[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-wallanddeco-book-2021":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":316},{"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":311,"matched_pages":312,"match_count":313,"two_pages":314,"show_text":315},19381,"Book 2021","wallanddeco-book-2021","\u002Fmedia\u002Fimages\u002F3d\u002F01c8bb48be7d11bf5c5df097a18f6a-28a413e988.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002F69\u002Ffa32e6b27920135c3bc9a34a899691-28a412ff13.pdf","Wall&deco",2370,"wall-deco","10.6 MB",[14,17,21,25,29,33,37,41,45,49,53,57,61,65,69,73,77,81,85,89,93,97,101,105,109,113,117,121,125,129,133,137,141,145,149,153,157,161,165,169,173,177,181,185,189,193,196,200,204,208,212,216,220,224,228,232,236,240,244,248,252,256,260,264,268,272,276,280,284,288,292,296,300,304,308],{"image":7,"text":15,"number":16},"",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002F3d\u002F01c8bb48be7d11bf5c5df097a18f6a-28a413e988.2.png","CONTEMPORARY WALLPAPER COLLECTION\n2021\n",2,{"image":22,"text":23,"number":24},"\u002Fmedia\u002Fimages\u002F3d\u002F01c8bb48be7d11bf5c5df097a18f6a-28a413e988.3.png","CHAPTER ONE\n",3,{"image":26,"text":27,"number":28},"\u002Fmedia\u002Fimages\u002F3d\u002F01c8bb48be7d11bf5c5df097a18f6a-28a413e988.4.png","Roots\nCWC\n4\nLa superficie imperfetta strizza l’occhio al Wabi-Sabi reinterpretandolo in chiave design, grazie \nall’abbinamento di materia e arredi freddi dalle forme definite.\nDa una parte l’ispirazione botanica, organica – dall’altra il focus su texture stratificate – in ambo \ni casi il verde e i colori della terra diventano l’elemento di comfort, abbinandosi a legni, tessuti e \npaglie per creare ambientazioni accoglienti e atmosfere introspettive.\nThe imperfect surface gives the nod to Wabi-Sabi, reinterpreting it with a designer twist, thanks to \nthe combination of material and cold furniture with defined shapes.\nOn the one hand, botanical, organic inspiration - on the other, a focus on layered textures - in \nboth cases, the green and earthy colours become the element of comfort, combining with woods, \nfabrics and straw to create cosy environments and introspective atmospheres.\n2021\n5\n",4,{"image":30,"text":31,"number":32},"\u002Fmedia\u002Fimages\u002F3d\u002F01c8bb48be7d11bf5c5df097a18f6a-28a413e988.5.png","Lorenzo De Grandis.  \n \n \nWDEE2101 \nTree of Life\nCWC\n6\nLorenzo De Grandis.  \n \n \nWDMR2101 \nMoon River\n2021\n7\n",5,{"image":34,"text":35,"number":36},"\u002Fmedia\u002Fimages\u002F3d\u002F01c8bb48be7d11bf5c5df097a18f6a-28a413e988.6.png","Giovanni Pesce.  \n \n \nWDTE2101 \nTerra Mia\nCWC\n8\nAntonio Marras.   \n \nWDKU2101 \nKuma\n2021\n9\n",6,{"image":38,"text":39,"number":40},"\u002Fmedia\u002Fimages\u002F3d\u002F01c8bb48be7d11bf5c5df097a18f6a-28a413e988.7.png","Gio Tirotto.  \n \n \nWDTC2101 \nTerracotta\nCWC\n10\nLudovica+Roberto Palomba.  \n \n \nWDAF2101 \nAffiche\n2021\n11\n",7,{"image":42,"text":43,"number":44},"\u002Fmedia\u002Fimages\u002F3d\u002F01c8bb48be7d11bf5c5df097a18f6a-28a413e988.8.png","Federico Peri.  \n \n \nWDPA2101 \nPaint\nCWC\n12\n2021\n12\nDraga&Aurel.  \n \n \nWDMY2101 \nMy Signature\n2021\n13\n",8,{"image":46,"text":47,"number":48},"\u002Fmedia\u002Fimages\u002F3d\u002F01c8bb48be7d11bf5c5df097a18f6a-28a413e988.9.png","Antonio Marras.   \n \nWDPR2101 \nParavento\nCWC\n14\nGiovanni Pesce.  \n \n \nWDRU2101 \nCaruso\n2021\n15\n",9,{"image":50,"text":51,"number":52},"\u002Fmedia\u002Fimages\u002F3d\u002F01c8bb48be7d11bf5c5df097a18f6a-28a413e988.10.png","Studiopepe.  \n \n \nWDPJ2101 \nPaje\nCWC\n16\nGiovanni Pesce.  \n \n \nWDKH2101 \nKha\n2021\n17\n",10,{"image":54,"text":55,"number":56},"\u002Fmedia\u002Fimages\u002F3d\u002F01c8bb48be7d11bf5c5df097a18f6a-28a413e988.11.png","CWC\n18\nFederico Peri.  \n \n \nWDIT2101 \nIntrecci\n2021\n19\n",11,{"image":58,"text":59,"number":60},"\u002Fmedia\u002Fimages\u002F3d\u002F01c8bb48be7d11bf5c5df097a18f6a-28a413e988.12.png","Studio Salaris & Sans Nom Studio.  \n \n \nWDPC2101 \nPapercut\nCWC\n20\nStudio Salaris & Sans Nom Studio.  \n \n \nWDSU2101 \nSummertime\n2021\n21\n",12,{"image":62,"text":63,"number":64},"\u002Fmedia\u002Fimages\u002F3d\u002F01c8bb48be7d11bf5c5df097a18f6a-28a413e988.13.png","Lorenzo De Grandis.  \n \n \nWDIS2101 \nGli Alisei\nCWC\n22\nChristian Benini.   \n \nWDOV2101 \nOverlock\n2021\n23\n",13,{"image":66,"text":67,"number":68},"\u002Fmedia\u002Fimages\u002F3d\u002F01c8bb48be7d11bf5c5df097a18f6a-28a413e988.14.png","DeBonaDeMeo.  \n \n \nWDEN2101 \nEnsemble\nCWC\n24\nAntonella Guidi.   \n \nWDQU2101 \nQuiete\n2021\n25\n",14,{"image":70,"text":71,"number":72},"\u002Fmedia\u002Fimages\u002F3d\u002F01c8bb48be7d11bf5c5df097a18f6a-28a413e988.15.png","Bertero Marzoli.   \n \nWDMA2101 \nMaple\nCWC\n26\nCWC\n26\nWladimiro Bendandi.  \n \n \nWDTM2101 \nTameshigiri\n2021\n27\n",15,{"image":74,"text":75,"number":76},"\u002Fmedia\u002Fimages\u002F3d\u002F01c8bb48be7d11bf5c5df097a18f6a-28a413e988.16.png","Paolo Badesco - Costantino Affuso.   \n \nWDCL2101 \nCave Library\nCWC\n28\nAntonella Guidi.   \n \nWDPS2101 \nPresente\n2021\n29\n",16,{"image":78,"text":79,"number":80},"\u002Fmedia\u002Fimages\u002F3d\u002F01c8bb48be7d11bf5c5df097a18f6a-28a413e988.17.png","Federico Peri.  \n \n \nWDZE2101 \nZen\nCWC\n30\nInes Porrino.  \n \n \nWDLE2101 \nLeaf\n2021\n31\n",17,{"image":82,"text":83,"number":84},"\u002Fmedia\u002Fimages\u002F3d\u002F01c8bb48be7d11bf5c5df097a18f6a-28a413e988.18.png","DeBonaDeMeo.  \n \n \nWDET2101 \nEthnos\nCWC\n32\n2021\n33\n",18,{"image":86,"text":87,"number":88},"\u002Fmedia\u002Fimages\u002F3d\u002F01c8bb48be7d11bf5c5df097a18f6a-28a413e988.19.png","CHAPTER TWO\n",19,{"image":90,"text":91,"number":92},"\u002Fmedia\u002Fimages\u002F3d\u002F01c8bb48be7d11bf5c5df097a18f6a-28a413e988.20.png","more\nmore\nmore\nCWC\n36\nLa seduzione degli anni ‘70 nell’interpretazione degli spazi: una stratificazione di piani, livelli ed \nelementi che porta ad una continua esplorazione visiva. Un vero e proprio percorso esperienziale \nalla scoperta dei dettagli.\nLe forme sono eclettiche rispondendo al principio del “tutto e il contrario di tutto” – ma senza caos: \nil “merge” cromatico dei vari elementi assicura armonia e un’esperienza immersiva dall’atmosfera \nunica che parla di design, architettura e creatività.\nAll the allure of the 70s in the interpretation of spaces: a stratification of planes, levels and \nelements that leads to a continuous visual exploration. A real experiential path leading onto the \ndiscovery of details.\nShapes are eclectic, responding to the principle of “everything and the opposite of everything”, \nbut without the chaos: the color merge of various elements generates harmony and an immersive \nexperience with a unique atmosphere that speaks of design, architecture and creativity.\n2021\n37\n",20,{"image":94,"text":95,"number":96},"\u002Fmedia\u002Fimages\u002F3d\u002F01c8bb48be7d11bf5c5df097a18f6a-28a413e988.21.png","Lorenzo De Grandis.  \n \n \nWDCA2101 \nCarioca\nCWC\n38\nEva Germani.  \n \n \nWDYT2101 \nYou Too\n2021\n39\n",21,{"image":98,"text":99,"number":100},"\u002Fmedia\u002Fimages\u002F3d\u002F01c8bb48be7d11bf5c5df097a18f6a-28a413e988.22.png","Gupica.   \n \nWDAL2101 \nAlbina\nCWC\n40\nChristian Benini.   \n \nWDEU2101 \nEuphoria\n2021\n41\n",22,{"image":102,"text":103,"number":104},"\u002Fmedia\u002Fimages\u002F3d\u002F01c8bb48be7d11bf5c5df097a18f6a-28a413e988.23.png","Silvia Stella Osella.  \n \n \nWDUK2101 \nUkiyo\nCWC\n42\nLorenzo De Grandis.  \n \n \nWDKO2101 \nTropiko\n2021\n43\n",23,{"image":106,"text":107,"number":108},"\u002Fmedia\u002Fimages\u002F3d\u002F01c8bb48be7d11bf5c5df097a18f6a-28a413e988.24.png","Alessandro Gottardo (aka Shout).  \n \n \nWDDE2101 \nSolstizio d’Estate\nCWC\n44\nMae Engelgeer.  \n \n \nWDLI2101 \nLikeminds\n2021\n45\n",24,{"image":110,"text":111,"number":112},"\u002Fmedia\u002Fimages\u002F3d\u002F01c8bb48be7d11bf5c5df097a18f6a-28a413e988.25.png","Draga&Aurel.  \n \n \nWDBR2101 \nBeyond Reality\nCWC\n46\nSerena Confalonieri.  \n \n \nWDLG2101 \nStarlight\n2021\n47\n",25,{"image":114,"text":115,"number":116},"\u002Fmedia\u002Fimages\u002F3d\u002F01c8bb48be7d11bf5c5df097a18f6a-28a413e988.26.png","Paolo Badesco - Costantino Affuso.   \n \nWDGU2101 \nGustav\nCWC\n48\nThe Elusive Otter.   \n \nWDWN2101 \nSwan\n2021\n49\n",26,{"image":118,"text":119,"number":120},"\u002Fmedia\u002Fimages\u002F3d\u002F01c8bb48be7d11bf5c5df097a18f6a-28a413e988.27.png","María Gómez García.  \n \n \nWDDA2101 \nDance with Time\nCWC\n50\nLorenzo De Grandis.  \n \n \nWDLO2101 \nLong Beach\n2021\n51\n",27,{"image":122,"text":123,"number":124},"\u002Fmedia\u002Fimages\u002F3d\u002F01c8bb48be7d11bf5c5df097a18f6a-28a413e988.28.png","Eva Germani.  \n \n \nWDIG2101 \nIngenua\nCWC\n52\nLudovica+Roberto Palomba.  \n \n \nWDHE2101 \nHerning\n2021\n53\n",28,{"image":126,"text":127,"number":128},"\u002Fmedia\u002Fimages\u002F3d\u002F01c8bb48be7d11bf5c5df097a18f6a-28a413e988.29.png","Francesca Zoboli.   \n \nWDNU2101 \nNuages de Deux Mondes\nCWC\n54\nFrancesca Zoboli.   \n \nWDTR2101 \nString Pull\n2021\n55\n",29,{"image":130,"text":131,"number":132},"\u002Fmedia\u002Fimages\u002F3d\u002F01c8bb48be7d11bf5c5df097a18f6a-28a413e988.30.png","Draga&Aurel.  \n \n \nWDMN2101 \nMonstera\nCWC\n56\nChristian Benini.   \n \nWDSE2101 \nSolleone\n2021\n57\n",30,{"image":134,"text":135,"number":136},"\u002Fmedia\u002Fimages\u002F3d\u002F01c8bb48be7d11bf5c5df097a18f6a-28a413e988.31.png","Andrea Merendi.   \n \nWDBB2101 \nBoom Bloom\nCWC\n58\nEva Germani.  \n \n \nWDLU2101 \nTutto è Luce\n2021\n59\n",31,{"image":138,"text":139,"number":140},"\u002Fmedia\u002Fimages\u002F3d\u002F01c8bb48be7d11bf5c5df097a18f6a-28a413e988.32.png","Serena Confalonieri.  \n \n \nWDRA2101 \nRainy\nCWC\n60\nElisa Vendramin.   \n \nWDDU2101 \nDune\n2021\n61\n",32,{"image":142,"text":143,"number":144},"\u002Fmedia\u002Fimages\u002F3d\u002F01c8bb48be7d11bf5c5df097a18f6a-28a413e988.33.png","Ctrlzak.   \n \nWDWE2101 \nSowerby\nCWC\n62\nPaolo Badesco - Costantino Affuso.   \n \nWDUR2101 \nTurquoise\n2021\n63\n",33,{"image":146,"text":147,"number":148},"\u002Fmedia\u002Fimages\u002F3d\u002F01c8bb48be7d11bf5c5df097a18f6a-28a413e988.34.png","CHAPTER THREE\n",34,{"image":150,"text":151,"number":152},"\u002Fmedia\u002Fimages\u002F3d\u002F01c8bb48be7d11bf5c5df097a18f6a-28a413e988.35.png","1986\nCWC\n66\nMateria e natura cedono il passo ad un’interpretazione più fredda e razionale degli spazi.\nL’ambiente, sui toni del bianco o del grigio, accoglie superfici lucide e riflettenti. L’inserimento del \ncolore, pieno e in contrapposizione al neutro dello sfondo, contribuisce a delineare l’architettura \ndel contesto, in eleganti contrasti mono-colore.\nLa preferenza va alle forme tonde e alle linee curve, contributi indispensabili all’ingentilimento e \nperfezionamento degli spazi.\nMaterial and nature give way to a colder and more rational interpretation of space.\nThe interior, in shades of white or gray, embraces shiny and reflective surfaces. The inclusion of \ncolor, full and in contrast with the neutral background, helps to delineate the architecture of the \ncontext, in elegant single-color contrasts.\nThere is a preference for round shapes and curved lines, indispensible for the ennoblement and \nenhancement of interior.\n2021\n67\n",35,{"image":154,"text":155,"number":156},"\u002Fmedia\u002Fimages\u002F3d\u002F01c8bb48be7d11bf5c5df097a18f6a-28a413e988.36.png","Christian Benini.   \n \nWDLB2101 \nLookbook\nCWC\n68\nElisa Vendramin.   \n \nWDJS2101 \nJungle of Signs\n2021\n69\n",36,{"image":158,"text":159,"number":160},"\u002Fmedia\u002Fimages\u002F3d\u002F01c8bb48be7d11bf5c5df097a18f6a-28a413e988.37.png","Nina Magon.  \n \n \nWDSL2101 \nSensuous Lines\nCWC\n70\nTommaso Guerra.   \n \nWDEH2101 \nError Hominum\n2021\n71\n",37,{"image":162,"text":163,"number":164},"\u002Fmedia\u002Fimages\u002F3d\u002F01c8bb48be7d11bf5c5df097a18f6a-28a413e988.38.png","Alessandro Gottardo (aka Shout).  \n \n \nWDDO2101 \nDolomitu\nCWC\n72\nStudiopepe.  \n \n \nWDNO2101 \nNove e Mezzo\n2021\n73\n",38,{"image":166,"text":167,"number":168},"\u002Fmedia\u002Fimages\u002F3d\u002F01c8bb48be7d11bf5c5df097a18f6a-28a413e988.39.png","Federico Pepe.  \n \n \nWDTP2101 \nTubes&Pipes\nCWC\n74\nDraga&Aurel.  \n \n \nWDST2101 \nStencil\n2021\n75\n",39,{"image":170,"text":171,"number":172},"\u002Fmedia\u002Fimages\u002F3d\u002F01c8bb48be7d11bf5c5df097a18f6a-28a413e988.40.png","The Elusive Otter.   \n \nWDHS2101 \nHotspot\nCWC\n76\nSimone Fanciullacci.  \n \n \nWDWA2101 \nWavy\n2021\n77\n",40,{"image":174,"text":175,"number":176},"\u002Fmedia\u002Fimages\u002F3d\u002F01c8bb48be7d11bf5c5df097a18f6a-28a413e988.41.png","Studiopepe.  \n \n \nWDTT2101 \nTile Tale\nCWC\n78\nDeBonaDeMeo.  \n \n \nWDMO2101 \nMorpheus\n2021\n79\n",41,{"image":178,"text":179,"number":180},"\u002Fmedia\u002Fimages\u002F3d\u002F01c8bb48be7d11bf5c5df097a18f6a-28a413e988.42.png","Talva Design.  \n \n \nWDOC2101 \nOut of Curiosity\nCWC\n80\nTalva Design.  \n \n \nWDSO2101 \nSonia\n2021\n81\n",42,{"image":182,"text":183,"number":184},"\u002Fmedia\u002Fimages\u002F3d\u002F01c8bb48be7d11bf5c5df097a18f6a-28a413e988.43.png","Federico Pepe.  \n \n \nWDZA2101 \nZamia\nCWC\n82\nGiovanni Pesce.  \n \n \nWDTA2101 \nTalea\n2021\n83\n",43,{"image":186,"text":187,"number":188},"\u002Fmedia\u002Fimages\u002F3d\u002F01c8bb48be7d11bf5c5df097a18f6a-28a413e988.44.png","Gupica.   \n \nWDIN2101 \nInterpretation of a Peacock\nCWC\n84\nDraga&Aurel.  \n \n \nWDSR2101 \nStreet\n2021\n85\n",44,{"image":190,"text":191,"number":192},"\u002Fmedia\u002Fimages\u002F3d\u002F01c8bb48be7d11bf5c5df097a18f6a-28a413e988.45.png","Mae Engelgeer.  \n \n \nWDSS2101 \nStatic Shades\nCWC\n86\nNina Magon.  \n \n \nWDLW2101 \nLayered Waves\n2021\n87\n",45,{"image":194,"text":15,"number":195},"\u002Fmedia\u002Fimages\u002F3d\u002F01c8bb48be7d11bf5c5df097a18f6a-28a413e988.46.png",46,{"image":197,"text":198,"number":199},"\u002Fmedia\u002Fimages\u002F3d\u002F01c8bb48be7d11bf5c5df097a18f6a-28a413e988.47.png","Tree of Life\n6\nMoon River\n7\nTerra Mia\n8\nKuma\n9\nTerracotta\n10\nAffiche\n11\nPaint\n12\nMy Signature\n13\nParavento\n14\nCaruso\n15\nPaje\n16\nKha\n17\nIntrecci\n19\nPapercut\n20\nSummertime\n21\nGli Alisei\n22\nOverlock\n23\nEnsemble\n24\nQuiete\n25\nMaple\n26\nTameshigiri\n27\nCave Library\n28\nPresente\n29\nZen\n30\nLeaf\n31\nEthnos\n32\nCarioca\n38\nYou Too\n39\nAlbina\n40\nEuphoria\n41\nUkiyo\n42\nTropiko\n43\nSolstizio d’Estate\n44\nLikeminds\n45\nBeyond Reality\n46\nStarlight\n47\nGustav\n48\nSwan\n49\nDance with Time\n50\nLong Beach\n51\nIngenua\n52\nHerning\n53\nNuages de Deux Mondes\n54\nString Pull\n55\nMonstera\n56\nSolleone\n57\nBoom Bloom\n58\nTutto è Luce\n59\nRainy\n60\nDune\n61\nSowerby\n62\nTurquoise\n63\nLookbook\n68\nJungle of Signs\n69\nSensuous Lines\n70\nError Hominum\n71\nDolomitu\n72\nNove e Mezzo\n73\nTubes&Pipes\n74\nStencil\n75\nHotspot\n76\nWavy\n77\nTile Tale\n78\nMorpheus\n79\nOut of Curiosity\n80\nSonia\n81\nZamia\n82\nTalea\n83\nInterpretation \nof a Peacock\n84\nStreet\n85\nStatic Shades\n86\nLayered Waves\n87\nINDEX \nCHAPTER ONE\nsoggetto \u002F subject\nPAG.\nP A G .  4\nCHAPTER TWO\nP A G .  3 6\nCHAPTER THREE\nP A G .  