[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-foscarini-ritratti":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":734},{"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":729,"matched_pages":730,"match_count":731,"two_pages":732,"show_text":733},15402,"Ritratti","foscarini-ritratti","\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002F30\u002F2f5f0fbe615291ea1b0086d18cc8e2-2854d77d7f.pdf","Foscarini",90,"foscarini","216.2 MB",[14,17,20,23,27,31,34,38,41,44,47,50,54,57,60,63,67,70,73,76,79,83,86,89,92,96,100,103,106,109,112,115,118,122,125,128,132,135,138,142,146,149,152,155,159,162,166,169,173,176,180,183,187,190,193,196,199,202,205,209,212,215,218,222,226,229,233,236,239,243,246,249,252,256,260,264,268,271,274,277,280,284,287,290,293,296,299,303,307,310,312,315,318,322,325,328,331,335,338,341,344,347,350,354,357,360,364,367,370,373,376,380,384,387,391,394,398,401,405,409,413,416,419,423,427,430,434,437,440,443,446,449,452,456,459,462,466,470,474,477,480,483,487,491,495,498,502,505,508,512,516,519,523,526,530,534,538,541,544,547,550,554,557,560,563,567,570,573,577,580,583,587,591,594,597,600,604,607,610,614,617,620,623,626,629,633,636,639,643,646,649,652,655,658,661,664,668,672,676,680,684,688,692,696,700,704,708,712,716,720,724,727],{"image":7,"text":15,"number":16},"",1,{"image":18,"text":15,"number":19},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.2.png",2,{"image":21,"text":15,"number":22},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.3.png",3,{"image":24,"text":25,"number":26},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.4.png","Foscarini è nata da \nun’intuizione di Carlo Urbinati \ne Alessandro Vecchiato ed è \ncresciuta grazie alla passione, \nall’energia ed al talento di tutti \ncoloro che ci hanno lavorato e \nci lavorano.\nFoscarini was born from an \nintuition of Carlo Urbinati \nand Alessandro Vecchiato \nand has grown thanks to the \npassion, energy and talent \nof all the people that have \nworked and are working \nfor it.\n",4,{"image":28,"text":29,"number":30},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.5.png","003\nRitratti — volume 1 \n       —\nPerle vaporose\nche irradiano\natmosfere \nin luoghi\nstraordinariamente\ndiversi.\n      — \nWispy pearls\nthat emanate\natmospheres\nin extraordinarily\ndifferent\nplaces.\nPerle\ntext by Corrado Levi\n",5,{"image":32,"text":15,"number":33},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.6.png",6,{"image":35,"text":36,"number":37},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.7.png","005\nfotografie di \nTommaso\nSartori\nVenezia — Ritratto \nd’ombra\nRitratti — volume 1 \nVenezia, Ritratto d’ombra\n",7,{"image":39,"text":15,"number":40},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.8.png",8,{"image":42,"text":15,"number":43},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.9.png",9,{"image":45,"text":15,"number":46},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.10.png",10,{"image":48,"text":15,"number":49},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.11.png",11,{"image":51,"text":52,"number":53},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.12.png","010\nRitratti — volume 1 \n       Ombra — Per i Siberiani è una delle tre \nanime dell’uomo: è rispettata ed è proibito ai \nbambini giocare con essa. \nI Greci celebravano i sacrifici importanti a \nmezzogiorno: l’ora senza ombra. Fuggevole, \nirreale, mutevole, spaventosa e divertente. \nSe riusciamo a convivere con essa, il suo colore \ndiviene più chiaro e si avvicina a quello della \nnostra pelle. Più figlia della luce che delle \ntenebre è l’insieme dei ricordi, percezioni e \ncammini che abbiamo dentro. \nPortare con sé la propria ombra è il più bel \nviaggio. \n      Shadow — For the Siberians it is one of the \nthree souls of the human being: it is respected, \nand children are forbidden to play with it.\nThe Greeks enacted important sacrifices at \nnoon: the hour of no shadow.\nFleeting, unreal, mutable, frightening and fun.\nIf we can manage to live with it, its colour \nbecomes lighter and approaches that of our skin.\nMore the offspring of light than of gloom, it is \nthe set of memories, perceptions and paths we \nhave inside us.\nCarrying your own shadow with you is the most \nbeautiful voyage. \n \nOmbra\ntext by Attilio Stocchi\nVenezia, Ritratto d’ombra\n",12,{"image":55,"text":15,"number":56},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.13.png",13,{"image":58,"text":15,"number":59},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.14.png",14,{"image":61,"text":15,"number":62},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.15.png",15,{"image":64,"text":65,"number":66},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.16.png","014\nRitratti — volume 1 \nVenezia, Ritratto d’ombra\n",16,{"image":68,"text":15,"number":69},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.17.png",17,{"image":71,"text":15,"number":72},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.18.png",18,{"image":74,"text":15,"number":75},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.19.png",19,{"image":77,"text":15,"number":78},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.20.png",20,{"image":80,"text":81,"number":82},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.21.png","019\nRitratti — volume 1 \nVenezia, Ritratto d’ombra\n       Equilibrio — Una bilancia con piatti uguali. \nI pesi, ai due lati, devono equivalersi: altrimenti \nsi cade nello sbilanciamento. Il disequilibrio è \nmale, ingiustizia e bruttezza. Per Pitagora, \ni numeri, con i quali il Creatore scrisse il mondo, \nsi dispongono, come in una bilancia, ai due lati \ndell’Uno, che fa da perno tra i due piatti. \nI numeri perfetti (detti “primi”) sono quelli che \nstanno in perfetto equilibrio ai due lati: il tre \n(1-1-1); il cinque (2-1-2), il sette (3-1-3) …\nIl bilanciamento è uno stato di sospensione, di \nimmobilità. L’immobilità è Bellezza ed Equità \n(cioè Giustizia, che è il contrario di “due pesi e \ndue misure”). L’Ordine è equilibrio. \nLo sbilanciamento è il Caos, che ci fa paura \nperché, sotto sotto, amiamo e ci sentiamo sicuri \nsolo nella simmetria. Star fermi e allineati, \nquando si è raggiunto uno stato di equilibrio, \nè una forma di perfezione: netta, non oscillante. \nLa luce e il buio, dopo una cert’ora, trovano un \nequilibrio, e una compensazione, attraverso \nuna robusta iniezione di luce artificiale. \nLe lampade danno equilibrio.\n      Balance — A scale with equal plates. \nThe weights, on the two sides, have to be equal: \notherwise it goes off balance. Imbalance is evil, \ninjustice, ugliness. For Pythagoras the numbers \nwith which the Creator wrote the world are \narranged, as on a scale, at the two sides of the \nOne, which is the pivot between the two plates. \nThe perfect numbers (known as “primes”) are \nthose that stay in perfect balance on the two \nsides: three (1-1-1), five (2-1-2), seven (3-1-3) … \nBalancing is a state of suspension, immobility. \nImmobility is Beauty and Equity (i.e. Justice, \nwhich is the opposite of “differing weights \nand differing measures”). Order is balance. \nLack of balance is Chaos, which frightens us \nbecause, deep down, we love and feel safe only \nin symmetry. Staying still and in alignment, \nwhen we reach a state of equilibrium, is a form \nof perfection: clear, unwavering. Light and \ndarkness, after a certain hour, find a balance, \nand compensation, through a robust injection \nof artificial light. Lamps grant balance.\nEquilibrio\ntext by Francesco M. Cataluccio\n",21,{"image":84,"text":15,"number":85},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.22.png",22,{"image":87,"text":15,"number":88},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.23.png",23,{"image":90,"text":15,"number":91},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.24.png",24,{"image":93,"text":94,"number":95},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.25.png","023\nRitratti — volume 1 \nVenezia, Ritratto d’ombra\n",25,{"image":97,"text":98,"number":99},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.26.png","024\nRitratti — volume 1 \nVenezia, Ritratto d’ombra\n       Ritmo — AABB – AABB – AABB … e poi \nparte l’orchestra: è sempre così! AABB – \nAABB, fino alla tromba, o al rullo di tamburi, \nimprovviso, a spezzare il ritmo. ZAG ZAG … \nTUMB TUMB, lo pensavano anche i Futuristi. \nRitmo interrotto, ritmo sincopato (extra-\nsistole?), ossessione. Altrimenti la noia: litanie \ndi finestre, sempre uguali, nell’architettura di \nchi non sa rompere il passo. Tra il silenzio e \nla cacofonia sta il ritmo, ma ci arrivano solo i \ngrandi. Agli altri, ai molti del tempo di oggi, non \nrimane che ripetere (mono-tono) o trasgredire \n(per forza), coatti. E invece il ritmo ti tiene \nsu e ti porta lontano, e poi arriva sempre una \ntromba, o un rullo di tamburi, ad alzare ancora \nil canto fino alla vertigine (cuore in gola).