[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-foscarini-vite-2":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":723},{"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":718,"matched_pages":719,"match_count":720,"two_pages":721,"show_text":722},15401,"Vite 2","foscarini-vite-2","\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002F25\u002Ffb49f0e8df6d417fc658f62f8c75d8-2854d77d6b.pdf","Foscarini",90,"foscarini","36.5 MB",[14,17,21,25,29,33,37,41,45,49,53,57,61,65,69,73,77,81,85,89,93,97,101,105,109,113,117,121,125,129,133,137,141,145,149,153,157,161,165,169,173,177,181,185,189,193,197,201,205,209,213,217,221,225,229,233,237,241,245,249,253,257,261,265,269,273,277,281,285,289,293,297,301,305,309,313,317,321,325,329,333,337,341,345,349,353,357,361,365,369,372,376,380,384,388,392,396,400,404,408,412,416,420,424,428,432,436,440,444,448,452,456,460,464,468,472,476,480,484,488,492,496,500,504,508,512,516,520,524,528,532,536,540,544,548,552,556,560,564,568,572,576,580,584,588,592,596,600,604,608,612,616,620,624,628,632,636,640,644,648,652,656,660,664,668,672,676,680,684,688,692,696,700,704,708,712,716],{"image":7,"text":15,"number":16},"Foscarini\n \nVITE 2. Continua il \nnostro viaggio alla \nscoperta di nuove città  \ne nuove dimore. Per \nincontrare persone che \nvivono le case come \nspecchi: per vedersi e \nnon per mostrarsi.\n \nfotografie\ndi Gianluca Vassallo\nVITE 2. Continua il nostro viaggio alla scoperta di nuove \ncittà e nuove dimore. Per incontrare persone che vivono \nle case come specchi: per vedersi e non per mostrarsi.\n \nNulla di questo progetto sarebbe\nstato possibile senza la disponibilità\nprima, la curiosità poi e il coinvolgimento\ndelle persone che ci hanno aperto le loro\ncase e le loro Vite. A tutti loro va il nostro\npiu sentito Grazie.\n \n \nNothing in this project would have\nbeen possible without the generosity,\ncuriosity and participation of the people\nwho have opened their homes and their\nLives to us. We send our heartfelt thanks\nto all of them.\nvite.foscarini.com\nScopri VITE in versione digitale.  \nLasciati ispirare dalle case raccontate  \nnei due volumi con una selezione più \nampia di immagini, navigabile per \nambiente, prodotto o funzione d’uso.  \nApprofondisci le VITE con video e podcast \ne scopri come le lampade Foscarini \ntrasformano e caratterizzano gli spazi.\n \nvite.foscarini.com\nDiscover the digital version of VITE.  \nLet yourself be inspired by a vast \nselection of images from the houses \ndescribed in both books, now easily \nnavigable by environment, product,  \nor function of use. Explore VITE stories \nthrough videos and podcasts and  \ndiscover how Foscarini lamps transform \nand characterize spaces.\n",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.2.png","Foscarini\n \nVITE 2. Lives 2. Our journey \ncontinues to discover new \ncities and new houses.  \nTo meet people using homes \nas mirrors: to see yourself,  \nnot to display yourself. \n \npictures\n \nby Gianluca Vassallo\nFoscarini\n \nVITE 2. Continua il \nnostro viaggio alla \nscoperta di nuove città  \ne nuove dimore. Per \nincontrare persone che \nvivono le case come \nspecchi: per vedersi e \nnon per mostrarsi.\n \nfotografie\ndi Gianluca Vassallo\nVITE 2. Continua il nostro viaggio alla scoperta di nuove \ncittà e nuove dimore. Per incontrare persone che vivono \nle case come specchi: per vedersi e non per mostrarsi.\n \nNulla di questo progetto sarebbe\nstato possibile senza la disponibilità\nprima, la curiosità poi e il coinvolgimento\ndelle persone che ci hanno aperto le loro\ncase e le loro Vite. A tutti loro va il nostro\npiu sentito Grazie.\n \n \nNothing in this project would have\nbeen possible without the generosity,\ncuriosity and participation of the people\nwho have opened their homes and their\nLives to us. We send our heartfelt thanks\nto all of them.\nvite.foscarini.com\nScopri VITE in versione digitale.  \nLasciati ispirare dalle case raccontate  \nnei due volumi con una selezione più \nampia di immagini, navigabile per \nambiente, prodotto o funzione d’uso.  \nApprofondisci le VITE con video e podcast \ne scopri come le lampade Foscarini \ntrasformano e caratterizzano gli spazi.\n \nvite.foscarini.com\nDiscover the digital version of VITE.  \nLet yourself be inspired by a vast \nselection of images from the houses \ndescribed in both books, now easily \nnavigable by environment, product,  \nor function of use. Explore VITE stories \nthrough videos and podcasts and  \ndiscover how Foscarini lamps transform \nand characterize spaces.\n",2,{"image":22,"text":23,"number":24},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.3.png","003\nFoscarini — Vite\n \n\u002FLA BELLEZZA CHE \nGIANLUCA VASSALLO SA \nCOGLIERE È LA STESSA \nCHE ASPIRIAMO A CREARE \nCON LE NOSTRE LAMPADE: \nNATE PER FARE LUCE,  \nMA SOPRATTUTTO PER \nESSERE COMPAGNE NELLE \nVITE DI CHI LE SCEGLIE.\n \n\u002FTHE BEAUTY THAT \nGIANLUCA VASSALLO IS \nABLE TO CAPTURE IS THE \nSAME THAT WE SET OUT TO \nCREATE WITH OUR LAMPS: \nMADE TO SHED LIGHT, \nBUT ABOVE ALL TO BE \nLIFELONG COMPANIONS.\nSe le case diventano specchi.\nIf homes become mirrors.\n",3,{"image":26,"text":27,"number":28},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.4.png","Foscarini — Vite\n005\nSe le case diventano specchi.\n \nAlla fine del 2018, mentre stavamo \nriflettendo sull'aggiornamento della nostra \ndocumentazione commerciale, ci siamo \ntrovati di fronte ad un bivio. Per noi, fortunati \noperatori del mondo della Luce, che \nproponiamo prodotti in grado di esprimere \nmolteplici personalità, diversi da accesi e  \nda spenti e capaci di inserirsi in contesti \nmolto diversificati, è sempre difficile trovare \nrisposte univoche per rappresentare tale \ntrasversalità e ricchezza espressiva. \n \nMeglio mostrare il progetto di design  \nin sé o costruirgli attorno un'ambientazione \ndi contesto? Difficile propendere per l'una  \no l'altra strada, entrambe con aspetti positivi  \ne connaturati limiti. Fino a che non abbiamo \niniziato ad immaginare qualcosa di diverso. \nUn racconto in cui le nostre lampade \nentrassero a far parte di case vere, \nintegrandosi in ambienti vissuti. Mostrando \nla loro capacità di portare carattere, ma \nanche di adattarsi. Di non richiedere la \nscena, ma di contribuire a crearla, entrando \na far parte di Vite vere.\n \nTre continenti, tredici città, venticinque \ncase dopo, questo secondo capitolo - VITE \n2, appunto - si aggiunge al primo. Lo integra, \nampliando le latitudini esplorate a caccia di \nuna luce diversa e con essa di culture di \nabitare e Vite diverse. Abbiamo continuato  \na cercare ambienti molto personali, anche \nimperfetti perché veri, inevitabilmente \nlontani dai set fotografici controllati e dalle \nfredde regole di styling tipiche degli scatti \ndel mondo del design.\n \nIn questi anni VITE ci ha portato così \nad incontrare e conoscere persone che, \nsentendosi in sintonia col progetto, ci hanno \n \nAt the end of 2018, while we were \nthinking about updating our sales literature, \nwe found ourselves at a crossroads.  \nAs fortunate participants in the world of \nLight, offering products that embody \nmultiple personalities, differing when on or \noff and capable of insertion in many vividly \ndifferent contexts, it is always hard for us to \nfind individual responses that can represent \nso much versatility and such expressive \nvariety. \n \nIs it better to show the design piece \nitself, or should we surround it with a \nsetting, a context? It is difficult to choose \neither option, since they both have their \npositive aspects and intrinsic limits. But then \nwe began to imagine a new, different path.  \nA story in which our lamps would enter and \nbecome part of real homes, taking part in \nlife experiences. Displaying their ability to \nbring character, but also to adapt. Not \ndemanding a setting but contributing to \ncreating a scene, becoming part of real \nLIVES (VITE).\n \nThree continents, 13 cities, and 25 \nhomes later, this second chapter - VITE 2,  \nto be precise - now joins the first one.  \nIt expands the approach, exploring new \nlatitudes in pursuit of a different light, and  \na different culture of living. We have \ncontinued to search for very personal \nsettings, also imperfect precisely because \nthey are real, inevitably far from the \ncontrolled photographic sets and cold rules \nof styling imposed in images of the world  \nof design.\n \nIn these years, VITE has allowed us  \nto meet and get acquainted with people who \nSe le case  \ndiventano specchi.\nIf homes  \nbecome mirrors.\n",4,{"image":30,"text":31,"number":32},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.5.png","007\nFoscarini — Vite\ngenerosamente accolto nei loro ambienti \nprivati, condividendo anche il racconto del \ndivenire delle loro case, immagine delle loro \nVite. Abbiamo trovato case un po’ \nstropicciate e un po’ ordinate, piene di \nricordi del passato e di attività del presente, \ncariche di gestualità e rituali. Dimore ed \nesistenze illuminate dalla luce, splendidi \nscorci su umane storie, imperfezioni ed \naspirazioni.\n \nQuesto lavoro non avrebbe potuto \nrealizzarsi pienamente se non avessimo \ntrovato in Gianluca Vassallo un naturale, \ncosciente interprete capace di dare forma  \na quanto avevamo immaginato. Il creatore \ndei significati che stavamo cercando, che  \n- vestiti della semplice eleganza della grafica \ndi Artemio Croatto - oggi si arricchiscono  \ndi questo secondo capitolo.\n \nCon VITE proponiamo il design nella \nsua dimensione più umana. Quel design che \nesprime le sue qualità nelle abitazioni di \npersone che vivono le case come specchi: \nper vedersi e non mostrarsi, per trovarsi e \nnon esporsi.\nfeel in tune with the project, and have \ngenerously welcomed us into their private \nspaces, while sharing the story of the \nevolution of their homes, like reflections of \ntheir Lives. We have found homes that are  \na bit crumpled but somehow well-organized, \nfull of memories of the past and activities of \nthe present, gestures, and rituals. Abodes \nand existences illuminated by light, splendid \nglimpses of human histories, flaws, and \naspirations.\n \nThis work could never have been fully \naccomplished had we not found Gianluca \nVassallo, a natural, conscious interpreter \ncapable of giving form to what we had \nimagined. He is just the creator of meanings \nwe were looking for, meanings that rely on \nthe simple elegance of graphic design by \nArtemio Croatto to now enrich this second \nchapter.\n \nWith VITE we illustrate design in its \nmost human dimension. That design reveals \nits qualities in the dwellings of people, who \nexperience their homes as if they were \nmirrors: to see yourself, not to display \nyourself. To know yourself – not to show off.\n \nCarlo Urbinati\n \nFondatore e Presidente Foscarini\n \nFoscarini Founder and President\nIf homes become mirrors.\nSe le case diventano specchi.\n",5,{"image":34,"text":35,"number":36},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.6.png","Foscarini — Vite\n009\nHo iniziato a fotografare che ero già adulto.\n \nÈ successo per caso, a New York, nel \n2008. Alex la ricorda bene quell’estate, ero \narrivato dal nulla, senza preavviso, per \nperdermi nel tempo magnifico della prima \nconsapevolezza d’essere uomo e lui, che \nm’era stato amico già nell’infanzia, \nlontanissimo da lì, mi aveva prestato una \nmacchina fotografica per guardare meglio \nil mondo, o per guardarlo ancora, dopo \naverlo attraversato.\n \nÈ stata l’ultima estate da ragazzo e, \nassieme, la prima da adulto. L’unica, fin lì, \nlontana dal mare.\n \nRicordo bene la mia prima foto. Ero  \na Jamaica, nel Queens, una donna di colore, \nmadre di una madre, fianchi larghi come le \nsue spalle, entrava in casa con le buste della \nspesa, mentre un bambino le teneva la porta. \nE si scorgevano poche cose di dentro, ma \ntanto bastava a farmi immaginare la sua vita. \nUn poster di Obama, le gambe di un uomo,  \nun crocifisso, e un telefono a parete.\n \nNon sapevo nulla di fotografia, e quella \nfoto lo diceva. Ma mi diceva anche cosa stavo \ncercando nel mondo.\n \nQuell’estate ho capito alcune cose di \nme e della fotografia che continuano ad \nessere centrali: che la fotografia, per me,  \nnon era cogliere l’attimo ma saperlo \nattendere, che non volevo registrare lo \nsguardo, ma il sentire. E poi, che un buon \namico, sa prima di te il valore che ti porti \ndentro. Allora è stato Alex, a saperlo. In \nquesti anni è stato Carlo. Il sign. Foscarini \ncome lo chiama chi amico non gli è.\n \nIt happened by chance, in New York,  \nin 2008. Alex remembers that summer well.  \nI had arrived out of nowhere, without warning, \nto get lost in the magnificent time of initial \nawareness of being a man, and he – a friend \nsince childhood, very far away – had lent me \na camera for a better look at the world, and \nthen a closer look after having explored it.\n \nIt was the last summer of youth and at \nthe same time the first one of adulthood. The \nonly one, until then, spent away from the sea.\n \nI remember my first photo very clearly. \nIt was in Jamaica, Queens, a black woman, \nmother of a mother, wide hips and shoulders, \nentered a house with grocery bags, while a \nboy held the door for her. You could glimpse \nbut a few things inside, but it was enough to \nenable me to imagine her life. A poster of \nObama, the legs of a man, a crucifix, and a \ntelephone on the wall.\n \nI knew nothing about photography, and \nthat photo made it clear. But it also told me \nwhat I was seeking in the world.\n \nThat summer I understood some things \nabout myself and photography, things that \nare still central factors: that photography,  \nfor me, was not catching the instant, but \nknowing how to wait. I understood that I did \nnot want to record the gaze, but the feeling. \nAnd then that a good friend knows the value \nyou have inside, even before you do. Back \nthen it was Alex, who knew. In these years,  \nit has been Carlo. Signor Foscarini, as he is \ncalled by those who are not his friends.\n \nGianluca Vassallo\n \nFotografo \u002F Photographer\nHo iniziato a fotografare \nche ero già adulto.\nI began taking photographs \nwhen I was already an adult.\n",6,{"image":38,"text":39,"number":40},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.7.png","Daniel\nin Guérande \n\u002F District: \nPays de la Loire\nMarina  \nin Meerbusch  \n\u002F District:\nRheinland\nGabriele \nin Caldonazzo \n\u002F District: Trentino\nKarina \nin Wuppertal\n\u002F District: \nBergisches  \nLand\nValérie in Caen\n\u002F District: \nBasse-Normandie\nSabrina \nin Medole \n\u002F District: \nLombardia\nMarkus and \nSandra  \nin Mönchen-\ngladbach \n\u002F District: \nNiederrhein\nBénédicte  \nin Guérande \n\u002F District: \nPays de la Loire\nMeyer in Köln \n\u002F District: \nRheinland\n013\n037\n077\n107\n141\n191\n231\n257\n283\nFoscarini — Vite\nDaniel – France\nMarina – Germany\nKarina – Germany\nSandra – Germany\nSabrina – Italy\nValérie – France\nGabriele – Italy\nIndex\nIf homes become mirrors.\n011\nSe le case diventano specchi.\nBénédicte– France\nMeyer – Germany\n",7,{"image":42,"text":43,"number":44},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.8.png","013\nFoscarini — Vite\nDaniel a Guérande. Pays de la Loire\n Daniel\nin Guérande  \n— Pays de la Loire\n \n\u002F TRAMONTO, \nSTAGNO, CARPE.\n \n\u002F SUNSET, \nMARSH, CARP.\n",8,{"image":46,"text":47,"number":48},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.9.png","015\nFoscarini — Vite\n“Tramonto, stagno, carpe.”\nDaniel a Guérande. Pays de la Loire\n",9,{"image":50,"text":51,"number":52},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.10.png","017\nFoscarini — Vite\n“Tramonto, stagno, carpe.”\nDaniel a Guérande. Pays de la Loire\n",10,{"image":54,"text":55,"number":56},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.11.png","019\nFoscarini — Vite\n“Tramonto, stagno, carpe.”\nDaniel a Guérande. Pays de la Loire\n",11,{"image":58,"text":59,"number":60},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.12.png","021\nFoscarini — Vite\nDaniel a Guérande. Pays de la Loire\n“Tramonto, stagno, carpe.”\n",12,{"image":62,"text":63,"number":64},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.13.png","023\nFoscarini — Vite\n“Tramonto, stagno, carpe.”\nDaniel a Guérande. Pays de la Loire\n",13,{"image":66,"text":67,"number":68},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.14.png","025\nFoscarini — Vite\n“Tramonto, stagno, carpe.”\nDaniel a Guérande. Pays de la Loire\n",14,{"image":70,"text":71,"number":72},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.15.png","027\nFoscarini — Vite\n“Tramonto, stagno, carpe.”\n",15,{"image":74,"text":75,"number":76},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.16.png","029\nFoscarini — Vite\n“Tramonto, stagno, carpe.”\nDaniel a Guérande. Pays de la Loire\n",16,{"image":78,"text":79,"number":80},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.17.png","Foscarini — Vite\n031\nDaniel a Guérande. Pays de la Loire\n“Tramonto, stagno, carpe.”\n",17,{"image":82,"text":83,"number":84},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.18.png","Foscarini — Vite\n“Tramonto, stagno, carpe.”\n033\nDaniel a Guérande. Pays de la Loire\n",18,{"image":86,"text":87,"number":88},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.19.png","035\nFoscarini — Vite\nDaniel a Guérande. Pays de la Loire\n“PER VENT’ANNI LA MIA CASA È STATA  \nUNA BARCA A VELA, NELLE ANTILLE.”\n \nFacevo lo skipper: St Barth, La Guadeloupe,  \nLa Réunion, mari cristallini, isole, tutto quello che \npotete immaginare. Il vento, il sole, sempre.  \nMa intanto avevo comprato un terreno proprio qui,  \nnel “marais”, tra le paludi saline della Guérande; \nperché sapevo che era qui che volevo venire a vivere, \ncostruire la mia casa. Lontano il più possibile da tutto, \ndal traffico, dai grattacieli, dal caos, dalla gente.  \nQui posso vivere nascosto. La cosa che più mi piace  \nè il cielo, il cielo libero, puro, che si incendia al \ntramonto. Il cielo che vedo quando vado a dar da \nmangiare alle mie carpe. Ai Tropici le giornate sono \ntroppo corte, la notte scende subito.  \nQui ho il tempo di godermi il cielo. Mi manca il mare,  \nil vento? Un po’, non troppo. Quando mi manca, \nprendo a noleggio una barca con amici, veleggiamo \nnel Mediterraneo. Ma per ora, il mio cielo mi basta.\n“FOR 20 YEARS MY HOUSE WAS A SAILBOAT, \nIN THE ANTILLES.”\n \nI was a skipper: Saint Barts, Guadeloupe, \nRéunion, crystalline sea, islands, everything you \nmight imagine. Wind, sunshine, always. But in the \nmeantime I had purchased land right here, in the \n“marais”, amidst the salt marshes of Guérande; \nbecause I knew I wanted to come here to live, to build \nmy home. As far away from everything as possible, \nfrom traffic, skyscrapers, chaos, and people.  \nHere I can be hidden. The thing I like the best is the \nsky, the open sky, pure, set aflame at sundown.  \nThe sky I see when I go to feet my carp. In the tropics \nthe days are too short, night falls right away.  \nHere I have time to enjoy the sky. Do I miss the sea, \nthe wind? A little, but not too much. When I miss \nthem, I rent a boat with some friends, we sail in the \nMediterranean. But for now the sky is enough for me.\n“Tramonto, stagno, carpe.”\nTesto di \u002F Text by Lisa Corva\n \n\u002F“LA COSA CHE PIÙ MI \nPIACE È IL CIELO, LIBERO, \nPURO, CHE SI INCENDIA \nAL TRAMONTO.”\n \n \n\u002F“THE THING I LIKE THE \nBEST IS THE SKY, THE \nOPEN SKY, PURE, SET \nAFLAME AT SUNDOWN.”\nDaniel vive con Lydie, e il gatto Spoty, \nnelle terre della Guérande.\nDaniel lives with Lydie, and Spoty  \nthe cat, in Guérande.\n",19,{"image":90,"text":91,"number":92},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.20.png","Foscarini — Vite\nMarina a Meerbusch. Rheinland\n Marina\nin Meerbusch  \n— Rheinland \n \n\u002F CONFINI,\nFAMIGLIE, VIAGGI. \n \n\u002F BORDERS,  \nFAMILIES, TRAVELS. \n037\n",20,{"image":94,"text":95,"number":96},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.21.png","039\n“Confini, famiglie, viaggi.”\nFoscarini — Vite\nMarina a Meerbusch. Rheinland\n",21,{"image":98,"text":99,"number":100},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.22.png","Foscarini — Vite\nMarina a Meerbusch. Rheinland\n“Confini, famiglie, viaggi.”\n041\n",22,{"image":102,"text":103,"number":104},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.23.png","043\n“Confini, famiglie, viaggi.”\nFoscarini — Vite\nMarina a Meerbusch. Rheinland\n",23,{"image":106,"text":107,"number":108},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.24.png","Foscarini — Vite\nMarina a Meerbusch. Rheinland\n“Confini, famiglie, viaggi.”\n045\n",24,{"image":110,"text":111,"number":112},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.25.png","047\n“Confini, famiglie, viaggi.”\nFoscarini — Vite\nMarina a Meerbusch. Rheinland\n",25,{"image":114,"text":115,"number":116},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.26.png","Foscarini — Vite\nMarina a Meerbusch. Rheinland\n“Confini, famiglie, viaggi.”