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Die Tischen werden von \neinem gezogenem Metallrahmen, \nSatin-Ausführung mit transparentem \nSchutzlack gekennzeichnet; der \nMetallrahmen wird durch sichtbare,  \nbrünierte Schrauben verbunden.\nSchwarze Kunststofffüße. Die Platten \nder Arbeitstische werden in zwei \nHolzsorten angeboten, Esche schwarz \ngebeizt oder amerikanischem \nNussbaum, oder in weiß lackiertem Glas. \nDie Platten, in beiden Versionen, haben \neine Öffnung für Kabelführung mit \nKabelbehälter unter der Platte.\nDEU\nVon der Architektur zum Glas, \nvon Designprojekten bis hin zu \nMuseumsausstellungen zeichnet sich \ndas Werk von Carlo Scarpa stets durch \ndie unverwechselbare Handschrift \naus, mit der es ihm gelingt, seine \nLeidenschaft für die Materialien, die  \nLiebe zum  Detail und die gekonnte \nAusarbeitung der Wrightschen und der \norganischen Poesie miteinander zu \nverbinden. Der Architekt, Designer und \nKünstler Scarpa schließt 1926 sein \nStudium an der Kunstakademie Venedig  \nab und beginnt im Anschluss als \nArchitekt zu arbeiten. Gleichzeitig hält \ner weiterhin engen Kontakt mit den \nvenezianischen Künstlerwerkstätten und \nGlasermeistern. Zwanzig Jahre lang, bis \nüber die Mitte der vierziger Jahre hinaus, \nerhält er zahlreiche Aufträge für die \nPlanung, den Umbau und die \nInnenausstattung von Gebäuden.\n0102_14 Cassina inserto sarpi.indd   1\n12\u002F01\u002F15   19.14\n",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002Fbf\u002Fd71719c710f9ca05b312695dea147d.2.png","Tavoli Sarpi Ufficio \u002F \nOffice Sarpi Tables \u002F\nTables Sarpi Bureau\n01   \n \n \n \n       Tische Sarpi Büro\n0102_14 Cassina inserto sarpi.indd   2\n12\u002F01\u002F15   19.15\n",2,{"image":22,"text":23,"number":24},"\u002Fmedia\u002Fimages\u002Fbf\u002Fd71719c710f9ca05b312695dea147d.3.png","Tavoli Sarpi Ufficio \u002F \nOffice Sarpi Tables \u002F\nTables Sarpi Bureau\nErneuerung \nNeue Ausführungen in \namerikanischem Nußbaum \nund Glas mit Möglichkeit \nvon Öffnungen für Kabelführung\n0102_14 Cassina inserto sarpi.indd   3\n12\u002F01\u002F15   19.15\n",3,{"image":26,"text":27,"number":28},"\u002Fmedia\u002Fimages\u002Fbf\u002Fd71719c710f9ca05b312695dea147d.4.png","Tavoli Sarpi Casa \u002F \nHouse Sarpi Tables \u002F\nTables Sarpi Maison\n02   \n \n \n \n       Tische Sarpi Haus\n0102_14 Cassina inserto sarpi.indd   4\n12\u002F01\u002F15   19.15\n",4,{"image":30,"text":31,"number":32},"\u002Fmedia\u002Fimages\u002Fbf\u002Fd71719c710f9ca05b312695dea147d.5.png","Tavoli Sarpi Casa \u002F \nHouse Sarpi Tables \u002F\nTables Sarpi Maison\n0102_14 Cassina inserto sarpi.indd   5\n12\u002F01\u002F15   19.15\n",5,{"image":34,"text":35,"number":36},"\u002Fmedia\u002Fimages\u002Fbf\u002Fd71719c710f9ca05b312695dea147d.6.png","02   \n \n \n \n       Tische Sarpi Haus\nTavoli Sarpi Casa \u002F \nHouse Sarpi Tables \u002F\nTables Sarpi Maison\nTavoli Sarpi Casa \u002F \nHouse Sarpi Tables \u002F\nTables Sarpi Maison\n0102_14 Cassina inserto sarpi.indd   6\n12\u002F01\u002F15   19.15\n",6,{"image":38,"text":39,"number":40},"\u002Fmedia\u002Fimages\u002Fbf\u002Fd71719c710f9ca05b312695dea147d.7.png","Tavoli Sarpi Casa \u002F \nHouse Sarpi Tables \u002F\nTables Sarpi Maison\n70\n[27.6″]\n44\n[17.3″]\n60\n[23.6″]\nW02 21\nW02 31\nW02 34\n500\n[196.9″]\n100\n[39.4″]\n84\n[33.1″]\n14\n[5.5″]\n14\n[5.5″]\n160\n[63.0″]\n160\n[63.0″]\n160\n[63.0″]\n420\n[165.4″]\n420\n[165.4″]\n350\n[137.8″]\n220\n[86.6″]\n300\n[118.1″]\n120\n[47.2″]\n120\n[47.2″]\n75 [29.5″]\n75 [29.5″]\n75 [29.5″]\n75 [29.5″]\n75 [29.5″]\n75 [29.5″]\n75 [29.5″]\n75 [29.5″]\nW02 24\nW02 22\nW02 32\nW02 23\nW02 33\nW02 36\nW02 26\nW02 25\nW02 35\nTavoli Sarpi Casa \u002F \nHouse Sarpi Tables \u002F\nTables Sarpi Maison\n14\n[5.5″]\n14\n[5.5″]\n14\n[5.5″]\n14\n[5.5″]\n84\n[33.1″]\n0102_14 Cassina inserto sarpi.indd   7\n12\u002F01\u002F15   19.15\n",7,{"image":42,"text":43,"number":44},"\u002Fmedia\u002Fimages\u002Fbf\u002Fd71719c710f9ca05b312695dea147d.8.png","Tavoli