nOsiride\nWDOS2001\n●\n●\n●\n●\n74\nPerfect day\nWDPD2001\n⭘\n●\n●\n●\n70\nQasba\nWDQA2001\n●\n●\n●\n68\nSentosa\nWDSE2001\n●\n●\n●\n●\n85\nSun Dress\nWDSD2001\n●\n●\n●\n86\nVinyl\nWDVI2001\n●\n●\n●\n●\n17-3917 TCX\n18-0935 TCX\n11-0404 TPX\n16-0205 TCX\n17-1321 TCX\nsoggetto \u002F subject\ncod. var. 01\nM A T E R I C  F R E E D O M\n19-1524 TCX\nMOOD\nPANTONE®\nBronzage®\n",68,{"image":286,"text":287,"number":288},"\u002Fmedia\u002Fimages\u002Fa4\u002F788b6a16563d77fc9f4da5c05a75e4-27081ca7b2.69.png","T W E N T Y  T W E N T Y\nD E S I G N E R S\nCHRISTIAN BENINI\nFotografo, fondatore e art director di Wall&decò \nChristian Benini inizia la sua carriera come fotografo \nritrattista e si specializza poi nella fotografia di \nmoda e pubblicitaria. Le sue collaborazioni lo \nportano ad avvicinarsi alle agenzie di pubblicità \ne case di moda in Italia, Regno Unito e Stati Uniti. \nIl suo interesse si indirizza in modo sempre più \npreciso verso la fotografia d’arredamento. Ha avuto \ncosì inizio un percorso di ricerca, tutt’ora in atto, \nche lo porta a creare Wall&decò, un progetto che \nunisce fotografia e design in costante evoluzione. — \nPhotographer, founder and art director of Wall&decò \nChristian Benini began his career as a portrait \nphotographer and then went on to specialise in \nfashion and publicity photography. He has worked \nin close conjunction with advertising agencies and \nfashion houses in Italy, the United Kingdom and \nthe USA. His interest is increasingly more precisely \nfocused on the photography of interiors. Thus a \npath of research began which is still in progress and \nwhich resulted in his setting up Wall&decò, a project \nwhich combines photography and design in constant \nevolution.\nALESSANDRO GOTTARDO (SHOUT) \nAlessandro Gottardo, conosciuto anche con lo \npseudonimo di Shout, vive e lavora a Milano. Tra \nle sue collaborazioni più importanti, The New York \nTimes, The Wall Street Journal, TIME, Penguin Books, \nVolkswagen, Barclays, ENI, Nokia, United Airlines. \nHa ricevuto diversi riconoscimenti internazionali; \ntra il 2006 e il 2007 pubblica con la casa editrice \n27_9 i volumi “Jetlag“ e “Jetlag 2”, nel 2010 “Mono \nShout”, una monografia sui primi 10 anni di attività \ne nel 2011 “DAZED”. Attraverso un’operazione di \nsottrazione, di sintesi dell’immagine, Shout rende le \nsue illustrazioni piccole opere concettuali in cui più \nche mostrare, costruisce messaggi immediatamente \npercepibili.  — Alessandro Gottardo, also known by the \nname of Shout, he lives and works in Milan. Highlights \nof his career include cooperating with The New York \nTimes, The Wall Street Journal, TIME, Penguin Books, \nVolkswagen, Barclays, ENI, Nokia, United Airlines. \nHe has received numerous international accolades: \nbetween 2006 and 2007, his publishing company \n27_9 produced the books “Jetlag“ and “Jetlag 2”, in \n2010 “Mono Shout”, a monographic work on the first \n10 years of business activity and in 2011 “DAZED”. By \nmeans of an operation of subtraction and image \nsynthesis, Shout makes his illustrations small \nconceptual works, in which, rather than showing, he \nbuilds up immediately perceptible messages.\nANDREA MERENDI\nAllestitore, stylist, fiorista, un po’ artista, molto \ncreativo, di sicuro poetico. Da anni si owccupa \ndi vetrine e allestimenti decorativi per diverse \naziende. La sua passione sono i fiori. Professionista \nonnivoro, cresce ripesca le conoscenze floreali e \ncrea dei personali fiori di carta per un lavoro in \nRinascente a Milano. Da allora i suoi fiori sono finiti \nsu riviste, in negozi   Showroom , come scenografie \nper eventi e carte da parati. — He is a shop window \ndresser, stylist, florist, with an artistic flair, a lot \nof creativity and a strong poetic streak. He has \nyears of experience in shop window dressing and \nretail premise decoration for several companies. \nHis true passion is flowers. He is an all-round \nprofessional who has expanded and revisited his \nfloral knowledge to create bespoke paper flowers \nfor the Rinascente department store in Milan. Since \nthen his flowers have been shown in magazines \nand displayed in showrooms, event settings and \nwallpapers.\nANTONELLA GUIDI\nAntonella frequenta l’Istituto Statale d’arte per il \nMosaico di Ravenna. Dal 1983 partecipa a mostre \nsia personali che collettive e nel 1987, utilizzando \nmateriali riciclati a costo zero, inizia a produrre \naccessori per la moda, fondando una piccola \nazienda. La filosofia del riciclo sarà la tematica \nfondamentale del lavoro artistico che continuerà \nin parallelo all’attività nel campo della moda, e che \nha prodotto molte opere. Ha inoltre collaborato \ncon aziende tessili e ceramiche come disegnatrice \ndecorativa free lance e con case editrici come \nillustratrice di libri fantasy. — Antonella attends the \nMosaic State Art Institute in Ravenna. Since 1983, she \nhas been taking part in both solo and collective art \nshows and, in 1987, using recycled no-cost materials, \nshe began making fashion accessories, setting up a \nsmall company. The recycling philosophy pervades her \nentire artistic production which continues alongside \nher fashion industry activities and which has resulted \nin the creation of numerous works. She has also \ncollaborated with textile and ceramic manufacturers \nas free-lance decorative designer and with publishing \ncompanies as illustrator of fantasy books.