6 6\nAffiche\n96\nAlbina\n96\nBeyond Reality\n97\nBoom Bloom\n97\nCarioca\n98\nCaruso\n98\nCave Library\n99\nDance with Time\n99\nDolomitu\n100\nDune\n100\nEnsemble\n101\nError Hominum\n101\nEthnos\n102\nEuphoria\n102\nGli Alisei\n103\nGustav\n103\nHerning\n104\nHotspot\n104\nIngenua\n105\nInterpretation \nof a Peacock\n105\nIntrecci\n106\nJungle of Signs\n106\nKha\n107\nKuma\n107\nLayered Waves\n108\nLeaf\n108\nLikeminds\n109\nLong Beach\n109\nLookbook\n110\nMaple\n110\nMonstera\n111\nMoon River\n111\nMorpheus\n112\nMy Signature\n112\nNove e Mezzo\n113\nNuages de Deux Mondes 113\nOut of Curiosity\n114\nOverlock\n114\nPaint\n115\nPaje\n115\nPapercut\n116\nParavento\n116\nPresente\n117\nQuiete\n117\nRainy\n118\nSensuous Lines\n118\nSolleone\n119\nSolstizio d'Estate\n119\nSonia\n120\nSowerby\n120\nStarlight\n121\nStatic Shades\n121\nStencil\n122\nStreet\n122\nString Pull\n123\nSummertime\n123\nSwan\n124\nTalea\n124\nTameshigiri\n125\nTerra Mia\n125\nTerracotta\n126\nTile Tale\n126\nTree of Life\n127\nTropiko\n127\nTubes&Pipes\n128\nTurquoise\n128\nTutto è Luce\n129\nUkiyo\n129\nWavy\n130\nYou Too\n130\nZamia \n131\nZen\n131\nINDEX A\u002FZ \nAUGMENTED \nREALITY AREA\n+\nCOLOR MATCH\nsoggetto \u002F subject\nPAG.\n",47,{"image":201,"text":202,"number":203},"\u002Fmedia\u002Fimages\u002F3d\u002F01c8bb48be7d11bf5c5df097a18f6a-28a413e988.48.png","CWC\nAUGMENTED \nREALITY AREA\n+\nCOLOR MATCH\n",48,{"image":205,"text":206,"number":207},"\u002Fmedia\u002Fimages\u002F3d\u002F01c8bb48be7d11bf5c5df097a18f6a-28a413e988.49.png","L’esperienza creativa di Wall&decò diventa interattiva e \noffre un nuovo punto di vista per valorizzare al meglio \nl’interpretazione delle proprie grafiche.\nW&d  Xtra Reality è la app che ti aiuta a esplorare i \nprodotti Wall&decò attraverso un’esperienza di Realtà \nAumentata.\nScansiona i marker collocati all’interno del catalogo \nWall&decò per avere accesso ai contenuti multimediali e \nper vivere un’esperienza immersiva attraverso i contenuti \nspeciali in 3D.\nDisponibili con la versione attuale le funzioni che \nconsentono la rotazione dei modelli e un extra zoom, per \navere una visione ancora più dettagliata delle grafiche.\nThe \ncreative \nexperience \nof \nWall&decò \nbecomes \ninteractive and offers a new point of view to enhance the \ninterpretation of all the designs.\nW&d Xtra Reality is the app that helps you to explore \nWall&decò products through an Augmented Reality \nexperience.\nScan the markers placed inside the Wall&decò catalogue \nto have access to the multimedia contents and to live an \nimmersive experience through the special 3D contents.\nAvailable with the current release are the new functions \nthat allow the rotation of the 3d models and an extra \nzoom feature, to have an even more detailed view of the \ngraphics.\nTHE \nWALL&DECÒ XTRA REALITY\nDOWNLOAD\nAPP\nColorMatch™ è l’innovativa tecnologia adottata da \nWall&decò che rappresenta l’unione tra percezione \ne tecnica nella gestione della qualità di stampa per \nparati di eccezionale fedeltà cromatica per una resa \nqualitativa eccezionale, ovvero maggiore luminosità, \npienezza, brillantezza del contrasto cromatico, volume, \ntridimensionalità e qualità nei dettagli e nella definizione \ndel colore.\nOltre alla ricerca dell’alta fedeltà cromatica, ColorMatch™ \nè in grado di assicurare una gestione industriale del \ncolore, ossia permettere un’elevata ripetizione del \nprocesso di controllo cromatico con una resa qualitativa \nsuperiore ai profili applicati dagli standard di settore. \nCon la tecnologia ColorMatch™, nonostante la goffratura \ndella carta da parati e delle due diverse tecnologie di stampa \nutilizzate per realizzare i parati e il catalogo, la percezione \ndell’assetto cromatico è comunque parallela, ossia verosimile \nrispetto a quella dell’occhio umano indipendentemente dai \ndiversi supporti di stampa, così da rendere i colori della \ngrafica stampata a catalogo estremamente simili a quelli \ndella carta da parati. \nColorMatch™, is the new technology adopted by \nWall&decò, the union between perception and technique \nin the management of print quality for wall coverings of \nexceptional chromatic fidelity allowing an exceptional \nquality yeld resulting, in increased brightness , fullness, \nbrilliance of color contrast, volume, three dimensionality \nand higher color detail and definition.\nBesides the search for high color fi delity, ColorMatch™ \nis able to ensure the industrial management of colors, \nand thus allows  the  high repeatability  of  the  color  \ncontrol  process with a superior quality yield compared \nto the profi les used in the industry sector.\nWith  ColorMatch™  technology, despite the embossing of \nwallpaper and of the two different printing technologies \nused to produce wall coverings and the catalogue, \nthe perception of the color composition is in any case \nparallel, i.e. likely compared to that of the human  eye \nregardless of the different printing materials, so as to \nmake the colors of the graphics printed in the catalog \nextremely similar to those of the wall coverings. \nCOLORMATCH™\nTECHNOLOGY\n",49,{"image":209,"text":210,"number":211},"\u002Fmedia\u002Fimages\u002F3d\u002F01c8bb48be7d11bf5c5df097a18f6a-28a413e988.50.png","WDAF2101\nWDAF2102\nAffiche\nLudovica+Roberto Palomba.\nWDAL2101\nWDAL2102\nAlbina\nGupica.\nCWC Augmented Reality Area + ColorMatch 1:4\n96\nLarghezza Rollo \u002F Roll width (47 cm \u002F inches 18,50) — Lunghezza Rollo \u002F Roll length (custom)\nWDBR2101\nWDBR2102\nBeyond Reality\nDraga&Aurel.\nWDBB2101\nWDBB2102\nBoom Bloom\nAndrea Merendi.\n2021\n97\nLarghezza Rollo \u002F Roll width (47 cm \u002F inches 18,50) — Lunghezza Rollo \u002F Roll length (custom)\n",50,{"image":213,"text":214,"number":215},"\u002Fmedia\u002Fimages\u002F3d\u002F01c8bb48be7d11bf5c5df097a18f6a-28a413e988.51.png","WDCA2101\nWDCA2102\nCarioca\nLorenzo De Grandis.\nWDRU2101\nWDRU2102\nCaruso\nGiovanni Pesce.\nCWC Augmented Reality Area + ColorMatch 1:4\n98\nLarghezza Rollo \u002F Roll width (47 cm \u002F inches 18,50) — Lunghezza Rollo \u002F Roll length (custom)\nWDCL2101\nWDCL2102\nCave Library\nPaolo Badesco - Costantino Affuso.\nWDDA2101\nWDDA2102\nDance with Time\nMaria Gomez Garcia.\n2021\n99\nLarghezza Rollo \u002F Roll width (47 cm \u002F inches 18,50) — Lunghezza Rollo \u002F Roll length (custom)\n",51,{"image":217,"text":218,"number":219},"\u002Fmedia\u002Fimages\u002F3d\u002F01c8bb48be7d11bf5c5df097a18f6a-28a413e988.52.png","WDDO2101\nWDDO2102\nDolomitu\nAlessandro Gottardo (aka Shout).\nWDDU2101\nWDDU2102\nDune\nElisa Vendramin.\nCWC Augmented Reality Area + ColorMatch 1:4\n100\nLarghezza Rollo \u002F Roll width (47 cm \u002F inches 18,50) — Lunghezza Rollo \u002F Roll length (custom)\nWDEN2101\nWDEN2102\nEnsemble\nDeBonaDeMeo.\nWDEH2101\nWDEH2102\nError Hominum\nTommaso Guerra.\n2021\n101\nLarghezza Rollo \u002F Roll width (47 cm \u002F inches 18,50) — Lunghezza Rollo \u002F Roll length (custom)\n",52,{"image":221,"text":222,"number":223},"\u002Fmedia\u002Fimages\u002F3d\u002F01c8bb48be7d11bf5c5df097a18f6a-28a413e988.53.png","WDET2101\nWDET2102\nEthnos\nDeBonaDeMeo.\nWDEU2101\nWDEU2102\nEuphoria\nChristian Benini.\nCWC Augmented Reality Area + ColorMatch 1:4\n102\nLarghezza Rollo \u002F Roll width (47 cm \u002F inches 18,50) — Lunghezza Rollo \u002F Roll length (custom)\nWDIS2101\nWDIS2102\nGli Alisei\nLorenzo De Grandis.\nWDGU2101\nWDGU2102\nGustav\nPaolo Badesco - Costantino Affuso.\n2021\n103\nLarghezza Rollo \u002F Roll width (47 cm \u002F inches 18,50) — Lunghezza Rollo \u002F Roll length (custom)\n",53,{"image":225,"text":226,"number":227},"\u002Fmedia\u002Fimages\u002F3d\u002F01c8bb48be7d11bf5c5df097a18f6a-28a413e988.54.png","WDHE2101\nWDHE2102\nHerning\nLudovica+Roberto Palomba.\nWDHS2101\nWDHS2102\nHotspot\nThe Elusive Otter.