\n049\n",26,{"image":118,"text":119,"number":120},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.27.png","051\nFoscarini — Vite\n“Confini, famiglie, viaggi.”\nMarina a Meerbusch. Rheinland\n",27,{"image":122,"text":123,"number":124},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.28.png","053\nFoscarini — Vite\nMarina a Meerbusch. Rheinland\n“Confini, famiglie, viaggi.”\n",28,{"image":126,"text":127,"number":128},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.29.png","055\nFoscarini — Vite\n“Confini, famiglie, viaggi.”\nMarina a Meerbusch. Rheinland\n",29,{"image":130,"text":131,"number":132},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.30.png","057\nFoscarini — Vite\n“Confini, famiglie, viaggi.”\nMarina a Meerbusch. Rheinland\n",30,{"image":134,"text":135,"number":136},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.31.png","059\nFoscarini — Vite\nMarina a Meerbusch. Rheinland\n“Confini, famiglie, viaggi.”\n",31,{"image":138,"text":139,"number":140},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.32.png","061\nFoscarini — Vite\n“Confini, famiglie, viaggi.”\nMarina a Meerbusch. Rheinland\n",32,{"image":142,"text":143,"number":144},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.33.png","063\nFoscarini — Vite\nMarina a Meerbusch. Rheinland\n“Confini, famiglie, viaggi.”\n",33,{"image":146,"text":147,"number":148},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.34.png","065\nFoscarini — Vite\n“Confini, famiglie, viaggi.”\nMarina a Meerbusch. Rheinland\n",34,{"image":150,"text":151,"number":152},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.35.png","067\nFoscarini — Vite\nMarina a Meerbusch. Rheinland\n“Confini, famiglie, viaggi.”\n",35,{"image":154,"text":155,"number":156},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.36.png","Foscarini — Vite\n“Confini, famiglie, viaggi.”\nMarina a Meerbusch. Rheinland\n069\n",36,{"image":158,"text":159,"number":160},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.37.png","071\nFoscarini — Vite\nMarina a Meerbusch. Rheinland\n“Confini, famiglie, viaggi.”\n",37,{"image":162,"text":163,"number":164},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.38.png","073\n“Confini, famiglie, viaggi.”\nFoscarini — Vite\nMarina a Meerbusch. Rheinland\n",38,{"image":166,"text":167,"number":168},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.39.png","075\nFoscarini — Vite\nMarina a Meerbusch. Rheinland\n“Confini, famiglie, viaggi.”\n \n\u002F“ABBIAMO COMPRATO \nQUESTA CASA OTTO ANNI \nFA, TUTTO IL CONTRARIO \nDI QUELLA CHE SOGNAVO.”\n \n\u002F“WE BOUGHT THIS \nHOUSE EIGHT YEARS AGO, \nJUST THE OPPOSITE OF \nWHAT I DREAMED ABOUT.”\n“LA MIA VITA È FATTA DI CONFINI.”\n \nSono nata a Minsk, in Bielorussia, e lì vive \nancora mio padre; ho studiato a Mosca; sono poi \narrivata per lavoro in Germania dove ho conosciuto \nmio marito, che è un avvocato. Ci siamo sposati, \nabbiamo avuto una figlia. Intorno a noi, tanti quadri \nche abbiamo comprato viaggiando; molti vengono  \nda Minsk, mi ricordano la mia infanzia. E tante foto  \ndi famiglia nelle cornici d’argento, come si usava  \nuna volta: i miei genitori, quelli di mio marito, il suo \nprimo figlio con la moglie e il nipotino, nostra figlia,  \nil nostro primo terrier che purtroppo non c’è più. \nAbbiamo comprato questa casa otto anni fa, tutto  \nil contrario di quella che sognavo: volevo qualcosa \ndi vecchio, di Jugendstil, ma mio marito ha insistito \nperché almeno andassimo a vederla. E quando ho \nvarcato la soglia mi sono innamorata, all’istante.  \nIn qualche modo, anche quello è stato passare un \nconfine: fidarsi, scoprire.\n“MY LIFE IS MADE OF BORDERS.”\n \nI was born in Minsk, Belarus, and my father still \nlives there; I studied in Moscow; then I came to \nGermany for work, where I met my husband who is a \nlawyer. We are married, with one daughter. Around us \nthere are many paintings, purchased on our travels; \nmany come from Minsk and remind me of my \nchildhood. We also have many family photos, in silver \nframes, as was a custom in the past: my parents,  \nmy husband’s parents, his first son with his wife and \nthe grandson, our daughter, and our first terrier, sadly \nno longer with us. We bought this house eight years \nago, just the opposite of what I dreamed about:  \nI wanted something old, Jugendstil, but my husband \ninsisted that we should at least go and have a look. \nWhen I crossed the threshold I fell in love instantly. \nSomehow that too was crossing a border: to trust,  \nto discover.\nTesto di \u002F Text by Lisa Corva\nMarina vive a Meerbusch  \ncon il marito Eckart e il terrier Emma.\nMarina lives in Meerbusch with her \nhusband Eckart and Emma the terrier.\n",39,{"image":170,"text":171,"number":172},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.40.png","077\nFoscarini — Vite \n Gabriele \nin Caldonazzo  \n— Trentino\n \n\u002F LUCE, \nLENTEZZA, LAGO.\n \n\u002F LIGHT,  \nSLOWNESS, LAKE.\nGabriele a Caldonazzo. Trentino\n",40,{"image":174,"text":175,"number":176},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.41.png","079\nFoscarini — Vite\nGabriele a Caldonazzo. Trentino\n“Luce, lentezza, lago.”\n",41,{"image":178,"text":179,"number":180},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.42.png","081\nFoscarini — Vite\n“Luce, lentezza, lago.”\nGabriele a Caldonazzo. Trentino\n",42,{"image":182,"text":183,"number":184},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.43.png","Foscarini — Vite\nGabriele a Caldonazzo. Trentino\n“Luce, lentezza, lago.”\n083\n",43,{"image":186,"text":187,"number":188},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.44.png","085\nFoscarini — Vite\n“Luce, lentezza, lago.”\nGabriele a Caldonazzo. Trentino\n",44,{"image":190,"text":191,"number":192},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.45.png","087\nFoscarini — Vite\n“Luce, lentezza, lago.”\nGabriele a Caldonazzo. Trentino\n",45,{"image":194,"text":195,"number":196},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.46.png","089\nFoscarini — Vite\n“Luce, lentezza, lago.”\nGabriele a Caldonazzo. Trentino\n",46,{"image":198,"text":199,"number":200},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.47.png","Foscarini — Vite\n“Luce, lentezza, lago.”\n091\nGabriele a Caldonazzo. Trentino\n",47,{"image":202,"text":203,"number":204},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.48.png","093\nFoscarini — Vite\n“Luce, lentezza, lago.”\n",48,{"image":206,"text":207,"number":208},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.49.png","095\nFoscarini — Vite\n“Luce, lentezza, lago.”\nGabriele a Caldonazzo. Trentino\n",49,{"image":210,"text":211,"number":212},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.50.png","Foscarini — Vite\nGabriele a Caldonazzo. Trentino\n“Luce, lentezza, lago.”\n097\n",50,{"image":214,"text":215,"number":216},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.51.png","099\nFoscarini — Vite\n“Luce, lentezza, lago.”\nGabriele a Caldonazzo. Trentino\n",51,{"image":218,"text":219,"number":220},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.52.png","101\nFoscarini — Vite\n“Luce, lentezza, lago.”\nGabriele a Caldonazzo. Trentino\n",52,{"image":222,"text":223,"number":224},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.53.png","Foscarini — Vite\nGabriele a Caldonazzo. Trentino\n",53,{"image":226,"text":227,"number":228},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.54.png","105\nFoscarini — Vite\nGabriele a Caldonazzo. Trentino\n“IL PUNTO DOVE LA CASA È PIÙ CASA, \nPER ME, È IL LUNGO TAVOLO DAVANTI \nALLA VETRATA.”\n \nL’abbiamo costruito con assi di legno \nrecuperate da un vecchio pontile sul lago di \nCaldonazzo, qui accanto. Ora è il tavolo su cui \nmangiamo, prendiamo il caffè; dove mia moglie scrive \nle favole che io sto acquarellando, il nostro nuovo \nprogetto che spero diventi presto un libro.  \nSiamo sposati da 25 anni. Eravamo giovanissimi; io \n22 anni, lei 21. Sono nate subito Giada, e poi Camilla. \nIl nostro sguardo insieme sul mondo parte da qui, da \nquesta vetrata che abbiamo voluto più ampia \npossibile: il giardino che è una casa fuori dalla casa, \nl’acero alla cui ombra d’estate mi rifugio a leggere.  \nLa mia luce preferita? L’ora blu, quando il tramonto \nentra nelle stanze. Non abbiamo tende, ci piace che le \nfoglie, le ombre e i colori entrino dentro. Casa, natura \ne lentezza: ho una mia agenzia di comunicazione,  \na Trento, ma di venerdì non si lavora. Si vive.\n“FOR ME, THE POINT WHERE THE HOUSE \nIS MOST A HOME IS THE LONG TABLE IN FRONT \nOF THE WINDOW.”\n \nWe built it with wooden boards salvaged from \nan old dock on the adjacent Caldonazzo Lake.  \nNow it is the table where we eat or drink coffee; \nwhere my wife writes the stories I am illustrating with \nwatercolours, our new project which I hope will soon \nbecome a book. We’ve been married for 25 years.  \nWe were very young: I was 22, she was 21.  \nGiada was born right away, and then came Camilla. \nOur shared perspective on the world starts here,  \nfrom this window, which we wanted to be as large as \npossible: the garden that is a house outside the \nhouse, the maple tree where in the summer I read in \nthe shade. My favourite light? It’s that blue hour when \nthe sunset enters the rooms. We don’t have curtains, \nwe like the leaves, the shadows and the colours to \ncome inside. Home, nature, a slow pace: I have my \nadvertising agency, in Trento, but on Friday we don’t \nwork – we live.\n“Luce, lentezza, lago.”\n \n\u002F“LA MIA LUCE \nPREFERITA? L’ORA BLU, \nQUANDO IL TRAMONTO \nENTRA NELLE STANZE.”\n \n\u002F“MY FAVOURITE LIGHT? \nIT’S THAT BLUE HOUR \nWHEN THE SUNSET \nENTERS THE ROOMS.”\nTesto di \u002F Text by Lisa Corva\nGabriele vive a Trento con \nla moglie Paola e le figlie.\nGabriele lives in Trento with  \nhis wife Paola and their daughters.\n",54,{"image":230,"text":231,"number":232},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.55.png","Foscarini — Vite\n Karina \nin Wuppertal  \n— Bergisches Land\n \n\u002F FINESTRE,  \nGIOCHI, FUTURO.\n \n\u002F WINDOWS, \nGAMES, FUTURE.\nKarina a Wuppertal. Bergisches Land\n107\n",55,{"image":234,"text":235,"number":236},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.56.png","109\nFoscarini — Vite\nKarina a Wuppertal. Bergisches Land\n“Finestre, giochi, futuro.”\n",56,{"image":238,"text":239,"number":240},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.57.png","111\nFoscarini — Vite\nKarina a Wuppertal. Bergisches Land\n“Finestre, giochi, futuro.”\n",57,{"image":242,"text":243,"number":244},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.58.png","Foscarini — Vite\nKarina a Wuppertal. Bergisches Land\n“Finestre, giochi, futuro.”\n113\n",58,{"image":246,"text":247,"number":248},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.59.png","Foscarini — Vite\nKarina a Wuppertal. Bergisches Land\n“Finestre, giochi, futuro.”\n115\n",59,{"image":250,"text":251,"number":252},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.60.png","117\nFoscarini — Vite\nKarina a Wuppertal. Bergisches Land\n“Finestre, giochi, futuro.”\n",60,{"image":254,"text":255,"number":256},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.61.png","119\nFoscarini — Vite\n“Finestre, giochi, futuro.”\nKarina a Wuppertal. Bergisches Land\n",61,{"image":258,"text":259,"number":260},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.62.png","Foscarini — Vite\nKarina a Wuppertal. Bergisches Land\n“Finestre, giochi, futuro.”\n121\n",62,{"image":262,"text":263,"number":264},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.63.png","123\nFoscarini — Vite\nKarina a Wuppertal. Bergisches Land\n“Finestre, giochi, futuro.”\n",63,{"image":266,"text":267,"number":268},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.64.png","“Finestre, giochi, futuro.”\nFoscarini — Vite\n125\n",64,{"image":270,"text":271,"number":272},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.65.png","“Finestre, giochi, futuro.”\nFoscarini — Vite\nKarina a Wuppertal. Bergisches Land\n127\n",65,{"image":274,"text":275,"number":276},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.66.png","129\nFoscarini — Vite\nKarina a Wuppertal. Bergisches Land\n“Finestre, giochi, futuro.”\n",66,{"image":278,"text":279,"number":280},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.67.png","131\n“Finestre, giochi, futuro.”\nFoscarini — Vite\nKarina a Wuppertal. Bergisches Land\n",67,{"image":282,"text":283,"number":284},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.68.png","Foscarini — Vite\nKarina a Wuppertal. Bergisches Land\n“Finestre, giochi, futuro.”\n133\n",68,{"image":286,"text":287,"number":288},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.69.png","“Finestre, giochi, futuro.”\n135\nFoscarini — Vite\nKarina a Wuppertal. Bergisches Land\n",69,{"image":290,"text":291,"number":292},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.70.png","Foscarini — Vite\n“Finestre, giochi, futuro.”\n137\nKarina a Wuppertal. Bergisches Land\n",70,{"image":294,"text":295,"number":296},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.71.png","139\nFoscarini — Vite\nKarina a Wuppertal. Bergisches Land\n“Finestre, giochi, futuro.”\n \n\u002F“CI PIACE LA CAMERA \nSOTTO IL TETTO, LA \nFINESTRA CHE DÀ SU UN \nPICCOLO PARCO GIOCHI \nDI BAMBINI.”\n \n \n\u002F“WE LIKE THE BEDROOM \nUNDER THE ROOF, \nTHE WINDOW THAT \nLOOKS OUT ON A SMALL \nPLAYGROUND.”\n“CI SIAMO CONOSCIUTI POCO PRIMA \nDEL LOCKDOWN, A BERLINO, \nIN UN CLUB DI MUSICA TECNO.”\n \nE molto velocemente abbiamo deciso di andare \na vivere insieme: a Wuppertal, dove abitava già Claus. \nAbbiamo attraversato la pandemia insieme, e ci \neravamo appena conosciuti: un’avventura, eravamo \nquasi senza mobili, con un materasso sul pavimento. \nQuesta è la nostra prima casa, e ci piace molto, anche \nperché è dentro un edificio antico, una Fachwerkhaus, \nle abitazioni “a graticcio” tipiche tedesche. Ci piace la \ncamera sotto il tetto, la finestra che dà su un piccolo \nparco giochi di bambini. Nel nostro futuro vediamo  \ndei figli, una famiglia, e magari una casa in campagna; \npoter avere un piccolo orto, una capra. Intanto \nguardiamo il passato e lo trasformiamo: io, Karina, \nfaccio collage con vecchi giornali, mi emoziona dare \nnuova vita alle cose. Un po’ come comprare abiti usati \ne rimetterli a posto. Giacche o T-shirt per Claus, una \ngonna dorata anni ‘70 per me, ispirazione Studio 54. \nImmaginare il futuro partendo dal passato.\n“WE MET SHORTLY BEFORE \nTHE LOCKDOWN, IN BERLIN, AT A CLUB \nFEATURING TECHNO MUSIC.”\n \nWe decided very quickly to live together: \nin Wuppertal, where Claus was already residing.  \nWe went through the pandemic together, and we had \njust gotten acquainted: an adventure. We were almost \nwithout furniture, and we slept on a mattress on the \nfloor. This is our first house, and we like it very much, \nalso because it is inside a historic building, a \nFachwerkhaus, a typical German half-timbered \nhouse. We like the bedroom under the roof, the \nwindow that looks out on a small playground.  \nWe see children in our future, a family, and perhaps  \na country home; to be able to have a small vegetable \ngarden, a goat. In the meantime, we look at the past \nand transform it: I, Karina, make collages with old \nnewspapers, it is exciting to give new life to things.  \nA bit like buying used clothes and fixing them. \nJackets or t-shirts for Claus, a golden skirt from  \nthe 1970s for me, inspired by Studio 54. To imagine \nthe future, starting from the past.\nTesto di \u002F Text by Lisa Corva\nKarina e Claus vivono \na Wuppertal.\nKarina and Claus live \nin Wuppertal.\n",71,{"image":298,"text":299,"number":300},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.72.png","Foscarini — Vite \n Valérie \nin Caen  \n— Basse  \nNormandie\n \n\u002F STAGIONI, \nFIGLI, LENZUOLA.\n \n\u002F SEASONS,\nCHILDREN, SHEETS.\nValérie a Caen. Basse-Normandie\n141\n",72,{"image":302,"text":303,"number":304},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.73.png","143\nFoscarini — Vite\n“Stagioni, figli, lenzuola.”\nValérie a Caen. Basse-Normandie\n",73,{"image":306,"text":307,"number":308},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.74.png","“Stagioni, figli, lenzuola.”\nFoscarini — Vite\nValérie a Caen. Basse-Normandie\n145\n",74,{"image":310,"text":311,"number":312},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.75.png","147\nFoscarini — Vite\n“Stagioni, figli, lenzuola.”\nValérie a Caen. Basse-Normandie\n",75,{"image":314,"text":315,"number":316},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.76.png","“Stagioni, figli, lenzuola.”\nFoscarini — Vite\nValérie a Caen. Basse-Normandie\n149\n",76,{"image":318,"text":319,"number":320},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.77.png","Foscarini — Vite\nValérie a Caen. Basse-Normandie\n“Stagioni, figli, lenzuola.”\n151\n",77,{"image":322,"text":323,"number":324},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.78.png","153\nFoscarini — Vite\n“Stagioni, figli, lenzuola.”\nValérie a Caen. Basse-Normandie\n",78,{"image":326,"text":327,"number":328},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.79.png","Foscarini — Vite\nValérie a Caen. Basse-Normandie\n“Stagioni, figli, lenzuola.”\n155\n",79,{"image":330,"text":331,"number":332},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.80.png","157\nFoscarini — Vite\n“Stagioni, figli, lenzuola.”\nValérie a Caen. Basse-Normandie\n",80,{"image":334,"text":335,"number":336},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.81.png","159\nFoscarini — Vite\n“Stagioni, figli, lenzuola.”\nValérie a Caen. Basse-Normandie\n",81,{"image":338,"text":339,"number":340},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.82.png","Foscarini — Vite\nValérie a Caen. Basse-Normandie\n“Stagioni, figli, lenzuola.”\n161\n",82,{"image":342,"text":343,"number":344},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.83.png","163\n“Stagioni, figli, lenzuola.”\nValérie a Caen. Basse-Normandie\n",83,{"image":346,"text":347,"number":348},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.84.png","165\n165\nFoscarini — Vite\n“Stagioni, figli, lenzuola.”\nValérie a Caen. Basse-Normandie\n",84,{"image":350,"text":351,"number":352},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.85.png","167\nFoscarini — Vite\n“Stagioni, figli, lenzuola.”\nValérie a Caen. Basse-Normandie\n",85,{"image":354,"text":355,"number":356},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.86.png","169\nFoscarini — Vite\n“Stagioni, figli, lenzuola.”\nValérie a Caen. Basse-Normandie\n",86,{"image":358,"text":359,"number":360},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.87.png","171\nFoscarini — Vite\n“Stagioni, figli, lenzuola.”\nValérie a Caen. Basse-Normandie\n",87,{"image":362,"text":363,"number":364},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.88.png","Foscarini — Vite\nValérie a Caen. Basse-Normandie\n“Stagioni, figli, lenzuola.”\n173\n",88,{"image":366,"text":367,"number":368},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.89.png","175\nValérie a Caen. Basse-Normandie\nFoscarini — Vite\n“Stagioni, figli, lenzuola.”\n",89,{"image":370,"text":371,"number":10},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.90.png","Foscarini — Vite\nValérie a Caen. Basse-Normandie\n“Stagioni, figli, lenzuola.”\n177\n",{"image":373,"text":374,"number":375},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.91.png","179\n“Stagioni, figli, lenzuola.”\nValérie a Caen. Basse-Normandie\n",91,{"image":377,"text":378,"number":379},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.92.png","181\nFoscarini — Vite\n“Stagioni, figli, lenzuola.”\nValérie a Caen. Basse-Normandie\n",92,{"image":381,"text":382,"number":383},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.93.png","183\nFoscarini — Vite\n“Stagioni, figli, lenzuola.”\nValérie a Caen. Basse-Normandie\n",93,{"image":385,"text":386,"number":387},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.94.png","Foscarini — Vite\n185\n“Stagioni, figli, lenzuola.”\nValérie a Caen. Basse-Normandie\n",94,{"image":389,"text":390,"number":391},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.95.png","187\n“Stagioni, figli, lenzuola.”\nFoscarini — Vite\nValérie a Caen. Basse-Normandie\n",95,{"image":393,"text":394,"number":395},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.96.png","189\nFoscarini — Vite\nValérie a Caen. Basse-Normandie\n“Stagioni, figli, lenzuola.”\n \n\u002F“ALLE PARETI I COLORI \nDELLA NORMANDIA:  \nIL GRIGIO, IL BLU, IL VERDE \nCHE SI MESCOLANO.”\n \n\u002F“THE COLOURS ON  \nTHE WALLS ARE THE ONES \nTHAT REMIND ME OF \nNORMANDY: GREY, BLUE \nAND GREEN, MIXED”.\n“ABBIAMO SCELTO QUESTA CASA, CHE È NEL \nCENTRO DI CAEN, ANCHE PER IL GIARDINO.”