\nANTONIO MARRAS\nAntonio Marras nasce ad Alghero, Sardegna. Terra \nche segna profondamente la sua cifra stilistica. Il \nsuo esordio nella moda avviene sotto il segno di \nuna fortunata casualità: nel 1987, infatti, è chiamato \nda una ditta romana a disegnare collezioni di prêt-\nà-porter, grazie alla sua competenza sviluppata \nsu un doppio binario. Quello culturale - Marras da \nsempre si interessa ad ogni forma di espressione \nartistico-creativa - e quello “tecnico”, sviluppato in \nbase alla conoscenza di materie e forme. Nel marzo \n1999, a Milano, la prima volta del suo prêt-à-porter \ne nel 2003 è invitato dal gruppo francese LVMH a \ndiventare direttore artistico della maison Kenzo \nsino al 2011. Con il suo headquarter a Milano, Marras \nfarà però una scelta importantissima, sentimentale \nma anche artistica: non rinuncerà a vivere dove è \ncresciuto, ad Alghero sempre tornando a cercare \ncreatività, ispirazione, materiale per il suo universo \nespressivo. — Antonio Marras was born in Alghero, on \nSardinia. The island has always deeply influenced his \naesthetic. His fashion debut was the result of a lucky \nchance. In 1987 a fashion house in Rome asked him \nto design a prêt-à-porter collection. Their invitation \nwas due to his dual baggage of skills: cultural – \nMarras has always involved himself in every form of \nartistic\u002Fcreative expression – and technical based on \nhis know-how of materials and forms. He debuts with \nhis prêt-à-porter in March 1999 in Milan and in 2003 \nLVMH, the French luxury goods group, invites him to \nbe the artistic director of the Kenzo fashion house till \n2011. With his headquarters in Milan, Marras made \na fundamental choice, both sentimental and artistic: \nhe will never give up living where he was born, to \nAlghero always returning in pursuit of creativity, \ninspiration and material for his expressive universe.\nBERTERO PROJECTS\nFabrizio Bertero laureato in Architettura nel 1993 presso \nil Politecnico di Milano, titolare dello Studio Bertero \nProjects di Milano ed insieme a Simona Marzoli,  svolge \nl’attività di progettista nei settori dell’urbanistica, \nedilizia, interior design, design del prodotto e grafica, \noccupandosi principalmente di spazi commerciali, \nterziario, residenziale, allestimenti museali e fieristici. \nCollabora ed ha collaborato con diverse società ed \nenti nazionali ed internazionali come: TDK, Martini, \nFrankie Morello, FIAT, ILLY, Triennale di Milano, Museo \ndella scienza e della tecnologia di Milano, Zanotta, \nFiera di Milano, Wall&decò e 100x100 Group. Docente \na contratto presso lo IED (Istituto Europeo di Design) \ndi Milano per i corsi di Progettazione architettonica dal \n1997. — Fabrizio Bertero graduated in architecture at the \nPolytechnic University of Milan in 1993 and is the owner \nof Studio Bertero Projects, based in Milan. Together with \nSimona Marzoli, he works as a designer in the urban \nplanning, construction, interior design, product design \nand graphics sectors and mostly focuses on retail, \nservice, residential interiors as well as museum and \nexhibitions set-ups. He collaborates and has previously \ncollaborated with a number of companies, national \nand international bodies including: TDK, Martini, \nFrankie  Morello, FIAT, ILLY, the Milan Triennale, the \nNational Museum of Science and Technology of Milan, \nZanotta, Fiera di Milano, Wall&decò and 100x100 Group. \nSince 1997 he is contract professor at the IED (European \nInstitute of Design), Milan, for Architectonic Design \nCourses.\nCTRLZAK\nCTRLZAK Art & Design Studio agisce a livello \ninternazionale nel campo dell’arte e del design. \nLo studio fondato da Thanos Zakopoulos (Grecia) \ne Katia Meneghini (Italia), si avvale di strumenti \nsemiotici e cognitivi durante tutto il percorso \ncreativo proponendo forme che vanno al di là del \ncomune valore estetico. L’approccio creativo dello \nstudio si relaziona al contesto sociale, ambientale \ne culturale in cui opera. Negli oggetti e ambienti \nproposti si enfatizzano aspetti legati alla loro \nmemoria e alla storia stessa del luogo in cui \nvengono ri-contestualizzati, facendo attenzione ai \ndettagli che sottolineano il loro valore simbolico \nsenza però negarne la funzionalità. — CTRLZAK Art \n& Design Studio is a multidisciplinary team founded \nby Thanos Zakopoulos (Greece) and Katia Meneghini \n(Italy). The studio operates internationally in the \nfield of contemporary art and design with a creative \nvision that is not limited by a specific framework. \nWith the use of semiotic tools within the creative \nprocess the studio proposes forms that surpass \ncommon aesthetic values working on a cognitive \nlevel. The concept behind each project is to inspire \na responsible awareness through the ‘added value’ \nthat art has for society with a special attention to \nissues of environmental impact. \nDEBONADEMEO\nLuca DeBona e Dario DeMeo, architetto e designer, \nsi incontrano sul percorso tra Milano e il Veneto \ne iniziano una collaborazione che proprio dal \nviaggio attinge ispirazione per produrre segni \ne disegni di risposta alle esigenze dell’habitat \ncontemporaneo. Collaborano con prestigiose aziende \ndi arredo, illuminazione, decorazione occupandosi di \ndirezione artistica, ideazione di concept e sviluppo \ndi prodotti. Una ricerca in micro e macro scala che \nrilegge e fonde vari ambiti: architettura, design, \ngrafica e arte per creare ambienti e oggetti innovativi, \nma capaci di raccontare storie e indurre emozioni. — \nLuca and Dario, architect and designer, meet on the \nroad between Milan and the Italian Veneto region and \nbegin a collaboration that dRaws inspiration from the \ntrip, to produce marks and dRawings that respond to \nthe needs of the contemporary home interiors. They \n",69,{"image":290,"text":291,"number":292},"\u002Fmedia\u002Fimages\u002Fa4\u002F788b6a16563d77fc9f4da5c05a75e4-27081ca7b2.70.png","collaborate with prestigious furnishing, lighting and \ndecor companies, looking after art direction, concept \nand product development. A research in micro and \nmacro scale that reviews and merges different \nspheres: architecture, design, graphics and art, to \ncreate innovative environments and objects, but able \nto tell stories and stir emotions.