\nCWC Augmented Reality Area + ColorMatch 1:4\n104\nLarghezza Rollo \u002F Roll width (47 cm \u002F inches 18,50) — Lunghezza Rollo \u002F Roll length (custom)\nWDIG2101\nWDIG2102\nIngenua\nEva Germani.\nWDIN2101\nWDIN2102\nInterpretation of a Peacock\nGupica.\n2021\n105\nLarghezza Rollo \u002F Roll width (47 cm \u002F inches 18,50) — Lunghezza Rollo \u002F Roll length (custom)\n",54,{"image":229,"text":230,"number":231},"\u002Fmedia\u002Fimages\u002F3d\u002F01c8bb48be7d11bf5c5df097a18f6a-28a413e988.55.png","WDIT2101\nWDIT2102\nIntrecci\nFederico Peri.\nWDJS2101\nWDJS2102\nJungle of Signs\nElisa Vendramin.\nCWC Augmented Reality Area + ColorMatch 1:4\n106\nLarghezza Rollo \u002F Roll width (47 cm \u002F inches 18,50) — Lunghezza Rollo \u002F Roll length (custom)\nWDKH2101\nWDKH2102\nKha\nGiovanni Pesce.\nWDKU2101\nWDKU2102\nKuma\nAntonio Marras.\n2021\n107\nLarghezza Rollo \u002F Roll width (47 cm \u002F inches 18,50) — Lunghezza Rollo \u002F Roll length (custom)\n",55,{"image":233,"text":234,"number":235},"\u002Fmedia\u002Fimages\u002F3d\u002F01c8bb48be7d11bf5c5df097a18f6a-28a413e988.56.png","WDLW2101\nWDLW2102\nLayered Waves\nNina Magon.\nWDLE2101\nWDLE2102\nLeaf\nInes Porrino.\nCWC Augmented Reality Area + ColorMatch 1:4\n108\nLarghezza Rollo \u002F Roll width (47 cm \u002F inches 18,50) — Lunghezza Rollo \u002F Roll length (custom)\nWDLI2101\nWDLI2102\nLikeminds\nMae Engelgeer.\nWDLO2101\nWDLO2102\nLong Beach\nLorenzo De Grandis.\n2021\n109\nLarghezza Rollo \u002F Roll width (47 cm \u002F inches 18,50) — Lunghezza Rollo \u002F Roll length (custom)\n",56,{"image":237,"text":238,"number":239},"\u002Fmedia\u002Fimages\u002F3d\u002F01c8bb48be7d11bf5c5df097a18f6a-28a413e988.57.png","WDLB2101\nWDLB2102\nLookbook\nChristian Benini.\nWDMA2101\nWDMA2102\nMaple\nBertero Marzoli.\nCWC Augmented Reality Area + ColorMatch 1:4\n110\nLarghezza Rollo \u002F Roll width (47 cm \u002F inches 18,50) — Lunghezza Rollo \u002F Roll length (custom)\nWDMN2101\nWDMN2102\nMonstera\nDraga&Aurel.\nWDMR2101\nWDMR2102\nMoon River\nLorenzo De Grandis.\n2021\n111\nLarghezza Rollo \u002F Roll width (47 cm \u002F inches 18,50) — Lunghezza Rollo \u002F Roll length (custom)\n",57,{"image":241,"text":242,"number":243},"\u002Fmedia\u002Fimages\u002F3d\u002F01c8bb48be7d11bf5c5df097a18f6a-28a413e988.58.png","WDMO2101\nWDMO2102\nMorpheus\nDeBonaDeMeo.\nWDMY2101\nWDMY2102\nMy Signature\nDraga&Aurel.\nCWC Augmented Reality Area + ColorMatch 1:4\n112\nLarghezza Rollo \u002F Roll width (47 cm \u002F inches 18,50) — Lunghezza Rollo \u002F Roll length (custom)\nWDNO2101\nWDNO2102\nNove e Mezzo\nStudiopepe.\nWDNU2101\nWDNU2102\nNuages de Deux Mondes\nFrancesca Zoboli.\n2021\n113\nLarghezza Rollo \u002F Roll width (47 cm \u002F inches 18,50) — Lunghezza Rollo \u002F Roll length (custom)\n",58,{"image":245,"text":246,"number":247},"\u002Fmedia\u002Fimages\u002F3d\u002F01c8bb48be7d11bf5c5df097a18f6a-28a413e988.59.png","WDOC2101\nWDOC2102\nOut of Curiosity\nTalva Design.\nWDOV2101\nWDOV2102\nOverlock\nChristian Benini.\nCWC Augmented Reality Area + ColorMatch 1:4\n114\nLarghezza Rollo \u002F Roll width (47 cm \u002F inches 18,50) — Lunghezza Rollo \u002F Roll length (custom)\nWDPA2101\nWDPA2102\nPaint\nFederico Peri.\nWDPJ2101\nWDPJ2102\nPaje\nStudiopepe.\n2021\n115\nLarghezza Rollo \u002F Roll width (47 cm \u002F inches 18,50) — Lunghezza Rollo \u002F Roll length (custom)\n",59,{"image":249,"text":250,"number":251},"\u002Fmedia\u002Fimages\u002F3d\u002F01c8bb48be7d11bf5c5df097a18f6a-28a413e988.60.png","WDPC2101\nWDPC2102\nPapercut\nStudio Salaris & Sans Nom Studio\nWDPR2101\nWDPR2102\nParavento\nAntonio Marras.\nCWC Augmented Reality Area + ColorMatch 1:4\n116\nLarghezza Rollo \u002F Roll width (47 cm \u002F inches 18,50) — Lunghezza Rollo \u002F Roll length (custom)\nWDPS2101\nWDPS2102\nPresente\nAntonella Guidi.\nWDQU2101\nWDQU2102\nQuiete\nAntonella Guidi.\n2021\n117\nLarghezza Rollo \u002F Roll width (47 cm \u002F inches 18,50) — Lunghezza Rollo \u002F Roll length (custom)\n",60,{"image":253,"text":254,"number":255},"\u002Fmedia\u002Fimages\u002F3d\u002F01c8bb48be7d11bf5c5df097a18f6a-28a413e988.61.png","WDRA2101\nWDRA2102\nRainy\nSerena Confalonieri.\nWDSL2101\nWDSL2102\nSensuous Lines\nNina Magon.\nCWC Augmented Reality Area + ColorMatch 1:4\n118\nLarghezza Rollo \u002F Roll width (47 cm \u002F inches 18,50) — Lunghezza Rollo \u002F Roll length (custom)\nWDSE2101\nWDSE2102\nSolleone\nChristian Benini.\nWDDE2101\nWDDE2102\nSolstizio d’estate\nAlessandro Gottardo (aka Shout).\n2021\n119\nLarghezza Rollo \u002F Roll width (47 cm \u002F inches 18,50) — Lunghezza Rollo \u002F Roll length (custom)\n",61,{"image":257,"text":258,"number":259},"\u002Fmedia\u002Fimages\u002F3d\u002F01c8bb48be7d11bf5c5df097a18f6a-28a413e988.62.png","WDSO2101\nWDSO2102\nSonia\nTalva Design.\nWDWE2101\nWDWE2102\nSowerby\nCtrlzak.\nCWC Augmented Reality Area + ColorMatch 1:4\n120\nLarghezza Rollo \u002F Roll width (47 cm \u002F inches 18,50) — Lunghezza Rollo \u002F Roll length (custom)\nWDLG2101\nWDLG2102\nStarlight\nSerena Confalonieri.\nWDSS2101\nWDSS2102\nStatic Shades\nMae Engelgeer.\n2021\n121\nLarghezza Rollo \u002F Roll width (47 cm \u002F inches 18,50) — Lunghezza Rollo \u002F Roll length (custom)\n",62,{"image":261,"text":262,"number":263},"\u002Fmedia\u002Fimages\u002F3d\u002F01c8bb48be7d11bf5c5df097a18f6a-28a413e988.63.png","WDST2101\nWDST2102\nStencil\nDraga&Aurel.\nWDSR2101\nWDSR2102\nStreet\nDraga&Aurel.\nCWC Augmented Reality Area + ColorMatch 1:4\n122\nLarghezza Rollo \u002F Roll width (47 cm \u002F inches 18,50) — Lunghezza Rollo \u002F Roll length (custom)\nWDTR2101\nWDTR2102\nString Pull\nFrancesca Zoboli.\nWDSU2101\nWDSU2102\nSummertime\nStudio Salaris & Sans Nom Studio\n2021\n123\nLarghezza Rollo \u002F Roll width (47 cm \u002F inches 18,50) — Lunghezza Rollo \u002F Roll length (custom)\n",63,{"image":265,"text":266,"number":267},"\u002Fmedia\u002Fimages\u002F3d\u002F01c8bb48be7d11bf5c5df097a18f6a-28a413e988.64.png","WDWN2101\nWDWN2102\nSwan\nThe Elusive Otter.\nWDTA2101\nWDTA2102\nTalea\nGiovanni Pesce.\nCWC Augmented Reality Area + ColorMatch 1:4\n124\nLarghezza Rollo \u002F Roll width (47 cm \u002F inches 18,50) — Lunghezza Rollo \u002F Roll length (custom)\nWDTM2101\nWDTM2102\nTameshigiri\nWladimiro Bendandi.\nWDTE2101\nWDTE2102\nTerra Mia\nGiovanni Pesce.\n2021\n125\nLarghezza Rollo \u002F Roll width (47 cm \u002F inches 18,50) — Lunghezza Rollo \u002F Roll length (custom)\n",64,{"image":269,"text":270,"number":271},"\u002Fmedia\u002Fimages\u002F3d\u002F01c8bb48be7d11bf5c5df097a18f6a-28a413e988.65.png","WDTC2101\nWDTC2102\nTerracotta\nGio Tirotto.\nWDTT2101\nWDTT2102\nTile Tale\nStudiopepe.\nCWC Augmented Reality Area + ColorMatch 1:4\n126\nLarghezza Rollo \u002F Roll width (47 cm \u002F inches 18,50) — Lunghezza Rollo \u002F Roll length (custom)\nWDEE2101\nWDEE2102\nTree of Life\nLorenzo De Grandis.\nWDKO2101\nWDKO2102\nTropiko\nLorenzo De Grandis.\n2021\n127\nLarghezza Rollo \u002F Roll width (47 cm \u002F inches 18,50) — Lunghezza Rollo \u002F Roll length (custom)\n",65,{"image":273,"text":274,"number":275},"\u002Fmedia\u002Fimages\u002F3d\u002F01c8bb48be7d11bf5c5df097a18f6a-28a413e988.66.png","WDTP2101\nWDTP2102\nTubes&Pipes\nFederico Pepe.\nWDUR2101\nWDUR2102\nTurquoise\nPaolo Badesco - Costantino Affuso.\nCWC Augmented Reality Area + ColorMatch 1:4\n128\nLarghezza Rollo \u002F Roll width (47 cm \u002F inches 18,50) — Lunghezza Rollo \u002F Roll length (custom)\nWDLU2101\nWDLU2102\nTutto è Luce\nEva Germani.\nWDUK2101\nWDUK2102\nUkiyo\nSilvia Stella Osella.\n2021\n129\nLarghezza Rollo \u002F Roll width (47 cm \u002F inches 18,50) — Lunghezza Rollo \u002F Roll length (custom)\n",66,{"image":277,"text":278,"number":279},"\u002Fmedia\u002Fimages\u002F3d\u002F01c8bb48be7d11bf5c5df097a18f6a-28a413e988.67.png","WDWA2101\nWDWA2102\nWavy\nSimone Fanciullacci.