\n \nLì cresce la lavanda, insieme a rose bianche,  \ne d’estate le dalie, sublimi. Alle pareti, dei colori che \nsono per me quelli della Normandia: il grigio, il blu,  \nil verde che si mescolano. Con la luce della sera,  \nper me la più bella. I nostri tre figli non vivono più con \nnoi, ma le loro stanze sono sempre lì, aspettano loro  \ne i loro amici, sono stanze vive. Amo aprile, maggio, \nquando il giardino inizia a fiorire, quando la lavanda \nsta per sbocciare; poi la taglio, ne faccio sacchetti \nper gli armadi, è un pezzo di giardino che entra in \ncasa. Il mio momento preferito? La domenica mattina. \nSono un medico, come mio marito; la domenica è  \nil momento in cui riusciamo a staccare, in cui mi porta \nil tè a letto, e posso leggere. I libri mi aspettano \nsilenziosi sul comodino. Forse per questo mi piace \nscegliere con cura le lenzuola. Di un tenue rosa, \nperché no. Anche questo mi ricorda la primavera. \n“WE CHOSE THIS HOUSE IN THE CENTRE OF CAEN \nALSO BECAUSE OF THE GARDEN.”\n \nWhere lavender grows together with white \nroses, and sublime dahlias in the summer.\nThe colours on the walls are the ones that remind  \nme of Normandy: grey, blue and green, mixed.  \nThe evening light is the most beautiful light for me. \nOur three children no longer live with us, but their \nrooms are always there, waiting for them and their \nfriends, those rooms are still alive. I love April, and \nMay, when the garden begins to bloom when the \nlavender is about to blossom; then I cut it, I make \nsachets for the closets, a piece of the garden that \nenters the house. My favourite moment? Sunday \nmorning. I’m a physician, like my husband; Sunday is \nthe moment when we can take a break, I have my tea \nin bed, and I can read. The books wait for me silently, \non the bedside table. Maybe that is why I am so \ncareful about choosing the sheets. In pale pink,  \nwhy not? This too reminds me of spring. \nTesto di \u002F Text by Lisa Corva\nValérie vive a Caen con  \nil marito Bertrand.\nValérie lives in Caen with \nher husband Bertrand.\n",96,{"image":397,"text":398,"number":399},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.97.png","191\n191\n191\n191\n191\nFoscarini — Vite \nSabrina a Medole. Lombardia\n Sabrina \nin Medole  \n— Lombardia \n \n\u002F AQUILONI,  \nLUCCIOLE, FAGIANI.\n \n\u002F KITES, FIREFLIES, \nPHEASANTS.\n191\n",97,{"image":401,"text":402,"number":403},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.98.png","193\nFoscarini — Vite\n“Aquiloni, lucciole, fagiani.”\n",98,{"image":405,"text":406,"number":407},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.99.png","195\nFoscarini — Vite\nSabrina a Medole. Lombardia\n“Aquiloni, lucciole, fagiani.”\n",99,{"image":409,"text":410,"number":411},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.100.png","197\n“Aquiloni, lucciole, fagiani.”\nFoscarini — Vite\nSabrina a Medole. Lombardia\n",100,{"image":413,"text":414,"number":415},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.101.png","Foscarini — Vite\n“Aquiloni, lucciole, fagiani.”\n199\nSabrina a Medole. Lombardia\n",101,{"image":417,"text":418,"number":419},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.102.png","Foscarini — Vite\nSabrina a Medole. Lombardia\n“Aquiloni, lucciole, fagiani.”\n201\n",102,{"image":421,"text":422,"number":423},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.103.png","Foscarini — Vite\nSabrina a Medole. Lombardia\n“Aquiloni, lucciole, fagiani.”\n203\n",103,{"image":425,"text":426,"number":427},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.104.png","205\n“Aquiloni, lucciole, fagiani.”\nFoscarini — Vite\nSabrina a Medole. Lombardia\n",104,{"image":429,"text":430,"number":431},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.105.png","207\nFoscarini — Vite\n“Aquiloni, lucciole, fagiani.”\nSabrina a Medole. Lombardia\n",105,{"image":433,"text":434,"number":435},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.106.png","209\n“Aquiloni, lucciole, fagiani.”\nFoscarini — Vite\n",106,{"image":437,"text":438,"number":439},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.107.png","211\nFoscarini — Vite\n“Aquiloni, lucciole, fagiani.”\nSabrina a Medole. Lombardia\n",107,{"image":441,"text":442,"number":443},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.108.png","213\nFoscarini — Vite\n“Aquiloni, lucciole, fagiani.”\nSabrina a Medole. Lombardia\n",108,{"image":445,"text":446,"number":447},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.109.png","215\n“Aquiloni, lucciole, fagiani.”\nFoscarini — Vite\nSabrina a Medole. Lombardia\n",109,{"image":449,"text":450,"number":451},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.110.png","217\nFoscarini — Vite\n“Aquiloni, lucciole, fagiani.”\nSabrina a Medole. Lombardia\n",110,{"image":453,"text":454,"number":455},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.111.png","219\n“Aquiloni, lucciole, fagiani.”\nFoscarini — Vite\nSabrina a Medole. Lombardia\n",111,{"image":457,"text":458,"number":459},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.112.png","Sabrina a Medole. Lombardia\n“Aquiloni, lucciole, fagiani.”\nFoscarini — Vite\n221\n",112,{"image":461,"text":462,"number":463},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.113.png","“Aquiloni, lucciole, fagiani.”\n223\nFoscarini — Vite\nSabrina a Medole. Lombardia\n",113,{"image":465,"text":466,"number":467},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.114.png","225\nFoscarini — Vite\n“Aquiloni, lucciole, fagiani.”\nSabrina a Medole. Lombardia\n",114,{"image":469,"text":470,"number":471},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.115.png","227\n“Aquiloni, lucciole, fagiani.”\nFoscarini — Vite\nSabrina a Medole. Lombardia\n",115,{"image":473,"text":474,"number":475},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.116.png","229\nFoscarini — Vite\nSabrina a Medole. Lombardia\n“Aquiloni, lucciole, fagiani.”\n \n\u002F“DI QUESTA TERRA \nCONOSCO TUTTO DA \nSEMPRE. I RUMORI,  \nLE OMBRE, I SUONI. È QUI  \nCHE MI SENTO A CASA.”\n \n \n\u002F“I’VE KNOWN THIS LAND \nALWAYS. THE NOISES, THE \nSHADOWS, THE SOUNDS. \nTHIS IS WHERE I FEEL  \nAT HOME.”\n“SIAMO NELLE CAMPAGNE FUORI MANTOVA, \nLÌ DOVE MIO PADRE, BRESCIANO DELLE VALLI, \nDA GIOVANE PORTAVA LE MANZE A FARE \nLA TRANSUMANZA.”\n \nE dove poi si è fermato. Io sono cresciuta qui:  \nla casa dove viviamo adesso era il vecchio granaio.  \nE adesso, che la mia vita è frenetica tra viaggi e \nquattro lavori – il quarto, e come dico io il più \nimportante, è fare la mamma della nostra Matilde \n– tornare qui, nel verde e nel silenzio, è la mia pace. \nSilenzio per modo di dire: ci sono magari le lepri e i \nfagiani che “litigano” nel prato davanti a casa… Sono \ndiventata un’imprenditrice agricola, e di questa terra \nconosco tutto da sempre. I rumori, le ombre, i suoni. \nEd è qui che davvero mi sento a casa. La casa che  \npoi è il camino acceso, e il grande prato che a inizio \nestate si illumina di lucciole. Con tanto spazio per far \nvolare, con mio marito e mia figlia, gli aquiloni: la mia \npassione. Il più bello forse è un grande polpo che ho \nportato da Pechino.\n“WE’RE IN THE COUNTRYSIDE NEAR MANTUA, \nWHERE IN HIS YOUTH MY FATHER, FROM THE \nVALLEYS OF BRESCIA, BROUGHT THE CATTLE \nFOR THE SEASONAL CYCLE OF GRAZING.”\n \nThis is where he eventually settled. I grew up \nhere: the house where we live today was an old barn. \nAnd now that my life has become very busy, with travels \nand four jobs – the fourth, and the most important,  \nas I say, is being the mother of our daughter Matilde \n– returning here, amid greenery and silence, is what  \nI call peace. Silence in a manner of speaking: there \nmight be hares or pheasants “fighting” on the lawn \nin front of the house… I’ve become a farmer, and I’ve \nknown this land always. The noises, the shadows,  \nthe sounds. This is where I truly feel at home.  \nA home that means a fire in the fireplace, and a large \nmeadow that comes alive at the beginning of summer \nwith fireflies. With lots of space, in which to fly kites \nwith my husband and my daughter: a real passion.  \nThe prettiest kite is perhaps a large octopus I brought \nhere from Beijing.\nTesto di \u002F Text by Lisa Corva\nSabrina vive a Medole \ncon il marito Matteo e la figlia Matilde.\nSabrina lives in Medole with her husband \nMatteo and daughter Matilde.\n",116,{"image":477,"text":478,"number":479},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.117.png","Foscarini — Vite\nMarkus e Sandra a Mönchengladbach. Niederrhein\n231\n Markus  \nand Sandra in \nMönchengladbach  \n— Niederrhein\n \n\u002F CAFFÈ,\nTAZZE, SEDIE.\n \n\u002F COFFEE, \nCUPS, CHAIRS.\n",117,{"image":481,"text":482,"number":483},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.118.png","233\n“Caffè, tazze, sedie.”\nFoscarini — Vite \nMarkus e Sandra a Mönchengladbach. Niederrhein\n",118,{"image":485,"text":486,"number":487},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.119.png","Foscarini — Vite\n“Caffè, tazze, sedie.”\n235\nMarkus e Sandra a Mönchengladbach. Niederrhein\n",119,{"image":489,"text":490,"number":491},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.120.png","237\nFoscarini — Vite\n“Caffè, tazze, sedie.”\nMarkus e Sandra a Mönchengladbach. Niederrhein\n",120,{"image":493,"text":494,"number":495},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.121.png","239\nFoscarini — Vite\n“Caffè, tazze, sedie.”\nMarkus e Sandra a Mönchengladbach. Niederrhein\n",121,{"image":497,"text":498,"number":499},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.122.png","241\nFoscarini — Vite\n“Caffè, tazze, sedie.”\nMarkus e Sandra a Mönchengladbach. Niederrhein\n",122,{"image":501,"text":502,"number":503},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.123.png","243\n“Caffè, tazze, sedie.”\nFoscarini — Vite\nMarkus e Sandra a Mönchengladbach. Niederrhein\n",123,{"image":505,"text":506,"number":507},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.124.png","245\nFoscarini — Vite\n“Caffè, tazze, sedie.”\nMarkus e Sandra a Mönchengladbach. Niederrhein\n",124,{"image":509,"text":510,"number":511},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.125.png","247\n“Caffè, tazze, sedie.”\nFoscarini — Vite\nMarkus e Sandra a Mönchengladbach. Niederrhein\n",125,{"image":513,"text":514,"number":515},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.126.png","249\nFoscarini — Vite\nMarkus e Sandra a Mönchengladbach. Niederrhein\n“Caffè, tazze, sedie.”\n",126,{"image":517,"text":518,"number":519},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.127.png","251\nFoscarini — Vite\n“Caffè, tazze, sedie.”\nMarkus e Sandra a Mönchengladbach. Niederrhein\n",127,{"image":521,"text":522,"number":523},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.128.png","253\nFoscarini — Vite\nMarkus e Sandra a Mönchengladbach. Niederrhein\n“Caffè, tazze, sedie.”\n",128,{"image":525,"text":526,"number":527},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.129.png","255\nFoscarini — Vite\nMarkus e Sandra a Mönchengladbach. Niederrhein\n“Caffè, tazze, sedie.”\n \n\u002F“SONO GLI OGGETTI LA \nNOSTRA PASSIONE: TUTTO, \nANCHE QUELLO CHE \nUNA VOLTA SI CHIAMAVA \nSOPRAMMOBILE.”\n \n \n\u002F“OBJECTS ARE OUR \nPASSION: EVERYTHING, \nEVEN WHAT USED TO BE \nCALLED A KNICK-KNACK.”\n“LA SICUREZZA DEGLI OGGETTI.”\n \nPer noi è un piacere e anche un lavoro: io, \nMarkus, sono un architetto d’interni; Sandra si occupa \ndi comunicazione per una storica fabbrica tedesca di \nporcellane. Ma sono gli oggetti la nostra passione: \ntutto, anche quello che una volta si chiamava \nsoprammobile, che è semplicemente una cosa bella \nche ti dà felicità. È così che abbiamo aperto la nostra \ngalleria di design quando abitavamo a Köln; ora è \nchiusa, ma continuiamo a vendere on line.  \nAbbiamo un piccolo garage-deposito dove teniamo i \npezzi. Molti, moltissimi li usiamo a casa: le sedie ad \nesempio, ne abbiamo più di venti, da quelle firmate  \na quelle trovate ai mercatini. Non c’è un angolo del \ncuore a casa: la viviamo tutta, in ogni angolo, così \ncome cambiamo posto e usiamo tutte le sedie.  \nMa c’è un rito che è sempre uguale: il caffè del \nmattino, un espresso vero, fatto con la moka.  \nIn una piccola tazza di porcellana bianca che sembra \nfinissima carta piegata. Il primo lampo di luce  \ndella giornata.\n“THE SAFETY OF OBJECTS.”\n \nFor us, it is a pleasure but also a job:  \nI, Markus, am an interior architect; Sandra works on \ncommunication for a historic German producer of \nporcelain. But objects are our passion: everything, \neven what used to be called a knick-knack, which is \nsimply a beautiful thing that brings you happiness.  \nSo we opened our own design gallery when we lived \nin Cologne; now it is closed, but we still sell things \nonline. We have a small garage storeroom where we \nkeep the pieces. We use lots of them, a great many, \nat home: chairs, for example, we have more than 20, \ndesign pieces but also things found at flea markets. \nThere is no favourite corner of our home: we live the \nwhole house, every cranny, just as we change the \nposition of all the chairs, using them all. There is one \nritual that is always the same: morning coffee, real \nespresso, made with a moka pot. In a small white \nchina cup that seems like very fine folded paper.  \nThe first bright moment of the day.\nTesto di \u002F Text by Lisa Corva\nMarkus e Sandra vivono  \na Mönchengladbach.\nMarkus and Sandra live \nin Mönchengladbach.\n",129,{"image":529,"text":530,"number":531},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.130.png","Foscarini — Vite\n257\nBénédicte a Guérande. Pays de la Loire\n Bénédicte \nin Guérande  \n— Pays de la Loire\n \n\u002F PIETRA,  \nCERAMICHE, IMPRONTE.\n \n\u002F STONE, \nPOTTERY, IMPRINTS.\n",130,{"image":533,"text":534,"number":535},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.131.png","“Pietra, ceramiche, impronte.”\n259\nFoscarini — Vite\nBénédicte a Guérande. Pays de la Loire\n",131,{"image":537,"text":538,"number":539},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.132.png","261\nFoscarini — Vite\nBénédicte a Guérande. Pays de la Loire\n“Pietra, ceramiche, impronte.”\n",132,{"image":541,"text":542,"number":543},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.133.png","Foscarini — Vite\nBénédicte a Guérande. Pays de la Loire\n“Pietra, ceramiche, impronte.”\n263\n",133,{"image":545,"text":546,"number":547},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.134.png","265\nFoscarini — Vite\nBénédicte a Guérande. Pays de la Loire\n“Pietra, ceramiche, impronte.”\n",134,{"image":549,"text":550,"number":551},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.135.png","267\nFoscarini — Vite\nBénédicte a Guérande. Pays de la Loire\n“Pietra, ceramiche, impronte.”\n",135,{"image":553,"text":554,"number":555},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.136.png","269\nFoscarini — Vite\nBénédicte a Guérande. Pays de la Loire\n“Pietra, ceramiche, impronte.”\n",136,{"image":557,"text":558,"number":559},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.137.png","“Pietra, ceramiche, impronte.”\nFoscarini — Vite\n271\nBénédicte a Guérande. Pays de la Loire\n",137,{"image":561,"text":562,"number":563},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.138.png","273\nFoscarini — Vite\nBénédicte a Guérande. Pays de la Loire\n“Pietra, ceramiche, impronte.”\n",138,{"image":565,"text":566,"number":567},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.139.png","Foscarini — Vite\nBénédicte a Guérande. Pays de la Loire\n“Pietra, ceramiche, impronte.”\n275\n",139,{"image":569,"text":570,"number":571},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.140.png","277\nFoscarini — Vite\n“Pietra, ceramiche, impronte.”\n",140,{"image":573,"text":574,"number":575},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.141.png","“Pietra, ceramiche, impronte.”\nFoscarini — Vite\nBénédicte a Guérande. Pays de la Loire\n279\n",141,{"image":577,"text":578,"number":579},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.142.png","281\nFoscarini — Vite\nBénédicte a Guérande. Pays de la Loire\n“Pietra, ceramiche, impronte.”\n \n\u002F“MI PIACE VEDERE \nCOME CAMBIA LA LUCE, \nNELL’ARCO DELLA \nGIORNATA.”\n \n\u002F“I LIKE TO WATCH AS \nTHE LIGHT CHANGES \nTHROUGHOUT THE DAY.”\n“ABITAVO A PARIGI,\nMA CON LA BRETAGNA NEL CUORE.”\n \nNon tanto la Bretagna quanto le case bretoni, \nquelle solide, pesanti, fatte di pietra e granito.  \nCosì, quando mi sono separata, ho deciso di venire \nqui. E la casa finalmente l’ho trovata. Ho cercato a \nlungo; non mi piacevano le ristrutturazioni, quello  \nche toglie l’anima. Ed eccola: i proprietari precedenti \navevano nascosto col cemento le pietre, io ho fatto \ntogliere tutto; la casa si è ritrovata e io con lei.  \nLe finestre, grandi, sono orientate verso tre punti \ncardinali diversi, e mi piace vedere come cambia la \nluce, nell’arco della giornata. Il mio ufficio è qui, sono \nuna giornalista. Ma negli ultimi anni ho cominciato  \na fare ceramiche: piatti, ciotole, vasi. Nei toni del \nbianco o del verde. Sperimento con le foglie e i fiori \nche raccolgo nel mio giardino o nelle passeggiate, \nmagari sulla spiaggia; li uso per lasciare un’impronta \nsulla ceramica. La mia casa è aperta, e questi sono i \npiatti con cui invito a cena, a tavola. Anche i bambini \ndel villaggio a cui leggo i miei libri di favole.\n“I ONCE LIVED IN PARIS,  \nBUT MY HEART WAS IN BRITTANY.”\n \nNot so much Brittany itself but more in Breton \nhouses, those solid, heavy artefacts of stone, of \ngranite. When I separated, I decided to come here. \nAnd I finally found the right house. It was a long \nsearch; I didn’t like the renovations, as they seemed  \nto remove the spirit. And there it was: the previous \nowners had hidden the stones with concrete, so I had \neverything removed; the house was rediscovered, \nand I was too. The large windows look towards three \ndifferent compass points, and I like to watch as the \nlight changes throughout the day. My office is here – \nI’m a journalist. But in recent years I have begun to \nwork on pottery: plates, bowls, and vases. In various \nshades of white or green. I experiment with leaves \nand flowers I gather in my garden or on walks, \nperhaps on the beach; I use them to leave imprints on \nthe clay. My house is open, and these are the dishes  \nI use when I invite people to dinner, around the table. \nIncluding the village children, to whom I read my \nbooks of fables.\nTesto di \u002F Text by Lisa Corva\nBénédicte vive nelle terre  \ndella Guérande.\nBénédicte lives in \nGuérande.\n",142,{"image":581,"text":582,"number":583},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.143.png","283\nFoscarini — Vite\nMeyer a Köln. Rheinland\nMeyer\nin Köln\n— Rheinland \n \n\u002F VETRO,\nQUADRI, CORNICE.\n \n\u002F GLASS,  \nPAINTINGS, FRAME.\n",143,{"image":585,"text":586,"number":587},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.144.png","285\nFoscarini — Vite\nMeyer a Köln. Rheinland\n“Vetro, quadri, cornice.”\n",144,{"image":589,"text":590,"number":591},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.145.png","Foscarini — Vite\n“Vetro, quadri, cornice.”\n",145,{"image":593,"text":594,"number":595},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.146.png","Foscarini — Vite\nMeyer a Köln. Rheinland\n“Vetro, quadri, cornice.”\n289\n",146,{"image":597,"text":598,"number":599},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.147.png","291\nFoscarini — Vite\nMeyer a Köln. Rheinland\n“Vetro, quadri, cornice.”\n",147,{"image":601,"text":602,"number":603},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.148.png","Foscarini — Vite\n“Vetro, quadri, cornice.”\n293\nMeyer a Köln. Rheinland\nFoscarini — Vite\n“Vetro, quadri, cornice.”\n",148,{"image":605,"text":606,"number":607},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.149.png","295\nFoscarini — Vite\n“Vetro, quadri, cornice.”\nMeyer a Köln. Rheinland\n",149,{"image":609,"text":610,"number":611},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.150.png","297\nFoscarini — Vite\nMeyer a Köln. Rheinland\n“Vetro, quadri, cornice.”\n",150,{"image":613,"text":614,"number":615},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.151.png","299\nFoscarini — Vite\nMeyer a Köln. Rheinland\n“Vetro, quadri, cornice.”\n",151,{"image":617,"text":618,"number":619},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.152.png","301\nFoscarini — Vite\nMeyer a Köln. Rheinland\n“Vetro, quadri, cornice.”\n",152,{"image":621,"text":622,"number":623},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.153.png","303\nFoscarini — Vite\nMeyer a Köln. Rheinland\n“Vetro, quadri, cornice.”\n",153,{"image":625,"text":626,"number":627},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.154.png","305\nMeyer a Köln. Rheinland\nFoscarini — Vite\n“Vetro, quadri, cornice.”\n",154,{"image":629,"text":630,"number":631},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.155.png","Foscarini — Vite\nMeyer a Köln. Rheinland\n“Vetro, quadri, cornice.”\n307\n",155,{"image":633,"text":634,"number":635},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.156.png","309\n“Vetro, quadri, cornice.”