\n      Rhythm — AABB – AABB – AABB … and the \norchestra strikes up: always the same! AABB – \nAABB, until the trumpet, a drum roll, suddenly \nbreaks the rhythm. ZAG ZAG … TUMB TUMB, \nthe Futurists also thought about it. Broken beat, \nsyncopated rhythm (extra-systolic?), obsession. \nOtherwise boredom: litanies of windows, always \nthe same, in the architecture of those who don’t \nknow how to break stride. Between silence and \ncacophony lies rhythm, but only the greats get it. \nFor the others, the majority nowadays, all that is \nleft is repetition (mono-tonous) and transgression \n(inevitable), compulsory. And instead the rhythm \nkeeps you going and carries you far away, and \nthen a trumpet, a drum roll always arrives, to \nraise the chant to dizzying heights again (heart \nin throat).\nRitmo\ntext by Marco Romanelli\n",26,{"image":101,"text":15,"number":102},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.27.png",27,{"image":104,"text":15,"number":105},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.28.png",28,{"image":107,"text":15,"number":108},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.29.png",29,{"image":110,"text":15,"number":111},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.30.png",30,{"image":113,"text":15,"number":114},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.31.png",31,{"image":116,"text":15,"number":117},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.32.png",32,{"image":119,"text":120,"number":121},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.33.png","fotografie di \nKasia\nGatkowska\nRimini — Ritratto\nquotidiano\n031\nRitratti — volume 1 \nRimini, Ritratto quotidiano\n",33,{"image":123,"text":15,"number":124},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.34.png",34,{"image":126,"text":15,"number":127},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.35.png",35,{"image":129,"text":130,"number":131},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.36.png","034\nRitratti — volume 1 \nRimini, Ritratto quotidiano\n",36,{"image":133,"text":15,"number":134},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.37.png",37,{"image":136,"text":15,"number":137},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.38.png",38,{"image":139,"text":140,"number":141},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.39.png","037\nRitratti — volume 1 \n       Levità — Levità ovvero sentirsi lievi, come \nuna brezza delicata, leggeri come una piuma, \ntenui ma non certo flebili, esili ma non fragili, \nsempre tutt’altro che grevi. \nLevità, come dire quella sensazione magica, \nquella consapevolezza luminosa, di chi d’un \nfiato, con facilità e armonia, corre una spanna \nsopra terra, forte di una sana energia, baciato \nda una grazia evidente. Quella di chi ha \nsaputo librarsi, agile e fiero, in una condizione \ndi personale equilibrio, di spontanea e al \ncontempo consapevole misura. “Io la maturità \nme la sono sentita quando ho alleggerito”, \nconfidava la grande Carla Accardi, distillando \nin una frase la ricetta perfetta per un fare libero \nche non ha bisogno di alzare la voce, né \ndi mostrare i muscoli.\n       Lightness — Lightness or feeling light, like \na delicate breeze, light as a feather, tenuous yet \nfar from feeble, slender but not fragile, anything \nbut grave and heavy. \nLevity, lightness, a magical sensation, that \nluminous awareness of those that in one breath, \nwith ease and harmony, skim a handsbreadth \nover the ground, charged with healthy energy, \nblessed by evident grace. That of someone \nwho has managed to take off, agile, proud, in \na condition of personal balance, spontaneous \nand at the same time conscious measure. “I felt \nmaturity when I lightened things”, the great \nCarla Accardi confessed, capturing in a phrase \nthe perfect recipe for a free way of doing \nthat needn’t raise its voice, needn’t display \nits muscles.\nLevità\ntext by Beppe Finessi\nRimini, Ritratto quotidiano\n",39,{"image":143,"text":144,"number":145},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.40.png","038\nRitratti — volume 1 \nRimini, Ritratto quotidiano\n",40,{"image":147,"text":15,"number":148},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.41.png",41,{"image":150,"text":15,"number":151},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.42.png",42,{"image":153,"text":15,"number":154},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.43.png",43,{"image":156,"text":157,"number":158},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.44.png","042\nRitratti — volume 1 \nRimini, Ritratto quotidiano\n",44,{"image":160,"text":15,"number":161},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.45.png",45,{"image":163,"text":164,"number":165},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.46.png","044\nRitratti — volume 1 \n       Chiaroscuro — Nei versi immortali di \nT.S. Eliot, tradotti da Roberto Sanesi: “Fra la \nconcezione \u002F E la creazione \u002F Fra l’emozione \n\u002F E la responsione \u002F Cade l’Ombra”. L’ombra, \ninsieme al riflesso, come sapeva Saul Steinberg, \nsono la base stessa della percezione della \nluce, la luce è vita. Ma non c’è chiarezza senza \nconfronto con l’oscurità, non c’è buio che non \nconfini con la luce. Ecco perché il territorio \ndel “chiaroscuro” è il territorio stesso della \nvita, essenza di dinamicità, dove niente è stato \ndefinito e tutto è in potenza. Ma nemmeno, \nancora. Il chiaroscuro è anche il terreno del \npossibile e del non detto, del dichiarato e del \nfinito, del sogno e allo stesso tempo della \nconcretezza: come il negativo definisce il \npositivo, ininterrottamente, e viceversa. \nPossiamo essere solo ibridi, non tutto chiaro, \nnon tutto scuro, forse perché la nostra \ncaratteristica di esseri umani, di esseri nella \nnatura è proprio quella di attraversare senza \nrequie quel labile confine. Come fa il sole, \nsiamo notte e siamo giorno, né mai solo l’uno o \nsolo l’altro. Siamo chiaroscuro fatto anima.\n      Chiaroscuro — In the immortal lines of \nT.S. Eliot: “Between the conception \u002F And the \ncreation \u002F Between the emotion \u002F And the \nresponse \u002F Falls the Shadow.” The shadow, \ntogether with the reflection, as Saul Steinberg \nknew, are the very basis of the perception of \nlight, and light is life. But there is no brightness \nwithout the contrast with darkness, no darkness \nthat doesn’t border on light. This is why the \nterritory of the “chiaroscuro” is the territory of \nlife itself, essence of dynamism, where nothing \nis definite and everything is potential. But not \neven that, still. Chiaroscuro is also the terrain of \nthe possible and the unspoken, the stated and \nfinite, dream and at the same time concreteness: \nas the negative defines the positive, incessantly, \nand vice versa. We can only be hybrids, not \nentirely light, not entirely dark, maybe because \nour characteristic as human beings, as beings \nof nature, is precisely that of restlessly crossing \nthat blurry borderline. Like the sun, we are night \nand day, never just one or just the other. We are \nchiaroscuro, made spirit.\nChiaroscuro\ntext by Stefano Salis\nRimini, Ritratto quotidiano\n",46,{"image":167,"text":15,"number":168},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.47.png",47,{"image":170,"text":171,"number":172},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.48.png","046\nRitratti — volume 1 \nRimini, Ritratto quotidiano\n",48,{"image":174,"text":15,"number":175},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.49.png",49,{"image":177,"text":178,"number":179},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.50.png","Ritratti — volume 1 \n048\nRimini, Ritratto quotidiano\n",50,{"image":181,"text":15,"number":182},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.51.png",51,{"image":184,"text":185,"number":186},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.52.png","050\nRitratti — volume 1 \nRimini, Ritratto quotidiano\n",52,{"image":188,"text":15,"number":189},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.53.png",53,{"image":191,"text":15,"number":192},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.54.png",54,{"image":194,"text":15,"number":195},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.55.png",55,{"image":197,"text":15,"number":198},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.56.png",56,{"image":200,"text":15,"number":201},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.57.png",57,{"image":203,"text":15,"number":204},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.58.png",58,{"image":206,"text":207,"number":208},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.59.png","Ritratti — volume 1 \nfotografie di \nAndrea\nFerrari\nVicenza  — Ritratto\nd’artista\n057\nVicenza, Ritratto d’artista\n",59,{"image":210,"text":15,"number":211},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.60.png",60,{"image":213,"text":15,"number":214},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.61.png",61,{"image":216,"text":15,"number":217},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.62.png",62,{"image":219,"text":220,"number":221},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.63.png","061\nRitratti — volume 1 \n       Asimmetria — Ovunque, ma mai al centro! \nAddormentati per secoli sulle certezze di \nordine, proporzione e misura, si era creduto \nche il bello risiedesse nella simmetria delle \ncose. Alla fine dell’ottocento, incuriositi dalla \ncultura giapponese maturata in duecento anni di \nisolamento totale dal resto del mondo, abbiamo \nfinalmente compreso che l’asimmetria poteva \nliberare l’uomo. Di questa emancipazione \nspaziale è intriso tutto l’inizio del novecento: \nper Frank L.Wright tutto questo diventa una \nfede assoluta, per le avanguardie russe significa \ndinamismo accelerazione e movimento.