\nWDYT2101\nWDYT2102\nYou Too\nEva Germani.\nCWC Augmented Reality Area + ColorMatch 1:4\n130\nLarghezza Rollo \u002F Roll width (47 cm \u002F inches 18,50) — Lunghezza Rollo \u002F Roll length (custom)\nWDZA2101\nWDZA2102\nZamia\nFederico Pepe.\nWDZE2101\nWDZE2102\nZen\nFederico Peri.\n2021\n131\nLarghezza Rollo \u002F Roll width (47 cm \u002F inches 18,50) — Lunghezza Rollo \u002F Roll length (custom)\n",67,{"image":281,"text":282,"number":283},"\u002Fmedia\u002Fimages\u002F3d\u002F01c8bb48be7d11bf5c5df097a18f6a-28a413e988.68.png","TWENTYONE\nTABELLE COLORE\nCOLOR CHARTS\nIl colore è la tua guida nella nostra collezione.\nAbbiamo creato le palette per favorire la tua ispirazione, \nunendo i soggetti grafici per gruppi di colori affini che \ndefiniscono mood diversi. \nNelle Tabelle Colore, all’interno di ogni palette troverai \ni soggetti grafici con indicazione del numero di pagina in \ncui è possibile consultare la grafica ambientata e il codice \nprodotto di 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 \nè la risorsa più importante per navigare nella collezione: \nsu www.wallanddeco.com puoi individuare un soggetto \ngrafico filtrando la ricerca per palette, colore, nome e \ncodice.\nIt is color that guides you through our collection.\nWe have created palettes to favour your inspiration, \ngrouping graphic subjects according to colors 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 \nto view the colours of the palette for each single \ndecoration. \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 \nsubject by filtering according to palette, color, name \nand code.\n18-1244 TPX\n14-1106 TPX\n18-0435 TPX\n19-0512 TPX\n19-1101 TPX\nsoggetto \u002F subject\ncod. var. 01\nROOTS\n18-1022 TPX\nPANTONE®\nMOOD\nBronzage®\nPAG.\n11\nAffiche\nWDAF2101\n15\nCaruso\nWDRU2101\n28\nCave Library\nWDCL2101\n24\nEnsemble\nWDEN2101\n32\nEthnos\nWDET2101\n22\nGli Alisei\nWDIS2101\n19\nIntrecci\nWDIT2101\n17\nKha\nWDKH2101\n9\nKuma\nWDKU2101\n31\nLeaf\nWDLE2101\n26\nMaple\nWDMA2101\n7\nMoon River\nWDMR2101\n13\nMy Signature\nWDMY2101\n23\nOverlock\nWDOV2101\n12\nPaint\nWDPA2101\n16\nPaje\nWDPJ2101\n20\nPapercut\nWDPC2101\n14\nParavento\nWDPR2101\n29\nPresente\nWDPS2101\n25\nQuiete\nWDQU2101\n21\nSummertime\nWDSU2101\n27\nTameshigiri\nWDTM2101\n8\nTerra Mia\nWDTE2101\n10\nTerracotta\nWDTC2101\n6\nTree of Life\nWDEE2101\n30\nZen\nWDZE2101\n",68,{"image":285,"text":286,"number":287},"\u002Fmedia\u002Fimages\u002F3d\u002F01c8bb48be7d11bf5c5df097a18f6a-28a413e988.69.png","16-6008 TPX\n16-0950 TPX\n19-4205 TPX\n14-1012 TPX\n16-1260 TPX\nsoggetto \u002F subject\ncod. var. 01\nMORE MORE MORE\n19-5918 TPX\nMOOD\nPANTONE®\nBronzage®\nPAG.\n40\nAlbina\nWDAL2101\n46\nBeyond Reality\nWDBR2101\n58\nBoom Bloom\nWDBB2101\n38\nCarioca\nWDCA2101\n50\nDance with Time\nWDDA2101\n61\nDune\nWDDU2101\n41\nEuphoria\nWDEU2101\n48\nGustav\nWDGU2101\n53\nHerning\nWDHE2101\n52\nIngenua\nWDIG2101\n45\nLikeminds\nWDLI2101\n51\nLong Beach\nWDLO2101\n56\nMonstera\nWDMN2101\n54\nNuages de Deux Mondes\nWDNU2101\n57\nSolleone\nWDSE2101\n44\nSolstizio d'estate\nWDDE2101\n62\nSowerby\nWDWE2101\n47\nStarlight\nWDLG2101\n55\nString Pull\nWDTR2101\n49\nSwan\nWDWN2101\n43\nTropiko\nWDKO2101\n63\nTurquoise\nWDUR2101\n59\nTutto è Luce\nWDLU2101\n42\nUkiyo\nWDUK2101\n39\nYou Too\nWDYT2101\nsoggetto \u002F subject\ncod. var. 01\n1986\n18-6024 TPX\n16-3803 TPX\n19-4726 TPX\n19-1763 TPX\n19-4906 TPX\nMOOD\n19-1930 TPX\nBronzage®\nPANTONE®\nPAG.\n72\nDolomitu\nWDDO2101\n71\nError Hominum\nWDEH2101\n76\nHotspot\nWDHS2101\n84\nInterpretation of a Peacock\nWDIN2101\n69\nJungle of Signs\nWDJS2101\n87\nLayered Waves\nWDLW2101\n68\nLookbook\nWDLB2101\n79\nMorpheus\nWDMO2101\n73\nNove e Mezzo\nWDNO2101\n80\nOut of Curiosity\nWDOC2101\n70\nSensuous Lines\nWDSL2101\n81\nSonia\nWDSO2101\n86\nStatic Shades\nWDSS2101\n75\nStencil\nWDST2101\n85\nStreet\nWDSR2101\n83\nTalea\nWDTA2101\n78\nTile Tale\nWDTT2101\n74\nTubes&Pipes\nWDTP2101\n77\nWavy\nWDWA2101\n82\nZamia \nWDZA2101\n",69,{"image":289,"text":290,"number":291},"\u002Fmedia\u002Fimages\u002F3d\u002F01c8bb48be7d11bf5c5df097a18f6a-28a413e988.70.png","TWENTYONE\nDESIGNERS\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 (AKA 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 MARZOLI\n“Un messaggio offre il massimo d’informazione quando \nla sua inaspettatezza, imprevedibilità, ci procura il \nmassimo del piacere” (Gillo Dorfles).\nQuesta citazione guida da sempre le idee di Fabrizio \nBertero, architetto laureato al Politecnico di Milano, \ne Simona Marzoli, architetto d’interni diplomata \nall’Istituto Europeo di Design di Milano. I due \nprogettisti realizzano insieme abitazioni private e \nspazi dedicati alla collettività, boutique, ristoranti, \nuffici, allestimenti fieristici e museali, oggetti e \ngrafiche; si occupano, ognuno con le proprie specifiche \ncompetenze, ma usando la creatività in maniera \ntrasversale, di pianificazione urbanistica, architettura, \ninterior, prodotto e comunicazione visiva. Hanno \ncollaborato con Triennale di Milano, Zanotta, IED, \nTDK Europe, Fiat, Illy, Frankie Morello, Wall&decò, AIS \nAssociazione Italiana Sommelier, Camera Nazionale \ndella Moda Italiana. Entrambi sono docenti in IED. — A \nmessage offers the maximum of information when its \nunexpected, unpredictability, gives us the maximum of \npleasure”. (Gillo Dorfles) This quote has always guided \nthe ideas of Fabrizio Bertero, architect graduated from \nthe Politecnico di Milano, and Simona Marzoli, interior \narchitect graduated from the European Institute of \nDesign in Milan. The two designers create together \nprivate homes and spaces dedicated to the community, \nboutiques, restaurants, offices, trade fair and museum \ndisplays, objects and graphics; they deal with urban \nplanning, architecture, interior, product and visual \ncommunication, each with their own specific skills, \nbut using creativity in a transversal way. They have \ncollaborated with Triennale di Milano, Zanotta, IED, \nTDK Europe, Fiat, Illy, Frankie Morello, Wall&decò, AIS \nAssociazione Italiana Sommelier, Camera Nazionale \ndella Moda Italiana. Both are teachers in IED.\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. — \n",70,{"image":293,"text":294,"number":295},"\u002Fmedia\u002Fimages\u002F3d\u002F01c8bb48be7d11bf5c5df097a18f6a-28a413e988.71.png","Luca 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 \ncollaborate 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).\nFEDERICO PERI\nFederico Peri nasce nel 1983 a Montebelluna in \nprovincia di Treviso. Terminati gli studi universitari a \nMilano presso la Facoltà di interior design dell’Istituto \nEuropeo di Design, si trasferisce a Parigi grazie ad \nuna borsa di studio di residenza per artisti. In questo \nperiodo, \nricco \ndi \ncontaminazioni \ninternazionali \ne stimoli progettuali, inizia il proprio percorso \nprofessionale appassionandosi ai grandi maestri \ne definendo il proprio interesse come sinergia tra \nstorico e contemporaneo. Rientra a Milano per \nlavorare presso Vudafieri Saverino Partners fino al \n2011, quando avvia il proprio studio occupandosi \nprevalentemente di progettazione d’interni e arredo.