\nFoscarini — Vite\nMeyer a Köln. Rheinland\n",156,{"image":637,"text":638,"number":639},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.157.png","311\n311\nFoscarini — Vite\nMeyer a Köln. Rheinland\n“C’È UNA CASA DENTRO LA CASA:\nÈ IL MIO LETTO.”\n \nL'ho disegnato anni fa, leggermente \nsopraelevato, chiuso da un paravento scorrevole in \nlegno traforato che ricorda quelli medievali \ngiapponesi. È un letto ma anche un boudoir, o un \narmadio, dipende da come lo si guarda. L’ho costruito \nnel ‘95, quando se n’è andata la donna con cui stavo. \nVivo qui da quarant’anni: il mio appartamento da \nstudente, in quella che era una vetreria Jugendstil,  \nè diventato altro; e ora ogni libro, ogni quadro, mi \nricorda tutto quello che ho vissuto e amato. I quadri, \nsoprattutto. Anche perché il mio lavoro è fare \nallestimenti museali per mostre di artisti. E quando  \nho appeso alla parete il primo grande dipinto che ho \nacquistato, una figura di donna, è stato come avere \nimprovvisamente una coinquilina, una presenza in \ncasa. In realtà vivo solo, invito poco, pochi amici. \nEppure la zona della casa che mi piace di più è la \ncucina. Perché, come ha detto qualcuno di cui non \nricordo il nome, le cose più interessanti, a un party, \naccadono proprio in cucina.\n“THERE’S A HOUSE INSIDE THE HOUSE:  \nIT’S MY BED.”\n \nI designed it years ago, slightly raised and \nclosed by a sliding screen in perforated wood, like \nthe screens of medieval Japan. It is a bed but also a \nboudoir, or a closet, it depends on how you look at it.  \nI built it in 1995 when the woman I was living with \nwent on her way. I’ve lived here for 40 years: the \napartment from my student days, in what was once a \nJugendstil glasswork, has become something else; \nand now every book, every painting, reminds me of \nwhat I have lived and loved. Especially the paintings. \nAlso because my job is to make museum installations \nfor the exhibitions of artists. When I hung the first \nlarge painting I had purchased, a female figure, it was \nlike suddenly having a roommate, a presence in the \nhouse. Actually I live alone, I seldom invite people \nover, just a few friends. Yet the zone of the house  \nI like the best is the kitchen. Because as someone \nhas said – I can’t recall their name – at a party the \nmost interesting things happen in the kitchen.\n“Vetro, quadri, cornice.”\n \n\u002F“VIVO QUI DA \nQUARANT’ANNI,  \nIN QUELLA CHE ERA UNA \nVETRERIA JUGENDSTIL.”\n \n\u002F“I’VE LIVED HERE \nFOR 40 YEARS, IN WHAT \nWAS ONCE A JUGENDSTIL \nGLASSWORKS.”\nTesto di \u002F Text by Lisa Corva\nMeyer vive nel centro  \ndi Colonia.\nMeyer lives in the centre \nof Cologne.\n",157,{"image":641,"text":642,"number":643},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.158.png","Traduzione testi\n Foscarini \nVite  \n— Texts translations \n \n \u002F Chinese \n314\nSpanish \n316\nFrench \n319\nJapanese \n322\nGerman \n324\n313\nFoscarini — Vite\n",158,{"image":645,"text":646,"number":647},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.159.png","CN pp.004\n变成镜子的房子\n2018年底，当我们在回顾并更新我们的商业资料时，发现自己身处一\n个十字路口。有幸能成为光的世界的从业者，并提供能够表达多种个\n性的产品去适应多变的环境，我们很难用单一的答案来代表这种横向\n性和丰富的表现力。去展示设计项目本身，还是围绕它构建语境?它们\n都有各自的优势和局限性。我们开始思考一条不同的路。让灯在真实\n房屋里，融入真实的人生故事当中。它们融入空间的同时，也为空间\n注入了个性。灯并非场景本身，而是参与了场景的创造，并成为真实生\n活场景的一部分。走过了三大洲、十三个城市以及二十五座房子后，第\n二章——VITE 2延续了VITE的第一章，也完整了VITE(人生)，扩展了\n我们探索不一样光、人生和文化的纬度。我们所寻找的意义的创造\n者，身着Artemio Croatto简单优雅的图案，在第二章节中更为丰\n满。VITE展现了最人性化的设计，家成为一面镜子。把家视作镜子的\n人：观察自己而不是展示自己，发现自己而不是暴露自己。\nCarlo Urbinati\nFoscarini 创始人、总裁\nCN pp.008\n我开始拍照完全是出于偶然\n那是在纽约，2008年，我已经不再是一个少年。Alex清楚地记得那个\n夏天。我毫无征兆地忽然出现在那里，游荡在那段的自我意识浮现的\n灿烂时光里。而他，一个遥远的、儿时的朋友，借给了我一台相机，让\n我先去发现这个世界，再去好好地端详它。 那是青春的最后一个夏\n天，同时是成年的第一个夏天。也是唯一一个直到那时为止、远离大\n海的夏天。 我清楚地记得我的第一张照片。在皇后区的牙买加，一个\n黑人女性，一位母亲的母亲，丰满的臀部和宽阔的肩膀，拿着购物袋\n走进一所房子，一个男孩为她开门。我只能瞥见里面的几件东西：奥巴\n马的海报、男人的腿、耶稣的画像、墙上的电话，却足以让我对她的生\n活浮想联翩。 我对摄影一无所知，看那张照片就知道。但它让我明白\n了我在这个世界上寻找的是什么。 那年夏天，我对我自己、对摄影有\n了一些了解，这些领悟至今未变：摄影，对我来说，不是抓住一个瞬\n间，而是知道如何等待。我明白了我想要记录的不是那一刻所见，而\n是那一刻的感觉。当你自己还毫无知觉时，你身边的一位好友已经发\n现了你的价值所在。在那个时候，这位知己是Alex。这些年来，这个人\n是Carlo。Foscarini先生，他的朋友以外的人都这么称呼他。\nGianluca Vassallo\n摄影师\nCN pp.013\n盖朗德 (Guérande), 卢瓦河谷 (Val de Loire) 区的Daniel\n日落，沼泽，鲤鱼\n20年来我的房子就是游荡在安的列斯(Antilles)群岛一艘帆船。我是\n一名船长：圣巴特岛(Saint Barts)、瓜德罗普岛(Guadeloupe)、留尼\n汪岛(Réunion)、清澈的大海、岛屿、海风、阳光，应有尽有。与此同\n时，我也在这里购置了一片土地，盖朗德 (Guérande)盐沼中的一\n片“沼泽地”(marais)。我想要在这里建造我的家，我的生活。尽可能\n远离一切，远离交通、摩天大楼、混乱和人群。我可以隐藏在这里。\n我最喜欢的是天空，开阔的、纯净的天空，在日落时分燃烧起来。当\n我去喂我的鲤鱼时看到的那片天空。在热带白天太短，夜晚来得太\n快。在这里我有时间去尽情地享受天空。我会想念大海和风吗？有那\n么一点点。当我想念时，我会和朋友们租一条船去地中海航行。但就\n目前来说，天空已经让我很满足了。\n住在盖朗德 (Guérande) 的Lydie和猫咪Spoty\nCN pp.037\n梅尔布施 (Meerbusch), 莱茵区(Rheinland)的Marina\n边界，家庭，旅游 \n我的生活里充满了边界。我出生在白俄罗斯的明斯克 (Minsk), 我父\n亲还住在那里；我在莫斯科学习然后来到德国工作，在那里我遇到了\n我的丈夫，他是一名律师。我们结婚了，有一个女儿。我们身边有许多\n旅行时买下来的画，大部分自明斯克，它们让我想起我的童年。我们\n还有很多装在银相框里的家庭照片，这是一种传统：我的父母、 我\n丈夫的父母、他和妻子的第一个儿子以及孙子、我们的女儿，还有我\n们的第一只小猎犬，遗憾的是已经离开了我们。八年前我们买下了这\n所房子，它与我曾经梦想的正好相反，我想要旧的、Jugendstil(新艺\n术风格)的，但我丈夫坚持我们至少应该去看看。当我跨入大门的一\n刻，我立刻爱上了它。这应该也算得上跨越边界：去信任，去发现。\n住在杜塞尔多夫 (Düsseldorf) 的Marina与她的丈夫Eckart和小猎\n犬Emma\nCN pp.077\n卡尔多纳佐 (Caldonazzo), 特伦托 (Trento) 区的Gabriele\n光线，慢节奏，湖\n对我来说，房子最有家的感觉的地方是窗前的长桌。我们用邻近的卡\n尔多纳佐湖 (Caldonazzo Lake) 的一个旧码头打捞上来的木板制\n作这张桌子。现在它是我们吃饭或喝咖啡的桌子；我妻子在那里写\n作，我为她的故事画水彩插画，希望我们的这个新项目很快会成为一\n本书。我们结婚25年了。当时我们非常年轻：我22岁，她21岁。Giada\n随即出生，然后是Camilla。我们共同的世界观从这里开始，从这个\n我们尽可能做到最大的窗户开始：花园是房子外的房子，夏天我在枫\n树的树荫下读书。我最喜欢的光? 是天色将暗的时分、落日撒入房间\n的光线。我们没有窗帘，我们喜欢让树叶的光影和色彩进来。家、大\n自然、慢节奏：我在特伦托有自己的广告公司，但周五我们不工\n作——我们生活。\n与妻子Paola和两个女儿生活在特伦托 (Trento) 的Gabriele\nCN pp.107\n伍珀塔尔 (Wuppertal), 贝尔吉施 (Bergisches Land) 区的Karina\n窗户，游戏，未来\n疫情封锁前不久，我们在柏林的一家Techno电音俱乐部相遇。很快\n我们就决定搬到一起，在Claus居住的伍珀塔尔 (Wuppertal)。我们\n才刚刚认识，就共同经历了一次冒险:疫情。我们睡在地板的床垫上，\n几乎没有家具。这是我们的第一所房子，我们非常喜欢它。它在一栋\n历史建筑里，一栋典型的德国半木结构老房子 (Fachwerkhaus)。屋\n顶下的卧室是我们最爱的空间，窗外是一个小操场。我们憧憬的未来\n里有孩子、家庭，也许还有一个乡下的房子、一小片菜园，还有一只山\n羊。与此同时，我们也在回顾过去并改造它：我，Karina, 用旧报纸制\n作拼贴画。给予物件以新的生命是激動人心的。这有点像修改老衣\n服——Claus的夹克或T恤、我的70年代金色裙子(灵感来自Studio \n54)。想象未来，从过去开始。\n住在伍珀塔尔 (Wuppertal) 的Karina和Claus\nCN pp.141\n卡昂，下诺曼底区的Valérie\n季节，孩子，床单\n我们选中这栋位于卡昂 (Caen) 市中心的房子也是因为它的花园，长\n满了薰衣草和白玫瑰，到了夏季还有美艳的大丽花。墙的颜色让我想\n起诺曼底——灰色、蓝色和绿色揉合在一起。对我来说，傍晚时分的\n光最美。我爱四月和五月，花园开始绽放，薰衣草即将盛开；我会把\n它剪下来做成衣橱里的香袋，把一片花园带进房子里。我们的三个孩\n子都已经搬出去了，他们的房间还一直好好地在那，等待着他们和他\n们的朋友。我最喜欢的时刻?周日的早上。我和我丈夫都是医生，星\n期天是我们的休息日，我可以在床上喝茶、看书。床头柜上的书本静\n静地等着我。也许这就是为什么我对床单的选择如此谨慎。浅粉色，\n为什么不呢? 它也让我想起春天。\n住在卡昂 (Caen) 的Valérie和她的丈夫Bertrand\nCN pp.191\n美铎勒 (Medole), 曼托瓦 (Mantua) 区的Sabrina\n风筝，萤火虫，野鸡\n我们住在曼托瓦附 (Mantua) 近的乡间，我父亲年轻时从布雷西亚\n(Brescia) 的山谷赶牛群来这里放牧。最终他选择了定居在这里。这\n里是我长大的地方：我们住的房子是一个旧谷仓。旅行和四份工作让\n我的生活变得十分忙碌。第四份工作，也是最重要的工作，是做\nMatilde的母亲。回来这里，回到绿树成荫和寂静当中，对我而言就\n是平静。当然要看你如何理解平静：屋前的草地上野兔或野鸡可能\n正“打”成一团… 在我熟悉这片土地上，我成了一个农民。吵杂、树\n影、声音，这里是真正让我觉得回到家的地方。一个家意味着壁炉里\n的火、一大片在初夏初苏醒的草原，萤火虫在其间飞舞。有宽广的天\n地，跟我丈夫和女儿一起进行我们最热衷的活动：放风筝。最漂亮的\n风筝应该是我从北京带回来的一只大章鱼。\n与丈夫Matteo和女儿Matilde住在曼托瓦 (Mantua) 的Sabrina\nCN pp.231\n门兴格拉德巴赫 (Mönchengladbach), 莱茵区 (Rheinland) \n的Markus和Sandra\n咖啡，杯子，椅子\n物品的安全感。这对我们来说是一种乐趣，也是一份工作：我， \nMarkus, 是一名室内建筑师；Sandra在一家历史悠久的德国瓷器制\n造商做传播工作。物件是我们共同的热情所在：所有东西，甚至那些\n被当作不值钱的小玩意，都可以是一件能给你带来快乐的美好事\n物。我们住在科隆的时候做了一个自己的设计画廊，现在已经关门\n了，但我们还在网上卖东西。我们在一个小车库\u002F储藏室存放它们。我\n们在自己家里有非常、非常多的物品：比如椅子，我们有20多把，有\n设计单品，也有在跳蚤市场上淘来的。我们并没有“最喜欢”的角落：\n我们活在整个房子和它的每一个缝隙里，就像我们会改变每一把椅\n子的位置并使用它们一样。有一个仪式是永远不变的：早晨的咖啡。\n用摩卡壶煮一壶真正的浓缩咖啡，倒入一个精致的折纸般美丽的白\n色小瓷杯中。一天中的第一个明媚时光。\n住在门兴格拉德巴赫 (Mönchengladbach) 的Markus和Sandra\nCN pp.257\n盖朗德 (Guérande), 卢瓦尔河谷 (Pays de la Loire)  \n区的Bénédicte\n石头，陶器，印纹\n我曾经住在巴黎，但我的心却在布列塔尼 (Brittany), 或应该说是布\n列塔尼的房子，那些坚实、沉重的手工打造的石头和花岗岩。当我们\n分开的时候，我毫不迟疑地来到这里。我不喜欢装修过的房子，它们\n似乎失去了的灵魂。经过漫长的寻找后我终于找到了合适的房子。它\n以前的主人用水泥盖住了石头，于是我把全部水泥去掉。房子被重新\n发现了，我也是。开阔的窗户朝向三个不同的方向，一天中光线的变\n幻让我着迷。我的办公室也在这里——我是一名记者。近年来我开始\n研究陶器：盘子、碗、花瓶。各种深浅不一的白色或绿色。我在花园里\n或散步时（偶尔也在海滩上）收集树叶和花朵来做实验，用它们在粘\n土上留下印纹。我的家是开放的，当我邀请人们（包括我给他们读寓\n言故事的孩子们）来家里吃饭的时候，我会用这些盘子。\n住在盖朗德 (Guérande) 的Bénédicte\nCN pp.283\n科隆，莱茵 (Rheinland) 区的Meyer\n玻璃，画作，框架\n房子里的一所房子：这是我多年前设计的床，被略微抬高并带有木制\n成的推拉屏风，就像中世纪的日本屏风。它可以是床也可以是房间、\n或是壁橱，因人而异。这是我在1995年建造的，当时和我一起生活的\n女人离开了。我在这里住了40年——我学生时代的公寓、曾经的\nJugendstil玻璃厂，现在已经变了样；如今，每一本书、每一幅画都让\n我想起我生活过和爱过的事物，尤其是画。这跟我的工作也有关系，\n我为艺术家制作博物馆的展览装置。当我挂上我买的第一幅大的画\n作（一个女人的形体）时，我好像突然有了一个室友，感觉房子里多个\n一个存在。我一个人住，很少会邀请别人来做客，除了几个朋友。而我\n最喜欢的空间是厨房。正如有人说过——我记不起他们的名字\n了——在派对上，最有趣的事情往往发生在厨房里。\n住在科隆中心的Meyer\nTranslations\nChinese  \nTexts by Lisa Corva\n315\nFoscarini — Vite\n",159,{"image":649,"text":650,"number":651},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.160.png","ES pp.004\nSI LAS CASAS SE CONVIERTEN EN ESPEJOS.\nA finales de 2018, mientras reflexionábamos sobre la \nactualización de nuestra documentación comercial, nos \nencontramos ante una encrucijada. Para nosotros, operadores \nafortunados del mundo de la Luz, que proponemos productos \ncapaces de expresar múltiples personalidades, diferentes si \nestán encendidas o apagadas y capaces de encajar en \ncontextos muy distintos, se nos hace siempre difícil encontrar \nrespuestas unívocas para representar esta transversalidad y \nriqueza expresiva. ¿Era mejor mostrar el proyecto de diseño \nen sí mismo o construir un entorno contextual a su alrededor? \nEra difícil inclinarse por uno u otro, ambos poseían aspectos \npositivos y limitaciones inherentes. Hasta que empezamos a \nimaginar un camino diferente. Una historia en la que nuestras \nlámparas entraran a formar parte de casas reales, integrándose \nen entornos vividos. Mostrando su capacidad para aportar \ncarácter, pero también para adaptarse. No para pedir espacio, \nsino para ayudar a crear escena, formando parte de vidas \nreales. Después de tres continentes, trece ciudades y \nveinticinco casas, este segundo capítulo - Vite 2, precisamente \n- se suma al primero. Lo complementa, ampliando las latitudes \nexploradas en busca de una Luz diferente y, con ella, de \nculturas del vivir y Vidas diferentes. Casas reales, porque \nhabitadas por personas reales, que saben elegir las cosas \npara sentirse bien consigo mismas y con su espacio vital.  \nPor eso hemos seguido buscando ambientes muy personales, \nincluso imperfectos por el hecho de ser reales, alejados \ninevitablemente de los controlados platós fotográficos y  \nde las frías reglas de estilismo típicas de las fotografías del \nmundo del diseño. En estos años, VITE nos ha llevado por \ntanto a encontrar y conocer a personas que, al sentirse en \nsintonía con el proyecto, nos han acogido generosamente en \nsus ambientes privados, compartiendo también la historia del \ndevenir de sus casas, que son la imagen de sus Vidas. Hemos \nencontrado casas tanto desordenadas como ordenadas, \nllenas de recuerdos del pasado y de actividades del presente, \nrepletas de gestos y rituales. Hogares y existencias \niluminadas por la luz, espléndidas vistas de historias \nhumanas, imperfecciones y aspiraciones. Este trabajo no  \nse hubiera podido realizar plenamente si no hubiéramos \nencontrado en Gianluca Vassallo un intérprete natural y \nconsciente, capaz de dar forma a lo que habíamos imaginado. \nEl creador de los significados que buscábamos y que, \nvestidos con la sencilla elegancia de la gráfica de Artemio \nCroatto, se enriquecen ahora con este segundo capítulo.  \nCon Vite proponemos el diseño en su dimensión más humana. \nEse diseño que expresa sus cualidades en las casas de \npersonas que viven sus hogares como espejos, para verse  \nsin mostrarse, o para encontrarse sin exponerse.\n \nCarlo Urbinati\nFundador y Presidente de Foscarini\nES pp.008\nEMPECÉ A HACER FOTOGRAFÍAS CUANDO  \nYA ERA ADULTO. \nSucedió por casualidad, en Nueva York, en 2008.  \nAlex recuerda bien aquel verano, había llegado de la nada,  \nsin avisar, para perderme en el tiempo magnífico de la \nprimera conciencia de ser hombre, y él, que había sido mi \namigo ya durante la infancia, lejos de allí, me había prestado \nuna cámara para mirar mejor el mundo, o para volver a \nmirarlo, después de haberlo atravesado.\nEra mi último verano de niño y, juntos, el primero como \nadulto. El único, hasta entonces, lejos del mar.\nRecuerdo bien mi primera foto. Estaba en Jamaica, en \nQueens, una mujer de color, madre de una madre, con las \ncaderas tan anchas como los hombros, entraba en casa con \nbolsas de la compra, mientras un niño le sujetaba la puerta. \nDentro se veían pocas cosas, pero suficientes para \npermitirme imaginar su vida. Un póster de Obama, las piernas \nde un hombre, un crucifijo y un teléfono en la pared.\nYo no sabía nada de fotografía, y esa foto me lo decía.  \nPero también me dijo lo que buscaba en el mundo.\nAquel verano me di cuenta de algunas cosas sobre mí y la \nfotografía que siguen siendo fundamentales, es decir,  \nque la fotografía, para mí, no consistía en capturar el \nmomento, sino en saber esperarlo, que no quería registrar  \nla mirada, sino la sensación. Y luego, que un buen amigo, \nconoce mejor que tú el valor que llevas dentro. Entonces fue \nAlex el que lo sabía. Con los años fue Carlo. El señor \nFoscarini, como le llaman los que no son sus amigos\n \nGianluca Vassallo\nFotógrafo\nES pp.013\nDANIEL EN GUÉRANDE. REGIÓN: PAÍSES DEL LOIRA\nATARDECER, ESTANQUE, CARPAS\nDurante veinte años mi hogar fue un velero, en las Antillas.  \nYo era el patrón: St Barth, Guadalupe, La Reunión, mares \ncristalinos, islas, todo lo que podáis imaginar. El viento y el \nsol, siempre. Pero mientras tanto había comprado un terreno \naquí, en el «marais», entre los pantanos de sal de Guérande; \nporque sabía que era aquí donde quería venir a vivir y \nconstruir mi casa. Lo más lejos posible de todo, del tráfico,  \nde los rascacielos, del caos y de la gente. Aquí puedo vivir \nescondido. Lo que más me gusta es el cielo, el cielo libre, \npuro, que se ilumina como fuego al atardecer.  \nEl cielo que veo cuando voy a dar de comer a mis carpas.  \nEn los trópicos los días son demasiado cortos, la noche llega \nmuy rápido. Aquí tengo tiempo para disfrutar del cielo. ¿Echo \nde menos el mar y el viento? Un poco, pero no demasiado.  \nCuando los echo de menos, alquilo un barco con amigos y \nnavegamos por el Mediterráneo. Pero por ahora, mi cielo  \nes suficiente.\nDaniel vive con Lydie, y el gato Spoty, en las tierras  \nde Guérande.\nES pp.037\nMARINA EN MEERBUSCH. REGIÓN: RENANIA\nFRONTERAS, FAMILIAS, VIAJES.\nMi vida está hecha de fronteras. Nací en Minsk, Bielorrusia,  \ny mi padre aún vive allí; estudié en Moscú; llegué a Alemania \npor trabajo, donde conocí a mi marido, que es abogado.  \nNos casamos y tuvimos una hija. A nuestro alrededor, \nmuchos cuadros que hemos comprado viajando; muchos  \nson de Minsk, me recuerdan a mi infancia. Y muchas fotos \nfamiliares en marcos de plata, como se hacía antes: mis \npadres, los de mi marido, su primer hijo con su mujer y su \nnieto, nuestra hija, nuestro primer terrier que por desgracia \nya no está. Compramos esta casa hace ocho años, todo lo \ncontrario de lo que yo soñaba: quería algo antiguo, \nJugendstil, pero mi marido insistió para que por lo menos \nfuéramos a verla. Y cuando crucé el umbral me enamoré al \ninstante. De alguna manera, eso también fue cruzar una \nfrontera: confiar, descubrir.\nMarina vive en Meerbusch con su marido Eckart \ny su terrier Emma.\nES pp.077\nGABRIELE EN CALDONAZZO. REGIÓN: TRENTINO\nLUZ, LENTITUD, LAGO.\nPara mí, el punto en el que la casa es más casa es en la mesa \nlarga que hay frente a la pared de vidrio. La construimos con \ntablones de madera recuperados de un viejo embarcadero en \nel lago Caldonazzo, aquí al lado. Ahora es la mesa en la que \ncomemos y tomamos café; donde mi mujer escribe los \ncuentos que estoy pintando con acuarelas, nuestro nuevo \nproyecto que espero se convierta pronto en un libro. \nLlevamos 25 años casados. Éramos muy jóvenes, yo tenía \n22 años y ella 21. Enseguida nació Giada, y luego Camilla. \nNuestra visión del mundo juntos parte de aquí, de esta pared \nde vidrio que hemos querido lo más amplia posible: el jardín \nque es un hogar fuera de casa, el arce a cuya sombra me \nrefugio en verano para leer. ¿Mi luz preferida? La hora azul, \ncuando la puesta de sol entra en las habitaciones.  \nNo tenemos cortinas, nos gusta que las hojas, las sombras y \nlos colores entren dentro. Casa, naturaleza y lentitud. Tengo \nmi propia agencia de comunicación, en Trento, pero los \nviernes no se trabaja. Se vive.\nGabriele vive en Caldonazzo con su mujer Paola y sus hijas.\nES pp.107\nKARINA EN WUPPERTAL. REGIÓN: CONDADO DEL \nMONTE (RENANIA)\nVENTANAS, JUEGOS, FUTURO.\nNos conocimos poco antes del confinamiento, en Berlín,  \nen un club de música tecno. Decidimos irnos a vivir juntos,  \nen Wuppertal, donde ya vivía Claus, muy rápidamente. \nPasamos juntos la pandemia y acabábamos de conocernos. \nFue una aventura, estábamos casi sin muebles, con un \ncolchón en el suelo. Esta es nuestra primera casa, y nos \ngusta mucho porque está dentro de un edificio antiguo,  \nuna Fachwerkhaus, las típicas casas alemanas con \nentramado de madera. Nos gusta la habitación bajo el tejado, \nla ventana que da a un pequeño parque infantil. En nuestro \nfuturo vemos niños, una familia y quizá una casa en el campo \npar poder tener un pequeño huerto y una cabra. Mientras \ntanto, miramos al pasado y lo transformamos: yo, Karina, \nhago collages con periódicos viejos, me entusiasma dar \nnueva vida a las cosas. Es un poco como comprar ropa usada \ny recomponerla. Chaquetas o camisetas para Claus, una falda \ndorada de la década de 1970 para mí, inspiración Studio 54. \nImaginar el futuro a partir del pasado.\nKarina y Claus viven en Wuppertal. \nES pp.141\nVALÉRIE EN CAEN. REGIÓN: BAJA NORMANDÍA\nESTACIONES, NIÑOS, SÁBANAS.\nElegimos esta casa, que se encuentra en el centro de Caen, \ntambién por el jardín, donde crece la lavanda, junto con rosas \nblancas, y en verano las dalias, que son sublimes.  \nEn las paredes se mezclan colores que para mí son los de \nNormandía, es decir, gris, azul, verde. Con la luz del \natardecer, para mí es la más bonita. Nuestros tres hijos ya no \nviven con nosotros, pero sus dormitorios siempre están ahí, \nesperándoles a ellos y a sus amigos, son dormitorios vivos. \nMe encantan los meses de abril y mayo, cuando el jardín \nempieza a florecer, cuando la lavanda está a punto de brotar; \nluego la corto, preparo bolsitas para los armarios, es un trozo \ndel jardín que entra en casa. ¿Mi momento favorito? Los \ndomingos por la mañana. Soy médico, al igual que mi marido; \nel domingo es el momento en que podemos desconectar, \ncuando él me trae el té a la cama y yo puedo leer. Los libros \nme esperan en silencio en la mesita de noche. Quizá por eso \nme gusta elegir cuidadosamente mis sábanas. De color rosa \nsuave, por qué no. Eso también me recuerda a la primavera. \nValérie vive en Caen con su marido Bertrand. \nTranslations\nSpanish \n317\nFoscarini — Vite\nTexts by Lisa Corva\n",160,{"image":653,"text":654,"number":655},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.161.png","ES pp.191\nSABRINA EN MEDOLE. REGIÓN: LOMBARDÍA\nCOMETAS, LUCIÉRNAGAS, FAISANES.\nEstamos en el campo, a las afueras de Mantua, donde mi \npadre, un bresciano de los valles, llevaba de joven a sus \nvaquillas en trashumancia. Y donde luego se quedó. Yo crecí \naquí. La casa donde vivimos ahora era el antiguo granero. \nY ahora, cuando mi vida es frenética entre viajes y cuatro \ntrabajos -el cuarto, y como digo el más importante, es ser \nmadre de nuestra Matilde-, volver aquí, entre el verde y el \nsilencio, es mi paz. Silencio por así decirlo, porque puede \nhaber liebres y faisanes que «pelean» en el prado delante  \nde casa... Me he convertido en una empresaria agricultora,  \ny de esta tierra conozco todo desde siempre. Los ruidos, las \nsombras y los sonidos. Y es aquí donde realmente me siento \nen casa. Una casa que es la chimenea encendida, y el gran \nprado que se ilumina con luciérnagas a principios de verano. \nCon mucho espacio para hacer volar, con mi marido y mi hija, \nlas cometas, que son mi pasión. Quizá la más bonita es un \ngran pulpo que traje de Pekín.\nSabrina vive en Medole con su marido Matteo \ny su hija Matilde. \nES pp.231\nMARKUS Y SANDRA EN MÖNCHENGLADBACH. \nREGIÓN: BAJA RENANIA\nCAFÉ, TAZAS, SILLAS.\nLa seguridad de los objetos. Para nosotros es un placer y \ntambién un trabajo. Yo, Markus, soy arquitecto de interiores; \nSandra se encarga de comunicación en una histórica fábrica \nalemana de porcelana. Pero los objetos son nuestra pasión. \nTodos, incluso los que antes se llamaban adornos, que es \nsimplemente una cosa bonita que te da felicidad. Así es como \nabrimos nuestra galería de diseño cuando vivíamos en \nColonia; ahora está cerrada, pero seguimos vendiendo en \nlínea. Tenemos un pequeño garaje-almacén donde \nguardamos las piezas. Muchas, muchísimas las usamos en \ncasa, las sillas por ejemplo, tenemos más de veinte, desde las \nde diseño hasta las que hemos encontrado en mercadillos. \nNo hay un rincón del corazón en casa, la vivimos toda, en \ntodos los rincones, igual que cambiamos de sitio y utilizamos \ntodas las sillas. Pero hay un ritual que siempre es el mismo. \nMe refiero al café de la mañana, un auténtico expreso, hecho \ncon la cafetera moka. En una pequeña taza de porcelana \nblanca que parece un papel doblado muy fino. El primer \ndestello de luz del día.