\nL’individuo, con la sua capacità di sentire una \npropria misura delle cose, scopre un concetto \ndi bellezza legato a un nuovo equilibrio degli \nelementi e al valore dell’imperfezione. \nAsimmetria come nuovo principio compositivo \nin tutte le arti, un fantastico viaggio senza \nritorno.\n      Asymmetry — Anywhere, but never at the \ncentre! Snoozing for centuries on the certainties \nof order, proportion and measure, people \nbelieved that beauty dwells in the symmetry \nof things. At the end of the 1800s, intrigued by \nJapanese culture that ripened in two hundred \nyears of total isolation from the rest of the \nworld, we finally understood that asymmetry \ncould liberate humanity. The whole beginning \nof the 20th century is steeped in this spatial \nemancipation: for Frank Lloyd Wright all this \nbecomes an absolute creed; for the Russian \navant-gardes it means dynamism, acceleration, \nmovement.\nThe individual, with his capacity to sense a \npersonal measure of things, discovers a concept \nof beauty linked to a new balance of parts and \nthe value of imperfection. \nAsymmetry as a new compositional principle in \nall the arts, a fantastic voyage from which there \nis no return.\nAsimmetria\ntext by Massimo Curzi\nVicenza, Ritratto d’artista\n",63,{"image":223,"text":224,"number":225},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.64.png","062\nRitratti — volume 1 \nVicenza, Ritratto d’artista\n",64,{"image":227,"text":15,"number":228},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.65.png",65,{"image":230,"text":231,"number":232},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.66.png","064\nRitratti — volume 1 \n       Libertà — Libertà è uscire dal cinema \nprima della fine, senza preoccuparsi del \nbiglietto pagato. Libertà è camminare piano. \nLibertà è voler raccogliere un fiore, ma poi \ndecidere di lasciarlo nel prato. Libertà è \nprepararsi ad intervenire, ma poi decidere di \nstare ad ascoltare. Libertà è poter tradire, ma \nè pure Libertà la fedeltà per tutta la vita.  \nLibertà è bersi una birra quando si vuole.\nCantava De Andrè: “continuerai a farti scegliere \n\u002F o finalmente sceglierai”. \nNel passaggio tra il subire e l’agire la vera \nliberazione.\nNon trovo definizione più bella per la parola \nLibertà.\n      Freedom — Freedom is leaving the cinema \nbefore the end of the film, without worrying \nabout the cost of the ticket. Freedom is walking \nslowly. Freedom is wanting to pick a flower but \nthen deciding to leave it in the meadow. Freedom \nis getting ready to speak and then deciding just \nto listen. Freedom is being able to betray, but \nlifelong loyalty is true Freedom.  \nFreedom is drinking a beer when you feel like it.\nDe André sang: “I will continue to make you \nchoose \u002F or finally you will choose.” \nThe true liberation is in the passage between \nundergoing and acting.\nI can’t find a better definition for the word \nFreedom.\nLibertà\ntext by Giulio Iacchetti\nVicenza, Ritratto d’artista\n",66,{"image":234,"text":15,"number":235},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.67.png",67,{"image":237,"text":15,"number":238},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.68.png",68,{"image":240,"text":241,"number":242},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.69.png","067\nRitratti — volume 1 \nVicenza, Ritratto d’artista\n",69,{"image":244,"text":15,"number":245},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.70.png",70,{"image":247,"text":15,"number":248},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.71.png",71,{"image":250,"text":15,"number":251},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.72.png",72,{"image":253,"text":254,"number":255},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.73.png","071\nRitratti — volume 1 \n       Vibrazione —\nIo Vibro corpo di pelle\nTu Vibri metallo elastico\nEgli Vibra foglie di vento \nNoi Vibriamo raggi luce\nVoi Vibrate cervelli pazzi \nEssi Vibrano anime \nterrorizzate\n      Vibration — \nI Vibrate body of skin\nYou Vibrate elastic metal\nHe\u002FShe Vibrates leaves \nof wind\nWe Vibrate rays of light\nYou Vibrate crazy brains\nThey Vibrate terrified \nsouls\nVibrazione\ntext by Giacinto di Pietrantonio\nVicenza, Ritratto d’artista\n",73,{"image":257,"text":258,"number":259},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.74.png","072\nRitratti — volume 1 \nVicenza, Ritratto d’artista\n",74,{"image":261,"text":262,"number":263},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.75.png","073\n",75,{"image":265,"text":266,"number":267},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.76.png","074\nRitratti — volume 1 \nVicenza, Ritratto d’artista\n",76,{"image":269,"text":15,"number":270},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.77.png",77,{"image":272,"text":15,"number":273},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.78.png",78,{"image":275,"text":15,"number":276},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.79.png",79,{"image":278,"text":15,"number":279},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.80.png",80,{"image":281,"text":282,"number":283},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.81.png","079\n       Disegno — La partenza è un’idea. Sempre. \nUn proposito che diventa progetto e poi forma, \nfino ad accompagnare i pensieri al nero su \nbianco. \n“Se potessi mangiare un’idea avrei fatto la mia \nrivoluzione” cantava Giorgio Gaber.\nE allora le intenzioni diventano pratica fisica, le \nidee forme, l’aria e la luce gesti, parole e segni. \nAlle volte urla. \n      Drawing — The starting point is an idea. \nAlways. An intention that becomes project and \nthen form, until it accompanies our thoughts \nto black on white. \n“If I could eat an idea, I’d have made my \nrevolution,” Giorgio Gaber sang.\nSo intentions become physical practice, ideas \nform, air and light gestures, words and signs. \nAt times it shouts. \n \nDisegno\ntext by Marco Manini\nRitratti — volume 1 \nVicenza, Ritratto d’artista\n",81,{"image":285,"text":15,"number":286},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.82.png",82,{"image":288,"text":15,"number":289},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.83.png",83,{"image":291,"text":15,"number":292},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.84.png",84,{"image":294,"text":15,"number":295},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.85.png",85,{"image":297,"text":15,"number":298},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.86.png",86,{"image":300,"text":301,"number":302},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.87.png","085\nRitratti — volume 1 \nVicenza, Ritratto d’artista\n",87,{"image":304,"text":305,"number":306},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.88.png","086\nRitratti — volume 1 \nVicenza, Ritratto d’artista\n",88,{"image":308,"text":15,"number":309},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.89.png",89,{"image":311,"text":15,"number":10},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.90.png",{"image":313,"text":15,"number":314},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.91.png",91,{"image":316,"text":15,"number":317},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.92.png",92,{"image":319,"text":320,"number":321},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.93.png","fotografie di \nTommaso\nSartori\nThiene — Ritratto \ndella forma\n091\nRitratti — volume 1 \nThiene, Ritratto della forma\n",93,{"image":323,"text":15,"number":324},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.94.png",94,{"image":326,"text":15,"number":327},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.95.png",95,{"image":329,"text":15,"number":330},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.96.png",96,{"image":332,"text":333,"number":334},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.97.png","095\nRitratti — volume 1 \nMatericità\ntext by Matteo Pirola\n       Matericità — Da materico, da materia, \nda mater: la “madre” delle caratteristiche fisiche \nespressive, sempre presente, conferisce ai corpi \nun ruolo reale, che li rende sensibili e attivi, \nanche se a volte inerti.\nÈ una lente speciale per l’osservatore, che così \npuò guardare (o meglio sentire) anche con tutti \ngli altri sensi.\nPur rappresentando l’aggettivo più oggettivo, \nprende d’anticipo la materialità del concreto \noriginale, sia essa consistente o rarefatta, \nomogenea o differenziata, preziosa o povera, \no altro. Finita o non finita. Colorata sempre, \nintrinsecamente. La matericità rappresenta \ntutto quello che viene prima del “materiale” \n(che è materia addizionata di funzione) e \nporta con sé tutto ciò che sta sul fronte, \ncomplementare e amplificatore, dell’emozione.\n      Materiality — From material, matter, \nmater: the “mother” of expressive physical \ncharacteristics, always present – assigns a real \nrole to bodies, making them perceptible and \nactive, though at times inert.