\nDRAGA&AUREL\nDi origine serba lei, tedesco lui – trovano nell’Italia \nil giusto terreno per la loro espressione artistica. \nDraga affina negli anni una sua tecnica di pittura \ndirettamente su tessuto che le permette di creare \nuna collezione dal design unico dove colore, \nmotivo e materia si incontrano in una commistione \narmonica. Aurel K. sceglie di esaltare le potenzialità \ndella resina ricorrendo ad una forte espressività \npittorica. L’intesa, oltre che di vita, nel 2007 diventa \nanche professionale: vivendo e sviluppando insieme \nla comune passione per l’arte contemporanea, \nl’affinità artistica cresce con loro conducendoli ad \nun comune percorso di ricerca, di approfondimento \ne di confronto che li portano a collaborazioni con \nprestigiosi marchi internazionali quali Baxter \ne Anthropologie. — She is of Serbian origin while he \nis from Germany – they find in Italy the right soil for \ntheir artistic expression. Draga refined her painting \ntechnique directly on canvas during the years that \nallowed her creating a collection characterised by \na unique design where colour, pattern and matter \nmeet in a harmonic union. Aurel K. chooses to exalt \nthe potentials of resin, resorting to a strong pictorial \nexpression. The mutual understanding, in addition to \na personal level, became also professional in 2007: \nliving and developing together the common passion \nfor modern art, the artistic affinity grew with them, \nleading the couple to undertake a common research, \nstudy and sharing path that led them to cooperate \nwith the most prestigious international brands, like \nBaxter and Anthropologie.\nELISA VENDRAMIN\nElisa Vendramin, è un’illustratrice italiana che lavora \nper lo più a progetti grafici per il settore culturale, \nelaborando digitalmente pattern illustrati. Dopo \naver conseguito la Laurea in Disegno Industriale \npresso lo IUAV di Venezia si trasferisce a Londra per \nfrequentare un Master in Communication Design \npresso Central Saint Martins College of Art and \nDesign dove inizia a collaborare con varie istituzioni \nculturali partecipando anche mostre collettive a \nLondra, Parigi, Reykjavik e Vienna. Nel 2011 Elisa \nsi trasferisce Reykjavik per esplorare progetti di \nricerca personale e partecipare a diverse residenze \nd’artista, tra cui SÍM International Residency e \nNES Artist Residency. Dal 2013 torna in Italia e \ncontinua a lavorare come illustratrice con agenzie \ninternazionali quali Brandever (Vancouver, BC), \nAtacama Invest (Santiago del Cile), ed esporre come \nartista presso le gallerie-artstore Atelier Olschinsky \ndi Vienna e NAU Gallery di Stoccolma. — Elisa \nVendramin is an Italian illustrator who specialises \nin graphical projects for the cultural sector by \ncreating digitally produced graphic patterns. After \ngraduating in Industrial Design from the IUAC in \nVenice, she moved to London to take a Master in \nCommunication Design at the Central Saint Martins \nCollege of Art and Design, where she started to work \nfor several cultural institutions and also showcased \nher creations in collective art exhibitions in London, \nParis, Reykjavik and Vienna. In 2011 Elisa moved to \nReykjavik to focus on personal research projects and \nto join several artist residencies, including the SÍM \nInternational Residency and NES Artist Residency. \nIn 2013 Elisa returned to Italy, where she currently \nworks as an illustrator with international agencies \nsuch as Brandever (Vancouver, BC), Atacama Invest \n(Santiago de Chile), and exhibits in the Vienna-based \nartstore Atelier Olschinsky and in the Stockhom-\nbased NAU Gallery.\nEVA GERMANI\nUna lunga formazione maturata nel mondo del \nrestauro l’ha portata a contatto diretto con le opere \ndei grandi maestri, dipinti ed affreschi dal grande \nimpatto e valore artistico ed architettonico. La \nconoscenza dei materiali, delle tecniche esecutive, \ndelle atmosfere di sapore antico sono convogliate \nin uno stile rapido, privo di formalismi accademici \na volte aggraziato, ma sempre contraddistinto da \nun tratto di materica ruvidità. Proiettata verso \nuna \ndecorazione \ndall’effetto \nscenografico \nsi \ndedica, in collaborazione con architetti e designer, \nalla creazione di spazi domestici o commerciali \ncaratterizzati da una forte atmosfera retrò e dal \ngusto vagamente bohémien. — A long training period \nin the field of architectural conservation allowed her \nto gain direct contact with the artworks of famous \nartists, paintings and frescos of great artist and \narchitectural impact and value. Her knowledge \nof materials and execution techniques, which \nrecall traditional settings, are conveyed through a \ndetermined style, without academic formalisms, at \ntimes graceful, but always characterized by a ruvid \nmaterial trait. Projected towards scenographic \ndecoration, her works are carried out with architects \nand designers and consist in the creation of \nresidential and commercial spaces with strong retrò \natmospheres and slight bohemian tastes.\nFEDERICO PEPE\nFederico Pepe è nato nel 1976. Vive e lavora a \nMilano. È una figura unica nel panorama culturale \ne artistico italiano, dove si muove con agilità ed \nestrema coerenza estetica tra varie forme artistiche. \nPubblicità, Artista, Graphic Designer, Video Maker. \nDirettore creativo dell’agenzia di comunicazione \nmultinazionale DLVBBDO. Nel 2006 fonda Le Dictatuer, \nprogetto editoriale e spazio espositivo indipendente \na Milano, per il quale è da oltre 10 anni direttore \neditoriale e artistico. Ha esposto le sue opere e i suoi \nprogetti alla MOMA Library and Family Business di New \nYork, alla TATE MODERN di Londra, al Palais de Tokyo di \nParigi, alla Triennale di Milano e in molte altre gallerie \nprivate. Collabora negli anni con artisti famosi come \nMaurizio Cattelan, Pierpaolo Ferrari, Nico Vascellari, \nJacopo Benassi e designer come Patricia Urquiola \ncon cui ha firmato due collezioni (CREDENZA 2016, \nMISCREDENZA 2017). — Federico Pepe was born in 1976. \nHe lives and works in Milan. He is a unique figure in the \ncultural and artistic Italian landscape, where he moves \nwith agility and extreme aesthetic coherence between \nvarious artistic forms. Advertising, Artist, Graphic \nDesigner, Video Maker. Executive creative director of \nthe DLVBBDO Multinational Communication Agency. \nIn 2006 he founded in Le Dictatuer, an editorial project \nand an independent exhibition space based in Milan, \nfor which he has been the editor of editorial and artistic \nplan for over 10 years. He exhibited his works and \nprojects at MOMA Library and Family Business in New \nYork, at TATE MODERN in London, at the Palais de Tokyo \nin Paris, at the Trienniale of Milan and in many others \nprivate galleries. Over the years he collaborated with \nfamous artists such as Maurizio Cattelan, Pierpaolo \nFerrari, Nico Vascellari, Jacopo Benassi and designers \nsuch as Patricia Urquiola with whom he has signed two \ncollections (CREDENZA 2016, MISCREDENZA 2017).