\nMarkus y Sandra viven en Mönchengladbach.\nES pp.257\nBÉNÉDICTE EN GUÉRANDE. REGIÓN: PAÍSES DEL LOIRA\nPIEDRA, CERÁMICA, HUELLAS.\nVivía en París, pero con Bretaña en el corazón. No tanto \nBretaña como las casas bretonas, las sólidas, pesadas, \nhechas con piedra y granito. Así que cuando me separé, \ndecidí venir aquí. Y por fin encontré la casa. Busqué durante \nmucho tiempo porque no me gustaban las reconstrucciones, \neso que le quita el alma. Y aquí está. Los anteriores \npropietarios habían ocultado las piedras con cemento, pero \nyo hice que lo quitaran todo; la casa se ha encontrado a sí \nmisma y yo con ella. Las ventanas, grandes, están orientadas \nhacia tres puntos cardinales distintos, y me gusta ver cómo \ncambia la luz a lo largo del día. Mi despacho está aquí; soy \nperiodista. Pero en los últimos años he empezado a hacer \ncerámica: platos, cuencos y jarrones. En tonos blancos o \nverdes. Experimento con hojas y flores que recojo en mi \njardín o en paseos, quizá por la playa; las utilizo para dejar \nuna huella en la cerámica. Mi casa está abierta, y estos son \nlos platos con los que invito a cenar, a la mesa. También a los \nniños del pueblo a los que les leo mis libros de cuentos.\nBénédicte vive en las tierras de Guérande.\nES pp.283\nMEYER EN COLONIA. REGIÓN: RENANIA\nVIDRIO, CUADROS, MARCO\nHay una casa dentro de la casa. Se trata de mi cama, que \ndiseñé hace años, ligeramente elevada, cerrada por una \nmampara corredera de madera perforada que recuerda a las \ncamas medievales japonesas. Es una cama pero también un \nboudoir, o un armario, según cómo se mire. Lo construí en el \n1995, cuando la mujer con la que estaba se marchó. Llevo \ncuarenta años viviendo aquí. Mi piso de estudiante, en lo que \nfue una cristalería Jugendstil, se ha convertido en otra cosa. \nAhora cada libro, cada cuadro, me recuerda todo lo que he \nvivido y amado. Los cuadros, sobre todo. También porque mi \ntrabajo es hacer montajes museísticos para exposiciones de \nartistas. Y cuando colgué en la pared el primer cuadro grande \nque compré, una figura de mujer, fue como tener de repente \nuna compañera de piso, una presencia en casa. En realidad \nvivo solo, invito poco, pocos amigos. Sin embargo, la zona de \nla casa que más me gusta es la cocina. Porque, como dijo \nalguien cuyo nombre no recuerdo, las cosas más \ninteresantes, en una fiesta, ocurren precisamente en  \nla cocina.\nMeyer vive en el centro de Colonia.\nFR pp.004\nSI LES MAISONS DEVIENNENT DES MIROIRS.\nFin 2018, alors que nous réfléchissions à la mise à jour de notre \ndocumentation commerciale, nous sommes arrivés à la croisée \ndes chemins. Pour nous, heureux opérateurs du monde de la \nlumière, qui proposons des produits capables d'exprimer des \npersonnalités multiples, différentes du on et du off et capables \nde s'intégrer dans des contextes très divers, il est toujours \ndifficile de trouver des réponses univoques pour représenter \nune telle transversalité et une telle richesse expressive. Est-il \npréférable de montrer le projet de design lui-même ou de \nconstruire un cadre contextuel autour de celui-ci ? Il est \ndifficile de pencher d'un côté ou de l'autre, les deux ayant des \naspects positifs et des limites inhérentes. Jusqu'à ce que nous \ncommencions à imaginer une autre voie. Une histoire dans \nlaquelle nos lampes feraient partie de véritables maisons, \ns'intégrant dans des environnements vécus. Elles démontrent \nleur capacité à apporter du caractère, mais aussi à s'adapter. \nNon pas pour exiger la scène, mais pour contribuer à la créer, \nen devenant membre de vraies Vies (Vite). Trois continents, \ntreize villes, vingt-cinq foyers plus tard, ce deuxième chapitre \n- Lives 2, en fait - s'ajoute au premier. Il l'intègre, élargissant \nles latitudes explorées à la recherche d'une lumière différente \net, avec elle, de cultures d'habitation et de vies différentes.  \nDe vraies maisons, parce qu'elles sont habitées par de vraies \npersonnes, qui savent choisir des choses pour se sentir bien \ndans leur peau et dans leur espace de vie. Nous avons donc \ncontinué à rechercher des environnements très personnels, \nmême imparfaits parce que réels, inévitablement loin des décors \nphotographiques contrôlés et des règles de style froides \ntypiques des prises de vue du monde du design. Au fil des \nannées, VITE nous a ainsi amenés à rencontrer et à connaître \ndes personnes qui, se sentant en phase avec le projet, nous ont \ngénéreusement accueillis dans leurs environnements privés, \npartageant l'histoire du devenir de leurs maisons, l'image de \nleurs Vies. Nous avons ainsi trouvé des maisons un peu froissées \net un peu rangées, pleines de souvenirs du passé et d'activités \ndu présent, chargées de gestes et de rituels. Des habitations et \ndes existences éclairées par la lumière, de splendides aperçus \nd'histoires humaines, d'imperfections et d'aspirations. Ce travail \nn'aurait pas pu être pleinement réalisé si nous n'avions pas trouvé \nen Gianluca Vassallo un interprète naturel et conscient, capable \nde donner forme à ce que nous avions imaginé. Le créateur des \nsens que nous recherchions et qui, habillés de l'élégance simple \ndu graphisme d'Artemio Croatto, sont maintenant enrichis par \nce deuxième chapitre. Avec Vite, nous proposons le design dans \nsa dimension la plus humaine. Ce design exprime ses qualités \ndans les maisons des personnes qui vivent leurs maisons \ncomme des miroirs : pour se voir et non se montrer, pour se \ntrouver et non s'exposer.\n \nCarlo Urbinati\nFondateur et Président de Foscarini\nFR pp.008\nJ'AI COMMENCÉ LA PHOTOGRAPHIE ALORS QUE  \nJ'ÉTAIS DÉJÀ ADULTE. \nC'est arrivé par hasard, à New York, en 2008. Alex se souvient \nbien de cet été-là, j'étais arrivé de nulle part, à l'improviste, \npour me perdre dans le temps magnifique de ma première \nprise de conscience d'être un homme. Lui, qui était mon ami \ndepuis l'enfance, passée loin de là, m'avait prêté une voiture \npour mieux regarder le monde, ou pour le regarder à nouveau, \naprès l'avoir traversé. C'était mon dernier été en tant que \njeune homme et, ainsi, mon premier en tant qu'adulte. Le seul \nqui se déroulerait si loin de la mer. Je me souviens bien de ma \npremière photo. J'étais à Jamaica, dans le Queens. Une femme \nnoire, mère de famille, aux hanches aussi larges que les \népaules, est entrée dans la maison avec des sacs à provisions, \ntandis qu'un enfant lui tenait la porte. On ne pouvait voir que \npeu de choses à l'intérieur, mais c'était suffisant pour me \npermettre d’imaginer sa vie. Un poster d'Obama, les jambes \nd'un homme, un crucifix et un téléphone sur le mur. Je ne \nconnaissais rien à la photographie, et cette photo le disait. \nMais elle me disait aussi ce que je cherchais dans le monde. \nCet été-là, j'ai pris conscience de certaines choses sur \nmoi-même et sur la photographie, qui restent aujourd’hui \ncentrales : pour moi, la photographie ne consistait pas à \ncapturer l'instant mais à savoir l'attendre, je ne voulais pas \ncueillir le regard, mais le sentir. J’ai aussi pris conscience \nqu'un bon ami connaît avant vous la valeur que vous portez  \nen vous. À l’époque, c'était Alex, qui savait. Ces dernières \nannées, c’était Carlo. Ou M. Foscarini, comme l'appellent \nceux qui ne sont pas ses amis. \n \nGianluca Vassallo\nPhotographe\nFR pp.013\nDANIEL EN GUÉRANDE. RÉGION : PAYS DE LA LOIRE \nCOUCHER DE SOLEIL, ÉTANG, CARPES.\nPendant 20 ans, ma maison était un voilier dans les Antilles. \nJ'étais skipper : St Barth, la Guadeloupe, la Réunion, des \nmers cristallines, des îles, tout ce dont on pourrait rêver.  \nLe vent, le soleil, toujours. Mais entre-temps, j'avais acheté \nun terrain ici-même, dans le « marais », au milieu des marais \nsalants de Guérande, car je savais que c'était là que je voulais \nvenir vivre, construire ma maison. Le plus loin possible de \ntout, de la circulation, des gratte-ciel, du chaos, des gens.  \nIci, je peux vivre caché. Ce que j'aime le plus, c'est le ciel,  \nun ciel libre et pur, qui brille au coucher du soleil. Le ciel que \nje vois quand je vais nourrir mes carpes. Sous les tropiques, \nles journées sont trop courtes, la nuit tombe vite. Ici, j'ai le \ntemps d'apprécier le ciel. La mer, le vent me manquent-ils ? \nUn peu, pas trop. Quand ça me manque, je loue un bateau \nTranslations\nSpanish \n319\nFoscarini — Vite\nTexts by Lisa Corva\nFrench \n",161,{"image":657,"text":658,"number":659},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.162.png","Translations\navec des amis et je fais le tour de la Méditerranée. Mais pour \nl'instant, mon ciel me suffit. \nDaniel vit avec Lydie et leur chat Spoty, dans les terres  \nde Guérande. \nFR pp.037\nMARINA À MEERBUSCH. RÉGION : RHÉNANIE\nFRONTIÈRES, FAMILLES, VOYAGES. \nMa vie est faite de frontières. Je suis née à Minsk, au Bélarus, \noù mon père vit toujours ; j'ai étudié à Moscou ; je suis ensuite \nvenue travailler en Allemagne où j'ai rencontré mon mari, qui \nest avocat. On s'est mariés, on a eu une fille. Autour de nous, \nde nombreux tableaux que nous avons achetés lors de nos \nvoyages ; beaucoup sont de Minsk, ils me rappellent mon \nenfance. Et beaucoup de photos de famille dans des cadres \nargentés, comme autrefois : mes parents, ceux de mon mari, \nson premier fils en compagnie de sa femme et de leur enfant, \nnotre fille, notre premier terrier qui n'est malheureusement \nplus de ce monde. Nous avons acheté cette maison il y a huit \nans, à l'opposé de ce dont je rêvais : je voulais quelque chose \nde vieux, de Jugendstil, mais mon mari a insisté pour que nous \nallions au moins la voir. Et quand j'ai franchi le seuil, je suis \ntombée amoureuse, instantanément. D'une certaine manière, \nça aussi c'était franchir une frontière : faire confiance, découvrir. \nMarina vit à Meerbusch avec son mari Eckart  \net leur terrier Emma. \nFR pp.077\nGABRIELE À CALDONAZZO. RÉGION : TRENTIN\nLUMIÈRE, LENTEUR, LAC.\nPour moi, le point de la maison qui représente le plus l’idée  \nde « chez moi », c’est la longue table devant la fenêtre. Nous \nl'avons construite avec des planches de bois récupérées sur une \nancienne jetée du lac de Caldonazzo, près d’ici. Maintenant, c'est \nla table sur laquelle nous mangeons, prenons le café ; sur \nlaquelle ma femme écrit les contes de fées que j'aquarelle, notre \nnouveau projet qui, je l'espère, deviendra bientôt un livre. Nous \nsommes mariés depuis 25 ans. Nous étions très jeunes ; j'avais \n22 ans, elle 21. Giada est née immédiatement, puis Camilla. \nNotre regard sur le monde ensemble part d'ici, de cette \nfenêtre que nous avons voulue la plus large possible : le jardin \nqui est une maison loin de la maison, l'érable à l'ombre duquel \nje me réfugie l'été pour lire. Ma lumière préférée ? L'heure \nbleue, lorsque le coucher du soleil pénètre dans les pièces. \nNous n'avons pas de rideaux, nous aimons que les feuilles, \nles ombres et les couleurs entrent à l'intérieur. Maison, nature \net lenteur : j'ai ma propre agence de communication, à Trente, \nmais le vendredi je ne travaille pas. On vit. \nGabriele vit à Caldonazzo avec sa femme Paola et leurs filles. \nFR pp.107\nKARINA À WUPPERTAL. RÉGION : BERGISCHES LAND\nFENÊTRES, JEUX, AVENIR.\nNous nous sommes rencontrés peu avant le confinement,  \nà Berlin, dans un club de musique techno. Et très vite, nous \navons décidé de nous installer ensemble : à Wuppertal, où \nClaus habitait déjà. Nous avons traversé la pandémie \nensemble, alors que nous venions de nous rencontrer. \nC’était une aventure, nous étions presque sans meubles,  \navec un matelas sur le sol. C'est notre première maison, et \nnous l'aimons beaucoup, notamment parce qu'elle se trouve  \nà l'intérieur d'un ancien bâtiment, un Fachwerkhaus, les \nmaisons à colombages typiques de l'Allemagne. Nous aimons \nla chambre sous le toit, la fenêtre donnant sur une petite aire \nde jeux. Dans notre avenir, nous voyons des enfants, une \nfamille, et peut-être une maison à la campagne ; pouvoir avoir \nun petit potager, une chèvre. En attendant, nous regardons le \npassé et le transformons : moi, Karina, je fais des collages \navec de vieux journaux, cela m’enthousiasme de donner une \nnouvelle vie aux choses. C'est un peu comme acheter des \nvêtements d'occasion et les remettre en état. Des vestes ou \ndes t-shirts pour Claus, une jupe dorée des années 70 pour \nmoi, inspiration Studio 54. Imaginer l'avenir à partir du passé.\nKarina et Claus vivent à Wuppertal. \nFR pp.141\nVALÉRIE À CAEN. RÉGION : BASSE-NORMANDIE \nSAISONS, ENFANTS, DRAPS.\nNous avons choisi cette maison, qui se trouve au centre de \nCaen, en partie pour le jardin, où pousse de la lavande, des \nroses blanches et, en été, de sublimes dahlias. Sur les murs, \ndes couleurs qui sont pour moi celles de la Normandie : gris, \nbleu, vert se mêlent, dans la lumière du soir, pour moi la plus \nbelle. Nos trois enfants ne vivent plus avec nous, mais leurs \nchambres sont toujours là, à les attendre, eux et leurs amis, \nce sont des chambres vivantes. J'aime avril, mai, quand le \njardin commence à bourgeonner, quand la lavande est sur le \npoint de fleurir ; alors je la coupe, j'en fais des sachets pour \nles armoires, c'est un bout de jardin qui entre dans la maison. \nMon moment préféré ? Le dimanche matin. Je suis médecin, \ncomme mon mari ; le dimanche est le moment où nous \npouvons nous déconnecter, où il m'apporte le thé au lit, et où \nje peux lire. Les livres m'attendent en silence sur la table de \nchevet. C'est peut-être pour cela que j'aime choisir mes draps \navec soin. Un rose tendre, pourquoi pas. Cela me rappelle \naussi le printemps. \nValérie vit à Caen avec son mari Bertrand.\nFR pp.191\nSABRINA À MEDOLE. RÉGION : LOMBARDIE \nCERFS-VOLANTS, LUCIOLES, FAISANS.\nNous sommes dans la campagne aux environs de Mantoue, \noù mon père, un Brescien des vallées, emmenait les génisses \npour faire la transhumance quand il était jeune. Et où il s'est \nensuite installé. J'ai grandi ici : la maison où nous vivons \nmaintenant était l'ancienne grange. Et maintenant que ma  \nvie est trépidante entre les voyages et quatre emplois - le \nquatrième, et comme je le dis, le plus important, étant d'être \nune mère pour notre Matilde - revenir ici, dans le vert et le \nsilence, est ma paix. En réalité, le silence est relatif : il peut y \navoir des lièvres et des faisans qui se « battent » dans le pré \ndevant la maison... Je suis devenue entrepreneuse agricole, \net je connais tout de cette terre depuis toujours. Les bruits, \nles ombres, les sons. C'est là que je me sens vraiment chez \nmoi. La maison, c’est la cheminée allumée, et le grand pré \néclairé par les lucioles au début de l'été. Elle offre beaucoup \nd'espace pour faire voler les cerfs-volants : notre passion, \navec mon mari et ma fille. Le plus beau est peut-être une \ngrande pieuvre que j'ai ramenée de Pékin. \nSabrina vit à Medole avec son mari Matteo et leur  \nfille Matilde. \nFR pp.231\nMARKUS ET SANDRA À MÖNCHENGLADBACH. \nRÉGION : BAS-RHIN\nCAFÉ, TASSES, CHAISES.\nLa sécurité des objets. Pour nous, c'est un plaisir et aussi un \ntravail : moi, Markus, je suis architecte d'intérieur ; Sandra est \nresponsable de la communication d'une fabrique historique \nde porcelaine allemande. Mais les objets sont notre passion : \ntous, même ce qu'on appelait autrefois un bibelot, qui est \nsimplement une belle chose qui vous donne du bonheur.  \nC'est ainsi que nous avons ouvert notre galerie de design \nlorsque nous vivions à Cologne ; elle est maintenant fermée, \nmais nous vendons toujours en ligne. Nous avons un petit \ngarage où nous conservons les pièces. Beaucoup, beaucoup \nsont utilisées dans notre maison : les chaises par exemple, \nnous en avons plus de vingt, allant des chaises design jusqu’à \ncelles trouvées dans les marchés aux puces. Il n'y a pas de \ncoin du cœur chez nous : nous vivons la maison dans son \nensemble, dans tous les coins, tout comme nous changeons \nde place et utilisons toutes les chaises. Mais il y a un rituel  \nqui est toujours le même : le café du matin, un vrai expresso, \nfait avec du moka. Dans une petite tasse en porcelaine \nblanche qui ressemble à du papier fin plié. Le premier éclair \nde lumière de la journée. \nMarkus et Sandra vivent à Mönchengladbach.\nFR pp.257\nBÉNÉDICTE À GUÉRANDE. RÉGION : PAYS DE LA LOIRE \nPIERRES, CÉRAMIQUES, EMPREINTES.\nJe vivais à Paris, mais avec la Bretagne dans mon cœur.  \nPas tant la Bretagne que les maisons bretonnes, ces maisons \nsolides et lourdes faites de pierre et de granit. Alors, quand  \nje me suis séparée, j'ai décidé de venir ici. Dans la maison \nque j'ai finalement trouvée. J'ai cherché pendant longtemps ; \nje n'aimais pas les rénovations, tout ce qui enlève l'âme. Et la \nvoilà : les anciens propriétaires avaient caché les pierres avec \ndu ciment, j'ai tout fait enlever, la maison s'est mise en place \net moi avec. Les grandes fenêtres sont orientées vers trois \npoints cardinaux différents, et j'aime voir comment la lumière \nchange au cours de la journée. Mon bureau est ici, je suis \njournaliste. Mais ces dernières années, j'ai commencé à faire \nde la céramique : assiettes, bols, vases. Dans des tons de \nblanc ou de vert. J'expérimente avec des feuilles et des fleurs \nque je ramasse dans mon jardin ou lors de promenades, voire \nmême sur la plage ; je les utilise pour laisser une empreinte \nsur la céramique. Ma maison est ouverte, et ce sont les plats \navec lesquels j'invite à dîner, à la table. Et avec lesquels je \nreçois les enfants du village, à qui je lis mes livres d'histoires. \nBénédicte vit dans les terres de Guérande.\nFR pp.283\nMEYER À COLOGNE. RÉGION : RHÉNANIE\nVERRE, PEINTURES, CADRES.\nIl y a une maison dans la maison : c'est mon lit, que j'ai conçu \nil y a des années, légèrement surélevé, fermé par un paravent \ncoulissant en bois perforé qui rappelle les paravents \nmédiévaux japonais. C'est un lit mais aussi un boudoir, ou une \narmoire, selon la façon dont on le regarde. Je l'ai construit en \n95, quand la femme avec qui j'étais est partie. J'ai vécu ici \npendant quarante ans : mon appartement d'étudiant, dans ce \nqui était une verrerie Jugendstil, est devenu autre chose ; et \nmaintenant, chaque livre, chaque tableau, me rappelle tout ce \nque j'ai vécu et aimé. Les peintures, surtout. Et aussi parce \nque mon travail consiste à réaliser des aménagements \nmuséographiques pour des expositions d'artistes. Lorsque \nj'ai accroché au mur le premier grand tableau que j'ai acheté, \nune figure de femme, c'était comme si j'avais soudainement \nun colocataire, une présence dans la maison. En fait, je vis \nseul, j'invite peu, j'ai peu d'amis. Pourtant, la partie de la \nmaison que je préfère est la cuisine. Parce que, comme l'a dit \nquelqu'un dont je ne me souviens plus du nom, les choses les \nplus intéressantes dans une fête se passent dans la cuisine. \nMeyer vit dans le centre de Cologne.\nFrench \n321\nFoscarini — Vite\nTexts by Lisa Corva\n",162,{"image":661,"text":662,"number":663},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.163.png"," \nTranslations\nJP pp.004  \n家が鏡となる時\n2018 年の終わりに弊社の小冊子の改訂について思案している時、私たちは\n岐路にいることに気づきました。消灯時と点灯時にも異なる様々な個性を表\n現することができ、多様化したコンテキストに適応するプロダクトを提供する\nという照明業界のなかでも恵まれた運営形態にある弊社にとって、この横断\n性と表現的な豊かさを一義的な答えで表す事は難しいと常に感じています。\nデザインプロジェクトそのものを見せるべきなのか、あるいはコンテンツ設定\nを周囲に造るべきか? どちらにも一長一短があるので、どちらか一方を選ぶ\nのは難しいのです。そこで、しばらくして私たちは違う方向性を考え始めまし\nた。弊社のランプが、実際の家庭の一部として生活に組み込まれるという物\n語です。それぞれの個性を表現しつつ空間に馴染む。ランプが主役ではなく、\n風景をつくり上げる手助けをすることで、真の人生の一部となるのです。\n3大陸、13都市、25軒の家庭を経て、この度第二章としてVITE 2が加わりま\nした。本プロジェクトの完結編となるVITE 2 では、地域を拡げて異なる明か\nり、異なる生活文化と人生の探求を行いました。私たちは、自分自身や居住空\n間を心地よくするものを選ぶ術を知る、実在の人々が暮らす実際の家庭を見\nつけることができました。前回に引き続き、管理された撮影用セットやデザイ\nン業界でありがちな無感情なスタイリングとは程遠い、非常にパーソナルな\n空間、リアルであるからこそ完璧ではない空間を探しました。ここ数年間VITE\nを通じて、本プロジェクトに同調してプライベートな空間に私たちを温かく迎\nえ入れ、個人的なストーリーをシェアしてくださった方々と出会うことができ\nました。私たちは、少しくたびれ少し整頓された、過去の思い出と現在の生活\nに満ちあふれ、所作と儀式に満ちた家を探すことができました。\n明かりによって照らされたパーソナルな空間と生活、垣間見える素晴らしい人\n類の歴史、不完全さと希望。このプロジェクトは、自然かつ意識的な通訳者と\nして私たちが想像したことを具現化してくれる、Gianluca Vassallo氏と出会\nわなければ実現することはできなかったでしょう。私たちが探し求めてきた意\n義のクリエーターは、Artemio Croatto氏によるグラフィックのシンプルなエ\nレガントさをまとい、この第二章によってより豊かなものとなりました。VITE\nでは、最も人間的な側面におけるデザインを提供します。そのデザインとは、\n家を自分自身を見せるためではなく、自分自身を見るための、そして自分自身\nをさらすのではなく、自分自身を探すための鏡として暮らす人々の家のなかで\nその資質を表現するものです。\nCarlo Urbinati\nカルロ・ウルビナティFoscarini 創業者・社長\nJP pp.008\n私が写真を撮り始めたのは大人になってからのことでした。\n2008年、ニューヨークで偶然に始めたのです。アレックスもその夏のことを\nよく覚えています。私は不意にどこからともなくそこに現れ、大人としての自\n覚を持ち始める素晴らしい時間に迷い込みました。そして幼馴染の彼が、世\n界をもっとよく見るために、そして探索したあとにより近くで世界を見るため\nに、とカメラを貸してくれたのです。それは、青年時代の最後の夏であり大人\nとしての最初の夏でした。また、海を離れて過ごした初めての夏でもありまし\nた。私が初めて撮った写真をはっきりと覚えています。クイーンズのジャマイ\nカ地区、黒人の女性、いかにも母親らしい母親、大きなヒップに広い肩、男の\n子が彼女のためにドアを抑え、彼女は買い物袋を持って家に入るところでし\nた。家の中にあるものはわずかしか見えませんでしたが、それは彼女の人生を\n想像するのに十分でした。オバマ大統領のポスター、男性の脚、十字架、壁の\n電話。写真の知識は全くなく、それはその写真をみれば明らかでした。 \nでもその写真は、私が世の中で探し求めているものを物語っていました。\nその夏、私は自分自身について、そして写真についていくつかのことを理解し\nました。それは今でも中核的要素となっています。その写真は、私にとって瞬\n間をとらえるのではなく待つ術を知ることでした。私は、視覚ではなく感情を\n記録したいのだと理解しました。