\nCollabora con aziende, marchi di moda, professionisti \ne privati concependo progetti che siano strettamente \nconnessi alle singole identità. Nilufar, galleria \ninternazionale con sede a Milano, rappresenta i suoi \nprodotti in edizione limitata, tra cui la collezione di \nlampade “Shapes” nominata nel 2016 per il German \nDesign Awards. Tra i candidati come “miglior designer \nesordiente” al Salone del mobile Milano awards 2017 \ncon il prodotto “Galerie” disegnato per FontanaArte, \nviene anche nominato per il “rising talent awards” \nall’edizione di Maison&Objet 2018.. — Federico Peri \nwas born in 1983 in Montebelluna in the province of \nTreviso. After graduating in Interior Design from the \nEuropean Institute of Design, he moved to Paris thanks \nto a residency scholarship for artists. During this period, \nbrimming with international cross-contaminations and \ndesign stimuli, he developed a professional interest \nand passion for the great masters while also defining \nhis own interest as the synergy of the historical \nand contemporary. He returned to Milan to work at \nVudafieri Saverino Partners until 2011, when he started \nhis own firm, mainly focused on interior and furniture \ndesign. He collaborates with companies, fashion \nbrands, professionals and individuals, bringing to life \nprojects that closely tie in with individual identities. \nNilufar, an international gallery based in Milan, \nrepresents its limited-edition products, including the \n“Shapes” collection of lamps nominated in 2016 for \nthe German Design Awards. One of the “best new \ndesigner” contestants at the 2017 Salone del Mobile \nMilano awards with the product “Galerie” designed for \nFontanaArte, he was also nominated for the “Rising \nTalent Awards” at Maison&Objet 2018.\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 \nche il rito, la memoria e l’immaginazione siano \nspesso la funzione essenziale delle cose”. Tra i \nclienti: Alcantara, Viabizzuno, Seletti, Secondome \nGallery, \nD’arrigo \nExternal \nDesign,Petracer’s, \nWall&decò, Lago, Bormioli Rocco, Greggio, Mingardo, \nExnovo. — Gio Tirotto founded his own studio in \n2010. He develops projects for interiors, products \nand installations, focusing his artistic direction on \nresearch which is followed up by the most clean-cut \nsynthesis between form and function. “I design to \nbe a bridge which connects thought with message, \nan indispensable aim of my artistic language”. \nEverything he designs is inspired by an attention \nof what is around him, living or inanimate. If there \nis a limit between art and design, he tries to erase \nit and re-design all the existing complicity among \nhuman beings and objects. This is why he believes \nthat rituals, memory and imagination are often the \nessential function of things. Clients - to name but \na few: Alcantara, Viabizzuno, Seletti, Secondome \nGallery, \nD’arrigo \nExternal \nDesign, \nPetracer’s, \nWall&decò, Lago, Bormioli Rocco, Greggio, Mingardo, \nExnovo. \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.\nLUDOVICA+ROBERTO PALOMBA\nLudovica+Roberto Palomba, architetti, vivono e \nlavorano a Milano. Fondano nel 1994 Palomba \nSerafini Associati. Hanno ricevuto numerosi premi \ne riconoscimenti internazionali come il Compasso \nD’Oro, l’Elle Decoration International Design Award, \nil Red Dot, il Design Plus, il Good Design Award, il \nGerman Design Award. Progettano architetture ed \nesposizioni in tutto il mondo; collaborano e sono \nart director per alcuni dei marchi più affermati. \n“I nostri progetti di design e di architettura si basano \nsull’analisi del cambiamento dei comportamenti. \nSia i primi schizzi che la stesura finale di ogni \nprogetto sono passati al vaglio delle nostre due \nesigenze e delle nostre due visioni, allo stesso \ntempo complici e differenti, quindi consensuali. \nQuesta completezza è frutto di un metodo, non di \nuno stilismo. Un metodo per coniugare gli opposti: \ncreatività e funzione, innovazione e longevità. Senza \nmai dimenticare originalità e purezza delle forme… \nLa cifra del nostro lavoro - ricerca, sviluppo, \nprogetto, si riassumono così in una sola parola: \nEVIDENZA.” \n— \nLudovica+Roberto \nPalomba \nare \narchitects who work and live in Milan. They founded \nPalomba Serafini Associati in 1994. They have \nreceived numerous  international awards  such as \nthe Compasso D’Oro, Elle Decoration International \nDesign Award, Red Dot, Design Plus, Good Design \nAward, German Design Award. Ludovica+Roberto \nPalomba plan architectures and design exhibitions \nworldwide. They work with and are art directors for \nsome of the most established brands. “Our creations, \nwhether they be pieces of design or architecture, \nare derived from observations of change in human \nbehavior. It is important to see these products \noutside a fixed location or period – they do not \nreflect the latest fad but are the result of rationality \nand pondered craftsmanship. Our initial drafts are \nprojections of our own needs. Our two visions are \ncomplementary and our design consensual. The \nchallenge of our work is about merging function, \ninnovation and longevity. We seek to project courage \nand serenity through the purity and originality of \nour work…. And there it is, that is what characterizes \nour creations: research, often lengthy, difficult, \nexhilarating to achieve what in a word can only be \nexpressed as EVIDENCE.”\nMAE ENGELGEER\nIl design tessile è sempre stato al centro del lavoro \n",71,{"image":297,"text":298,"number":299},"\u002Fmedia\u002Fimages\u002F3d\u002F01c8bb48be7d11bf5c5df097a18f6a-28a413e988.72.png","della designer olandese, sin dai tempi del liceo agli \nstudi all’Amsterdam Fashion Institute e al Sandberg \nInstituut. Da quando ha aperto il suo studio nel \n2013, ha coltivato la sua curiosità per l’artigianalità, \nsperimentando vecchie tecniche di produzione \ntessile per affinarle e portarle a uno stadio più \navanzato. Il lavoro di Mae Engelgeer abbraccia \nsottili palette di colori, motivi ed elementi lineari. \nComposizioni \ncomplesse \nsi \nfondono \ncon \nla \nperfezione per stabilire l’armonia. Esplorazioni \ncreative sul contrasto di materiali e texture danno \nforma a opere che sono lussuose nella loro tattilità \ne dimensionalità. Oltre a sviluppare le proprie \ncollezioni, Mae Engelgeer collabora con marchi di \ntutto il mondo per progetti che vanno dai prodotti \ntessili e dal design di mobili alle esplorazioni dei \nmateriali e alla direzione artistica\u002Fcolore, fino \nalle installazioni su larga scala e alle opere d’arte \npubbliche. “Il mio lavoro è guidato dall’intuizione \ne dal desiderio di creare. Mentre mi considero una \nsognatrice nella creazione di nuove atmosfere, \nsono in grado di tradurre rapidamente queste idee \nin opere tangibili utilizzando le giuste texture, \nmateriali e colori. Quando mi viene chiesta la \nmia visione nelle collaborazioni, sento un certo \nsenso di libertà nell’esplorare una moltitudine di \npossibilità”. — Textile design has always been at the \nheart of Dutch designer Mae Engelgeer’s work, from \nher high school days to her studies at the Amsterdam \nFashion Institute and Sandberg Instituut. Since \nopening her own studio in 2013, she has nurtured \nher curiosity for the craft, experimenting within the \nexisting boundaries of textile production to elevate \nold techniques to modernity. Mae Engelgeer’s \nwork embraces subtle color palettes, patterns and \nlinear elements. Complex compositions merge \nwith perfection to establish harmony. Creative \nexplorations into the material and texture contrasts \nresult in works that are luxurious in their tactility \nand dimensionality. In addition to  developing her \nown collections, Mae Engelgeer also works with \nbrands around the world on projects ranging from \ntextile products and furniture design to material \nexplorations and art\u002Fcolor direction, large-scale \ninstallations and public artworks. “My work is driven \nby intuition and the desire to create. While I consider \nmyself