\nFRANCESCA ZOBOLI\nFrancesca, dopo essersi diplomata in pittura \nall’Accademia di Belle arti di Milano, nel 1990, fonda \nlo studio di decorazioni d’interni L’O di Giotto, che \nopera in Italia e  all’estero. All’attività di interior \ndecorator affianca la ricerca pittorica, condotta \nin particolare sull’assemblaggio di materiali. Dal \nconnubio fra pittura e decorazione nasce lo stile dei \nsuoi lavori, connotato da un linguaggio originale che \nsi ispira a tessuti, tappezzerie, antiche tecniche di \nstampa, motivi etnici e tradizionali, pattern grafici, \nintonaci, texture naturali come legni, foglie, polveri, \nterre. Attenta e sensibile alle più recenti tendenze \ndella moda, del design, dell’arte e dell’architettura \ncontemporanea, Francesca Zoboli mira ad articolare \ne integrare organicamente il progetto decorativo \nall’ambiente e allo spazio. Fra i suoi clienti, Fratelli \nRossetti, Hotel De Russie , Kenzo, per cui nel 2006 \nha progettato e realizzato interventi di decorazione \ndestinati al nuovo concept store di Parigi (Art \nDirector Antonio Marras). — After graduating in \nPainting at the Academy of Fine Arts in Milan in \n1990, Francesca founds l’O di Giotto – ann Interior \nDecoration Studio operating both in Italy and \nabroad. Alongside interior decorating, she also \nconducts pictorial research, especially as regards \nthe assembly of materials. Out of the combination of \npainting and decorating comes the style of her works, \ndistinguished by an original language inspired by \nfabrics, upholsteries, old printing methods, ethnic \nand traditional motifs, graphic patterns, plastering, \nnatural textures such as woods, leaves, powders, \nearths. Careful and sensitive to the most recent \nfashion, design, art and modern architecture trends, \nFrancesca Zoboli aims at organically articulating and \nintegrating decorative projects in environments and \nspaces. Among her customers Fratelli Rossetti and \nHotel De Russie; in 2006 she has partially designed \nand decorated the new concept store in Paris for \nKenzo (Art Director Antonio Marras).\nGIO TIROTTO\nFonda il suo studio nel 2010. Gio Tirotto sviluppa \nprogetti di interni, prodotto e allestimento, \nfocalizzando la sua direzione artistica prima nella \nricerca ed in seguito nella più pulita sintesi tra \nforma e funzione. “Progetto per essere un ponte che \nconnette il pensiero al messaggio, indispensabile \nobiettivo del mio linguaggio artistico”.Qualunque \ncosa egli disegni nasce dall’attenzione a tutto ciò \nche gli sta intorno, vivo o inanimato. Se c’è un limite \ntra arte e design, prova a cancellarlo, riprogettando \ntutta la complessità esistente tra gli esseri umani e \ngli oggetti. Questa è la ragione per la quale crede che \nil rito, la memoria e l’immaginazione siano spesso \nla funzione essenziale delle cose”. Tra i clienti: \nAlcantara, Viabizzuno, Seletti, Secondome Gallery, \nD’arrigo External Design,Petracer’s, Wall&decò, Lago, \nBormioli Rocco, Greggio, Mingardo, Exnovo. — Gio \nTirotto founded his own studio in 2010. He develops \nprojects for interiors, products and installations, \nfocusing his artistic direction on research which is \nfollowed up by the most clean-cut synthesis between \nform and function. “I design to be a bridge which \nconnects thought with message, an indispensable \naim of my artistic language”. Everything he designs \nis inspired by an attention of what is around him, \nliving or inanimate. If there is a limit between art \nand design, he tries to erase it and re-design all the \nexisting complicity among human beings and objects. \nThis is why he believes that rituals, memory and \nimagination are often the essential function of things. \nClients - to name but a few: Alcantara, Viabizzuno, \nSeletti, Secondome Gallery, D’arrigo External Design, \nPetracer’s, Wall&decò, Lago, Bormioli Rocco, Greggio, \nMingardo, Exnovo. \nGIOVANNI PAGANI\nSi laurea al Politecnico di Milano in architettura \ne inizia la sua carriera nel 1995. Le sue proposte \nprendono forma dalle emozioni che vengono \ntradotte negli oggetti e nelle architetture che \npropone. La cifra distintiva che accomuna i suoi \nlavori, dai negozi alle strutture di accoglienza, dalla \nristorazione alle residenze private è l’emozione \nche si prova di fronte alle sue realizzazioni: un \nmicrocosmo di sensazioni che Wall&decò ha colto \ned ulteriormente valorizzato. — A graduate in \narchitecture from the Milan Polytechnic, his career \nbegan in 1995. Giovanni Pagani’s goal is to capture \nemotions and transfer them into his objects and \ninterior designs. The guiding theme common to all \nhis works, from shops to hotels, restaurants and \nprivate homes, is the emotion aroused by using \nthem: a microcosm of sensations which Wall&decò \nhas grasped and further promoted.\nGIOVANNI PESCE\nDiplomato al Liceo Artistico di Bari con indirizzo \narchitettonico, Giovanni Pesce inizia la sua attività \nnel 1986 nell’ufficio tecnico di un’azienda di credito, \nper la progettazione delle sue filiali. Nel 1994 fonda, \nin collaborazione con altri professionisti, Signum, \nun gruppo di lavoro attivo nella realizzazione di \nspazi espositivi. Dal 1997 avvia un proprio studio che \nlo vede impegnato sia come interior designer che \ncome designer di prodotto. — Giovanni began his \ncareer in 1986 when he was asked to join the staff of \nthe technical department of a major credit company \nfor the design of a large number of branches. In \n1994 he founded the Signum, a working group in \ncollaboration with other professionals, with whom \nhe developed exhibition spaces. Since 1997 he started \na studio \u002F laboratory of ideas in which he is engaged, \ninitially as an interior designer, then more and more \ndirected towards product design: clear and direct \nworks with discrete shapes and materials and with a \nbeauty intimately linked to their functionality.