\nIt is a special lens for the observer, who can \ntherefore look (or more precisely perceive), \nalso with all the other senses. \nThough it represents the most objective \nadjective, it foreshadows the materiality of \nthe concrete original, whether it is consistent \nor rarefied, homogeneous or differentiated, \nprecious or humble, or something else again. \nFinished or not finished. Always, intrinsically, \ncoloured. Materiality represents everything \nthat comes prior to the “material” (which \nis matter with function added), and brings \nwith it everything that lies on the opposite, \ncomplementary side, that of emotion.\nThiene, Ritratto della forma\n",97,{"image":336,"text":15,"number":337},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.98.png",98,{"image":339,"text":15,"number":340},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.99.png",99,{"image":342,"text":15,"number":343},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.100.png",100,{"image":345,"text":15,"number":346},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.101.png",101,{"image":348,"text":15,"number":349},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.102.png",102,{"image":351,"text":352,"number":353},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.103.png","101\nRitratti — volume 1 \n       Calore — Lo cerchiamo sempre, nelle \ncamerette tinta pastello della nostra giovinezza, \nnei sicuri abbracci di un genitore, nelle giornate \nterse senza foglie e nelle lenzuola di qualche \nanonima stanza d’albergo.\nIl calore non si vede, non lascia tracce, ma \nsi sente. Non indossa divise, non timbra mai \nbiglietti e si nasconde ovunque. In troppi lo \nhanno inseguito per dargli volto e nome; alcuni \ndi loro rischiando anche la vita.\nDi ritorno tutti hanno solo confermato di aver \nvisto impronte sulla neve o qualche bagliore \nin lontananza, nient’altro. Un giorno Ettore \nSottsass scrisse: “Volevo capire, volevo \nimparare, volevo disperatamente sapere se \nc’è un modo – o se non c’è – di disegnare una \nstanza dove si possa trattenere l’esistenza. \nTenere l’esistenza almeno per il fondo della \ncamicia. Anche soltanto per un po’. “ Forse \npensava anche ad una stanza per il calore.\n      Warmth — We seek it always, in the pastel \ncolours of the bedrooms of our youth, in the \nsafe embrace of a parent, in clear leafless days, \nbetween the sheets of some anonymous hotel \nroom.\nWarmth is not seen, leaves no trace, but can be \nfelt. It wears no uniform, never validates tickets \nand hides everywhere. Many have pursued it to \ntry to give it a face and a name; some have even \nrisked their lives.\nOn the way back, they have all simply confirmed \nthat they saw footprints in the snow, or some \nglow in the distance, nothing more. One day \nEttore Sottsass wrote: “I wanted to understand, \nI wanted to learn, I desperately wanted to know \nif there is a way – or not – to design a room \nwhere existence can be detained. To hang on to \nexistence, at least by its shirttails. Even just for \na while.” Maybe he was also thinking about a \nroom for warmth.\nCalore\ntext by Marco Minuz\nThiene, Ritratto della forma\n",103,{"image":355,"text":15,"number":356},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.104.png",104,{"image":358,"text":15,"number":359},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.105.png",105,{"image":361,"text":362,"number":363},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.106.png","104\nRitratti — volume 1 \nThiene, Ritratto della forma\n",106,{"image":365,"text":15,"number":366},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.107.png",107,{"image":368,"text":15,"number":369},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.108.png",108,{"image":371,"text":15,"number":372},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.109.png",109,{"image":374,"text":15,"number":375},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.110.png",110,{"image":377,"text":378,"number":379},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.111.png","109\nRitratti — volume 1 \nThiene, Ritratto della forma\n",111,{"image":381,"text":382,"number":383},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.112.png","110\nRitratti — volume 1 \nThiene, Ritratto della forma\n       Bianco — Spazio delle possibilità infinite, \ndove le idee sono ancora tutte in potenza e il \nvuoto garantisce campo libero all’azione. Su \nfondo bianco il pensiero, una volta espresso, \nsi staglia con nitida evidenza, parla per quello \nè. Senza fraintendimenti o doppi sensi, senza \ngiochi di parole o compromessi, ma con quella \nlimpidezza che nasce da premesse concrete e \nobiettivi chiari. E se è vero che qui ogni minimo \ncenno assume valore, è anche vero che su fondo \nbianco le incertezze sono sempre lampanti. \nÈ un colore che, più di altri, esige impegno e \ndedizione.\n      White — Space of infinite possibilities, where \nideas are all in a state of potential and the \nvoid ensures an unencumbered field of action. \nAgainst the white backdrop thought, once \nexpressed, stands out clearly, speaks for itself, \nfor what it is. Without misunderstandings or \ndouble meanings, puns or compromise, but with \nthat clarity that comes from concrete premises \nand clear objectives. And while it is true that \nhere even the slightest hint takes on value, it \nis also true that against a white background \nuncertainties are always glaringly evident. \nIt is a colour that more than others demands \ncommitment and dedication.\nBianco\ntext by Mariana Siracusa\n",112,{"image":385,"text":15,"number":386},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.113.png",113,{"image":388,"text":389,"number":390},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.114.png","Ritratti — volume 1 \n112\nThiene, Ritratto della forma\n",114,{"image":392,"text":15,"number":393},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.115.png",115,{"image":395,"text":396,"number":397},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.116.png","114\nRitratti — volume 1 \nThiene, Ritratto della forma\n",116,{"image":399,"text":15,"number":400},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.117.png",117,{"image":402,"text":403,"number":404},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.118.png","134\nEmozionario — book\n",118,{"image":406,"text":407,"number":408},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.119.png","117\nRitratti — volume 1 \nThiene, Ritratto della forma\n",119,{"image":410,"text":411,"number":412},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.120.png","118\nRitratti — volume 1 \nThiene, Ritratto della forma\n",120,{"image":414,"text":15,"number":415},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.121.png",121,{"image":417,"text":15,"number":418},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.122.png",122,{"image":420,"text":421,"number":422},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.123.png","121\nRitratti — volume 1 \nThiene, Ritratto della forma\n",123,{"image":424,"text":425,"number":426},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.124.png","122\nRitratti — volume 1 \nThiene, Ritratto della forma\n       Composizione — Comporre è un’azione \nsilenziosa e deflagrante. Condivisa da più \nmondi, ne crea di nuovi. La composizione \nè il metodo razionale, paziente e poetico \ndella costruzione musicale, architettonica, \nletteraria, tipografica. È il ragionamento dentro \nil progetto, la nostra presenza nascosta dentro \nle cose. Mettere insieme. Armoniosamente, \nrigorosamente, emotivamente. Ma anche \ncontrapporre, frammentare, sottrarre. L’insieme \nin cui ogni parte, la più necessaria come la \npiù inattesa, trova significato. Anche i libri \nche restano a lungo sui nostri tavoli sono una \ncomposizione, anche il fischio modulato che \nfa voltare il nostro amato cane. Blaise Pascal \nscriveva di un modello, armonico e sottile, \ncomune a noi stessi e a tutte le cose che \nriconosciamo come belle: “Un accord parfait \nentre une chanson et une maison”.\n      Composition — Composing is a silent \nand blazing action. Shared by multiple \nworlds, it creates new ones. Composition is \nthe rational, patient and poetic method of \nmusical, architectural, literary, typographical \nconstruction. It is the reasoning inside the \nproject, our presence hidden inside things. To put \ntogether. Harmoniously, rigorously, emotionally. \nBut also to counterpose, to fragment, to \nsubtract. The whole in which every part, from the \nmost necessary to the most unexpected, finds \nmeaning. Even the books that lie at length on our \ntables are a composition, even the modulated \nwhistle that makes our beloved dog turn its head. \nBlaise Pascal wrote about a model, harmonious \nand subtle, shared by us and all the things we \nrecognize as beautiful: “Un accord parfait entre \nune chanson et une maison.”