to be a dreamer in the creation of new \natmospheres, I am able to quickly translate those \nideas into tangible works using the right textures, \nmaterials and colors. When asked for my vision in \ncollaborations, I feel a certain sense of freedom to \nexplore a multitude of possibilities.” \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, per \nclienti con sede in Spagna, Italia, Brasile e Stati \nUniti. In precedenza, ha collaborato con aziende \ne marchi come Le Lis Blanc (marchio brasiliano \ndi moda e oggetti per la casa) e ZARA (Spagna). \nHa un’esperienza decennale nella ricerca dei \nnuovi trend della moda e della grafica nelle più \nsignificative città del mondo (Londra, New York, \nParigi, San Paolo, Seoul e Hong Kong). Tutti i suoi \ndisegni e le illustrazioni sono eseguiti a mano \ne 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. \nNINA MAGON\nFamosa in tutto il mondo per la creazione di spazi \nspettacolari, Nina Magon, fondatrice e direttrice di \nContour Interior Design, è un’interior designer dalle \nmolteplici sfaccettature, che realizza lussuosi progetti \nresidenziali, commerciali e di ospitalità, compresa \nuna collezione di prodotti lifestyle. Conosciuta \nper la sua estetica tagliente e audace, infonde in \nogni progetto il suo stile inconfondibile utilizzando \nelementi audaci, colori e modernità senza tempo. \nNina crea spazi e pezzi unici e lussuosi, che stimolano \ni sensi e si ispirano alle culture del mondo, per \noffrire l’eccellenza alla sua clientela esigente. Oltre \nai numerosi premi e riconoscimenti per il suo design, \nNina è stata protagonista di importanti pubblicazioni \ncome Architectural Digest, Elle Décor, Interior \nDesign Magazine, Hospitality Design Magazine, Luxe \nMagazine, The Robb Report, Wall Street Journal \ne molte altre. — Globally renowned for creating \nspectacular spaces, Nina Magon, founder and principal \nof Contour Interior Design, is a multifaceted interior \ndesigner, delivering luxurious residential, commercial, \nand hospitality projects, inclusive of a curated \ncollection of lifestyle product design. Known for her \nedgy and bold aesthetic, she infuses each design with \nher signature style by using bold elements, color, and \ntimeless modernity. Nina creates uniquely luxurious \nspaces and pieces, which excite the senses and are \ninspired by worldly cultures, to deliver excellence to \nher discerning clientele. In addition to her numerous \ndesign awards and recognition, Nina has been featured \nin distinguished publications including Architectural \nDigest, Elle Décor, Interior Design Magazine, Hospitality \nDesign Magazine, Luxe Magazine, The Robb Report, \nWall Street Journal and many more.\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 \nfrutto 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.\nSANS NOM STUDIO\nSans Nom è uno studio di consulenza creativa \nfortemente improntato sul design di prodotto. Con il \nsuo approccio intraprende una ricerca radicale con \nlo scopo di riscoprire dettagli quotidiani, portandone \nl’intrinseca poesia in oggetti d’uso. \nI fondatori scelgono di rimanere anonimi affinché gli \noggetti possano esprimersi nella forma più diretta.\nSans Nom is a creative studio with a deep-rooted focus \non product design. With its work it takes a radical \napproach and aims to discover hidden everyday details \nbringing their poetry into objects of use and research. \nTheir founders, driven by a profound passion to create \nobjects, choose to remain anonymous to let their \nobjects speaking in a pure form.\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 \nhas been working in visual communication since \n2005. After an illustration and visual communication \nBA at IED, she focuses on textile design with an MA \nand post-graduate courses at the Central Saint \nMartins College of Art, London. After working for \nsome of Europe’s leading textile companies she has \nopened her surface design and consultancy studio \nin Milan. She collaborates with international brands \nsuch as the Inditex group - Zara, Zara Kids, Adidas, \nMango, Topshop, and she is a visiting Professor in \nSurface and Pattern Design at IED Turin. Thanks to \nher multidisciplinary background and to a constant \nresearch she has developed a contemporary and \nalways 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.\nSIMONE FANCIULLACCI\nNato e cresciuto in Liguria, dopo la laurea \nconseguita nel 2007 presso il Politecnico di Milano, \nfonda lo studio 4P1B con il quale ottiene numerose \npubblicazioni e riconoscimenti tra i quali l’IF Design \nAward, il Good Design Award e una menzione \nd’onore alla XXIII edizione del Compasso d’Oro. Nel \n2017, conclusa l’esperienza dello studio, inizia a \nfirmare con il proprio nome i progetti che sviluppa. \nTra i principali clienti Nilufar Gallery, Secondome, \nDe Vecchi Milano 1935, Wall&decò, Martinelli Luce, \nLago, Chairs&More. Simone Fanciullacci è anche \ntitolare e art director del marchio Edizione Limitata \ncon il quale sviluppa e commercializza progetti \nprodotti in piccole serie andando a riscoprire \nmateriali, \ntecniche \ne \nartigiani \nsul \nterritorio \nitaliano. — Simone Fanciullacci was born and \nraised in Liguria and after graduating in 2007 from \nthe Polytechnic University of Milan, he founds the \n4P1B Studio obtaining numerous publications and \nawards, including the IF Design Award, the Good \nDesign Award and an honourable mention at the \n23rd edition of the Compasso d’Oro. In 2017, having \ncompleted the studio’s experience, he begins to sign \nthe projects he develops under his own name. Among \nhis main clients are Nilufar Gallery, Secondome, De \nVecchi Milano 1935, Wall&decò, Martinelli Luce, Lago, \nChairs&More.\nSimone Fanciullacci is also the owner and art \ndirector of Edizione Limitata brand with which he \ndevelops and markets projects produced in small \nseries, rediscovering materials, techniques and \ncraftsmen in Italy.\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 tutte \nle sue forme. La filosofia dello studio si basa su \nun approccio concettuale inedito e trae forza da \nun 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. \nAltro elemento di forza è la multidisciplinarità, \nil saper far dialogare all’interno di uno stesso \nprogetto ambiti diversi come il design, la moda e \nl’arte. — Studiopepe is a design studio founded in \nMilan in 2006 by Arianna Lelli Mami and Chiara Di \nPinto. The studio focuses on creative consultancy \n(interiors, product design, editorial, set-design, \ncolor consultancy…). The studio’s philosophy takes a \nstrong visionary approach thanks to an iconographic \nbackground that generates unique results. The \nattention for details and emotions that can be \ngenerated in people, as well as the use of color, \nsometimes daring, and the unusual but harmonius \nrelationship between materials are fundamental in \neach project of the studio. Studiopepe also takes \nadvantage of multidisciplinarity, knowing how to \ncreate a dialogue within different areas such as \ndesign, fashion and art.