\nGUPICA\nDopo una laurea in letteratura Gunilla Zamboni \n(Gupica) matura una formazione nell’ambito della \npittura murale a Firenze e delle arti decorative \nin Francia a Versailles, dove si diploma in Peintre \nen Décor. Si specializza in interior design allo \nIED di Milano. Lavora a contatto con le migliori \nmaestranze italiane e francesi, affinando i segreti e \nle tecniche della pittura decorativa in Francia e lo \nstudio del design in Italia. Nel 2010 fonda Gupica, \nuno studio creativo che realizza progetti servendosi \ndi un metodo multidisciplinare che coinvolge \narti decorative, design di interni e di prodotto, \nsperimentazione contemporanea e artigianalità. \nMettendo al servizio di clienti e aziende la propria \nvisione creativa. La cura per il dettaglio e un dialogo \ncostante tra contemporaneo e codici legati alla \ntradizione contraddistinguono i suoi progetti.  — \nUpon obtaining her degree in Literature, G unilla \nZamboni (Gupica) continued to study in Florence \nfocusing on the art of fresco and mural painting, \ncompleting her studies with a master degree in \nPeintre en Décor in Versailles, France. She later \nspecialized in interior design at IED in Milan. Gupica \nworked with Italian and French masters, honing the \nsecrets and techniques of decorative painting in \nFrance and the study of design in Italy. In 2010 she \nfounded Gupica, a creative studio that develops \nprojects through multi-disciplinary methods such \nas: decorative arts, interior design, product design, \ntraditional handcrafts and modern techniques. She \nevolves projects for private clients and companies \nwith her creative vision. Her attention to detail and \nthe combination of contemporary and traditional \ncodes characterize her projects.\nINES PORRINO\nInes svolge l’attività dal 1975, inizialmente in \ncollaborazione con gli studi Arcoop, Arkite’ Architetti \nAssociati e Studio Piergiorgio Cazzaniga, dal 1997 \ndiventa libero professionista e si occupa di interior, \nallestimenti fieristici, eventi di design e negozi di \narredamento. Ines Porrino si occupa del concept \ndella realizzazione del prodotto e del catalogo per \ncollezioni di pavimenti in pvc Limonta. Dal 2010 ha \niniziato una produzione delle lampade artigianali \nFilrouge. Ha collaborato con diverse testate \nd’arredamento,tra le quali Interni, Spazio Casa, \nLake Como lifestyle. — Ines has been in business \nsince 1975, initially in collaboration with studios \nsuch as Arcoop, Arkite Associated Architects and \nStudio Piergiorgio Cazzaniga. In 1997 she turn into a \nfree lance consultant in the field of interior design, \nexhibition spaces, design events and furniture stores.\nInes Porrino develops the concept up to the product \nprototype and the catalogue for a floor collections \nin PVC for Limonta. Since 2010 he has begun a \nproduction of artisanal lamps FILROUGE. She has \nworked with several interior design magazines such \nas Interni, SpazioCasa, Lake Como Lifestyle.\nLORENZO DE GRANDIS\nResponsabile creativo per importanti brand nel \ndesign di interni. Una continua ricerca di riferimenti \nche permette a Lorenzo De Grandis di progettare \ne sviluppare contenuti visivi ottenendo risultati \ndi grande forza comunicativa. Sensazioni, idee e \natmosfere si traducono  nei suoi progetti di graphic \ndesign, textile design e allestimenti. Uno studio \nmultidisciplinare \ncon \nun’ambizione: \ncatturare \nil ritmo e l’estetica del tempo. — Responsible \nof visual communication for important interior \ndesign companies. Lorenzo De Grandis’s works \ninspires ideas and stories. Emotion driving to create \natmosphere with shapes and functions, effective \nsolutions and projects. Textiles, graphic design, \ninteriors and further sensation. A multidisciplinary \nstudy with an ambition: to capture the rhythm and \nthe aesthetics of time. To see what inspires, what \nelevates, what activates.\nMARCO LORENZETTO\nNato e cresciuto a Faenza, dopo i primi studi \ngiovanili si trasferisce a Roma. Conseguita la laurea \nin Sociologia all’Università “La Sapienza”, inizia \nsempre più ad appassionarsi all’arte e matura da \nautodidatta una formazione artistica ed estetica \nnell’ambito della pittura astratta entrando in \ndiversi ambienti dell’arte e cultura italiana ed \neuropea. Dopo la parentesi nella capitale, inizia a \nviaggiare e a vivere in varie città, Salamanca, New \nYork, Parigi per poi giungere a frequentare Berlino \nnell’anno 2009.Queste esperienze internazionali \nlo portano a conoscere e a vivere profondamente \nmovimenti artistici che aumentano la sua curiosità \ne la sua ricerca per la bellezza attraverso la \nsperimentazione di nuove tecniche e l’uso di diversi \nmateriali tra cui la ceramica. Nel 2017 crea una linea \ndi piatti di porcellana in vendita presso Bergdorf \nGoodman di New York. I dipinti di Lorenzetto sono \nstati pubblicati in riviste come Elle Decor, Vogue, \nThe New York Times \u002F Style Magazine, Architectural \nDigest, Modern Luxury Angeleno. Dal 2011 vive a \nLos Angeles e lavora nella sua Bottega nel cuore \ndi Hollywood. — Born and raised in Faenza, after \nhis earliest years of education he moved to Rome. \nUpon graduating in Sociology at the “La Sapienza” \nUniversity, he developed a passion for art and \naesthetics which he nourished as a self-taught \nabstract painter, delving into different fields of Italian \nand European art and culture. His stay in the capital \nwas followed by a period of travelling and living in \ndifferent cities: Salamanca, New York, Paris and lastly \nBerlin in 2009. These international experiences led \nhim to discover and profoundly experience artistic \nmovements which further inspired his curiosity and \nresearch into beauty through experimentation with \nnew techniques and the use of different materials, \nincluding ceramics. In 2017 he created a range of \nporcelain plates sold at Bergdorf Goodman, New \nYork. Lorenzetto’s paintings have been published in \nmagazines like Elle Decor, Vogue, The New York Times \n\u002F Style Magazine, Architectural Digest, Modern Luxury \nAngeleno. He has been living in Los Angeles since 2011 \nand works at his studio in the heart of Hollywood.