そして、良い友人というものは、あなたの価\n値観を自分よりも理解してくれているのだということも知りました。その当時\nはアレックスがそうでした。そしてここ数年は、カルロがそうです。シニョール \nFoscarini、彼は友人でない人たちからそう呼ばれています。\nGianluca Vassallo\n写真家\nJP pp.013 \nゲランドのダニエル　地域：ヴァル・ド・ロワール\n夕焼け、湿地、鯉\n20年間、私の家はアンティル諸島のヨットでした。私は船長でしたが、サン・\nバルテルミー島、グアドループ、レユニオン、透明な海、島々、思いつく限りの\nあらゆる場所へ行きました。風、太陽の光が常にそこにありました。でもその\nうち、わたしはこの「沼地」、ゲランドの塩沼に土地を買いました。なぜなら、\nここで暮らし、我が家を建てたいと思っていたからです。渋滞、高層ビル、カ\nオス、人間、全てのものから出来るだけ遠ざかるために。ここでは隠居できま\nす。一番好きなものは空です。広い空、そのピュアさや、燃えるような日没。鯉\nに餌をやりに行く時に見る空。海や風が恋しいか？少し、でもさほど恋しくは\nありません。海や風が恋しくなった時には、友人とボートを借りて地中海を航\n海します。でも今は空があれば充分です。\nダニエルは、リディと猫のスポッティとゲランドに暮らしています。\nJP pp.037 \n メーアブッシュのマリーナ　地域：ラインラント\n境界線、家族、旅\n私の人生は、境界線で形成されています。私はベラルーシのミンスクで生ま\nれました。父はまだそこに住んでいます。モスクワで学生時代を過ごし、仕\n事の都合でドイツへ引っ越し、そこで弁護士の夫に出会いました。私たちは結\n婚し、娘が一人います。我が家には、旅先で購入したたくさんの絵画がありま\nす。その多くはミンスクのもので、私の子供時代を思い起こさせます。そして、\n昔ながらのシルバーのフレームに入れた家族写真もたくさん飾られています。\n私の両親、夫の両親、夫の兄とその妻、孫息子、私たちの娘、残念ながら今は\n亡き初代のテリア犬。8年前に購入したこの家は、古いユーゲント・シュティ\nール様式の家が好きな私が夢見ていたものとは正反対だったのですが、夫が\n実際に見るだけ見てみようと主張しました。そして玄関に入った瞬間に私はこ\nの家が大好きになりました。それもまた、信頼し発見するために境界線を越え\nたのだと思います。\nマリーナは、夫のエッカートとテリアのエマとデュッセルドルフに暮らしてい\nます。\nJP pp.077 \n カルドナッツォのガブリエレ　地域：トレント\n光、スローなぺース、湖\n私にとって、家の中で一番心地よく感じるのは窓の前の長テーブルです。それ\nは、カルドナッツォ湖に隣接する古い船着き場から回収された木の板で私たち\nが作ったものです。そのテーブルでは食事をしたりコーヒーを飲んだりします。\nそこで妻が執筆し、私が水彩画の挿絵を描いている新しいプロジェクトは、も\nうすぐ本となって出版される予定です。私たちは結婚して25年になります。当\n時二人はとても若く、私は22歳、彼女は21歳でした。ジアーダが間もなく生ま\nれ、そしてカミラが誕生しました。私たちが出来るだけ大きくしたいと望んだこ\nの窓から二人が分かち合う世界観が始まりました。家の外の我が家の庭、夏に\nなると木陰で私が読書をする楓の木。お気に入りの光?それは、空が濃い色に\n染まり夕日が部屋に入り込む時間です。うちにはカーテンがないのですが、私\nたちは葉っぱ、陰、様々な色が家の中に入り込むのが好きなのです。住まい、自\n然、スローなペース。私はトレントで広告代理店を経営していますが、金曜日に\nは私たちは仕事をしません―生活を楽しむのです。\nガブリエレは、妻パオラと娘たちとトレントに暮らしています。\nJP pp.107\nヴッパータールのカリナ　地域：ベルギッシェス・ラント\n窓、ゲーム、未来\n私たちは、ロックダウン直前にベルリンのテクノ音楽を流すクラブで出会いま\nした。そしてすぐに、クラウスが既に住んでいたヴッパータールで一緒に暮らす\nことを決めました。パンデミックを共に乗り越えましたが、知り合ったばかりの\n二人だったので、それは冒険でした。お互いほとんど家具を持っておらず、床に\n敷いたマットレスで寝たりもしました。ここは私たちの初めての家なのですが、\n典型的なドイツの木骨造りの建物の中にあることもとても気に入っています。\n屋根裏のベッドルームや小さな公園が見える窓もお気に入りです。将来的には\n子供、家族、小さな菜園があってヤギを飼えるような田舎の家が欲しいと思っ\nています。でも今は、過去に目を向け変換する作業をしています。私、カリーナ\nは、古い新聞紙でコラージュを制作していますが、物に新しい命を吹き込むの\nはワクワクします。古着を買ってリメイクするのに少し似ています。クラウスに\nはジャケットやTシャツ、自分用には1970年代のスタジオ54をイメージしたゴ\nールドのスカート。未来を想像するには、過去から始めるのです。\nカリーナとクラウスは、ヴッパータールに暮らしています。\nJP pp.141\nカーンのヴァレリー　地域：バス・ノルマンディー\n季節、息子、シーツ\n私たちがカーンの中心地のこの家を選んだ理由の一つは、この庭です。ラベン\nダーと白いバラが咲き誇り、夏になれば見事なダリアが咲くこの庭。グレー、ブ\nルー、グリーンが混ざり合った壁の色はノルマンディーを思い起こさせます。私\nが一番好きな、夜の光のなかで。3人の子供達はもうこの家で暮らしていません\nが、子供部屋は常にそのままにしてあります。子供達やその友達の訪れを待っ\nて、その部屋は生き生きとしています。私は庭の花々が咲き始める4月と5月が\n大好きです。ラベンダーが咲くと、花を摘んでクローゼット用のサシェを作りま\nす。庭の一部を家の中に取り入れるために。私の大好きな時間？それは日曜日\nの朝です。私と夫は医者ですが、日曜日がベッドでお茶を飲んだり読書ができ\nる休息日です。ベッドサイドテーブルには本が静かに私を待っています。おそら\nく、だから私はシーツの色選びに慎重なのかもしれません。薄いピンクにしま\nしょう。それもまた、春を思い起こさせるから。\nヴァレリーは、夫のベルトランとカーンに暮らしています。\nJP pp.191\nメドレのサブリナ　地域：マントヴァ\n凧、蛍、キジ\n私たちは、マントヴァにほど近い田舎町で暮らしています。私の父が若い頃、\nブレシアの渓谷から放牧の季節に畜牛を連れてきた場所です。そして遂には\n父はそこに定住しました。私はここで育ちましたが、現在私たちが暮らしてい\nる家は古い納屋でした。そして今、私は旅や四つの仕事を掛け持ちとても忙し\nくなりました。四つ目の仕事が私にとって最も重要なもので、それは娘のマチ\nルデの母親になったことなのですが、緑にあふれ静寂なここに帰ってくること\nが私にとっての平和なのです。静寂と言っても、野兎やキジが家の前の芝生で\n「けんか」していることもありますが......慣れ親しんだこの土地で私は農婦と\nなりました。その騒音、影、音。ここは私が心から我が家だと感じられる場所\nです。暖炉の火や、初夏に蛍が舞い息吹が芽生える広い草原のような我が\n家。場所を広々と使って夫と娘と凧揚げをするのが大好きです。一番きれいな\n凧は、北京から私が持ち帰った大きな蛸のデザインのものです。\nサブリナは、夫のマテオと娘のマチルデと共にマントヴァに暮らしています。\nJP pp.231\nメンヒェングラートバッハのマーカスとサンドラ　地域：ラインラント\nコーヒー、カップ、椅子\n雑貨の保管。それは私たちにとって喜びでもあり仕事でもあります。私マーカ\nスは、インテリア建築家、サンドラはドイツの由緒ある磁器の生産業者でコミ\nュニケーションの仕事をしています。でも、私たちが情熱を注いでいるものは\n雑貨です。小間物ですら、それら全ては幸せをもたらす美しいものなのです。\nだから、私たちはケルンに住んでいた頃に自分たちのデザインギャラリーをオ\nープンしました。現在ギャラリーは閉じてしまいましたが、今でもオンライン\nで商品の販売をしています。小さな車庫兼倉庫があり、そこに商品を保管して\nいます。自宅でも、非常にたくさんの商品を実際に使用しています。例えば椅\n子は20脚以上あるのですが、デザイナーものもフリーマーケットで見つけた\nものもあります。我が家には特にお気に入りの場所はなく、家全体のありとあ\nらゆる場所を楽しみながら暮らしています。椅子も同様に、配置を変えなが\nらその全てを使用しています。一つだけいつも必ず行う儀式があります。それ\nは朝のコーヒー、本物のエスプレッソをモカポットで淹れることです。まるで\nとても薄い折り紙のような小さな白い陶磁器のカップで。それが、一日の最初\nの輝かしい時間です。\nマーカスとサンドラは、メンヒェングラートバッハに暮らしています。\nJapanese \n323\nFoscarini — Vite\nTexts by Lisa Corva\n",163,{"image":665,"text":666,"number":667},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.164.png","Translations\nJP pp.257\nゲランドのベネディクト　地域：ヴァル・ド・ロワール\n石、陶芸、型押し\n私はパリで暮らしていたことがありますが、私の心はブルターニュにありまし\nた。堅く重い人工石や花崗岩で作られたブルターニュ風の家々はそれほど好\nきではありませんが。離婚した時、私はここへ来ることを決めました。そして\nついにぴったりの家を見つけたのです。長い間探し続けました。リノベーショ\nンされた家は、魂が取り去られたようで好きではありませんでした。そして見\nつけたのです。以前の家主は石造りをコンクリートで覆い隠していたのです\nが、私はそれを取り除き、家も私も生まれ変わりました。大きな窓は三つの方\n角に向いていて、私はそこで一日を通して光が変わる様子を眺めるのが好き\nです。私はジャーナリストで、オフィスも家にあります。最近陶芸を始め、皿や\nボウル、花瓶などを作っています。様々な色合いの白や緑を用いて。また、庭\nや海辺の散歩の途中で見つける葉っぱや花を使って粘土に型をつけることを\n試しています。私の家はオープンで、テーブルの周りに置いてあるのは夕食会\nの時に使うお皿です。村の子供達を招いて物語の本を読み聞かせることもあ\nります。\nベネディクトはゲランドに暮らしています。\nJP pp.283\nケルンのマイヤー　地域：ラインラント\nガラス、絵画、フレーム\n我が家には、家の中にもう一つの家があります。それは、私がかつてデザイン\nしたベッドです。少し高さがあり、昔の日本の障子のように穴の開いた木製の\n引き戸で閉じることができます。見方によってそれはベッド、プライベートル\nーム、クローゼットになります。そのベッドは1995年、一緒に暮らしていた女\n性と別れた時に作りました。ここには学生時代から40年住んでいます。かつ\nてはユーゲント・シュティール様式のガラス工芸が他の何かになり、今は全て\nの本、全ての絵画が私の人生と私の愛したものを思い起こさせます。特に絵\n画は。私の仕事が、アーティスト作品のためのミュージアムインスタレーショ\nン制作であることもその理由です。初めて自分で購入した女性像の大きな絵\nを壁に飾った時、突然ルームメイトが出来たような存在感を家にもたらしまし\nた。私は一人暮らしで、時々数名友人が来る程度で、めったに人を招くことは\nありません。でも、我が家で一番好きな場所はキッチンです。なぜなら、その\n人の名前は思い出せないのですが、ある人がパーティで最も興味深いことは\nキッチンで起こると言っていたから。\nマイヤーは、ケルンの中心部に暮らしています。\nDE s.004\nWENN WOHNBEREICHE SPIEGELN WERDEN.\nEnde 2018, als wir über die Aktualisierung unserer \nGeschäftsunterlagen nachdachten, kamen wir an einen \nScheideweg. Für uns, die wir das Glück haben, in der Welt \ndes Lichts Produkte anbieten zu können, die in der Lage sind, \nmehrere Persönlichkeiten zum Ausdruck zu bringen, die im \nein- und ausgeschalteten Zustand anders sind und sich in \nsehr unterschiedliche Kontexte einfügen, ist es immer \nschwierig, eindeutige Antworten zu finden, um diese \nTransversalität und diesen Ausdrucksreichtum darzustellen. \nIst es besser, das Designprojekt selbst zu zeigen oder einen \nkontextuellen Rahmen darum herum aufzubauen? Es ist \nschwierig, sich für den einen oder den anderen Weg zu \nentscheiden, denn beide haben positive Aspekte und \ninhärente Grenzen. Bis wir begannen, uns einen ganz \nanderen Weg vorzustellen. Eine Erzählung, bei der unsere \nLampen Teil echter Lebensräume sind und sich in gelebte \nWohnumgebungen integrieren. Wobei sie ihre Fähigkeit, \nCharakter zu zeigen, aber auch, sich anzupassen, zum \nAusdruck bringen. Nicht um sich selbst in den Mittelpunkt zu \nstellen, sondern um die Szene mitzugestalten, indem sie Teil \ndes wahren Lebens sind. Drei Kontinente, dreizehn Städte \nund fünfundzwanzig Wohnbereiche später gesellt sich dieses \nzweite Kapitel - Vite 2 eben - zum ersten hinzu. Es ist \nergänzend und erweitert die Breitengrade auf der Erkundung \nnach einem anderen Licht und damit nach anderen Wohn- \nund Lebenskulturen. Echte Wohnbereiche, weil von echten \nMenschen bewohnt, die wissen, wie man Dinge auswählt,  \num sich selbst und in ihrem Lebensraum wohlzufühlen.  \nWir setzten daher unsere Suche nach sehr persönlichen,  \nja sogar unvollkommenen, weil realen Wohnräumen fort,  \ndie zwangsläufig weit entfernt von den für Aufnahmen aus der \nDesignwelt typischen kontrollierten fotografischen Sets und \nden kalten Regeln des Stylings sind. Im Laufe der Jahre hat \nuns VITE dazu gebracht, Menschen zu treffen und \nkennenzulernen, die sich mit dem Projekt verbunden fühlten \nund uns großzügig in ihrem privaten Umfeld empfangen \nhaben, um uns die Geschichte der Entstehung ihrer \nWohnbereiche und Abbild ihrer Leben zu erzählen. \nSo fanden wir weniger und mehr aufgeräumte Wohnbereiche \nvor, voll von Erinnerungen an die Vergangenheit und \nAktivitäten der Gegenwart, voll mit Gestik und Ritualen.  \nVom Licht beleuchtete Wohnbereiche und Existenzen, \nwunderbare Einblicke in menschliche Geschichten, \nUnvollkommenheiten und Sehnsüchte. Dieses Werk hätte \nnicht vollständig verwirklicht werden können, wenn wir in \nGianluca Vassallo nicht einen natürlichen und bewussten \nInterpreten gefunden hätten, der in der Lage war, unseren \nVorstellungen Gestalt zu verleihen. Er ist der Schöpfer der \nvon uns gesuchten Bedeutungen, die - gekleidet in die \nschlichte Eleganz der Grafiken von Artemio Croatto - nun \ndurch dieses zweite Kapitel bereichert werden.\nMit Vite zeigen wir Design in seiner menschlichsten \nDimension. Dieses Design drückt seine Qualitäten in den \nWohnbereichen von Menschen aus, die sie als Spiegel leben: \num sich selbst zu sehen und sich nicht zu zeigen, um sich zu \nfinden und sich nicht auszusetzen.\n \nCarlo Urbinati \nGründer und Präsident von Foscarini\nDE s.008\nICH BEGANN ERST ALS ERWACHSENER  \nMIT DER FOTOGRAFIE.\nEs war einem Zufall zu verdanken, 2008 in New York.  \nAlex erinnert sich noch gut an jenen Sommer: Ich war aus \ndem Nichts gekommen, unangemeldet, um mich in der \ngroßartigen Zeit, in der ich mir zum ersten Mal bewusst  \nwar, ein Mann zu sein, zu verlieren, und er, der seit meiner \nKindheit mit mir befreundet war, hatte mir, weit weg von dort, \nein Auto geliehen, um die Welt besser zu sehen, oder um sie \nwieder zu sehen, nachdem ich sie durchquert hatte.  \nEs war mein letzter Sommer als Junge und zugleich mein \nerster als Erwachsener. Bis dahin der einzige, ohne das Meer. \nIch erinnere mich gut an mein erstes Foto. Ich war in Jamaica, \nQueens, eine schwarze Frau, Mutter einer Mutter, mit \nschulterbreiten Hüften, betrat das Haus mit Einkaufstüten, \nwährend ihr ein Kind die Tür aufhielt. Durch die offene Tür sah \nich wenige Dinge, aber genug, um mir ihr Leben vorzustellen. \nEin Poster von Obama, die Beine eines Mannes, ein Kruzifix \nund ein Wandtelefon. Ich wusste nichts von Fotografie, und \ndieses Foto machte es deutlich. Aber es sagte mir trotzdem, \nwas ich in der Welt suchte. In jenem Sommer wurden mir \neinige Dinge über mich selbst und die Fotografie bewusst,  \ndie bis heute von zentraler Bedeutung sind: dass es beim \nFotografieren für mich nicht darum geht, den Moment \nfestzuhalten, sondern zu wissen, wie man auf ihn wartet,  \ndass ich nicht den Blick, sondern das Gefühl festhalten will.  \nUnd dann, dass ein guter Freund den Wert, den du in dir \nträgst, eher erkennt als du. Damals war es Alex, der ihn \nerkannte. Im Laufe der Jahre war es Carlo. Herr Foscarini, \nwie er von denen genannt wird, die nicht seine Freunde sind.\n \nGianluca Vassallo\nFotograf\nDE pp.013\nDANIEL IN GUÉRANDE. REGION: PAYS DE LA LOIRE\nSONNENUNTERGANG, TEICH, KARPFEN.\nZwanzig Jahre lang war mein Zuhause ein Segelboot auf  \nden Antillen. Ich war Skipper: St Barth, La Guadeloupe,  \nLa Réunion, kristallklare Meere, Inseln, all das, was man  \nsich vorstellen kann. Der Wind, die Sonne, immer.  \nDoch inzwischen hatte ich hier ein Grundstück gekauft,  \nim „Sumpf“, inmitten der Salzgärten der Guérande, weil ich \nwusste, dass ich hier leben und mein Haus bauen wollte. \nWeitestmöglich weg von allem, vom Verkehr, von den \nWolkenkratzern, vom Chaos, von den Menschen. Hier kann \nich wie in einem Versteck leben. Was ich am meisten mag,  \nist der Himmel, der freie, klare Himmel, der bei \nSonnenuntergang entflammt. Der Himmel, den ich sehe, \nwenn ich meine Karpfen füttern gehe. In den Tropen sind die \nTage zu kurz, die Nacht bricht früh herein. Hier habe ich Zeit, \nden Himmel zu genießen. Ob mir das Meer, der Wind fehlen? \nEin bisschen, nicht allzu sehr. Wenn es mir fehlt, leihe ich mit \nFreunden ein Boot aus und wir segeln im Mittelmeer. Doch \nfürs Erste reicht mir mein Himmel.\nDaniel lebt mit Lydie und dem Kater Spoty im Gebiet Guérande.\nDE pp.037\nMARINA IN MEERBUSCH. REGION: RHEINLAND\nGRENZEN, FAMILIEN, REISEN. \nMein Leben ist aus Grenzen gemacht. Ich wurde in Minsk, \nWeißrussland, geboren. Mein Vater lebt immer noch dort.  \nIch habe in Moskau studiert und bin dann zum Arbeiten nach \nDeutschland gekommen, wo ich meinen Mann, Rechtsanwalt, \nkennen gelernt habe. Wir haben geheiratet und eine Tochter \nbekommen. Wir sind von vielen Bildern umgeben, die wir  \nauf unseren Reisen gekauft haben; viele sind aus Minsk,  \nsie erinnern mich an meine Kindheit. Und es gibt viele \nFamilienfotos in althergebrachten, silbernen Rahmen: meine \nEltern, die meines Mannes, sein erster Sohn mit Frau und \nEnkel, unsere Tochter, unser erster Terrier, der leider nicht \nmehr bei uns ist. Wir haben dieses Haus vor acht Jahren \ngekauft und es ist das Gegenteil von dem, was ich mir \nerträumt hatte. Ich wollte etwas Altes, etwas im Jugendstil, \naber mein Mann bestand darauf, dass wir es uns wenigstens \nansehen. Und als ich die Schwelle überschritt, war ich  \nschon in es verliebt. Auch das war irgendwie eine \nGrenzüberschreitung: Vertrauen, Entdeckung.\nMarina lebt mit ihrem Mann Eckart und ihrem Terrier Emma  \nin Meerbusch.\nDE pp.077\nGABRIELE IN CALDONAZZO. REGION: TRENTINO\nLICHT, ENTSCHLEUNIGUNG, SEE.\nDer Ort, wo mir mein Zuhause am meisten das Gefühl von \nZuhause gibt, ist der lange Tisch vor der Glaswand. Wir \nhaben ihn mit den Holzplanken einer alten Brücken vom \nCaldonazzo-See, gleich hier neben, gebaut. Nun ist es der \nTisch, an dem wir essen, Kaffee trinken, wo meine Frau die \nMärchen schreibt, für die ich Aquarelle male - unser neues \nGerman \nJapanese\n325\nFoscarini — Vite\nTexts by Lisa Corva\n",164,{"image":669,"text":670,"number":671},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.165.png","Translations\nProjekt, das hoffentlich bald ein Buch wird. Wir sind seit 25 \nJahren verheiratet. Wir waren damals sehr jung: ich 22, sie \n21. Schnell kamen Giada und dann Camilla auf die Welt.  \nWir blicken von hier gemeinsam auf die Welt, von dieser \nGlaswand, die wir so groß wie möglich wollten: Der Garten ist \nunser Zuhause außerhalb des Hauses, mit dem Ahorn, in \ndessen Schatten ich mich im Sommer zum Lesen verziehe. \nMein Lieblingslicht? Die blaue Stunde, wenn der \nSonnenuntergang unsere Räume durchflutet. Wir haben keine \nVorhänge, wir mögen es, wenn die Blätter, die Schatten und \ndie Farben einfallen. Haus, Natur und Entschleunigung:  \nIch habe meine Kommunikationsagentur in Trient, doch am \nFreitag wird nicht gearbeitet. Es wird gelebt.\nGabriele wohnt mit seiner Frau und seinen Töchtern  \nin Caldonazzo.\nDE pp.107\nKARINA IN WUPPERTAL. REGION: BERGISCHES LAND\nFENSTER, SPIELE, ZUKUNFT.\nWir haben uns kurz vor dem Lockdown in einem Techno-Club \nin Berlin getroffen. Und bald darauf beschlossen wir, \nzusammenzuziehen: ins Wuppertal, wo Claus schon lebte.  \nWir haben die Pandemie gemeinsam durchgestanden, auch \nwenn wir uns gerade erst kennen gelernt hatten. Ein \nAbenteuer, wir hatten kaum Möbel, eine Matratze auf dem \nBoden. Das ist unsere erste Wohnung, und sie gefällt uns \nsehr gut, auch weil es sich in einem alten Gebäude befindet, \neinem typisch deutschen Fachwerkhaus. Wir lieben das \nZimmer unter dem Dach, mit Fenster zu einem kleinen \nKinderspielplatz ausgerichtet. In unserer Zukunft sehen wir \nKinder, eine Familie und vielleicht ein Haus auf dem Land, \neinen kleinen Gemüsegarten und eine Ziege. In der \nZwischenzeit blicken wir in die Vergangenheit und \nverwandeln sie: Ich, Karina, mache Collagen mit alten \nZeitungen. Es reizt mich, den Dingen neues Leben \neinzuhauchen. Ebenso wie gebrauchte Kleidung zu kaufen \nund sie zu verjüngern. Jacken oder T-Shirts für Claus, ein \ngoldener Rock aus den 70ern für mich, Inspiration Studio 54. \nSich die Zukunft mit einem Blick auf die Vergangenheit \nvorstellen.\nKarina und Claus leben im Wuppertal. \nDE pp.141\nVALÉRIE IN CAEN. REGION: BASSE-NORMANDIE\nJAHRESZEITEN, KINDER, BETTWÄSCHE.\nWir haben dieses Haus in der Stadtmitte von Caen auch \nwegen des Gartens gewählt, in dem Lavendel, weiße Rosen \nund im Sommer Dahlien wachsen, einfach herrlich. Die \nFarben an den Wänden erinnern mich an die Normandie: \nGrau, Blau, Grün, die ineinander übergehen. Im Abendlicht ist \nes für mich am schönsten. Unsere drei Kinder leben nicht \nmehr bei uns, aber ihre Zimmer sind immer noch die ihren und \nwarten auf sie und ihre Freunde, es sind lebendige Zimmer. \nIch liebe den April, den Mai, wenn der Garten zu blühen \nbeginnt, wenn der Lavendel kurz vor der Blüte steht; dann \nschneide ich ihn und mache Duftsäckchen für die Schränke \ndaraus, ein Stück Garten im Haus. Mein Lieblingsmoment? \nSonntagmorgen. Ich bin Ärztin, genau wie mein Mann. Am \nSonntag können wir abschalten, er bringt mir Tee ans Bett \nund ich kann lesen. Die Bücher, die schweigend auf dem \nNachttisch auf mich warten. Vielleicht ist das der Grund, \nwarum ich meine Bettwäsche sorgfältig auswähle. Ein zartes \nRosa, warum nicht. Auch das erinnert mich an den Frühling. \nValérie lebt mit ihrem Mann Bertrand in Caen.\nDE pp.191\nSABRINA IN MEDOLE. REGION: LOMBARDIA\nDRACHEN, GLÜHWÜRMCHEN, FASANE.\nWir leben auf dem Land außerhalb von Mantua, dort, wo mein \nVater, der aus den Tälern bei Brescia stammt, als Junge die \nKühe zur Wanderweideschaft brachte. Und wo er dann für \nimmer blieb. Ich bin hier aufgewachsen: Das Haus, in dem wir \njetzt wohnen, war früher der Kornspeicher. Und jetzt, wo mein \nLeben sich hektisch zwischen Reisen und vier Aufgaben \nabspielt - die vierte, und wie ich immer sage die wichtigste, \nist für unsere Matilde eine Mutter zu sein -, bedeutet das \nHeimkommen, in die Natur und Stille, den vollkommenen \nFrieden für mich. Stille, wenn man das so nennen kann,  \ndenn wir haben Hasen und Fasane, die auf der Wiese vor dem \nHaus „zanken“... Ich wurde zu einer Landwirtin und seit eh \nund je kenne ich alles auf diesem Land. Die Geräusche, die \nSchatten, die Laute. Und genau hier fühle ich mich wirklich  \nzu Hause. Mein Zuhause ist nämlich das Kaminfeuer und die \ngroße Wiese, die zu Sommerbeginn vor Glühwürmchen \nleuchtet. Mit viel Platz, um mit meinem Mann und meiner \nTochter Drachen steigen zu lassen: meine große \nLeidenschaft. Der schönste Drachen ist vielleicht ein großer \nKrake, den ich aus Peking mitbrachte.\nSabrina wohnt mit ihrem Mann Matteo und ihrer Tochter \nMatilde in Medole.\nDE pp.231\nMARKUS UND SANDRA IN MÖNCHENGLADBACH. \nREGION: NIEDERRHEIN\nKAFFEE, TASSEN, STÜHLE.\nDie Sicherheit der Gegenstände. Es ist für uns ein Vergnügen \nund auch eine Tätigkeit: Ich, Markus, bin Innenarchitekt, \nSandra befasst sich mit Kommunikation für eine historische \ndeutsche Porzellanfabrik. Doch die Gegenstände sind unsere \nLeidenschaft: alles, auch das, was einst als Ziergegenstand \nbezeichnet wurde, einfach etwas Schönes, das einem Freude \nbereitet. So haben wir unsere Designgalerie eröffnet, als wir \nin Köln wohnten. Jetzt ist sie geschlossen, doch wir \nverkaufen weiterhin online. Wir haben einen kleinen \nGaragen-Abstellraum, wo wir die Gegenstände aufbewahren. \nViele, sehr viele verwenden wir zu Hause: die Stühle zum \nBeispiel. Wir haben über zwanzig, von Markenstühlen bis hin \nzu Stühlen, die wir auf Märkten gefunden haben. Es gibt keine \nLieblingsecke im Haus: Wir bewohnen es überall, in jeder \nEcke, so wie wir auch Platz wechseln und all unsere Stühle \nbenutzen. Doch ein Ritual ist immer gleich: Der Kaffee am \nMorgen, ein richtiger Espresso, den wir mit dem \nEspressokocher zubereiten. In einer kleinen weißen \nPorzellantasse, die wie feinstes, gefaltetes Papier aussieht. \nDer erste Lichtstrahl des Tages.\nMarkus und Sandra leben in Mönchengladbach.\nDE pp.257\nBÉNÉDICTE IN GUÉRANDE. REGION: PAYS DE LA LOIRE\nSTEIN, KERAMIK, ABDRÜCKE.\nIch wohnte in Paris, doch trug ich die Bretagne in meinem \nHerzen. Nicht so sehr die Bretagne, eher die bretonischen \nHäuser, diese robusten, starken Häuser aus Stein und Granit. \nSo beschloss ich, nach meiner Trennung hierher zu ziehen. \nUnd schließlich fand ich mein Haus. Ich habe lange gesucht. \nRenovierte Häuser gefielen mir nicht, diese Renovierungen, \ndie einem die Seele nehmen. Und da war es: Die vorherigen \nEigentümer hatten mit Zement die Steine verborgen. Ich ließ \nalles entfernen. Das Haus fand wieder zu sich und ich mit ihm. \nDie großen Fenster blicken in drei verschiedene \nHimmelsrichtungen und ich sehe gerne zu, wie sich das Licht \nim Laufe des Tages ändert. Mein Büro ist hier, ich bin eine \nJournalistin. Doch in den letzten Jahren habe ich zu töpfern \nbegonnen: Teller, Schüsseln, Vasen. In den Farbtönen Weiß \noder Grün. Ich experimentiere mit den Blättern und Blumen, \ndie ich in meinem Garten oder auf Spaziergängen, wie am \nStrand, sammle. Ich verwende sie, um einen Abdruck auf der \nTöpferware zu erzeugen. Mein Haus ist offen und das sind die \nTeller, mit denen ich zu Tisch bitte, zum Abendessen einlade. \nAuch die Dorfkinder, denen ich meine Märchenbücher vorlese.\nBénédicte lebt im Gebiet Guérande.\nDE pp.283\nMEYER IN KÖLN. REGION: RHEINLAND\nGLAS, BILDER, RAHMEN.