\nSTUDIO SALARIS\nAlessandra Salaris dopo studi classici divisa dalla \npassione tra la medicina e l’architettura sceglie \nla via piu’ creativa, studia quindi a Londra e al \nPolitecnico 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 tavole \nsu cui s’innesta una dimensione letteraria a firma \ndello scrittore Matteo Sartori. La collaborazione \ncon Wall&decò arricchisce di fascino il viaggio \ndella “lontra timida” e sposa l’esperienza artistica \ndi The Elusive Otter a una nuova realtà applicativa. \nRaffaella \nAudiffredi: \nArchitetto, \nlaureata \nal \nPolitecnico di Milano, dopo aver lavorato in Italia \ne all’estero, nel 2010  apre il suo studio a  Milano. \nNel 2013 crea il progetto The Elusive Otter. Matteo \nSartori: Laureato in Scienze politiche all’Università \nStatale di Milano, dal 2002 al 2012 lavora per il \ncinema e la pubblicità. È autore di tre romanzi. — The \nrefined illustrations of Raffaella Audiffredi, author \nof the project, zoom in details on the animal world, \ncreating canvases on which a literary dimension \nsigned by writer Matteo Sartori is triggered. The \ncollaboration with Wall&decò enriches the journey \nof the ‘’elusive otter’’ with charm and combines the \nartistic experience of The Elusive Otter to a new \napplication field. Raffaella Audiffredi: Architect, \ngraduated at the Polytechnic University of Milan, \nopened her studio in Milan in 2010, after working in \nItaly and abroad. She conceived The Elusive Otter \nproject in 2013. Matteo Sartori: Graduated in political \nsciences at the State University of Milan, he worked \nin the cinema and advertising field from 2002 to 2012. \nHe is 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.\nWLADIMIRO BENDANDI\nWladimiro, dopo la maturità artistica, affina la sua \ntecnica studiando design e comunicazione visiva. Le \nsue collaborazioni professionali sono trasversali ed \nesplora le mille sfaccettature del graphic design. Dal \n2007 ha creato D+, il suo studio di progettazione con \nla convinzione che un buon progetto comunicativo \nè un diritto di tutti. La progettazione grafica è per \nlui, infatti, una forma di design vasta e virale in \ngrado di interagire con la quotidianità in un’ottica \ndi continua ricerca e contaminazione. Sin dal 2009 \ncollabora con Wall&decò seguendo e progettando \ntutti gli strumenti strategici di comunicazione \nvisiva per alcuni dei quali ha ricevuto anche \nriconoscimenti internazionali. — Wladimiro, after \ngraduating from art school, refined his technique \nby studying visual design and communication. He \nhas worked with numerous leading brand names \nlike Diesel and with artists such as Jovanotti and has \ncooperated in projects such as the Turin World Design \nCapital. In 2007, he set up D+, his own design firm in \nthe conviction that everyone is entitled to a good \ncommunication project. For him, communication is in \nfact a vast and viral form of design able to interact \nwith daily existence in a perspective of ongoing search \nand contamination. Since 2009 he has collaborated \nwith Wall&decò following and designing all strategic \nvisual communication tools for some of which he has \nalso received international awards.\n",72,{"image":301,"text":302,"number":303},"\u002Fmedia\u002Fimages\u002F3d\u002F01c8bb48be7d11bf5c5df097a18f6a-28a413e988.73.png","wallanddeco.com\nvia Santerno 18 - Cervia (Ravenna) - Italy\ntel +39.0544.918012\ninfo@wallanddeco.com\nShowroom Milano\nvia Solera Mantegazza 7\nShowroom KÖln\nDesign Post, Deutz-Mülheimer-Str. 22a\n© all rights reserved  Wall&decò® 2021\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 images \ncontained in the ColorMatch section (from p.96 to \np.131) of this catalog. Only these graphic images, in \nscale 1:4, are to be taken as a reference to satisfy \ncolor 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: \nMarina Denisova (Roots)\nFederico Ciamei (More More More)\nMassimo Spada (1986)\nstyling: \nCristina Nava\nthanks to \nAmini Carpets, Arcarreda, Atelier Areti, Baxter, B&B \nItalia, Bitossi, CARA \\ DAVIDE, Centroedile Milano, \nCompasso Gallery, CIMENTO®, DESALTO, Edizioni \nDesign, Fazzini, Forma & Cemento at PalermoUno, \nGianfranco Ferré Home - A Brand of JUMBO GROUP, \nJCP Universe - A Brand of JUMBO GROUP, Kabinet, \nKarpeta, Living Divani, Luceplan, MAGIS, Mamate, \nMeridiani, MMairo Marble & Design, Moroso,  \nOfficine Saffi, Portego, Six Gallery, Spinzi Design, \nStilnovo, Tacchini, Terzani, Varier Italia, Vitra \ndistribuita in Italia da Molteni&C e Unifor\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.96 \na p.131) 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.\nVisita WeMU\nVisit WeMU\nLa visione creativa Wall&decò abbraccia il mondo e ne \npercepisce cambiamenti, esigenze e nuove priorità. Fra \nqueste, il proporre soluzioni concretamente ecosostenibili \nnell’ambito del design di interni e dell’edilizia. Anche le carte \nda parati diventano parte di un processo virtuoso che non \nsi esaurisce con la posa in opera, ma al contrario inizia da \nquel momento e accompagna ogni realizzazione lungo tutta \nla sua vita, fino allo smaltimento.\nWall&decò introduce il supporto CWC-ECO per le proprie \ncarte: si tratta di un supporto in tessuto non tessuto \nrivestito con fibre di cellulosa e poliestere. Prodotto con \nun procedimento ecologico, il nuovo supporto è riciclabile, \nprivo di PVC e di ftalati e con una soglia di emissioni \ncertificata A+ secondo la normativa francese (test della \nnorma europea ISO 16000) relativa all’emissione di VOC, \nin accordo con la certificazione Indoor Air Comfort GOLD.\nPer le sue caratteristiche, il supporto è indicato per \nogni tipo di interni e ha un’ottima capacità traspirante; \nrispetta inoltre le normative di reazione al fuoco classe \nB s1 d0.\nWall&decò’s creative vision embraces the world and \nsenses changes, needs and new priorities. Among \nthese, the necessity to introduce solutions for interior \ndesign and construction that are effectively sustainable. \nWallpapers become part of a virtuous circle that does \nnot stop after the installation: instead that is the start \nof a long life that follows each project up to the disposal \nphase.\nWall&decò introduces the CWC-ECO wall coating: it \nconsists of a non-woven fabric covered with cellulose \nfibre and polyester base. Made with an ecological \nproduction cycle, the new substrate is recyclable, \ntotally PVC-free and phthalate-free, and is certified A+ \naccording to the French label (following European norm \nISO 16000) regarding VOC emissions, Indoor Air Comfort \nGOLD certified.\nThanks to its features, the substrate is ideal for any \nkind of interiors, it’s highly breathable , and the coating \nrespects the Reaction to Fire standard, class B s1 d0.\n PER UN INTERIOR DESIGN \nREALMENTE ECOSOSTENIBILE\nCONTRIBUTIONS FOR A REALLY \nSUSTAINABLE INTERIOR DESIGN\nCWC-ECO\n",73,{"image":305,"text":306,"number":307},"\u002Fmedia\u002Fimages\u002F3d\u002F01c8bb48be7d11bf5c5df097a18f6a-28a413e988.74.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 Air Comfort GOLD\nPermeabilità \nPermeability\nValore sd 1,37 m (mediamente permeabile al vapore secondo EN7783 Dry Cup\nSd value 1.37 m (average water vapour resistance according to EN7783 Dry Cup\nCertifications\nCWC & Bronzage ®\nResistente agli urti\nImpact resistant\nDescrizione d’uso\nDescription of use\nDa interni, residenziale e contract (hotel, commerciale)\nIndoor, residential and contract (hotel, commercial)\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\nCoated nonwoven based on cellulose and polyester fibers\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 Air Comfort GOLD\nPermeabilità \nPermeability\nValore sd 0,38 m (mediamente permeabile al vapore secondo EN7783 Dry Cup)\nSd value 0.38 m (average water vapour resistance according to EN7783 Dry Cup)\nCertifications\nCWC-ECO\nDescrizione d’uso\nDescription of use\nDa interni, residenziale e contract (hotel, commerciale)\nIndoor, residential and contract (hotel, commercial)\nAltamente Lavabile\nExtra washable\nSuperficie goffrata\nEmbossed surface\nRemovibile a secco\nDry strippable\nApplicare la colla sul muro\nPaste 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