Sarpi — 1974\nCarlo Scarpa\nFRA\nDes architectures aux objets en \nverre, des projets de design aux \nexpositions muséales, l’œuvre de \nCarlo Scarpa se distingue toujours \npar le style unique avec lequel il \narrive à allier l’amour des \nmatériaux, l’attention aux détails et \nl’élaboration minutieuse de la \npoésie de Wright et de \nl’architecture organique. \nArchitecte, concepteur, artiste, \nScarpa quitte l’Accademia d’Arte \nde Venise en 1926 et débute son \nactivité professionnelle tout en \ncontinuant de fréquenter les \nboutiques d’artisans et les maîtres \nverriers vénitiens. Pendant vingt \nans, jusqu’après la moitié des \nannées Quarante, il reçoit de \nnombreuses commandes pour la \nconception d’édifices, pour des \nrénovations et des réhabilitations.\nENG\nFrom architecture to works in \nglass, from design projects to \nmuseum exhibits, the work of Carlo \nScarpa has always stood out in the \nunmistakable way in which it \nmanages to bring together his love \nfor materials, his attention to detail \nand his masterly elaboration of \norganic and Wrightian poetics. \nArchitect, designer and artist, \nScarpa left the Venice Academy of \nArt in 1926 and began professional \nwork, but continued to visit \nhandicraft workshops and Venetian \nmaster glassworkers. For twenty \nyears, right up until the second half \nof the Forties, he received \nnumerous commissions to design, \nconvert and restore buildings.\nITA\nDalle architetture ai vetri, dai \nprogetti di design agli allestimenti \nmuseali, l’opera di Carlo Scarpa \nsi distingue sempre per \nl’inconfondibile tratto con cui \nriesce a coniugare l’amore per i \nmateriali, l’attenzione al dettaglio  \ne la sapiente elaborazione delle \npoetiche wrightiane e organiche. \nArchitetto, progettista, artista, \nScarpa lascia l’Accademia d’Arte  \ndi Venezia nel 1926 e inizia l’attività \ncome professionista, mantenendo \ncontemporaneamente la \nfrequentazione con le botteghe \nartigiane e con i maestri vetrai\nveneziani. Per venti anni, fino oltre \nla metà degli anni quaranta, riceve \nnumerosi incarichi per la \nprogettazione di edifici, per \nristrutturazioni ed allestimenti. \nInnenausstattung von Gebäuden.\nCollection composée de tables \nrectangulaires en différentes \ndimensions, conçues pour \nl’intérieur et les environnements \nde travail. Les tables se \ncaractérisent par un cadre \nmétallique tréfilé, finition satin, \nprotégé par un vernis transparent, \nassemblé au moyen de vis visibles \nbrunies, pieds en matériau \nplastique de couleur noire; les \nplateaux sont proposés en finition \nbois, frêne teinté noir ou noyer \naméricain, ou bien en  verre laqué \nen blanc.\nLes plateaux des tables de bureau, \ndans les deux versions, sont dotés \nd’ouverture pour le passage de \ncâbles et tablette de rangement \nsous le plan.\nCollection composed of \nrectangular tables in different \nsizes, designed for interior and \nwork environments. The tables \nare featured by a drawn metal \nframe satin finish, lacquered with \nprotective transparent gloss, \nassembled by means of burnished, \nvisible screws, plastic feet in black \ncolour; the tops are proposed in \ntwo wooden finishes, black stained \nashwood or canaletto walnut, \nor in white lacquered glass.\nThe tops of the office tables, \nin both versions, have a central \nopening for cable management \nand undertop cable tray.\nCollezione composta da  tavoli \nrettangolari di diverse \ndimensioni, concepita per gli \nambienti domestici e di lavoro.\nI tavoli sono caratterizzati da \nstruttura in metallo trafilato \nsatinato, protetta con vernice \ntrasparente, collegata per mezzo \ndi viti brunite a vista, piedini in \nmateriale plastico di colore nero;  \ni piani sono disponibili in due \nessenze, frassino tinto nero \no noce canaletto,  oppure in vetro \nretrolaccato verniciato nel colore \nbianco. 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