\nDa ist ein Zuhause in meinem Zuhause: Es ist mein Bett,  \ndas ich vor Jahren entworfen habe. Es liegt leicht erhöht, \numgeben von einem Schiebe-Paravent aus perforiertem Holz, \nder an diese japanischen aus dem Mittelalter erinnert. Es ist \nein Bett, doch auch ein Ankleideraum, oder ein Schrank, das \nkommt darauf an, wie man es betrachtet. Ich baute es im Jahr \n1995, als die Frau, mit der ich zusammen war, auszog. Ich \nlebe hier seit vierzig Jahren: Meine Studentenwohnung, in der \ndamaligen Jugendstil-Glaserei,  \nist zu etwas anderem geworden. Nun erinnert mich jedes \nBuch, jedes Bild an all das, was ich erlebt und geliebt habe. \nInsbesondere die Bilder. Auch weil es meine Arbeit ist, \nMuseumsgestaltungen für Künstlerausstellungen \numzusetzen. Als ich das erste große Gemälde, das ich \nerworben habe, an die Wand hängte, eine Frauengestalt,  \nwar es als ob ich plötzlich eine Mitbewohnerin hätte, als wäre \nnoch jemand anwesend. In Wirklichkeit lebe ich allein, lade \nselten ein, nur wenige Freunde. Trotzdem ist die Küche der \nBereich im Haus, den ich am liebsten mag. Denn - wie jemand \nsagte, an dessen Namen ich mich nicht erinnere - die \ninteressantesten Dinge auf einer Party passieren eben in  \nder Küche.\nMeyer lebt im Stadtzentrum von Köln.\nGerman \n327\nFoscarini — Vite\nTexts by Lisa Corva\n",165,{"image":673,"text":674,"number":675},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.166.png","Indice dei prodotti\nFoscarini — Vite\n329\np.013 \nDaniel in Guérande\n\u002F District: Pays de la Loire\nProducts:\nLumiere XXL tavolo, Troag, \nAplomb Large, Uto, Mite \nAnniversario, Gregg media \nterra, Cri Cri\np.037\nMarina in Meerbusch\n\u002F District: Rheinland\nProducts:\nLumiere XXL terra, Plass \ntavolo, Bridge 1, Magneto \ntavolo, Uptown, Lumiere \nNuances, Caboche Plus \ngrande sospensione, \nSatellight tavolo, Caboche \nPlus grande terra, Nile,  \nTobia terra, Rituals 3 tavolo, \nGregg terra outdoor, Twiggy, \nGregg sospensione outdoor\np.077 \nGabriele in Caldonazzo\n\u002F District: Trentino\nProducts:\nLumiere 30th, Satellight \ntavolo, Caboche Plus piccola \nsospensione, Magneto \ntavolo, Sun—Light of Love, \nOrbital, White Light - Black \nLight, Tobia terra, Twiggy Elle\np.107 \nKarina in Wuppertal\n\u002F District: Bergisches Land\nProducts:\nTonda grande, Caboche \ntavolo, Spokes 2 piccola, \nBirdie grande tavolo, Aplomb \nmini, Lumiere Nuances, \nTwiggy, Satellight tavolo, \nBinic, Spokes 1, Twiggy \nWood sospensione\np.141\nValérie in Caen\n\u002F District: Basse-Normandie\nProducts:\nTwiggy Grid tavolo, Twiggy \nGrid lettura, Allegretto \nAssai, Chouchin 1 Reverse, \nCaboche tavolo, Buds 2, \nMite Anniversario, Bump, \nGregg midi tavolo, Gregg \npiccola tavolo, Bump, \nChouchin 2 Reverse, Rituals \n3 parete, Magneto tavolo, \nMagneto terra, Twiggy Wood \nsospensione, Chouchin 3 \nBianco, Twiggy lettura, Birdie \nZero, Spokes 2 midi, Gregg \npiccola parete, Anisha, Uto, \nCri Cri\np.191\nSabrina in Medole\n\u002F District: Lombardia\nProducts:\nGregg grande terra, Solar, \nSatellight tavolo, Twiggy Grid \nterra, Lumiere 30th, Caboche \ntavolo, Satelllight parete, \nOrbital, Fields, Twiggy Elle \nWood, Tobia terra, Nuée, \nWhite Light - Black Light, \nGregg terra outdoor\np.231\nMarkus and Sandra\nin Mönchengladbach\n\u002F District: Niederrhein\nProducts:\nChiaroscura, Nile, Birdie \ntavolo, Lumiere Nuances, \nBinic, Lightweight, Bridge 2, \nSun—Light of Love\np.257\nBénédicte in Guérande\n\u002F District: Pays de la Loire\nProducts:\nGregg midi tavolo, Plass \ntavolo, Chouchin 3 Bianco \nsospensione, Chouchin \n2 Bianco sospensione, \nSatellight tavolo, Gregg \nmedia sospensione, Twiggy \nWood terra, Birdie Easy \nlettura, Lumiere 30th, Kurage, \nAplomb Outdoor, Twiggy \nGrid, Uto, Solar. \np.283\nMeyer in Köln\n\u002F District: Rheinland\nProducts:\nBirdie terra, Magneto tavolo, \nAplomb sospensione, \nSatellight tavolo, Plass \ntavolo, Rituals 1 tavolo, \nMite Anniversario, Spokes 2, \nBridge 1, Lumiere XXL tavolo\n Foscarini \nProducts  \n— Index\n \u002F Table \n330\nFloor \n334\nSuspension \n338\nWall \n342\nOutdoor \n343\n",166,{"image":677,"text":678,"number":679},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.167.png","331\nAnisha grande\nl 33 × p 5 × h 45 cm\nl 13’’ × d 2’’ × h 17 3\u002F4’’\nAnisha piccola\nl 23 × p 5 × h 32 cm\nl 9’’ × d 2’’ × h 12 5\u002F8’’\nABS stampato a iniezione.\nInjection moulded ABS.\nAnisha grande\nLED inclusi \u002F included\n4,5W 3000 K 400 lm \nCRI>80\nAnisha piccola\nLED inclusi \u002F included\n3,4W 3000 K 300 lm \nCRI>80\n \n \nl 14 × p 14 × h 20 cm\nl 5 1\u002F2’’ × d 5 1\u002F2’’ × h 8’’\nABS masterizzato  \ne policarbonato.\nBatch-dyed ABS and \npolycarbonate.\n220 \u002F 240V: Max 1x12W E14\n120V: Max 1x12W E12\n \n \nBirdie grande\nØ 25 × h 70 cm\nØ 9 7\u002F8’’ × h 27 1\u002F2’’\nBirdie piccola\nØ 17 × h 49 cm\nØ 6 3\u002F4’’ × h 19 1\u002F4’’\nPolicarbonato, acciaio  \ne metallo verniciati.\nPolycarbonate, varnished \nsteel and metal.\nBirdie grande\n220 \u002F 240V:  \nMax 1x150W E27\n120V: Max 1x150W E26\nBirdie piccola\n220 \u002F 240V:  \nMax 1x70W E27\n120V: Max 1x70W E26\nBirdie LED grande \u002F piccola\nLED inclusi \u002F included\n8,4 W 2700 K 655 lm \nCRI>80 \n \n \nBirdie Zero grande\nØ 25 × h 29,5 cm\nØ 9 7\u002F8’’ × h 11 3\u002F4’’\nBirdie Zero piccola\nØ 17 × h 20,5 cm\nØ 6 3\u002F4’’ × h 8 1\u002F8’’\nPolicarbonato e metallo \nverniciato.\nPolycarbonate and \nvarnished metal.\n220 \u002F 240V: Max 1x57W E27\n120V: Max 1x57W E26\n \n \nAnisha\nLievore Altherr Molina, 2011\n—→ pp. 181, 188\nBinic\nIonna Vautrin, 2010\n—→ pp. 130, 242, 243, 245, \n254\nBirdie\nLudovica + Roberto \nPalomba, 2011\n—→ pp. 119, 239\nBirdie Zero\nLudovica + Roberto  \nPalomba, 2020\n—→ pp. 171, 174, 175\nTavolo — Table\nBridge\nFrancesco Meda, 2022\n—→ pp. 041, 043, 250, 251, \n253, 307 \nBuds\nRodolfo Dordoni, 2016\n—→ pp. 150\nCaboche Plus\nPatricia Urquiola con\nEliana Gerotto, 2005-2021\n—→ pp. 114, 149, 199, 201\nGregg\nLudovica + Roberto  \nPalomba, 2007-2019\n—→ pp. 154, 157, 264\nBridge 1\nl 49 × p 11 × h 26 cm\nl 19 5\u002F16’’ × d 4 5\u002F19’’  \n× h 10 1\u002F4’’\nBridge 2\nl 29 × p 10,5 × h 28 cm\nl 11 7\u002F16’’ × d 4 1\u002F8’’ × h 11’’\nOttone o acciaio.\nBrass or steel.\nBridge 1\nLED inclusi \u002F included \n7,8W 2700 K 822 lm\nCRI>90\nBridge 2\nLED inclusi \u002F included \n3,6W 2700 K 352 lm \nCRI>90\nInterruttore a sensore.\nLight sensor switch.\n \n  \nBuds 1\nØ 26 × h 57 cm\nØ 10 3\u002F8’’ × h 22 1\u002F2’’\nBuds 2\nØ 41,5 × h 42 cm\nØ 16 3\u002F8’’ × h 16 15\u002F16’’\nBuds 3\nØ 30 × h 41,5 cm\nØ 11 7\u002F8’’ × h 16 1\u002F4’’\nVetro soffiato e PMMA.\nBlown glass and PMMA.\nBuds 1-2\n220 \u002F 240V:  \nMax 1x23W E27\n120V: Max 1x23W E26\nBuds 3\n220 \u002F 240V: Max 1x15W E27\n120V: Max 1x15W E26\nRaccomandata lampadina  \na globo bianco: Ø 12 cm  \nper Buds 1-2 \u002F Ø 9 cm per \nBuds 3.\nRecommended white globe \nbulb: Ø 4 3\u002F4” for Buds 1-2 \u002F \nØ 3 3\u002F4” for Buds 3 \n \n \nØ 31 × h 38 cm\nØ 12 1\u002F4’’ × h 15’’\nPMMA, policarbonato, \nalluminio e metallo \nverniciato.  \nPMMA, polycarbonate, \naluminium and varnished \nmetal.\nLED inclusi \u002F included\n220 \u002F 240V: 10W 2700K \n930 lm CRI>90\n120V: 8W 2700 K 680 lm \nCRI>80\n220 \u002F 240V: dimmer incluso \n— dimmer included \n120V: on\u002Foff\n \n \nGregg media\nl 31 × p 26 × h 26 cm\nl 12 1\u002F4’’ × d 10 1\u002F4’’ × h 10 1\u002F4’’\nGregg midi\nl 21 × p 17 × h 17 cm\nl 8’’ × d 6 7\u002F8’’ × h 6 \n7\u002F8’’Gregg piccola\nl 13 × p 11 × h 11 cm\nl 5 1\u002F8’’ × d 4 3\u002F8’’ × h 4 3\u002F8’’\nVetro soffiato acidato \ne metallo verniciato.\nBlown acid-etched glass  \nand coated metal.\nGregg media\n220 \u002F 240V: Max 1x150 W E27\n120V: Max 1x100W E26\nOn\u002Foff o con \u002F or with dimmer\nGregg midi\n220 \u002F 240V: LED retrofit \ninclusi \u002F included  \n6,5W E14 2700 K 806 Im \nCRI>80\nDimmer incluso  \n— Dimmer included \n120V: Max 20W LED Type G \nE12 - On\u002Foff\nGregg piccola\n220 \u002F 240V: Max 1x8W G9\nDimmer incluso \n— Dimmer included \n120V: Max 1x8W G9 - On\u002Foff\n \n \nFoscarini — Vite\nTechnical data\n",167,{"image":681,"text":682,"number":683},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.168.png","333\nl 30 × p 34 × h 51 cm\nl 11 3\u002F4’’ × d 13 1\u002F4’’ \n× h 20 1\u002F4’’\nCarta washi e legno  \ndi frassino.\nWashi paper and ashwood.\n220 \u002F 240V:  \nMax 1x20W E27\n120V: Max 1x20W E26\n \n \nØ 14 × h 15 cm\nØ 5 1\u002F2’’ × h 6’’\nVetro soffiato e alluminio.\nBlown glass and aluminium.\nLED inclusi \u002F included\n3W 2700 K 440 lm 146 \nlm\u002FW CRI>80\nDimmer incluso  \n— Dimmer included\n \n \nLumiere Nuances grande\nØ 27 × h 45 cm\nØ 10 1\u002F2’’ × h 17 5\u002F8’’\nLumiere Nuances piccola\nØ 20 × h 35 cm\nØ 7 7\u002F8’’ × h 13 5\u002F8’’\nVetro incamiciato soffiato a \nbocca e alluminio  \nspazzolato verniciato.\nHand-blown cased glass and \npainted brushed aluminium.\nLumiere Nuances grande\n220 \u002F 240V: LED retrofit \ninclusi \u002F included \n1x11W E27 2700 K 1521 Im \nCRI>80 \nDimmer incluso  \n— Dimmer included\n120V: Max 1x25W E26 Type A\non\u002Foff\nLumiere Nuances piccola\n220 \u002F 240V: LED retrofit \ninclusi \u002F included \n1x6,5W E14 2700 K 806 lm \nCRI>80\nDimmer incluso  \n— Dimmer included\n120V: Max 1x25W E12 Type G\nOn\u002Foff\n \n \nLumiere 30th grande\nØ 27 × h 45 cm\nØ 10 1\u002F2’’ × h 17 5\u002F8’’\nLumiere 30th piccola\nØ 20 × h 35 cm\nØ 7 7\u002F8’’ × h 13 5\u002F8’’\nVetro incamiciato soffiato a \nbocca e alluminio  \nspazzolato verniciato.\nHand-blown cased glass and \npainted brushed aluminium.\nLumiere 30th grande\n220 \u002F 240V: LED retrofit \ninclusi \u002F included \n1x11W E27 2700 K 1521 Im \nCRI>80\n120V: Max 1x25W E26 Type A\nLumiere 30th piccola\n220 \u002F 240V: LED retrofit \ninclusi \u002F included \n1x6,5W E14 2700 K 806 lm \nCRI>80\n120V: Max 1x25W E12 Type G\n220 \u002F 240V:  \non\u002Foff o con \u002F or with \ndimmer included\n120V: on\u002Foff\n \n \nKurage\nNichetto + Nendo, 2015\n—→ pp. 273\nLight Bulb \nWhite Light - Black Light\nJames Wines \u002F SITE, 2018\n—→ pp. 100, 219\nLumiere Nuances\nRodolfo Dordoni, 1990\n—→ pp. 048, 122, 125, 128, \n241\nLumiere 30th  \nPastilles \u002F Bulles\nRodolfo Dordoni, 1990-2020\n—→ pp. 079, 080, 086, 196, \n218, 271\nTavolo — Table\nLumiere XXL\nRodolfo Dordoni, 2009\n—→ pp. 017, 023, 025, 044, \n303, 308, 309\nMagneto\nGiulio Iacchetti, 2011\n—→ pp. 046, 058, 087, 093, \n164, 165, 287\nNile\nRodolfo Dordoni, 2021\n—→ pp. 057, 067, 234, 238\nPlass media\nLuca Nichetto, 2015\n—→ pp. 039, 261, 293\nLumiere XXL\nØ 37 × h 58 cm\nØ 14 5\u002F8’’ × h 23’’\nLumiere XXS\nØ 26 × h 40 cm\nØ 10 1\u002F4’’ × h 15 5\u002F8’’\nVetro incamiciato soffiato a \nbocca e alluminio  \nspazzolato verniciato.\nHand-blown cased glass and \npainted brushed aluminium.\nLumiere XXL\n220 \u002F 240V: \nMax 4x33W G9\n120V: Max 4x40W G9\nLumiere XXS\n220 \u002F 240V: \nMax 1x48W G9\n120V: Max 1x40W G9\nDimmer incluso \n— Dimmer included\n \n \nØ 15 × h 38 cm\nØ 5 7\u002F8’’ × h 15’’\nAcciaio verniciato, ABS e \nsupermagnete in terre rare.\nCoated steel, ABS and \nsuper magnet made of “rare \nearth”.\nLED inclusi \u002F included\n5W 2700 K 475 lm CRI>80\n \n \nl 41 × p 21 × h 55 cm\nl 16 1\u002F4’’ × d 8 1\u002F4’’ \n× h 21 1\u002F2’’\nVetro incamiciato soffiato a \nbocca e marmo di Carrara \no Marquina. \nBlown glass and Carrara \nor Marquina marble.\n220 \u002F 240V: LED retrofit \nincluso \u002F included\n1x18W E27 2700 K 2452 lm \nCRI>80\nDimmer incluso  \n— Dimmer included\n120V: LED retrofit on\u002Foff \nMax 1x18W E26\n \n \nØ 33,5 × h 51 cm\nØ 13 1\u002F8’’ × h 20’’\nPolicarbonato stampato \nin rotazionale \ne acciaio verniciato.\nRotational moulded \npolycarbonate and  \ncoated steel.\n220 \u002F 240V:  \nMax 1x150W E27\n120V: Max 1x150W E26\non\u002Foff o con \u002F or with \ndimmer included \n \n \nFoscarini — Vite\nTechnical data\n← on\n← off\n",168,{"image":685,"text":686,"number":687},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.169.png","335\nRituals 1\nØ 24 × h 40 cm\nØ 9 5\u002F8’’ × h 15 7\u002F8’’\nRituals 2\nØ 34 × h 25 cm\nØ 13 3\u002F8’’ × h 10’’\nRituals 3\nØ 20 × h 26,5 cm\nØ 7 5\u002F8’’ × h 10 3\u002F8’’\nVetro soffiato satinato inciso \ne metallo verniciato.\nBlown engraved satin glass \nand coated metal.\n220 \u002F 240V:  \nMax 1x105W E27\n120V: Max 1x100W E26\non\u002Foff o con \u002F or with \ndimmer included \n \n \nØ 24 × h 39 cm\nØ 9 7\u002F16’’ × h 15 1\u002F4’’\nVetro soffiato e alluminio.\nBlown glass and aluminium.\nLED inclusi \u002F included  \n8,5W 2700 K 655 lm \nCRI>80 \nTouch-dimmer integrato\nIntegrated touch-dimmer\n \n \nØ 25 × h 150 cm\nØ 9 7\u002F8’’ × h 59 1\u002F4’’\nPolicarbonato, acciaio  \ne metallo verniciati.\nPolycarbonate, varnished \nsteel and metal.\nBirdie on\u002Foff\n220 \u002F 240V: \nMax 1x150W E27\n120V: Max 1x150W E26\nBirdie LED inclusi \u002F included  \n8,4W 2700 K 655 lm \nCRI>80 \nTouch-dimmer integrato \nIntegrated touch-dimmer\n \n \nØ 25 × h 150 cm\nØ 9 7\u002F8’’ × h 59 1\u002F4’’\nPolicarbonato e metallo \nverniciato a liquido.\nPolycarbonate and liquid \ncoated metal.\n220 \u002F 240V: \nMax 1x57W E27\n120V: Max 1x57W E26\n \n \nRituals\nLudovica + Roberto \nPalomba, 2013\n—→ pp. 063, 295\nSatellight\nEugeni Quitllet, 2017\n—→ pp. 052, 055, 081, 089, \n127, 210, 213, 266, 290, 292\nBirdie\nLudovica + Roberto  \nPalomba, 2011\n—→ pp. 286\nBirdie Easy\nLudovica + Roberto  \nPalomba, 2020\n—→ pp. 270\nTavolo — Table\nCaboche Plus\nPatricia Urquiola con\nEliana Gerotto, 2005-2022\n—→ pp. 056\nChiaroscura\nAlberto e Francesco  \nMeda, 2021\n—→ pp. 232\nGregg\nLudovica + Roberto \nPalomba, 2007-2019\n—→ pp. 027, 192, 214\nLumiere XXL\nRodolfo Dordoni, 2015\n—→ pp. 039\nCaboche Plus grande\nØ 70 × h 178 cm\nØ 27 9\u002F16’’ × h 70’’\nCaboche Plus media\nØ 50 × h 154 cm\nØ 19 3\u002F4’’ × h 60 3\u002F5’’\nPMMA, policarbonato, \nalluminio e metallo \nverniciato.\nPMMA, polycarbonate, \naluminium and varnished \nmetal.\nCaboche Plus grande\nLED inclusi \u002F included  \n220 \u002F 240V: 28W 2700 K \n3850 lm CRI>90 \n120V: 33,5W 2700 K  \n3850 lm CRI>90\nCaboche Plus media\nLED inclusi \u002F included\n220 \u002F 240V: 23W 2700 K \n3200 lm CRI>90\n120V: 27W 2700 K 3200 lm \nCRI>90\n220 \u002F 240V: MyLight* \nversion available\nDimmer incluso \n— Dimmer included\n \n \nØ 25 × h 183 cm\nØ 9 7\u002F8’’ × h 72’’\nAlluminio verniciato a \nliquido, PMMA e metallo.\nLiquid-coated aluminium, \nPMMA and metal.\nLED inclusi \u002F included\n220 \u002F 240V: 37W 2700 K \n4730 lm CRI>80\n120V: 120V: 42,5W 2700 K \n4730 lm CRI>80\nDimmer incluso \n— Dimmer included\n \n   \n   \nGregg grande\nØ 47 × h 186 cm\nØ 18 1\u002F2’’ × h 73 1\u002F4’’\nGregg media\nØ 31 × h 151 cm\nØ 12 1\u002F4’’ × h 59 1\u002F2’’\nVetro soffiato acidato \ne metallo verniciato.\nBlown acid-etched glass  \nand coated metal.\n220 \u002F 240V:  \nMax 1x57W E27\n120V: Max 1x60W E26\nDimmer incluso \n— Dimmer included\n \n \nØ 37 × h 143 cm\nØ 14 5\u002F8’’ × h 56 1\u002F8’’\nVetro soffiato e alluminio \nverniciato o cromato.\nBlown glass and lacquered \naluminium or chromed \nmetal.\n220 \u002F 240V: \nMax 4x33W G9\n120V: Max 4x40W G9 \nDimmer incluso \n— Dimmer included \n \nFoscarini — Vite\nTechnical data\nTerra — Floor\n",169,{"image":689,"text":690,"number":691},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.170.png","337\nØ 20 × h 120 cm\nØ 7 7\u002F8’’ × h 47 1\u002F4’’\nAcciaio verniciato, ABS e \nsupermagnete in terre rare.\nCoated steel, ABS and \nsuper magnet made of “rare \nearth”.\nLED inclusi \u002F included  \n5W 2700 K 475 lm CRI>80 \n \n \nØ 22 × h 185 cm\nØ 8 5\u002F8’’ × h 72 7\u002F8’’\nTessuto di vetro e fibra  \ndi carbonio, marmo nero.\nFiber glass fabric and \ncarbonium thread, black \nmarble.\nLED inclusi \u002F included\n220 \u002F 240V: 24W 2700 K \n3530 lm CRI>90\n120V: 28W 2700 K 3530 lm \nCRI>90\nDimmer incluso \n— Dimmer included \n \n \nØ 56 × h 173 cm\nØ 22’’ × h 68 1\u002F8’’\nVetro serigrafato e metallo \nverniciato.\nSilkscreen-printed glass \nand varnished metal.\n220 \u002F 240V: Max 5x40W E14\n120V: Max 5x40W E12\n   \n \nl 28 × p 38 × h 176 cm\nl 11 1\u002F8’’ × d 15 1\u002F8’’ \n× h 69 1\u002F8’’\nMetallo e alluminio \nverniciato a liquido  \no dorato.\nLiquid varnished or gold \npainted metal and aluminum.\nLED inclusi \u002F included\n15W 2700 K 2000 lm  \nCRI>80\nTouch-dimmer integrato \nIntegrated touch-dimmer\n \n \nMagneto\nGiulio Iacchetti, 2011\n—→ pp. 321, 322, 323\nMite Anniversario\nMarc Sadler, 2021\n—→ pp. 026, 151, 296, 299\nOrbital\nFerruccio Laviani, 1992\n—→ pp. 092, 204, 207\nTobia\nFerruccio Laviani, 2019\n—→ pp. 061, 098, 210\nTerra — Floor\nTwiggy\nMarc Sadler, 2006\n—→ pp. 066, 124\nTwiggy Wood\nMarc Sadler, 2006-2020\n—→ pp. 268\nTwiggy Elle \u002F Wood Elle\nMarc Sadler, 2006-2020\n—→ pp. 102, 103, 208\nTwiggy Lettura\nMarc Sadler, 2008\n—→ pp. 172\nl 170\u002F200 × h 211,5\u002F223,5  \n± 6 – 274\u002F287,5 ± 6 cm\nl 67’’\u002F79’’ × h 83”\u002F88” ± 2” \nmargin – 108”\u002F113” ± 2” margin\nMateriale composito su base \ndi fibra di vetro laccato, \nPMMA, policarbonato, \nmetallo verniciato e alluminio.\nVarnished fibreglass based \ncomposite material, PMMA, \npolycarbonate, coated metal \nand aluminium.\nTwiggy\n220 \u002F 240V: Max 3x77W E27\n120V: Max 3x100W E26\nTwiggy LED\nLED inclusi \u002F included \n220 \u002F 240V: 28W 2700 K \n3840 lm CRI>90\n120V: 34W 2700 K  \n3840 lm CRI>90\n220 \u002F 240V: MyLight* and \nMyLight Tunable white* \n2700-5000K available\nDimmer incluso — included\n \n \n— Tunable white \n  \n— (LED) \n \nl 170\u002F200 × h 211,5\u002F223,5  \n± 6 – 274\u002F287,5 ± 6 cm\nl 67’’\u002F79’’ × h 83”\u002F88” ± 2” \nmargin – 108”\u002F113” ± 2” margin\nRovere sbiancato,  \nmateriale composito su  \nbase di fibra di vetro laccato, \nPMMA, policarbonato  \ne alluminio.\nLimed durmast wood, \nfibreglass coated with \ncomposite material,  \nPMMA, polycarbonate\nand aluminium.\nLED inclusi \u002F included \n220 \u002F 240V: 28W 2700 K \n3840 lm CRI>90\n120V: 34W 2700 K  \n3840 lm CRI>90\n220 \u002F 240V: MyLight* and \nMyLight Tunable white* \n2700-5000K available\nDimmer incluso — included\n \n \n \n— Tunable white \nl 255 ± 6 × h 259\u002F267 ± 6\nl 100” ± 2” margin × h \n102”\u002F105” ± 4” margin\nTwiggy Elle: materiale \ncomposito su base di fibra \ndi vetro laccato, PMMA, \npolicarbonato, metallo \nverniciato e alluminio.\nTwiggy Elle Wood: diffusore \nin rovere sbiancato.\nTwiggy Elle: varnished \nfibreglass based composite \nmaterial, PMMA, \npolycarbonate, coated metal \nand aluminium.\nTwiggy Elle Wood: diffuser \nin limed durmast wood.\nLED inclusi \u002F included \n220 \u002F 240V: 28W 2700 K \n3840 lm CRI>90\n120V: 34W 2700 K  \n3840 lm CRI>90\n220 \u002F 240V: MyLight* and \nMyLight Tunable white* \n2700-5000K available\nDimmer incluso — included\n \n \n \n— Tunable white \nØ 46 × h 161 cm\nØ 18 1\u002F8’’ × h 63 3\u002F8’’\nMateriale composito su base \ndi fibra di vetro verniciato, \npolicarbonato e metallo \nverniciato.\nCoated fibreglass based \ncomposite material, \npolycarbonate and coated \nmetal.\n220 \u002F 240V: Max 3x77W E27 \n120V: Max 3x100W E26 \nDimmer incluso \n— Dimmer included\n \n \nFoscarini — Vite\nTechnical data\n",170,{"image":693,"text":694,"number":695},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.171.png","339\nØ 25 × h 193 cm\nØ 9 7\u002F8’’ × h 75 7\u002F8’’\nVetro temperato serigrafato, \nPMMA e acciaio inox.\nSerigraphed tempered \nglass, PMMA and stainless \nsteel.\nLED inclusi \u002F included\n220 \u002F 240V: 17,7W 2700 K \n2498 lm CRI>80\n120V: 31W 2700 K 2498 lm \nCRI>80\nDimmer incluso \n— Dimmer included\n \n \nAllegretto Assai\nØ 76 × h 87 cm\nØ 29 7\u002F8’’ × h 34 3\u002F32’’\nAllegretto Vivace\nØ 50,5 × h 70 cm\nØ 19 7\u002F8’’ × h 27 3\u002F8’’\nAllegretto Ritmico\nØ 51 × h 58 cm\nØ 20’’ × h 22 5\u002F8’’\nAlluminio verniciato \ne metallo cromato.\nVarnished aluminium  \nand metal.\n220 \u002F 240V: \nMax 2×100W E27 PAR 30\n120V:  \nMax 2x75W E26 PAR 30\n \n \nAplomb\nØ 17 × h 36 cm\nØ 6 3\u002F4’’ × h 14 1\u002F8’’\nAplomb mini\nØ 12 × h 20 cm\nØ 4 3\u002F4’’ × h 7 3\u002F4’’\nCemento colato a mano  \ne alluminio.\nHand pouring concrete  \nand aluminium.\n220 \u002F 240V: GU10 Max \n1×8W PAR 16\n120V: GU10 Max 1×9W  \nPAR 16\n \n \nAplomb (7 colors) \nAplomb mini (4 colors)\nØ 45 × h 20 cm\nØ 17 3\u002F4’’ × h 7 7\u002F8’’\nCemento colato a mano, \nalluminio e policarbonato.\nHand pouring concrete, \nalluminium and \npolycarbonate.\nLED inclusi \u002F included\n220 \u002F 240V: 11,7W 2700 K \n1279 lm CRI>90\n120V: 9,2W 2700 K  \n897 lm CRI>90\nDimmerabile — Dimmable\n220 \u002F 240V: MyLight* \nversion available\n \n \nUptown\nFerruccio Laviani, 2019\n—→ pp. 047, 058\nAllegretto\nAtelier Oï, 2009\n—→ pp. 146, 153, 177\nAplomb \u002F Aplomb mini\nLucidi e Pevere, 2010-2015\n—→ pp. 120, 288\nAplomb Large\nLucidi e Pevere, 2016\n—→ pp. 020, 025\nTerra — Floor\nSospensione — Suspension\nBump\nLudovica + Roberto  \nPalomba, 2020\n—→ pp. 155\nCaboche Plus grande\nPatricia Urquiola con\nEliana Gerotto, 2005-2021\n—→ pp. 050\nCaboche Plus piccola\nPatricia Urquiola con\nEliana Gerotto, 2005-2021\n—→ pp. 083, 084\nChouchin Reverse\nIonna Vautrin, 2015\n—→ pp. 147, 159, 162, 178\nØ 52 × h 38 cm\nØ 20 15\u002F32’’ × h 14 61\u002F64’’\nPMMA o ABS stampato e \nverniciato a liquido.\nWater-based varnished and \nmoulded PMMA or ABS.\n220 \u002F 240V: Max 1x30W E27\n120V: Max 1x30W E26\n  \n  \n \nØ 70 × h 28 cm\nØ 27 3\u002F8’’ × h 11’’\nPMMA, acciaio \npolicarbonato e alluminio. \nPMMA, steel polycarbonate, \nand aluminium.