\nComposizione\ntext by Anna Foppiano\n",124,{"image":428,"text":15,"number":429},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.125.png",125,{"image":431,"text":432,"number":433},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.126.png","124\nRitratti — volume 1 \nThiene, Ritratto della forma\n",126,{"image":435,"text":15,"number":436},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.127.png",127,{"image":438,"text":15,"number":439},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.128.png",128,{"image":441,"text":15,"number":442},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.129.png",129,{"image":444,"text":15,"number":445},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.130.png",130,{"image":447,"text":15,"number":448},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.131.png",131,{"image":450,"text":15,"number":451},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.132.png",132,{"image":453,"text":454,"number":455},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.133.png","fotografie di \nAndrea \nFerrari\nVerona — Ritratto\ndi silenzi\n131\nRitratti — volume 1 \nVerona, Ritratto di silenzi\n",133,{"image":457,"text":15,"number":458},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.134.png",134,{"image":460,"text":15,"number":461},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.135.png",135,{"image":463,"text":464,"number":465},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.136.png","134\nRitratti — volume 1 \nVerona, Ritratto di silenzi\n",136,{"image":467,"text":468,"number":469},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.137.png","135\n",137,{"image":471,"text":472,"number":473},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.138.png","136\nRitratti — volume 1 \nVerona, Ritratto di silenzi\n       Cromie — Sono i colori rivisitati dalla \ntecnica. Sono colori in movimento, a volte \nper niente stabili, capaci di produrre effetti \ncangianti anche imprevedibili. Hanno in più la \nluminescenza e la fosforescenza: quel “brillio” \nartificiale e gioioso che viene dalla chimica.\n      Hues — Colours reinterpreted by technique. \nColours in movement, sometimes far from \nstable, capable of producing mutable, even \nunpredictable effects. Furthermore, they have \nluminescence and phosphorescence: that \nartificial, joyful “shimmer” that comes from \nchemistry.\nCromie\ntext by Manolo de Giorgi\n",138,{"image":475,"text":15,"number":476},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.139.png",139,{"image":478,"text":15,"number":479},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.140.png",140,{"image":481,"text":15,"number":482},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.141.png",141,{"image":484,"text":485,"number":486},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.142.png","140\n",142,{"image":488,"text":489,"number":490},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.143.png","141\nVerona, Ritratto di silenzi\nRitratti — volume 1 \n",143,{"image":492,"text":493,"number":494},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.144.png","Emozionario — book\n142\nRitratti — volume 1 \nVerona, Ritratto di silenzi\n",144,{"image":496,"text":15,"number":497},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.145.png",145,{"image":499,"text":500,"number":501},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.146.png","144\nRitratti — volume 1 \nVerona, Ritratto di silenzi\n       Caos — Caos o della meraviglia del \ndisordine, dell’energia convulsa senza un fine, \ndell’aritmia sincopata, della “jungle”, del corpo \nlibero, della beanza aperta e vuota e abissale \ne buia, dello sfondo permanente delle cose, \ndell’origine di ogni fare non segnato già in \npartenza da bivi trivi predisposti, dell’incertezza \ne dell’angoscia, delle mille inebrianti direzioni \npossibili (finché puoi, non scegliere), della \ndivina adolescenza. E poi Caos o della scienza, \nquella strana ed attraente, estetica ed \nestatica, differente e autosomigliante, dove \nun niente, all’inizio, rende tutto, alla distanza, \ndeterministicamente inaspettato. \nCaos seducente, promettente, a volte \nilluminante, che se “grande è la confusione sotto \nil cielo, la situazione è eccellente”.\n      Chaos — Chaos, or the wonder of disorder, \nunrestrained aimless energy, syncopated \narrhythmia, of the “jungle”, the free body, of \ngaping empty and abyssal and dark openness, \nthe permanent background of things, the \norigin of every doing not already marked from \nthe outset by pre-set forks and crossroads, \nof uncertainty and anguish, of the thousand \ninebriating possible directions (as long as \nyou can, refrain from choosing), of divine \nadolescence. And then Chaos, or namely \nscience, that strange and attractive, aesthetic \nand ecstatic, different and resemblant science \nwhere an inanity at the start makes everything, \nin the long run, deterministically unexpected. \nSeductive, promising, at times enlightening \nchaos, where if “the confusion under the sky is \ngreat, the situation is excellent”.\nCaos\ntext by Michele Calzavara\n",146,{"image":503,"text":15,"number":504},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.147.png",147,{"image":506,"text":15,"number":507},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.148.png",148,{"image":509,"text":510,"number":511},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.149.png","147\nVerona, Ritratto di silenzi\nRitratti — volume 1 \n",149,{"image":513,"text":514,"number":515},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.150.png","148\nRitratti — volume 1 \nVerona, Ritratto di silenzi\n       Controluce — Di certo le mani a proteggersi \ngli occhi, i teatrini e le sagome grigie carta \nda zucchero della campagna, i profili delle \npersone che non ricordiamo più. Tende, \npersiane e ombrelli. Paralumi di carta bruciata, \nceramica consumata e plastica blu. Frammenti \nd’architettura, il corpo degli oggetti e il disegno \ndella natura. Le forme controluce abitano uno \nspazio indecifrabile, luogo di mediazione tra il \nsole e lo sguardo, l’abbaglio e l’assenza di luce. \nSilenzio scuro dove il volume diventa superficie, \ndove la profondità perde dimensione. In \ncontroluce, accecati nel tentativo di vedere \ntutto, scopriamo di stare esplorando l’atto \nstesso del guardare, misure e figure nuove, il \nnostro occhio imperfetto, inesatto, e le sue \nmacchie di colore. \n      Backlight — Undoubtedly the hands \nshielding the eyes, the little theatres and \nblue-grey silhouettes of the countryside, \nthe profiles of people we no longer recall. \nCurtains, shutters and umbrellas. Burnt paper \nlampshades, worn pottery and blue plastic. \nFragments of architecture, the body of objects \nand the design of nature. Backlit forms inhabit \na space that resists deciphering, a place of \nmediation between sun and gaze, glare and \nabsence of light. Dark silence where volume \nbecomes surface, depth loses its dimension. \nAgainst the light, blinded in the attempt to \nsee all, we realize we are exploring the very \nact of looking, new measures and figures, our \nimperfect, inexact eye and its marks of colour.  \nControluce\ntext by Francesco Garutti\n",150,{"image":517,"text":15,"number":518},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.151.png",151,{"image":520,"text":521,"number":522},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.152.png","150\nRitratti — volume 1 \nVerona, Ritratto di silenzi\n",152,{"image":524,"text":15,"number":525},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.153.png",153,{"image":527,"text":528,"number":529},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.154.png","152\nRitratti — volume 1 \nVerona, Ritratto di silenzi\n",154,{"image":531,"text":532,"number":533},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.155.png","153\n",155,{"image":535,"text":536,"number":537},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.156.png","154\nRitratti — volume 1 \nVerona, Ritratto di silenzi\n",156,{"image":539,"text":15,"number":540},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.157.png",157,{"image":542,"text":15,"number":543},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.158.png",158,{"image":545,"text":15,"number":546},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.159.png",159,{"image":548,"text":15,"number":549},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.160.png",160,{"image":551,"text":552,"number":553},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.161.png","159\nRitratti — volume 1 \nfotografie di \nKasia\nGatkowska\nMilano — Ritratto\nfamiliare\nMilano, Ritratto familiare\n",161,{"image":555,"text":15,"number":556},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.162.png",162,{"image":558,"text":15,"number":559},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.163.png",163,{"image":561,"text":15,"number":562},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.164.png",164,{"image":564,"text":565,"number":566},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.165.png","163\nRitratti — volume 1 \nMilano, Ritratto familiare\n",165,{"image":568,"text":15,"number":569},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.166.png",166,{"image":571,"text":15,"number":572},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.167.png",167,{"image":574,"text":575,"number":576},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.168.png","166\nRitratti — volume 1 \nMilano, Ritratto familiare\n       Fuoco — \ncrepita, scoppietta, arde; \nillumina e riscalda, \nbrucia, scotta, infiamma;\nincenerisce e incendia,\nustiona, scioglie, abbaglia;\ndivampa e devasta,\nnutre, guida, diverte;\nsalva e uccide,\naccèca, accoglie, sorprende;\nfuma e profuma, \ncàngia, attrae, riunisce;\nipnotizza e riverbera,\nrilassa, distende, accende;\nspaventa e danza,\nrespira, sussurra, ùlula;\nstride e sbraita,\nannerisce, esplode, distrugge;\ndecompone e celebra,\nrisplende, fluttua, comunica;\nvivifica e purifica.