\nMARÍA GÓMEZ GARCÍA\nProprietaria e direttrice dello studio creativo \nEstudio PAM ha sviluppato grafiche destinate a \nmateriali e utilizzi diversi, come sedie, carte da \nparati, porte, tavoli, tessuti; lavora, tra gli altri, \nper clienti con sede in Spagna, Italia, Brasile e \nStati Uniti. In precedenza, ha collaborato con \naziende e marchi come Le Lis Blanc (marchio \nbrasiliano di moda e oggetti per la casa) e ZARA \n(Spagna). Ha un’esperienza decennale nella ricerca \ndei nuovi trend della moda e della grafica nelle \npiù significative città del mondo (Londra, New \nYork, Parigi, San Paolo, Seoul e Hong Kong). Tutti \ni suoi disegni e le illustrazioni sono eseguiti a \nmano e riflettono il suo bagaglio professionale, il \ncosmopolitismo e la passione per la grafica. — As \nowner and director of Estudio PAM – a creative studio \n– has been developing artwork for different usages \nand materials such as chairs, wallpapers, doors, \ntables, textiles, among others, for clients based in \nSpain, Italy, Brazil and US. Previously, has worked for \ncompanies and brands such as Le Lis Blanc (Brazilian \nfashion and housewear brand) or ZARA (Spain). With \nmore than 10 years of experience, has collaborated \nas visual coolhunter and shopping in cities in \ndifferent continents (London, New York, Paris, Sao \nPaulo, Seoul and Hong Kong). All of her drawings \nand illustrations are handmade created and reflects \nher professional experience, cosmopolitanism and \npassion for artwork. \nPAOLO BADESCO \nCOSTANTINO AFFUSO\nUn progetto dell’interior designer Paolo Badesco che \ndal 2005 presenta al pubblico milanese, attraverso il \nsuo primo negozio di corso Magenta 96, un repertorio \ndi suggestioni dal sapore nord europeo: arredi e \ncomplementi vintage volutamente non restaurati, \nabbinati a una selezione di oggetti contemporanei \n",70,{"image":294,"text":295,"number":296},"\u002Fmedia\u002Fimages\u002Fa4\u002F788b6a16563d77fc9f4da5c05a75e4-27081ca7b2.71.png","frutto di una ricerca tra Europa e Stati Uniti. Nel \n2011 con l’architetto Costantino Affuso, già senior \narchitect dello Studio Paolo Badesco interior design, \nil progetto si amplia acquisendo una nuova location \nin via Palermo 1, nel cuore del Brera Design District. \nLe inedite proposte e gli allestimenti arditi hanno \nfatto guadagnare a Raw l’attenzione della stampa \ninternazionale e di un pubblico sempre più sensibile \nalle nuove tendenze. — A project of the interior \ndesigner Paolo Badesco, who since 2005 presents \nto the public in Milan, through its first store in Corso \nMagenta 96, a repertoire of suggestions with a northern \nEuropean flavor: vintage furniture and accessories \ndeliberately not restored, combined with a selection \nof contemporary works resulting from a selection \nbetween Europe and the United States. In 2011, with \nthe architect Constantino Affuso, formerly senior \narchitect at the Paolo Badesco interior design studio, \nthe project expanded by acquiring a new location in Via \nPalermo 1, in the heart of Brera Design District. The new \nproposals and daring installations have earned Raw \nto the attention of the international press and of an \nincreasingly sensitive public to new trends.\nSERENA CONFALONIERI\nDopo una laurea specialistica in Interior Design \nconseguita a pieni voti presso il Politecnico di \nMilano, Serena ha lavorato in diversi studi di \narchitettura e design, a Milano, Barcellona e \nBerlino. Ora dirige il suo studio a Milano, lavorando \nsu progetti che spaziano dall’interior alla grafica \nfino al textile design collaborando con importanti \naziende di design sia in Italia che all’estero. — After \na Master Degree in Interior Design at Politecnico di \nMilano, Serena worked in many architecture and \ndesign practices, moving from Milano to Barcelona \nand Berlin. Now she runs her own studio in Milano, \nworking on interior, graphic and textile design \nprojects and collaborates with important companies \nin Italy and abroad. She has also collaborated with \ntextile and ceramic manufacturers as free-lance \ndecorative designer and with publishing companies \nas illustrator of fantasy books.\nSILVIA STELLA OSELLA\nSilvia lavora nell’ambito della comunicazione \nvisiva dal 2005. Dopo aver studiato Illustrazione \nall’Istituto Europeo di Design si specializza in \nambito tessile con un Master in Textile Design \ne postgraduate al Central Saint Martins College \ndi Londra. Dopo aver lavorato in alcune tra le più \nimportanti aziende tessili europee ha aperto il suo \nstudio di design di superficie e consulenza a Milano. \nAttualmente collabora con brand internazionali \nquali il gruppo Inditex - Zara, Zara Kids, Adidas, \nMango e Topshop, ed è docente del corso di Pattern \nDesign allo IED di Torino. Grazie al suo background \nmultidisciplinare e al costante aggiornamento ha \nsviluppato un’estetica contemporanea e in continua \nevoluzione, in grado di coniugare progettualità e \nartigianalità. Nel 2015 ha co-fondato ILUUT, marchio \ninnovativo di abbigliamento sostenibile. — Silvia has \nbeen working in visual communication since 2005. \nAfter an illustration and visual communication BA at \nIED, she focuses on textile design with an MA and post-\ngraduate courses at the Central Saint Martins College of \nArt, London. After working for some of Europe’s leading \ntextile companies she has opened her surface design \nand consultancy studio in Milan. She collaborates with \ninternational brands such as the Inditex group - Zara, \nZara Kids, Adidas, Mango, Topshop, and she is a visiting \nProfessor in Surface and Pattern Design at IED Turin. \nThanks to her multidisciplinary background and to a \nconstant research she has developed a contemporary \nand always evolving aesthetic, able to combine design \nknowledge and sense of craftsmanship. In 2015 she \nhas co-founded ILUUT, a sustainable and innovative \nfashion start up.\nSTUDIOPEPE\nStudiopepe è uno studio di design fondato a Milano \nnel 2006 da Arianna Lelli Mami e Chiara Di Pinto. \nLo studio si occupa di creative consultancy in \ntutte le sue forme. La filosofia dello studio si basa \nsu un approccio concettuale inedito e trae forza \nda un vasto background iconografico e visionario, \ngenerando risultati di unicità. L’attenzione per i \ndettagli e l’emozione che possono generare nelle \npersone, così come l’uso del colore, a volte ardito, \ne il mix inedito ma armonico tra i materiali scelti \nsono fondamentali nei progetti dello studio. Altro \nelemento di forza è la multidisciplinarità, il saper far \ndialogare all’interno di uno stesso progetto ambiti \ndiversi come il design, la moda e l’arte. — Studiopepe \nis a design studio founded in Milan in 2006 by Arianna \nLelli Mami and Chiara Di Pinto. The studio focuses \non creative consultancy (interiors, product design, \neditorial, set-design, color consultancy…). The studio’s \nphilosophy takes a strong visionary approach thanks \nto an iconographic background that generates \nunique results. The attention for details and emotions \nthat can be generated in people, as well as the use \nof color, sometimes daring, and the unusual but \nharmonius relationship between materials are \nfundamental in each project of the studio. Studiopepe \nalso takes advantage of multidisciplinarity, knowing \nhow to create a dialogue within different areas such \nas design, fashion and art.