\nLED inclusi \u002F included\n220 \u002F 240V: 28W 2700 K \n3850 lm CRI>90\n120V: 33,5W 2700 K  \n3850 lm CRI>90\nDimmerabile — Dimmable\n220 \u002F 240V: MyLight* \nversion available\n220V: MyLight Tunable \nwhite* version available\n \n \nØ 31 × h 19 cm\nØ 12 1\u002F4’’ × h 7 1\u002F2’’\nPMMA, acciaio \npolicarbonato e alluminio.\nPMMA, steelpolycarbonate, \nand aluminium.\nLED inclusi \u002F included\n220 \u002F 240V: 7W 2700 K \n1000 lm CRI>90\n120V: 9,5W 2700 K  \n1000 lm CRI>90\non\u002Foff\n \n \nChouchin Reverse 1\nØ 40 × h 31 cm\nØ 15 7\u002F8’’ × h 12 1\u002F4’’\nChouchin Reverse 2\nØ 22 × h 43 cm\nØ 8 7\u002F8’’ × h 17’’\nChouchin Reverse 3\nØ 30 × h 25 cm\nØ 12’’ × h 9 7\u002F8’’\nVetro soffiato verniciato.\nLacquered blown glass.\nChouchin Reverse 1-2-3\n220 \u002F 240V: LED retrofit \nincluso \u002F included\n21W E27 2700 K  \n2451 lm CRI>80\n120V: Max 1×60W E26\nChouchin Reverse 1-2-3 LED\nLED inclusi \u002F included \n220 \u002F 240V: 24W 2700 K \n2581 lm CRI>90\n120V: 23W 2700 K  \n2291 lm CRI>90\nDimmerabile — Dimmable\n \n \nFoscarini — Vite\nTechnical data\n",171,{"image":697,"text":698,"number":699},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.172.png","341\nChouchin Bianco 1\nØ 40 × h 31 cm\nØ 15 7\u002F8’’ × h 12 1\u002F4’’\nChouchin Bianco 2\nØ 22 × h 43 cm\nØ 8 7\u002F8’’ × h 17’’\nChouchin Bianco 3\nØ 30 × h 25 cm\nØ 12’’ × h 9 7\u002F8’’\nVetro soffiato.\nBlown glass.\nChouchin Bianco 1-2-3\n220 \u002F 240V: LED retrofit \nincluso \u002F included\n21W E27 2700 K  \n2451 lm CRI>80\n120V: Max 1×60W E26\nChouchin Bianco 1-2-3 LED\nLED inclusi \u002F included \n220 \u002F 240V: 24W 2700 K \n2581 lm CRI>90\n120V: 23W 2700 K  \n2291 lm CRI>90\nDimmerabile — Dimmable\n \n \nGregg grande\nl 47 × h 40 cm\nl 18 1\u002F2’’ × h 15 3\u002F4’’\nGregg media\nl 31 × h 26 cm\nl 12 1\u002F4’’ × h 10 1\u002F4’’\nGregg piccola\nl 13 × h 11 cm\nl 5 1\u002F8’’ × h 4 3\u002F8’’\nVetro soffiato satinato. \nBlown acid-etched glass.\nGregg grande \u002F media\n220 \u002F 240V: LED retrofit \nincluso \u002F included 21W E27 \n2700 K 2451 lm CRI>80\nGregg grande  \n120V: Max 1×100W E26\nGregg media  \n120V: Max 1×60W E26\nGregg grande \u002F media  \nLED incluso \u002F included\n220 \u002F 240V: 24W 2700 K \n2581 lm CRI>90\n120V: 23W 2700 K  \n2291 lm CRI>90\nGregg piccola\n220 \u002F 240V: 1x8W G9\n120V: Max 1X8W G9\nDimmerabile — Dimmable\n220 \u002F 240V: MyLight* \nversion available\n \n \nØ 120 × h 77 cm\nØ 47 1\u002F4’’ × h 30 1\u002F8’’\nMetallo anodizzato.\nAnodized metal.\n220 \u002F 240V: \nMax 8×20W G4 12V\n120V: Max 8×20W G4 12V\n  \n \nl 75 × p 60 × h 60 cm\nl 29 17\u002F32’’ × d 23 5\u002F8’’ \n× h 23 5\u002F8’’\nTessuto tridimensionale \ntecnico e metallo verniciato.\nThree-dimensional technical \nfabric and varnished metal.\nLED inclusi \u002F included \n220 \u002F 240V: 29W 3000 K \n3749 lm CRI>90 \n120V: 34W 3000 K  \n3749 lm CRI>90\nDimmerabile — Dimmable\n220 \u002F 240V: MyLight* \nversion available\n  \n  \n \nChouchin Bianco\nIonna Vautrin, 2011\n—→ pp. 170, 260, 263\nGregg\nLudovica + Roberto \nPalomba, 2007\n—→ pp. 267\nLightweight\nTom Dixon, 1995\n—→ pp. 247, 248, 249\nNuée\nMarc Sadler, 2019\n—→ pp. 220, 221, 222\nSospensione — Suspension\nSpokes 1 \u002F 3\nGarcia Cumini, 2014-2019\n—→ pp. 131\nSpokes 2 \u002F 2 midi \u002F 2 piccola\nGarcia Cumini, 2014-2019\n—→ pp. 117, 132, 174, 302, \n304\nSun–Light of Love\nTord Boontje, 2019\n—→ pp. 081, 088, 091, 095, \n252\nTonda\nFerruccio Laviani, 2022\n—→ pp. 112\nSpokes 1\nØ 32,5 × h 71 cm\nØ 12 3\u002F4’’ × h 28’’\nSpokes 3\nØ 61 × h 42 cm\nØ 24’’ × h 16 1\u002F26’’\nAcciaio e alluminio \nverniciati.\nVarnished steel \nand aluminium.\nLED inclusi \u002F included \n220 \u002F 240V: 30W 2700 K \n3316 lm CRI>90\n120V: 40W 2700 K  \n3935 lm CRI>90\n \nDimmerabile — Dimmable\n220 \u002F 240V: MyLight* \nversion available \n \n \nSpokes 2\nØ 52 × h 52,5 cm\nØ 20 1\u002F2’’ × h 20 5\u002F8’’\nSpokes 2 midi\nØ 45 × h 45 cm\nØ 17 3\u002F4’’ × h 17 3\u002F4’’\nSpokes 2 piccola\nØ 34 × h 35 cm\nØ 13 3\u002F8’’ × h 13 3\u002F4’’\nAcciaio e alluminio \nverniciati.\nVarnished steel \nand aluminium.\nSpokes 2 \u002F 2 midi\nLED inclusi \u002F included \n220 \u002F 240V: 30W 2700 K \n3316 lm CRI>90\n120V: 40W 2700 K  \n3935 lm CRI>90\nSpokes 2 piccola\n220 \u002F 240V: 19W 2700 K \n2237 lm CRI>90\n120V: 22W 2700 K  \n2237 lm CRI>90\n \nDimmerabile — Dimmable\n220 \u002F 240V: MyLight* \nversion available \n \n \nØ 65 × h 63 cm\nØ 25 3\u002F4’’ × h 24 5\u002F8’’\nAcciaio e alluminio  \nverniciati a liquido.\nVarnished steel and \naluminium.\nLED inclusi \u002F included \n220 \u002F 240V: 32W 2700 K \n3170 lm CRI>90\n120V: 38W 2700 K  \n3170 lm CRI>90\n \n220 \u002F 240V: MyLight* \nversion available \n120V: Dimmerabile  \n— Dimmable\n \n \nTonda grande\nØ 33 × h 60 cm\nØ 12 3\u002F4’’ × h 23 1\u002F4’’\nTonda piccola\nØ 25 × h 46 cm\nØ 9 5\u002F8’’ × h 18 1\u002F8’’\nVetro soffiato a bocca \nsfumato e acciaio verniciato.\nShaded blown glass and \nvarnished metal.\nTonda grande\n220 \u002F 240V: LED retrofit \nincluso \u002F included\n20W 2700 K  \n2452 lm CRI>80\n120V: Max 1x20W LED  \nE26 type A\nTonda piccola\n220 \u002F 240V: LED retrofit \nincluso \u002F included\n14W 2700 K 1521 lm CRI>80 \n120V: Max 1x14W LED  \nE26 type A\n  \n \nFoscarini — Vite\nTechnical data\n",172,{"image":701,"text":702,"number":703},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.173.png","343\nl 185 × h 8,5 cm\nl 72 5\u002F8’’ × h 3 3\u002F8’’\nMultistrato di legno di \nfrassino curvato e PMMA.\nCurved ash plywood  \nand PMMA.\n \nLED inclusi \u002F included\n220 \u002F 240V: 43W 3000 K \n6080 lm CRI>90\n120V: 50W 3000 K  \n6800 lm CRI>90\nDimmerabile — Dimmable\n220 \u002F 240V: MyLight* \nversion available\n \n \nØ 46 × h 29 cm\nØ 18 1\u002F8’’ × h 11 7\u002F16’’\nRovere sbiancato, materiale \ncomposito su base di fibra  \ndi vetro laccato, PMMA, \npolicarbonato e alluminio.\nLimed durmast wood, \nfibreglass coated with \ncomposite material,  \nPMMA, polycarbonate  \nand aluminium.\nLED inclusi \u002F included \n220 \u002F 240V: 28W 2700 K \n3840 lm CRI>90\n120V: 34W 2700 K  \n3840 lm CRI>90\nDimmerabile — Dimmable\n220 \u002F 240V: MyLight* \nversion available\n  \n  \n \n  \n— Tunable white  \nl 178 × p 24 × h 95 cm\nl 70’’ × d 9 1\u002F2’’ × h 37 3\u002F8’’\nMetacrilato, alluminio \nverniciato e policarbonato.\nMethacrylate, varnished \naluminium and \npolycarbonate.\n220 \u002F 240 \u002F 120V: \nfluo 1x80W G5 + 1x54W G5 \n+ 1x39W G5\n \n \nGregg media\nl 26 × p 26 × h 31 cm\nl 10 5\u002F8’’ × d 10 1\u002F4’’ ×  \nh 12 3\u002F16’’\nGregg midi\nl 17 × p 17 × h 21 cm\nl 6 7\u002F8’’ × d 6 7\u002F8’’ × h 8 1\u002F4’’\nGregg piccola\nl 12 × p 11 × h 13 cm\nl 4 3\u002F4’’ × d 4 5\u002F16’’ × h 5 1\u002F8’’\nVetro soffiato acidato \ne metallo verniciato.\nBlown acid-etched glass  \nand coated metal.\nGregg media\n220 \u002F 240V: LED retrofit\nincluso \u002F included\n1x18W E27 2700 K\n2452 Im CRI>90\n120V: Max 1x100W E26\nGregg midi\n220 \u002F 240V: LED retrofit \nincluso \u002F included  \n6,5W E14 2700 K  \n806 lm CRI>80\n120V: LED inclusi \u002F included \nMax 1x20W LED TYPE G E12\nGregg piccola\n220 \u002F 240V: Max 1x8W G9\nOn\u002Foff o con \u002F or with dimmer\n120V: Max 1x8W G9\n \n  \n  \n  \n  (only piccola \n ) \n \n (no midi)\nTroag LED\nLuca Nichetto, 2010\n—→ pp. 019, 021, 022\nTwiggy Wood\nMarc Sadler, 2007-2021\n—→ pp. 134, 167, 169\nFields\nVicente Garcia Jimenez, \n2007\n—→ pp. 205\nGregg\nLudovica + Roberto  \nPalomba, 2007\n—→ pp. 180\nSospensione — Suspension\nRituals\nLudovica + Roberto \nPalomba, 2015\n—→ pp. 160\nSatellight\nEugeni Quitllet, 2017\n—→ pp. 202\nAplomb\nLucidi e Pevere, 2017\n—→ pp. 276 \nCri Cri\nStudio Natural, 2017\n—→ pp. 028, 030, 032, 034, \n183, 184\nRituals 1\nØ 26 × h 34 cm\nØ 10 3\u002F8’’ × h 13 1\u002F2’’\nRituals 3\nØ 24 × h 21 cm\nØ 9 3\u002F8’’ × h 8 1\u002F4’’\nVetro soffiato satinato inciso \ne metallo verniciato.\nBlown engraved satin glass \nand coated metal.\n  \n220 \u002F 240V: Max 1x70W E27\n120V: Max 1x70W E26 \n \n \nl 21 × p 17 × h 29 cm\nl 8 1\u002F8’’ × d 6 3\u002F4’’ × \nh 11 3\u002F8’’\nVetro cristallo soffiato a \nbocca e vetro incamiciato \nacidato.\nHand-blown crystal glass \nand cased acid-etched \nglass.\n220 \u002F 240V: Max 1x25W G9\n120V: LED inclusi \u002F included \n6W 2700 K 504 lm CRI>80 \nDimmerabile — Dimmable\n \nØ 17 × h 36 cm\nØ 6 3\u002F4’’ × h 14 1\u002F8’’\nCemento colato a mano  \ne alluminio.\nHand pouring concrete  \nand aluminium.\nLED inclusi \u002F included \n8W 2700 K 680 lm CRI>80\nDimmerabile — Dimmable\nSuitable for wet location\n  \n  \n  \n \n \nØ 23,5 × h 31 cm\nØ 9 1\u002F4’’ × h 12 1\u002F8’’\nSilicone, ABS e PMMA.\nSilicone, ABS and PMMA.\nLED inclusi \u002F included \n2,4W 2700 K  \n325 lm CRI>80\nTouch-dimmer integrato \nIntegrated touch-dimmer\nUSB charge\nSuitable for wet location\n  \n \n \nFoscarini — Vite\nTechnical data\nParete — Wall\nEsterno — Outdoor\n",173,{"image":705,"text":706,"number":707},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.174.png","345\nGregg Outdoor XL\nØ 60 × h 50 cm\nØ 23 5\u002F8’’ × h 19 5\u002F8’’\nGregg Outdoor grande\nØ 46 × h 39 cm\nØ 18 1\u002F8’’ × h 15 3\u002F8’’\nGregg Outdoor media\nØ 31 × h 24 cm\nØ 12 1\u002F4’’ × h 9 1\u002F2’’\nPolietilene stampato \nin rotazionale e metallo \nverniciato.\nRotational moulded \npolyethylene and varnished \nmetal.\nGregg Outdoor XL \u002F grande\n220 \u002F 240V: \nMax 1x25W E27\n120V: Max 1x25W E26\nGregg Outdoor media\n220 \u002F 240V: \nMax 1x15W E27\n120V: Max 1x15W E26\nSuitable for wet location\n  \n  \n  \n \n \nGregg Outdoor XL\nl 59 × p 51 × h 51 cm\nl 23 1\u002F4’’ × d 20 1\u002F8’’ ×  \nh 20 1\u002F8’’\nGregg Outdoor grande\nl 47 × p 40 × h 40 cm\nl 18 1\u002F2’’ × d 15 3\u002F4’’ ×  \nh 15 3\u002F4’’\nGregg Outdoor media\nl 31 × p 27 × h 27 cm\nl 12 1\u002F4’’ × d 10 5\u002F8’’ ×  \nh 10 5\u002F8’’\nPolietilene stampato \nin rotazionale e metallo \nverniciato.\nRotational moulded \npolyethylene and varnished \nmetal.\nGregg Outdoor XL \u002F grande\n220 \u002F 240V: \nMax 1x25W E27\n120V: Max 1x25W E26\nGregg Outdoor media\n220 \u002F 240V: \nMax 1x15W E27\n120V: Max 1x15W E26\nSuitable for wet location\n  \n  \n  \n \n \nØ 80 × h 26 – 38 cm\nØ 31 3\u002F8’’ × h 10 1\u002F4’’ \n– 14 3\u002F4’’\nPolietilene stampato \na rotazione, gres  \ne metallo verniciato.\nRotational moulded \npolyethylene, porcelain \nstoneware top and  \nvarnished metal.\n220 \u002F 240V: Max 1x25W E27\n120V: Max 1x25W E26\nSuitable for wet location\nInclinabile fino a 15°  \n\u002F Reclinable up to 15°\n  \n  \n  \n \n \nØ 46 × h 67 cm\nØ 18 1\u002F8’’ × h 26 1\u002F4’’\nMateriale composito su base \ndi fibra di vetro laccato, \nPMMA, metallo verniciato \ne alluminio.\nVarnished fibreglass based \ncomposite material,\nPMMA, varnished metal \nand aluminium.\nLED inclusi \u002F included \n220 \u002F 240V: 32W 2850 K \n3930 lm CRI>90\n120V: 36,5W 2850 K  \n3930 lm CRI>90\non\u002Foff\nSuitable for wet location\n  \n  \n \n \nGregg Outdoor \u002F Sospensione\nLudovica + Roberto \nPalomba, 2011\n—→ pp. 068, 069\nGregg Outdoor \u002F Terra\nLudovica + Roberto \nPalomba, 2011\n—→ pp. 064, 225\nSolar\nJean Marie Massaud, 2011\n—→ pp. 193, 278\nTwiggy Grid \u002F Tavolo\nMarc Sadler, 2018\n—→ pp. 143\nEsterno — Outdoor\nTwiggy Grid \u002F Lettura\nMarc Sadler, 2018\n—→ pp. 143, 186\nTwiggy Grid\nMarc Sadler, 2017\n—→ pp. 195, 216, 226, 227\nUto\nLagranja Design, 2005\n—→ pp. 023, 185, 278\nØ 45,5 × h 160 cm\nØ 17 7\u002F8’’ × h 63 5\u002F8’’\nMateriale composito su base \ndi fibra di vetro laccato, \nPMMA, metallo verniciato \ne alluminio.\nVarnished fibreglass based \ncomposite material,\nPMMA, varnished metal \nand aluminium.\nLED inclusi \u002F included \n220 \u002F 240V: 32W 2850 K \n3930 lm CRI>90\n120V: 36,5W 2850 K  \n3930 lm CRI>90\non\u002Foff\nSuitable for wet location\n  \n  \n \n \nl 170\u002F200 × h 195 ± 5 \n\u002F215 ± 5 cm\nl 67’’\u002F79’’ × h 80 3\u002F4 ± 2’’  \n\u002F84 3\u002F4 ± 2’’\nMateriale composito su base \ndi fibra di vetro laccato, \nPMMA, metallo verniciato \ne alluminio.\nVarnished fibreglass based \ncomposite material,\nPMMA, varnished metal \nand aluminium.\nLED inclusi \u002F included \n220 \u002F 240V: 32W 2850 K \n3930 lm CRI>90\n120V: 36,5W 2850 K 3930 \nlm CRI>90\non\u002Foff\nSuitable for wet location\n  \n  \n \n \nl 20 × h 320 cm\nl 7 7\u002F8’’ × h 126’’\nElastomero termoplastico  \ne policarbonato.\nThermoplastic elastomer \nand polycarbonate.\n220 \u002F 240V: Max 1×12W E27\n120V: Max 1×15W E26\nInterruttore all’interno del \ntubo — Switch inside  \nthe flexible tube\nSuitable for damp location\n \n \nFoscarini — Vite\nTechnical data\n",174,{"image":709,"text":710,"number":711},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.175.png","*\nVersione MyLight \nDimmerabile via Bluetooth \nper controllare l’intensità \ndella luce.\nMyLight version\nDimmable via Bluetooth  \nto control light intensity.\nVersione Tunable White\nOltre al controllo \ndell’intensità della luce è \npossibile controllare il colore \ndella luce; da luce calda \nalla luce naturale o fredda \n(2500-4500K).\nTunable White version\nBesides light intensity it’s \npossible to control the light \ncolour degree from warm  \nto natural or cold light \n(2500-4500K).\nCE\nDichiara che il produttore \nproduce apparecchi \nconformi e rispondenti \nai requisiti proposti dalla \nnorma EN 60598.\nDeclares that the \nmanufacturer produces  \nlight fittings which comply \nwith the requirements  \nof the EN 60598. \nETL\nCertifica che il prodotto è \nconforme agli standard di \nsicurezza nordamericani. \nLa certificazione ETL è \nrilasciata da Intertek, società \nterza indipendente per test, \nispezioni e certificazioni.\nThe ETL Mark is proof of \nproduct compliance to North \nAmerican safety standards. \nThe ETL certification is \nissued by Intertek, an \nindependent Third Party \ncompany for testing, \ninspection and certification. \nClasse I\nApparecchio in classe I°: \nè obbligatoria la \nconnessione al conduttore \ndi protezione giallo \u002F verde \n(messa a terra).\nClass I° luminaire: it’s \nnecessary to connect \nthe device to the yellow \u002F\ngreen protective conductor \n(earthing).\nClasse II\nApparecchio in cui la \nprotezione contro la scossa \nelettrica si basa unicamente \nsul doppio isolamento e\u002Fo \nisolamento rinforzato \nin ogni parte e senza \ndispositivo di messa a terra.\nLight fittings whose safety \nis guaranteed only by the \ndouble and\u002For reinforced \ninsulation of all parts, with \nno earth.\nClasse III\nApparecchio in cui la \nprotezione contro la \nscossa elettrica si basa \nsull’alimentazione a \nbassissima tensione di \nsicurezza e in cui non si \nproducono tensioni superiori \nalla stessa.\nLight fittings in which \nprotection against electric \nshock is designed to be \nsupplied from a safety extra-\nlow voltage power source.\nENEC\nIl marchio ENEC \n(Certificazione Elettrica \nrelativa alle Norme Europee) \nè un marchio volontario \nrilasciato da enti terzi. \nCertifica che il prodotto \nè conforme e rispetta i \nrequisiti proposti dalla \nnorma EN 60598 ed è \nprogettato e realizzato \nin aziende il cui sistema \ndi gestione della qualità \nsoddisfa i requisiti della \nnorma UNI EN ISO 9001.\nThe label ENEC (Electrical \nCertification concerning \nEuropean Standard) is a \nvoluntary label granted by \nthird organizations. It \ncertifies that a product \ncomplies with the EN 60598 \nstandards and has been \ndesigned and manufactured \nby companies with an \napproved UNI EN ISO 9001 \nquality control system.\nIP Protection Degree\nIP20: apparecchio protetto \ncontro la penetrazione di \ncorpi solidi di dimensioni \nmaggiori a 12mm e non \nprotetto nei confronti dei \nliquidi.\nIP44: apparecchio protetto \ncontro la penetrazione di\ncorpi solidi di dimensioni\nmaggiori a 1mm e protetto\ncontro gli spruzzi d’acqua.\nIP65: apparecchio\ntotalmente protetto contro \nla polvere e protetto contro \ni getti d’acqua.\nIP20: protected against the \npenetration of solid objects \ngreater than 12 mm and non \nprotected against liquids.\nIP44: protected against the \npenetration of solid objects \ngreater than 1 mm and \nprotected against splashing \nwater.\nIP65: dust-tight and \nprotected against water jets.\nCSQ – IQNET\nMarchio valido in tutto \nil mondo, certifica che \nl’azienda Foscarini attua \nun sistema di gestione \ndella qualità conforme \nalla normativa UNI EN ISO \n9001:2008, per garantire  \nun elevato standard \nqualitativo nella \nprogettazione, sviluppo, \nfabbricazione \ne commercializzazione \ndei propri prodotti.\nThe CSQ–IQNET label  \nis valid all over the world.  \nIt certificates that Foscarini \nruns a quality management \nsystem which complies with \nthe UNI EN ISO 9001:2008 \nstandard, to guarantee \na high quality level for \nwhat concerns project, \ndevelopment, production \nand distribution of its \nproducts.\nCSQ ECO\nMarchio valido in tutto \nil mondo, certifica che \nl’azienda Foscarini attua \nun sistema di gestione \nambientale conforme alla \nnormativa UNI–EN ISO \n14001:2004 per garantire \nl’impegno dell’azienda \nad operare nel rispetto \ndell’ambiente e con \nl’obiettivo continuo di ridurre \nl’impatto delle proprie \nattività.\nThis label is valid all over \nthe world. It certificates \nthat Foscarini runs an \nenvironmental management \nsystem which complies \nwith the UNI EN ISO \n14001:2004 standard \nin order to guarantee \ncompany’s commitment to \ncontinual improvement of its \nenviromental performances.\nLegenda\nFoscarini — Vite\nTechnical data\n347\n",175,{"image":713,"text":714,"number":715},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.176.png","Foscarini SpA\nvia delle Industrie 27\n30020 Marcon \u002FVenezia \u002FItaly \nT +39 041 595 3811 \nfoscarini@foscarini.com\nFoscarini Spazio Monforte \nCorso Monforte 19\n20122 Milano \u002FItaly\nT +39 02 870 71320 \nspaziomonforte@foscarini.com\nFoscarini Inc \nFoscarini Spazio Soho \n20 Greene Street, New York\nNY 10013 \u002FUSA\nT +1 212 247 2218\nT +1 212 257 4412 Showroom \nfoscarini.inc@foscarini.com \nspaziosoho@foscarini.com\nFoscarini Japan K.K.\nTokyo \u002FJapan \nfoscarini.jpn@foscarini.com\nFoscarini International Co., Ltd. \nShanghai, China \nfoscarini.china@foscarini.com\nAzienda certificata \nUNI EN ISO 9001 \nUNI EN ISO 14001\nPhotography:\nGianluca Vassallo  \n\u002F White Box Studio\ncon Francesco Mannironi  \ne Roberto Verbena\nTexts:\nLisa Corva\nArt direction \n+ graphic design: \nDesignwork\nArtemio Croatto \nErika Pittis\nColour separation:\nLuce, Udine\nMade and printed in Italy\nby Poligrafiche San Marco, \nCormons\nedizione 04.2023\nColophon \nfoscarini.com\nFoscarini\n \nVITE 2. Continua il \nnostro viaggio alla \nscoperta di nuove città  \ne nuove dimore. Per \nincontrare persone che \nvivono le case come \nspecchi: per vedersi e \nnon per mostrarsi.\n \nfotografie\ndi Gianluca Vassallo\nVITE 2. Continua il nostro viaggio alla scoperta di nuove \ncittà e nuove dimore. Per incontrare persone che vivono \nle case come specchi: per vedersi e non per mostrarsi.\n \nNulla di questo progetto sarebbe\nstato possibile senza la disponibilità\nprima, la curiosità poi e il coinvolgimento\ndelle persone che ci hanno aperto le loro\ncase e le loro Vite. A tutti loro va il nostro\npiu sentito Grazie.\n \n \nNothing in this project would have\nbeen possible without the generosity,\ncuriosity and participation of the people\nwho have opened their homes and their\nLives to us. We send our heartfelt thanks\nto all of them.\nvite.foscarini.com\nScopri VITE in versione digitale.  \nLasciati ispirare dalle case raccontate  \nnei due volumi con una selezione più \nampia di immagini, navigabile per \nambiente, prodotto o funzione d’uso.  \nApprofondisci le VITE con video e podcast \ne scopri come le lampade Foscarini \ntrasformano e caratterizzano gli spazi.\n \nvite.foscarini.com\nDiscover the digital version of VITE.  \nLet yourself be inspired by a vast \nselection of images from the houses \ndescribed in both books, now easily \nnavigable by environment, product,  \nor function of use. Explore VITE stories \nthrough videos and podcasts and  \ndiscover how Foscarini lamps transform \nand characterize spaces.\n",176,{"image":717,"text":15,"number":718},"\u002Fmedia\u002Fimages\u002F6f\u002F366676cfaf25bc4f9db2b3e9f7ccef-2854d951e2.177.png",177,[],0,false,true,{"success":722,"data":724,"meta":932,"count":933,"next":934,"previous":935,"results":967,"brand_chips":1028},[725,738,747,756,765,774,783,793,803,814,826,839,848,861,873,883,893,902,911,923],{"id":726,"title":727,"slug":728,"image":729,"source":730,"brand_name":731,"brand":732,"brand_slug":733,"file_size":734,"pages":735,"pages_count":736,"matched_pages":737,"match_count":720,"two_pages":721,"show_text":722},26607,"Working 2026","leds-c4-working-2026","\u002Fmedia\u002Fimages\u002F3a\u002F295e58aee952a0d50352f22925106a-29704a6e39.1.png","\u002Fprivate\u002Ffiles\u002Fad\u002F06804e7560a395bf4a98c17bd40b17-29704a6af8.pdf","Leds C4",2502,"leds-c4","106.7 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