\n      Fire — \ncrackles, pops, blazes; \nlights and warms, \nburns, scorches, inflames;\nincinerates and ignites,\nblisters, melts, dazzles;\nexplodes and devastates,\nnourishes, guides, diverts;\nsaves and kills,\nblinds, welcomes, surprises;\nsmokes and scents, \nchanges, attracts, gathers;\nhypnotizes and reverberates,\nrelaxes, soothes, stimulates;\nfrightens and dances,\nbreathes, whispers, screams;\nscreeches and yelps,\nblackens, blasts, destroys;\nsplits and celebrates,\nglows, floats, communicates;\nrevives and purifies.\nFuoco\ntext by Paolo Bocchi\n",168,{"image":578,"text":15,"number":579},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.169.png",169,{"image":581,"text":15,"number":582},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.170.png",170,{"image":584,"text":585,"number":586},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.171.png","169\nRitratti — volume 1 \nMilano, Ritratto familiare\n       Nitore — Il nitore nelle nostre vite ha \ninevitabilmente a che fare con una qualche \npurezza, e una qualche verginità. \nLo si incontra di rado, e con una certe dose \ndi inconsapevolezza, ricercandolo nell’istinto \ndelle nostre scelte: laddove le cose sembrano \nsgrombrarsi, e spianare una qualche luce a \nilluminare le cose. Come se, denudandosi, \nrendessero più lieve lo sguardo. \nIn fondo è la ricerca di un orizzonte terso, \nin cui trovare una luce piena, pura, quasi \nadolescenziale. Quella luce a cui proviamo a \ntendere, tutta la vita, come fosse un ritorno. \n      Lustre — The lustre of our lives inevitably \nhas to do with some kind of purity, and some \nkind of virginity. One rarely comes across it, and \nto do so takes a certain amount of unawareness, \nseeking it in the instinct of our choices: where \nthings seem to be disburdened, releasing some \nlight to illuminate things. \nAs if by laying themselves bare they were making \nthe gaze lighter. \nIn the end, it is the search for a clear horizon, \nin which to find a full, pure, almost adolescent \nlight. That light towards which we try to stretch, \nfor all our lives, as if it were a return. \nNitore\ntext by Roberto Marone\n",171,{"image":588,"text":589,"number":590},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.172.png","170\nRitratti — volume 1 \nMilano, Ritratto familiare\n",172,{"image":592,"text":15,"number":593},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.173.png",173,{"image":595,"text":15,"number":596},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.174.png",174,{"image":598,"text":15,"number":599},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.175.png",175,{"image":601,"text":602,"number":603},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.176.png","174\nRitratti — volume 1 \nMilano, Ritratto familiare\n",176,{"image":605,"text":15,"number":606},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.177.png",177,{"image":608,"text":15,"number":609},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.178.png",178,{"image":611,"text":612,"number":613},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.179.png","177\nRitratti — volume 1 \nColore\ntext by Cristina Miglio\n       Colore — Il colore è l’abito di scena con \ncui realtà, sogno e immaginazione si presentano \nai nostri occhi nel teatro della vita. \nTanti, tantissimi i ruoli interpretati, infinite \nle repliche a soggetto. Potente e immediato \nlinguaggio espressivo che veicola la \ntemperatura dell’anima, ordina la percezione \ndel mondo, rappresenta le diverse latitudini \nterrestri, modifica gli spazi, classifica gli \noggetti, definisce le personalità, simboleggia \nepoca e mode, veste i fenomeni della Natura. \nA partire dall’arcobaleno, magico fenomeno \nche da sempre affascina l’uomo, con le sue \nsette bande incerte di colore a preannunciare \nl’infinito.\n      Colour — Colour is the costume with \nwhich reality, dreams and imagination present \nthemselves to our eyes in the theatre of life. \nThere are many, infinite roles to play, endless \nencores and repeat performances. \nA powerful and immediate expressive language \nthat conveys mood and temperature, orders \nperception of the world, represents the \nvarious latitudes, modifies spaces, classifies \nobjects, defines personalities, symbolizes \neras and fashions, garbing the phenomena of \nNature. Starting with the rainbow, that magical \nhappening that has always fascinated human \nbeings, with its seven blurry bands of colour, \nheralding infinity.\nMilano, Ritratto familiare\n",179,{"image":615,"text":15,"number":616},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.180.png",180,{"image":618,"text":15,"number":619},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.181.png",181,{"image":621,"text":15,"number":622},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.182.png",182,{"image":624,"text":15,"number":625},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.183.png",183,{"image":627,"text":15,"number":628},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.184.png",184,{"image":630,"text":631,"number":632},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.185.png","183\nRitratti — volume 1 \nMilano, Ritratto familiare\n",185,{"image":634,"text":15,"number":635},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.186.png",186,{"image":637,"text":15,"number":638},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.187.png",187,{"image":640,"text":641,"number":642},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.188.png","186\nRitratti — volume 1 \nMilano, Ritratto familiare\n",188,{"image":644,"text":15,"number":645},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.189.png",189,{"image":647,"text":15,"number":648},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.190.png",190,{"image":650,"text":15,"number":651},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.191.png",191,{"image":653,"text":15,"number":654},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.192.png",192,{"image":656,"text":15,"number":657},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.193.png",193,{"image":659,"text":15,"number":660},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.194.png",194,{"image":662,"text":15,"number":663},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.195.png",195,{"image":665,"text":666,"number":667},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.196.png","page 005\nVenezia — Ritratto d’ombra\nfotografie di Tommaso Sartori\npage 031\nRimini — Ritratto quotidiano\nfotografie di Kasia Gatkowska\npage 057\nVicenza — Ritratto d’artista\nfotografie di Andrea Ferrari\nRitratti — volume 1 \nIndice dei luoghi — Locations index\n194\n",196,{"image":669,"text":670,"number":671},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.197.png","page 091 \nThiene — Ritratto della forma\nfotografie di Tommaso Sartori\npage 131\nVerona — Ritratto di silenzi\nfotografie di Andrea Ferrari\npage 159\nMilano — Ritratto familiare\nfotografie di Kasia Gatkowska\n",197,{"image":673,"text":674,"number":675},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.198.png","196\nRitratti — volume 1 \nIndice alfabetico — Alphabetical index\n096 Allegro\n098\n100\n143 Anisha\n145\n045 Aplomb\n047\n151 \nBahia\n152\n137 \nBehive\n138\n132 \nBig Bang\n135\n176 \n179\n065 Binic\n066 \n082 \n180 \n182\n083 Birdie fl oor\n084\n108 Birdie Metal\n109\n080 Birdie table\n081\n115 \nCaboche\n116\n048 Caiigo\n063 Chouchin\n167 \nChouchin mini\n168\n171 \nChouchin reverse\n188\n075 Fields\n076\n140 Folio\n090 Gregg table\n105\n123\n011 \nGregg outdoor fl oor\n013\n015\n016\n006 Gregg outdoor susp.\n043 Havana fl oor\n018 Havana outdoor\n  \nfl oor \n020\n022\n006 Havana outdoor\n \nsusp. \n052 Kurage\n078 Lake\n190\n193\n040 Le Soleil\n146 Lightweight\n149\n155 \nLightwing\n189\n191\n111 \nLumiere\n113\n125 \nLumiere xxl + xxs \n \n164\n165\n106 Mite\n187\n126 \nOrbital\n184\n185\n173 \nPlanet\n175\n093 Plass media\n094\n051 Rituals susp.\n053\n038 Rituals table\n039\n008 Solar outdoor\n087\n035 Spokes\n036\n032 Supernova\n033\n121 \nTress fl oor\n123\n069 Tuareg\n072\n119\n120\n065 Twiggy fl oor\n068\n070\n137\n161\n162\n135 \nTwiggy Lettura \n025 Uto \n026\n058\n060\n",198,{"image":677,"text":678,"number":679},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.199.png","197\nØ 23 × h 130 cm\nØ 9 1\u002F16’’ × h 51 1\u002F8”\nPolietilene stampato \nin rotazionale \ne metallo verniciato.\nRotational moulded \npolyethylene and \nvarnished metal.\n220 \u002F 240V:\nHalo 1×46W E27,\nfl uo o LED retrofi t 1×15W E27\n120V:\nHalo 1×60W E26,\nfl uo or LED retrofi t 1×13W E26\nEnergy class A+, A\n   \nSuitable for wet location\nGregg xl\nl 60 × h 50 cm\nl 23 7\u002F16’’ × h 19 3\u002F4’’\nGregg grande\nl 46 × h 39 cm\nl 18 5\u002F16’ h 15 7\u002F16’’\nGregg media\nl 31 × h 26 cm\nl 12 1\u002F8’’ × h 10 1\u002F4’’\nPolietilene stampato \nin rotazionale \ne metallo verniciato.\nRotational moulded \npolyethylene and \nvarnished metal.\nGregg outdoor XL—grande\n220 \u002F 240V:\nfl uo o LED retrofi t 1×25W E27\n120V:\nfl uo or LED retrofi t 1×26W E26\nEnergy class A+, A\nGregg outdoor media\n220 \u002F 240V:\nfl uo o LED retrofi t 1×15W E27\n120V:\nfl uo or LED retrofi t 1×13W E26\nEnergy class A+, A\n   \nSuitable for wet location\nØ 80 × h 26 \u002F 38 cm\nØ 31 3\u002F8’’ × h 10 1\u002F4’’ \u002F 14 3\u002F4’’\nPolietilene stampato \na rotazione, gres \ne metallo verniciato.