\nSTUDIO SALARIS\nAlessandra Salaris è nata a Milano,  dopo studi classici \ndivisa dalla passione tra la medicina e l’architettura \nsceglie la via piu’ creativa, studia quindi a Londra e \nal Politecnico di Miano dove si Laurea. Appassionata \ndi arredamento, interior, design, fotografia, viaggi , \nsalute e food  trova il modo migliore per coniugare \ni suoi hobby e  trasformarli in lavoro, fonda quindi \nil suo studio di consulenza creativa, a Milano, \nnel cuore di Brera. I suoi viaggi sono rivolti alla \nricerca del bello che puo’ trovarsi anche in piccoli \noggetti che caratterizzano il luogo, le persone, \nla cultura  e la storia del paese visitato; pezzi che \nsicuramente un giorno verranno fotografato nei \nsuoi set fotografici. — Alessandra Salaris was born \nin Milan. She topped her classical education with the \nstudy of interior design in London and Milan, where \nshe attended IED and graduated from Politecnico \ndi Milano. She later earned a Masters degree in \nMarketing and Communication to better understand \nthe challenges of the business she faces everyday. As \nof today, she has worked internationally. In the past \ndecade she has collaborated with the top magazines \nand companies of the industry. Her ambition has \nalways been that of delivering a customized support \nto help her clients achieve an aesthetic expression of \ntheir brands. Her mission is to give a personal and \nrecognizable contribution that enhances the clients’ \nstory and core values.\nTALVA DESIGN\nTal Waldman (Talva Design) è un’artista, designer \ne architetto con base a Parigi.  Completa i suoi \nstudi di arte e architettura lavorando per studi \ninternazionali, da Jean Nouvel, Christian de \nPortzamparc a Jean Paul Viguier. Lo studio Talva \nDesign a Parigi è una sintesi tra design e arte capace \ndi offrire soluzioni d’interni, accessori per la casa e \ndi arredo. — Tal Waldman (Talva Design) is an artist, \ndesigner and architect based in Paris. He completed \nhis art and architecture studies working for \ninternational firms, from Jean Nouvel to Christian de \nPortzamparc and Jean Paul Viguier. The Talva Design \nstudio in Paris is a synthesis between design and art \ncapable of providing interior design solutions and \nhome and furnishing accessories.\nTHE ELUSIVE OTTER\nLe raffinate illustrazioni di Raffaella Audiffredi, \nideatrice \ndel \nprogetto, \npuntano \nuna \nlente \nd’ingrandimento sul mondo animale creando \ntavole su cui s’innesta una dimensione letteraria \na \nfirma \ndello \nscrittore \nMatteo \nSartori. \nLa \ncollaborazione con Wall&Decò arricchisce di \nfascino il viaggio della “lontra timida” e sposa \nl’esperienza artistica di The Elusive Otter a una \nnuova realtà applicativa. Raffaella Audiffredi: \nArchitetto, laureata al Politecnico di Milano, dopo \naver lavorato in Italia e all’estero, nel 2010 apre il \nsuo studio a Milano. Nel 2013 crea il progetto The \nElusive Otter. Matteo Sartori: Laureato in Scienze \npolitiche all’Università Statale di Milano, dal \n2002 al 2012 lavora per il cinema e la pubblicità. \nÈ autore di tre romanzi. — The refined illustrations \nof Raffaella Audiffredi, author of the project, zoom \nin details on the animal world, creating canvases \non which a literary dimension signed by writer \nMatteo Sartori is triggered. The collaboration with \nWall&Decò enriches the journey of the ‘’elusive \notter’’ with charm and combines the artistic \nexperience of The Elusive Otter to a new application \nfield. Raffaella Audiffredi: Architect, graduated at \nthe Polytechnic University of Milan, opened her \nstudio in Milan in 2010, after working in Italy and \nabroad. She conceived The Elusive Otter project in \n2013. Matteo Sartori: Graduated in political sciences \nat the State University of Milan, he worked in the \ncinema and advertising field from 2002 to 2012. He \nis the author of three novels.\nTOMMASO GUERRA\nDopo 12 anni come pubblicitario in numerose \nagenzie, Tommaso si dedica pienamente alla sua \nattività naturale: esprimersi attraverso le arti \ngrafiche. Il suo campo di azione lo porta in giro \nper il mondo e varia di continuo:  dalla strada, \ncon installazioni e arredo urbano site specific agli \ninterni, dove spazia dalla decorazione muraria \na progetti completi di interior design.Il suo è un \npercorso in continua evoluzione, fatto di dialogo \naperto con i luoghi e con gli oggetti. — After 12 \nyears as advertising agent in numerous agencies, \nTommaso fully focused on his natural activity: \nexpress himself through graphic arts. His work field \ntakes him around the world and changes constantly: \nfrom the road, with exhibitions and urban furniture \nsite specific for interiors, where he ranges from wall \ndecorations to complete interior design projects. His \npath constantly evolves, and consists of an open \ndialogue with places and objects.\n",71,{"image":298,"text":299,"number":300},"\u002Fmedia\u002Fimages\u002Fa4\u002F788b6a16563d77fc9f4da5c05a75e4-27081ca7b2.72.png","wallanddeco.com\nvia Santerno 9 - Cervia (Ravenna) - Italy\ntel +39.0544.918012\ninfo@wallanddeco.com\nshowroom\nvia Solera Mantegazza 7 - Milano\n© all rights reserved  Wall&decò® 2020\nThe color reproduction of the graphic images \ncontained in this catalog is indicative of the actual \ncolor rendering on the printed wall covering.\nFaithful reproductions of the color shades, obtained \non the printed wall coverings, are the graphic \nimages contained in the ColorMatch section (from \np.176 to p.342) of this catalog. Only these graphic \nimages, in scale 1:4, are to be taken as a reference to \nsatisfy color matching and coordination project \nrequirements.