\nRotational moulded \npolyethylene, gres and \nvarnished metal.\n220 \u002F 240V:\nfl uo o LED retrofi t 1×25W E27\n120V:\nfl uo or LED retrofi t 1×26W E26\nEnergy class A+, A\n   \nSuitable for wet location\nGregg xl\nl 59 × p 51 × h 51 cm\nl 23 1\u002F2’’ × d 20’’ × h 20’’\nGregg grande\nl 47 × p 40 × h 40 cm\nl 18 1\u002F2’’ × d 15 3\u002F4’’ × h 15 3\u002F4’’\nGregg media\nl 31 × p 27 × h 27 cm\nl 12 3\u002F16’’ × d 10 1\u002F2’’ × h 10 1\u002F2’’\nPolietilene stampato \nin rotazionale\ne metallo verniciato.\nRotational moulded \npolyethylene and \nvarnished metal.\nGregg outdoor XL—grande\n220 \u002F 240V:\nfl uo o LED retrofi t 1×25W E27\n120V:\nfl uo or LED retrofi t 1×26W E26\nEnergy class A+, A\nGregg outdoor media\n220 \u002F 240V:\nfl uo o LED retrofi t 1×15W E27\n120V:\nfl uo or LED retrofi t 1×13W E26\nEnergy class A+, A\n   \nSuitable for wet location\nHavana outdoor sospensione\nJozeph Forakis, 2005\n→ p. 006\nGregg outdoor sospensione\nL+R Palomba, 2011\n→ p. 006\nSolar outdoor\nJean Marie Massaud, 2011\n→ p. 008, 087\nGregg outdoor terra\nL+R Palomba, 2011\n→ p. 011. 013, 015, 016\n15°\n",199,{"image":681,"text":682,"number":683},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.200.png","Ritratti — volume 1 \n198\nHavana outdoor terra\nJozeph Forakis, 2005\n→ p. 018, 020, 022\nUto\nLagranja Design, 2005\n→ p. 025, 026, 058, 060\nSupernova\nFerruccio Laviani, 2000\n→ p. 032, 033\nSpokes\nGarcia Cumini, 2015\n→ p. 035, 036\nØ 23 × h 170 \u002F 143 cm\nØ 9 1\u002F16’’ × h 67” \u002F 156 1\u002F2”\nPolietilene stampato \nin rotazionale\ne metallo verniciato.\nRotational moulded \npolyethylene and \nvarnished metal.\n220 \u002F 240V:\nHalo 1×46W E27,\nfl uo o LED retrofi t 1×15W E27\n120V:\nHalo 1×60W E26,\nfl uo or LED retrofi t 1×13W E26\nEnergy class A+, A\n   \nSuitable for wet location\nØ 20 × h 64 cm\nØ 7 7\u002F8’’ × h 23 5\u002F8’’\nElastomero termoplastico \ne policarbonato.\nThermoplastic elastomer \nand polycarbonate.\n220 \u002F 240V:\nfl uo o LED retrofi t 1×15W E27\n120V:\nfl uo or LED retrofi t 1×13W E26\nEnergy class A+, A\n   \nSuitable for damp location\nØ 50 × h 60 cm\nØ 19 3\u002F4’’ × 23 3\u002F4’’\nAlluminio verniciato.\nLacquered aluminium.\n220 \u002F 240V:\nfl uo o LED retrofi t 1×23W E27\n120V:\ninc, fl uo or LED retrofi t \n1×100W E26\nwhite globe bulb \nreccommended\nEnergy class A+, A, C\n   \nSpokes 1\nØ 32,5 × h 71 cm\nØ 12 3\u002F4’’ × h 28’’\nSpokes 2\nØ 52 × h 52,5 cm\nØ 20 1\u002F2’’ × h 20 5\u002F8’’\nAlluminio e acciaio \nverniciati.\nVarnished steel \nand aluminium.\n220 \u002F 240V:\nLED 38W 2700K 3264 lm \nCRI>90\n120V:\nLED 40W 2700K 3036 lm \nCRI>90\nDimmerabile - Dimmable\nEnergy class A\n   \n",200,{"image":685,"text":686,"number":687},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.201.png","199\nRituals 1\nØ 24 × h 40 cm\nØ 9 1\u002F2’’ × h 15 3\u002F4’’\nRituals 2\nØ 34 × h 25 cm\nØ 13 1\u002F4’’ × h 10’’\nRituals 3\nØ 20 × h 27 cm\nØ 8’’ × h 10 1\u002F2’’\nVetro soffi  ato satinato \ne metallo verniciato.\nBlown satin glass \nand varnished metal.\n220 \u002F 240V:\nfl uo o LED retrofi t 1×15W E27,\nhalo 1×105W E27,\n120V:\nfl uo or LED retrofi t 1×15W E26,\nhalo 1×100W E26,\nEnergy class A+, A\nDimmer incluso\nDimmer included (G9)\n   \n (G9)\nØ 62 × h 43 cm\nØ 24 7\u002F32” × h 17”\nPolicarbonato stampato \nad iniezione e metallo \nverniciato.\nInjection moulded \npolycarbonate and coated \nmetal.\n220 \u002F 240V:\nLED 46W 4655 lm 2700K \nCRI>90 \nDimmerabile - Dimmable\nhalo o LED\nretrofi t 3×70W E27\n+ halo o LED\nretrofi t 1×75W GU10 PAR\n120V:\nhalo or LED\nretrofi t 3×60W E26\n+ halo or LED\nretrofi t 1×75W GU10 PAR\nEnergy class A+, A\n   \n (halo)\nØ 23 × h 172 cm\nØ 9 1\u002F16’’ × h 66 7\u002F8’’\nPolietilene stampato \nad iniezione e metallo \nverniciato.\nInjection moulded \npolyethylene and \nvarnished metal.\n220 \u002F 240V:\nhalo 1×116W E27,\nfl uo o LED retrofi t 1×25W E27\n120V: \nhalo 1×150W E26,\nfl uo or LED retrofi t 1×26W E26\nEnergy class A+, A\n   \nØ 17 × h 40 cm\nØ 6 1\u002F2’’ × h 14’’\nCemento e alluminio.\nConcrete and aluminium.\n220 \u002F 240V:\nhalo o LED retrofi t 1×60W G9\n1×8W LED retrofi t GU10 PAR\n120V:\nhalo or LED retrofi t 1×60W G9\n1×8W LED retrofi t GU10 PAR\nEnergy class A+, A, C\n   \n (GU10)\nRituals\nL+R Palomba, 2012\n→ p. 038,039\nLe Soleil\nVicente Garcia\nJimenez, 2009\n→ p. 040, 041\nHavana\nJozeph Forakis, 1993\n→ p. 043\nAplomb\nPaolo Lucidi \ne Luca Pevere, 2010\n→ p. 045, 047\n",201,{"image":689,"text":690,"number":691},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.202.png","Ritratti — volume 1 \n200\nCaiigo\nMarco Zito, 2015\n→ p. 048, 049\nRituals\nL+R Palomba, 2013\n→ p. 051, 053\nKurage\nLuca Nichetto \n+ Nendo, 2015\n→ p. 052\nChouchin\nIonna Vautrin, 2011\n→ p. 063\nl 24,5 × h 29 cm\nl 9 5\u002F8” × h 11 3\u002F8”\nVetro soffi  ato e alluminio.\nBlown glass and aluminium.\n220 \u002F 240 - 120V: \nLED retrofi t 1×8W GU10 PAR\nhalo 1×35W GU10 PAR\nEnergy class A+, A\n   \nRituals 1\nl 24 × h 34 cm\nl 9 5\u002F8’’ × h 13 1\u002F2”\nRituals 2\nl 34 × h 19 cm\nl 13 3\u002F8’’ × h 7 3\u002F8”\nRituals 3\nl 19 × h 21 cm\nl 7 1\u002F2’’ × h 8 1\u002F8”\nVetro soffi  ato satinato \ne metallo verniciato.\nBlown satin glass \nand lacquered metal.\nRituals 1 - 2 - 3\n220 \u002F 240V: \nfl uo o LED retrofi t 1×15W E27\nhalo 1×70W E27\n120V:\nfl uo or LED retrofi t 1×15W E26\nhalo 1×60W E26\nEnergy class A+, A\n   \n (G9)\nØ 33,5 × p 30 × h 49 cm\nØ 13 1\u002F4’’ × d 11 3\u002F4’’ × h 19 1\u002F4’’\nLegno e carta washi.\nWood and washi paper.\n220 \u002F 240V: \nfl uo o LED retrofi t 1×20W E27\n120V:\nfl uo or LED retrofi t 1×20W E26\nEnergy class A+, A\n   \nChouchin 1\nØ 40 × h 31 cm\nØ 15 7\u002F8’’ × h 12 3\u002F8’’\nChouchin 2\nØ 22 × h 43 cm\nØ 8 7\u002F8’’ × h 17’’\nChouchin 3\nØ 30 × h 25 cm\nØ 12’’ × h 9 7\u002F8’’\nVetro soffi  ato verniciato.\nLacquered blown glass.\nChouchin 1 - 2 - 3\n220 \u002F 240V: \nLED 24W 2700K 2676 lm \nCRI>90\nLED retrofi t 21W 2500 lm \nCRI>80\nDimmerabile - Dimmable\n120V: \nLED 23W 2700K 2291 Im \nCRI>90\nDimmerabile - Dimmable\nfl uo or LED retrofi t 1×26W E26\nhalo 1×150W E26,\nEnergy class A+,A\n   \n",202,{"image":693,"text":694,"number":695},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.203.png","201\nl 170 \u002F 200 × h 190 \u002F 290 cm\nl 67” \u002F 79” × h 85” \u002F 110”\nMateriale composito \nsu base di fi bra \ndi vetro laccato, PMMA, \npolicarbonato, metallo \nverniciato e alluminio (LED).\nVarnished fi breglassbased \ncomposite material, PMMA, \npolycarbonate, varnished \nmetal and aluminium (LED).\n220 \u002F 240V: \nLED 33W 3000K 3448 lm \nCRI>90\nhalo o LED retrofi t 3×77W E27\n120V:\nLED 38W 3000K 3448 lm \nCRI>90\nhalo 3×100W E26\nEnergy class A+\nDimmer incluso\nDimmer included\n   \n (halo)\nl 14 × p 14 × h 20 cm\nl 5 1\u002F2’’ × d 5 1\u002F2’’ × h 8’’\nABS masterizzato \ne policarbonato.\nPolycarbonate \nand batchdyed ABS. \n220 \u002F 240V: \nfl uo o LED retrofi t 1×12W E14\n120V:\nfl uo or LED retrofi t 1×13W E12\nEnergy class A+, A\n   \nl 112 × p 78 × h 209 cm\nl 44 1\u002F8’’ × d 30 45\u002F64’’ \n× h 82 9\u002F32’’\nAlluminio verniciato e \npolicarbonato.\nVarnished aluminium and \npolycarbonate.\n220 \u002F 240V: \nLED 54W 3000K 4050 lm \nCRI>90\n120V:\nLED 59W 3000K 4050 lm \nCRI>90\nEnergy class A+\nAccensioni separate\nSeparate switches\nTouch dimmer incluso\nTouch dimmer included\n   \nFields 1\nl 170 × p 9 × h 15 cm\nl 66 15\u002F16’’ × d 3 1\u002F2’’ × h 5 7\u002F8’’\nFields\nl 178 × p 24 × h 95 cm\nl 70’’ × d 9 1\u002F2’’ × h 37 3\u002F8’’\nMetacrilato, alluminio \nverniciato e policarbonato.\nMethacrylate, varnished \naluminium and polycarbonate.\nFields 1\n220 \u002F 240 \u002F 120V: fl uo 1×80W G5\nEnergy class A+, A\nFields\n220 \u002F 240 \u002F 120V: fl uo 1×80W \nG5 + 1×54W G5 + 1×39W G5\nEnergy class A+, A\n   \n (Fields 1)\nTwiggy\nMarc Sadler, 2006\n→ p. 065, 068, 070, 137,\n161, 162\nBinic\nIonna Vautrin, 2010\n→ p. 065, 066, 082, \n180, 182\nTuareg\nFerruccio Laviani, 2013\n→ p.069, 072, 119, 120\nFields\nVicente Garcia \nJimenez, 2007\n→ p. 075, 076\n",203,{"image":697,"text":698,"number":699},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.204.png","Ritratti — volume 1 \n202\nLake\nPaolo Lucidi e\nLuca Pevere, 2015\n→ p. 078, 190, 193\nBirdie Table\nL+R Palomba, 2011\n→ p. 080, 081\nBirdie Floor\nL+R Palomba, 2011\n→ p. 083, 084\nGregg\nL+R Palomba, 2007\n→ p. 090, 105, 123\nl 48,5 × p 9,5 × h 48 cm\nl 19 1\u002F8’’ × d 3 3\u002F4’’ × h 18 7\u002F8’’\nABS stampato a iniezione.\nInjection moulded ABS.\n220 \u002F 240 - 120V: \nLED 12,7W 3000K 850 lm \nCRI>80\nEnergy class A\n   \nBirdie grande \nØ 25 × h 70 cm\nØ 9 7\u002F8’’ × h 27 1\u002F2’’\nBirdie piccola \nØ 17 × h 49 cm\nØ 6 3\u002F4’’ × h 19 1\u002F4’’\nPolicarbonato, acciaio \ne metallo verniciati.\nPolycarbonate, varnished \nsteel and metal.\nBirdie grande\n220 \u002F 240V:\nhalo 1×150W E27,\nfl uo o LED retrofi t 1×25W E27\n120V:\nhalo 1×150W E26,\nfl uo or LED retrofi t 1×26W E26\nBirdie piccola\n220 \u002F 240V: \nhalo 1×70W E27,\nfl uo o LED retrofi t 1×20W E27\n120V:\nhalo 1×60W E26,\nfl uo or LED retrofi t 1×20W E26\nEnergy class A+, A\nOn\u002Foff  o con touch-dimmer \nintegrato\nOn\u002Foff  or with integrated \ntouch-dimmer\n   \nØ 30 × h 150 cm\nØ 11 3\u002F4’’ × h 59’’\nPolicarbonato, acciaio \ne metallo verniciati.\nPolycarbonate, varnished \nsteel and metal.\n220 \u002F 240V:\nhalo 1×150W E27,\nfl uo o LED retrofi t 1×25W E27\n120V:\nhalo 1×150W E26,\nfl uo or LED retrofi t 1×26W E26\nEnergy class A+, A\nOn\u002Foff  o con touch-dimmer \nintegrato\nOn\u002Foff  or with integrated \ntouch-dimmer\n   \nGregg grande\nl 47 × p 40 × h 40 cm\nl 18 1\u002F2’’ × d 15 3\u002F4’’ × h 15 3\u002F4’’\nGregg media\nl 31 × p 26 × h 26 cm\nl 12 3\u002F16’’ × d 10 1\u002F4’’ × h 10 1\u002F4’’’\nGregg piccola\nl 13 × p 11 × h 11 cm\nl 5 1\u002F8’’ × d 4 5\u002F16’’ × h 4 5\u002F16’’\nVetro soffi  ato acidato \ne metallo verniciato.\nBlown acid-etched glass \nand varnished metal.\nGregg grande\n220 \u002F 240V:\nhalo o LED\nretrofi t 1×205W E27\n120V:\nhalo or LED\nretrofi t 1×150W E26\nGregg media\n220 \u002F 240V: \nhalo o LED retrofi t 1×150W E27\n120V:\nhalo or LED retrofi t 1×100W \nE26\nGregg piccola\n220 \u002F 240V:\nhalo o LED retrofi t 1×20W G9\n120V: \nhalo or LED retrofi t 1×25W G9\nEnergy class A+, A, C\nDimmer incluso\nDimmer included\n   \n",204,{"image":701,"text":702,"number":703},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.205.png","203\nPlass media\nLuca Nichetto, 2015\n→ p. 093, 094\nAllegro\nAtelier Oï, 2007\n→ p. 096, 098, 100 \nMite\nMarc Sadler, 2000\n→ p. 106, 187 \nBirdie Metal\nL+R Palomba, 2014\n→ p. 108, 109\nØ 34 × h 50 cm\nØ 13 1\u002F4’’ × h 19 1\u002F2’’\nPolicarbonato stampato \nin rotazionale e acciaio.\nRotational moulded \npolycarbonate and steel.\n220 \u002F 240V:\nhalo o LED\nretrofi t 1×116W E27\n+ halo o LED\nretrofi t 1×75W GU10\n120V: \nhalo or LED\nretrofi t 1×100W E26\n+ halo or LED\nretrofi t 1×50W GU10\nEnergy class A+, A\n   \nAllegro Assai\nØ 136 × h 136 cm\nØ 53 1\u002F2” × h 53 1\u002F2” \nAllegro Ritmico\nØ 75 × h 81 cm\nØ 29 1\u002F2” × h 31 7\u002F8”\nAlluminio verniciato \ne metallo cromato.\nVarnished aluminium \nand metal.\n220 \u002F 240 - 120V: \nLED 39,4W 3000K 4890 Im \nCRI>90\nDimmerabile\nDimmable\n220 \u002F 240V:\nhalo o LED retrofi t 1×100W \nE27 PAR\n+ halo o LED retrofi t 1×230W \nR7s\n120V:\nhalo or LED retrofi t 1×75W \nE26 PAR\n+ halo or LED retrofi t 1×200W \nRSC\nEnergy class A+, A\nDoppia accensione\nDouble switch\n   \nØ 21 × h 185 cm\nØ 8 1\u002F4’’ × h 72 5\u002F6’’\nTessuto di vetro con fi bra \ndi carbonio o Kevlar©, \nmetallo nichelato, \nacciaio e alluminio (LED).\nFiber glass fabric with \nKevlar© or carbonium \nthread, nickel-plated \nsteel and aluminium (LED).\nKevlar© is a Dupont registered \ntrademark.\n220 \u002F 240V:\nLED 32,9W 3000K 3580 lm \nCRI>90\nhalo o LED retrofi t 1×150W E27\n120V:\nLED 32,9W 3000K 3580 lm \nCRI>90\nhalo 1×150W E26\nEnergy class A+, A\n   \n (halo)\nBirdie grande \nØ 25 × h 70 cm\nØ 9 7\u002F8’’ × h 27 1\u002F2’’\nBirdie piccola \nØ 17 × h 49 cm\nØ 6 3\u002F4’’ × h 19 1\u002F2’’\nPolicarbonato e acciaio \nmetallizzati.\nMetallized polycarbonate \nand metallized steel.\nBirdie grande\n220 \u002F 240V:\nfl uo o LED retrofi  t 1×25W E27\n120V: \nfl uo or LED retrofi  t 1×26W \nE26\nBirdie piccola\n220 \u002F 240V: \nfl uo o LED retrofi  t 1×20W E27\n120V:\nfl uo or LED retrofi  t 1×20W \nE26\nEnergy class A+, A\n   \n",205,{"image":705,"text":706,"number":707},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.206.png","Ritratti — volume 1 \n204\nLumiere grande\nl 26 × h 45 cm\nl 10 1\u002F4’’ × h 17 3\u002F4’’\nLumiere piccola\nl 20 × h 35 cm\nl 7 7\u002F8’’ × h 13 3\u002F4’’\nVetro soffi  ato e alluminio \nlucido o cromato nero.\nBlown glass and polished \naluminium or black chrom. \nLumiere grande\n220 \u002F 240V: \nhalo o LED retrofi t 2×48W G9\n120V: \nhalo or LED retrofi t 2×40W G9\nLumiere piccola\n220 \u002F 240V:\nhalo o LED retrofi t 1×48W G9\n120V: \nhalo or LED retrofi t 1×40W G9\nEnergy class A+, A, C\n   \n (piccola)\nØ 50 × h 20 cm\nØ 19 3\u002F4’’ × h 7 7\u002F8’’\nPolimetilmetacrilato, vetro \nsoffi  ato, metallo cromato \ne alluminio (LED).\nPMMA, blown glass, chromed \nmetal and aluminium (LED).\nCaboche media\n220 \u002F 240V: \nLED 35W 3000K 3653 lm \nCRI>90\nhalo o LED\nretrofi t 1×160W R7s\n120V:\nLED 47W 3000K 3653 lm \nCRI>90\nhalo or LED\nretrofi t 1×150W RSC\nEnergy class A+,A,C\nDimmerabile - Dimmable\n   \n (halo)\nTress grande\nl 25 × h 195 cm\nl 9 27\u002F32’’ × h 76 25\u002F32’’\nTress media\nl 24 × h 110 cm\nl 9 7\u002F16’’ × h 43 5\u002F16’’\nMateriale composito \nsu base di fi bra di vetro \nlaccato, metallo verniciato \ne alluminio.\nCompound material \non lacquered glass fi bre\nbase, varnished metal \nand aluminium.\n220 \u002F 240V: \nLED 51,7W 2700K 5254 lm \nCRI>90\nhalo o LED\nretrofi t 1×100W E27 PAR\n+ halo o LED\nretrofi t 1×300W R7s\n120V:\nLED 54W 2700K 4790 lm \nCRI>90\nhalo 1×75W E26 PAR\n+ halo 1×300W RSC\nEnergy class A+, A, C\nDimmer incluso, doppia \naccensione\nDimmer included, double \nswitch\n   \n (halo grande) \nLumiere ××l\nl 37 × h 57 cm\nl 14 9\u002F16’’ × h 22 7\u002F16’’\nLumiere ××s\nl 26 × h 40 cm\nl 10 1\u002F4’’ × h 15 3\u002F4’’\nVetro soffi  ato e alluminio \nlaccato.\nBlown glass and lacquered \naluminium.\nLumiere XXL\n220 \u002F 240V: \nhalo o LED\nretrofi t 4×33W G9\n120V: \nhalo 4×40W G9\nLumiere XXS\n220 \u002F 240V: \nhalo o LED\nretrofi t 1×48W G9\n120V: \nhalo 1×40W G9\nDimmer incluso\nDimmer included\n   \nLumiere\nRodolfo Dordoni, 1990\n→ p. 111, 113\nCaboche\nPatricia Urquiola con\nEliana Gerotto, 2005\n→ p. 115, 116\nTress\nMarc Sadler, 2008\n→ p. 121, 123 \nLumiere ××l + ××s\nRodolfo Dordoni, 2009\n→ p. 125, 164, 165\n",206,{"image":709,"text":710,"number":711},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.207.png","205\nl 53 × h 170 cm\nl 20 3\u002F4’’ × h 67’’\nVetro serigrafato \ne metallo verniciato.\nSilkscreen-printed glass \nand varnished metal.\n220 \u002F 240V:\nhalo o LED\nretrofi t 5×30W E14\n120V: \ninc\u002Fhalo or LED\nretrofi t 5×40W E12\nEnergy class A+, A\n   \nl 96 × h 66 cm\nl 37 3\u002F4” × h 23 2\u002F3”\nMetacrilato e alluminio \nverniciato.\nMethacrylate and varnished \naluminium.\n220 \u002F 240V:\nLED 37,7W 3000K 3885 lm \nCRI>90\nhalo o LED\nretrofi t 1×160W R7s\n120V: \nLED 41W 3000K 3885 lm \nCRI>90\nhalo or LED\nretrofi t 1×200W RSC\nEnergy class A+, A, C\n   \n (halo)\nl 46 × h 160 cm\nl 18 1\u002F8’’ × h 65’’\nMateriale composito su \nbase di fi bra di vetro laccato, \nPMMA, policarbonato \ne metallo verniciato.\nCoated fi breglassbased \ncomposite material, PMMA, \npolycarbonate and varnished \nmetal.\n220 \u002F 240V: \nhalo o LED\nretrofi t 3×77W E27\n120V: \ninc 3×100W E26\nEnergy class A+, A\nDimmer incluso\nDimmer included\n   \n \nØ 39,5 × h 40 cm\nØ 15 1\u002F2’’ × h 15 3\u002F4’’\nABS masterizzato, \npolicarbonato e \nmetallo verniciato.\nBatch-dyed ABS, \npolycarbonate \nand varnished metal.\n220 \u002F 240V: \nhalo o LED\nretrofi t 1×150W E27\n120V: \nhalo or LED\nretrofi t 1×150W E26\nEnergy class A+, A, C\nDimmer incluso\nDimmer included\n   \nOrbital\nFerruccio Laviani, 1992\n→ p. 126, 184, 185\nBig Bang\nEnrico Franzolini con Vicente \nGarcia Jimenez, 2005\n→ p. 132, 135, 176, 179\nTwiggy lettura\nMarc Sadler, 2008\n→ p. 135 \nBehive\nWerner Aisslinger, 2011\n→ p. 137, 138\n",207,{"image":713,"text":714,"number":715},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.208.png","Ritratti — volume 1 \n206\nFolio\nC. Urbinati e\nA. Vecchiato,1990\n→ p. 140\nAnisha\nStudio Lievore Altherr\nMolina, 2011\n→ p. 143, 145\nLightweight\nTom Dixon, 1995\n→ p. 146, 149 \nBahia\nPaolo Lucidi \ne Luca Pevere, 2010\n→ p. 151, 152\nFolio grande\nl 48 × p 10 × h 38 cm\nl 18 7\u002F8’’ × d 3 7\u002F8’’ × h 15’’\nFolio piccola\nl 33 × p 8 × h 25 cm\nl 13’’ × d 3 1\u002F8’’ × h 9 5\u002F6’’\nVetro soffi  ato satinato \ne metallo laccato.\nBlown acid-etched glass \nand varnished metal.\n220 \u002F 240V:\nhalo o LED\nretrofi t 1×120W R7s,\n120V: \nhalo or LED\nretrofi t 1×100W RSC,\nEnergy class A+, A, C\n   \nAnisha grande \nl 33 × p 5 × h 46 cm\nl 13’’ × d 2’’ × h 18 1\u002F8’’\nAnisha piccola\nl 23 × p 5 × h 32 cm\nl 9 1\u002F16’’ × d 2’’ × h 12 5\u002F8’’\nABS stampato a iniezione.\nInjection moulded ABS.\nAnisha grande\nLED 4,5W 3000° K 400 lm \nCRI>80\nAnisha piccola\nLED 3,4W 3000° K 300 lm \nCRI>80\nEnergy class A+\nTouch-dimmer integrato\nIntegrated touch-dimmer\n   \nØ 116 × h 73 cm\nØ 45 21\u002F32’’ × h 28 3\u002F4’’\nMetallo anodizzato.\nAnodised metal.\n220 \u002F 240V:\nhalo o LED\nretrofi t 8×20W G4\n120V: \nhalo or LED\nretrofi t 8×20W G4\nEnergy class A+, A, C\n   \nl 76 × p 10 × h 70 cm\nl 29 7\u002F8’’ × d 4’’ × h 27 3\u002F4’’\nPolicarbonato stampato\na iniezione.\nInjection moulded \npolycarbonate.\nLED 43W 2850°K 4210 lm \nCRI>90\n220 \u002F 240 \u002F 120V:\nfl uo 1×40W + 1×22W 2GX13\nEnergy class A+, A\nDimmerabile - Dimmable\n   \n",208,{"image":717,"text":718,"number":719},"\u002Fmedia\u002Fimages\u002Fcb\u002F53f314c5634e25de380e31aad941b2-2854d8dc90.209.png","207\nLightwing\nJean Marie Massaud, 2013\n→ p. 155, 189, 191\nChouchin mini\nIonna Vautrin, 2013\n→ p. 167, 168\nChouchin reverse\nIonna Vautrin, 2015\n→ p. 171, 188\nPlanet\nChangedesign, 2011\n→ p. 173, 175\nl 52 × p 23 × h 195 cm\nl 20 15\u002F32’’ × d 9 1\u002F6’’ × h 77’’\nAlluminio verniciato \ne lega di zinco.\nVarnished aluminum \nand zinc alloy.\n220 \u002F 240 V: \nLED 34W 3000K 3157 lm \nCRI>90\n120V: 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