\ncatalogue graphic design \nD+ studio  [d-plus.it]\ncatalogue print\nPazzini Stampatore Editore s.r.l.\nphotoshooting\nart direction: \nLorenzo De Grandis\nphoto: \nMassimo Spada (Beyond Borders)\nSimone Cossettini (Utopia) \nFederico Ciamei (Materic Freedom)\nstyling: \nCristina Nava\ntexts\nPietro Meroni\nthanks to \nAdrenalina, Amini, Baxter, Bloc Studios, CAPO \nD’OPERA, CARA \\ DAVIDE, cc-tapis, CIMENTO® \naltrimenti Cimento, DESALTO S.p.a, Draga&Aurel srl-, \nEdoné, Formagenda, Frama, Fritzhansen.com, \nGIOBAGNARA, Golran, Kabinet, Kartell, Kasthall, Kose \nMilano, laCividina, Laurameroni Design Collection, \nLinea Light Group, Living Divani, MDF Italia, \nMeridiani, MOHEBBAN Milano, Moroso, Nemo \nLighting, OAK, Olivari, Opinion Ciatti, Point De \nMarque, Radici Contract, R1920, Schreiber Collezioni  \nAntichità dell’Asia, Segis, Tacchini, TONON & C. SpA, \nVitra, Vito Nesta Grand Tour, Viva Porte srl\nLa riproduzione dei colori delle immagini grafiche \ncontenute in questo catalogo è indicativa della resa \ncromatica reale sul parato stampato.\nSono invece fedeli riproduzioni dell’effetto cromatico, \nche si ottiene sul parato stampato, le immagini \ngrafiche contenute nella sezione ColorMatch (da p.176 \na p.342) del presente catalogo. Sono unicamente \nqueste immagini grafiche, in scala 1:4, da prendere \ncome riferimento per soddisfare esigenze progettuali \ndi abbinamento e coordinamento dei colori.\nLa visione creativa Wall&decò abbraccia il mondo e ne \npercepisce cambiamenti, esigenze e nuove priorità. Fra queste, il \nproporre soluzioni concretamente ecosostenibili nell’ambito del \ndesign di interni e dell’edilizia. Anche le carte da parati diventano \nparte di un processo virtuoso che non si esaurisce con la posa \nin opera, ma al contrario inizia da quel momento e accompagna \nogni realizzazione lungo tutta la sua vita, fino allo smaltimento.\nWall&decò introduce il nuovo supporto CWC-ECO per le \nproprie carte: si tratta di un supporto in tessuto non tessuto \nrivestito con fibre di cellulosa e poliestere. Prodotto con un \nprocedimento ecologico, il nuovo supporto è riciclabile, privo \ndi PVC e di ftalati e con una soglia di emissioni certificata \nA+ secondo la normativa francese (test della norma europea \nISO 16000) relativa all’emissione di VOC, in accordo con la \ncertificazione Indoor Air Comfort GOLD.\nPer le sue caratteristiche, il supporto è indicato per ogni tipo \ndi interni e ha un’ottima capacità traspirante; rispetta inoltre \nle normative di reazione al fuoco classe B s1 d0.\nWall&decò’s creative vision embraces the world and \nsenses changes, needs and new priorities. Among these, \nthe necessity to introduce solutions for interior design and \nconstruction that are effectively sustainable. Wallpapers \nbecome part of a virtuous circle that does not stop after the \ninstallation: instead that is the start of a long life that follows \neach project up to the disposal phase.\nWall&decò introduces the new CWC-ECO wall coating: it \nconsists of a non-woven fabric covered with cellulose fibre \nand polyester base. Made with an ecological production \ncycle, the new substrate is recyclable, totally PVC-free and \nphthalate-free, and is certified A+ according to the French \nlabel (following European norm ISO 16000) regarding VOC \nemissions, Indoor Air Comfort GOLD certified.\nThanks to its features, the substrate is ideal for any kind of \ninteriors, it’s highly breathable , and the coating respects the \nReaction to Fire standard, class B s1 d0.\n P E R  U N  I N T E R I O R  D E S I G N \nR E A L M E N T E  E C O S O S T E N I B I L E\nC O N T R I B U T I O N S  F O R  A  R E A L L Y \nS U S T A I N A B L E  I N T E R I O R  D E S I G N\nN E W\nC W C - E C O\n",72,{"image":302,"text":303,"number":304},"\u002Fmedia\u002Fimages\u002Fa4\u002F788b6a16563d77fc9f4da5c05a75e4-27081ca7b2.73.png","Descrizione materiale \nDescription of material\nSupporto in tessuto non tessuto con strato superficiale in vinile\nNon-woven fabric substrate with vinyl surface layer\nNatura dei componenti \nNature of components\nTessuto non tessuto, cellulosa, additivi, spalmatura del lato decorativo in PVC\nNon-woven fabric, cellulose, additives, PVC coating of decorative side\nPeso totale (minimo ÷ massimo) \nTotal weight (minimum ÷ maximum)\n340 g\u002Fm2 ÷ 360 g\u002Fm2  \nSpessore totale (minimo \u002F massimo)\nTotal thickness (minimum \u002F maximum)\n0,30 mm ÷ 0,34 mm\nTechnical Features\nReazione al fuoco\nReaction to fire\nClasse B s2 d0, USA Classe A\nClass B s2 d0, USA Class A\nVOC\nFrench VOC regulation A+ \u002F Indoor comfort GOLD\nPermeabilità \nPermeability\nValore sd 1,37 m (mediamente permeabile al vapore secondo EN7783 Dry Cup\nSd value 1.37 m (averagely water vapour resistance according to EN7783 Dry Cup\nCertifications\nCWC \u002F Bronzage ®\nImpact resistant\nExtra washable\nDescrizione d’uso\nDescription of use\nDa interni , residenziale e contract (hotel, commerciale)\nIndoor , residential and contract (hotel, commercial)\nEmobossed surfaces\nDry strippable\nPaste the wall\nDescrizione materiale \nDescription of material\nRivestimento Murale accoppiato a TNT\nWall coating matched with NWF\nNatura dei componenti \nNature of components\nTessuto non tessuto rivestito a base di fibre di cellulosa e poliestere\nNon-woven fabric covered with cellulose fibre and polyester base\nPeso totale (minimo ÷ massimo) \nTotal weight (minimum ÷ maximum)\n175 g\u002Fm2 ÷ 195 g\u002Fm2  \nSpessore totale (minimo \u002F massimo)\nTotal thickness (minimum \u002F maximum)\n0,30 mm ÷ 0,40 mm\nTechnical Features\nReazione al fuoco\nReaction to fire\nClasse B s1 d0\nClass B s1 d0\nVOC\nFrench VOC regulation A+ \u002F Indoor comfort GOLD\nPermeabilità \nPermeability\nValore sd 0,38 m (mediamente permeabile al vapore secondo EN7783 Dry Cup)\nSd value 0.38 m (averagely water vapour resistance according to EN7783 Dry Cup)\nCertifications\nRecyclable\nBreathable\nCWC - ECO\nNEW\nDescrizione d’uso\nDescription of use\nDa interni , residenziale e contract (hotel, 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