[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-moroso-setting-the-elegance":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":421},{"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":416,"matched_pages":417,"match_count":418,"two_pages":419,"show_text":420},18330,"Setting the Elegance","moroso-setting-the-elegance","\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002F5d\u002F53fce0f3a18a3fe4309bb549edd7d9-28928b151f.pdf","Moroso",1342,"moroso","16.5 MB",[14,17,21,25,29,33,37,41,45,49,53,57,61,65,69,73,77,81,85,89,93,97,101,105,109,113,117,121,125,129,133,137,141,145,149,153,157,161,165,169,173,177,181,185,189,193,197,201,205,209,213,217,221,225,229,233,237,241,245,249,253,257,261,265,269,273,277,281,285,289,293,297,301,305,309,313,317,321,325,329,333,337,341,345,349,353,357,361,365,369,373,377,381,385,389,393,397,401,405,409,413],{"image":7,"text":15,"number":16},"pp. TM\n\u002F1\nSetting the Elegance\nMoroso Setting \nthe \nElegance\nTextiles by \nKvadrat + Rubelli\n",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.2.png","Setting the Elegance\nMoroso Setting \nthe \nElegance\nTextiles by \nKvadrat + Rubelli\n",2,{"image":22,"text":23,"number":24},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.3.png"," \nCi sono stills emozionali \nche gravitano sospesi, \nmeravigliosamente, in attesa \ndi trasformarsi in possibili \nfotogrammi di una nuova \npellicola. Quando questo in \nqualche modo si manifesta, \nimpossibile resistervi.\n \nPer Setting the Elegance, \nla suggestione filmica di L’età \ndell’innocenza (Martin Scorsese) \nE di Ritratto di signora (Jane \nCampion), –lavori generati da \nromanzi molto ispirati–, ha dato \nl’avvio, per me, ed insieme il \nleitmotiv per la costruzione di un \nracconto visivo fatto di ricette di \ncolore epurato, di punti di fuga, \nforse sonorità evocate e, credo, \ndi una sottile palpabile eleganza \nemanata.\n \nCerto, on dirait, qui si indaga \nsu un catalogo particolare di \nproduzione contemporanea \ndi design. Ma c’è un punto dove \nil racconto, appunto il set, diventa \nluogo di scambio per ricchezze \nsemantiche da condividere \ne gustare. \n \nE credo fortemente che \ncon il costante rinnovamento \nche la couture (anche intesa \ncome costante maitrisation…) \nappunto ci ha insegnato, assieme \nal potente lavoro di riconosciuti \nproduttori-editori tessili, \nsi possano ottenere “alchimie” \nindustriali di grande forza \ne compostezza.\n \nGiulio Ridolfo\n \nThere are some stills that \npossess such an emotional \nresonance that they seem to \ndance magically before one’s \neyes as if suspended in space and \ntime, as if ready and waiting to be \ntransformed into the frames of a \nnew film. And when this happens \nit’s impossible to resist them.\n \nIn the case of Setting the \nElegance, it was the evocative \npower of frames from Martin \nScorsese’s film The Age of \ninnocence and Jane Campion’s \nPortrait of a Lady –works \nwhich are themselves based on \nexceptionally inspired novels– \nwhich provided me with both \nthe inspiration and leitmotiv on \nwhich to build a visual narrative \nfor the collection, one which \ncombines soft muted tones and \nvanishing points that evoke \nechoes of the past and, I believe, \na subtle yet nonetheless palpable \nelegance. \n \nOf course, on dirait, what \nwe are discussing here is a \ncatalogue showcasing examples \nof contemporary design products \nand yet there is a point where \nthe narrative, which is to say \nthe set becomes the locus for \nthe interplay of richly symbolic \nelements to share and enjoy.\n \nAnd I firmly believe that \nthe constant need for renewal \nthat couture teaches us (also \nin the sense of the continuous \npursuit of maitrisation) can, \nwhen combined with the skills \nand talents of recognized textile \nproducers and designers, create \na magical chemistry, one capable \nof producing powerful industrial \n‘alchemies’ of great finesse \nand grace.\n \nIl y a des stills émotionnels \nqui gravitent, merveilleusement \nen suspens, dans l’attente de \nse transformer en photogrammes \nd’un nouveau film. Quand cela se \nproduit d’une certaine manière, \nil est impossible d’y résister.\n \nPour Setting the Elegance, \nla suggestion filmique du \nTemps de l’innocence (Martin \nScorsese) et de Portrait \nde femme (Jane Campion), \n–œuvres issues de romans très \ninspirés–, a été pour moi \nle début, et en reste le leitmotiv, \nde la construction d’un récit \nvisuel fait de recettes de couleur \népurée, de points de fuite, peut-\nêtre de sonorités évoquées \net, je crois, de l’élégance subtile \net palpable qui en émane. \n \nBien sûr, dirons-nous, nous \nenquêtons ici sur un catalogue \nparticulier, de production \ncontemporaine de design. \nMais il y a un point où le récit, \nle set, devient lieu d’échange de \nrichesses sémantiques \nà partager et à savourer.\n \nEt je crois profondément \nqu’avec le renouvellement \npermanent que la couture \n(entendue aussi comme \nmaitrisation constante...) nous \na enseigné, avec le puissant \ntravail de célèbres producteurs-\néditeurs textiles, nous pouvons \nobtenir des “alchimies” \nindustrielles d’une grande force \net équilibre.\n \nUn grazie speciale \na Kvadrat e Rubelli \nper la splendida collaborazione \ne la condivisione del progetto.\n \nSpecial thanks to Kvadrat \nand Rubelli for the wonderful \ncollaboration and for sharing \nthis project.\n \nUn remerciement spécial\nà Kvadrat et Rubelli\npour la splendide collaboration\net la participation au projet.\n \nPatrizia Moroso\n",3,{"image":26,"text":27,"number":28},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.4.png","pp. 004\n\u002F005\nSetting the Elegance\n \nIl Musée des Tissus di Lione, fondato nel 1856 \ndopo la prima Esposizione universale di Londra \nsu richiesta dei produttori di seta lionesi, ha \naperto al pubblico nel 1864. La collezione ospitata \ndoveva permettere di rinnovare la creazione dei \ndisegni dell’epoca ispirandosi ai migliori esempi \ndel passato. Oggi, la collezione è la più importante \nal mondo, con quasi due milioni e mezzo di opere \nche ripercorrono 4.500 anni di produzione tessile, \ndall’Egitto dei faraoni alle produzioni più recenti.\n \nQuesta missione fondamentale del Museo, \nfonte di ispirazione e fermento creativo, è ancor \noggi al centro dei suoi interessi. Artisti, designer e \nproduttori vengono regolarmente invitati a scoprire \nle ricchezze della collezione per alimentare la loro \nproduzione creativa.\n \nÈ in quest’ottica che si è sviluppata la \ncollaborazione con Moroso e Rubelli. \nIn occasione della mostra Lo sguardo laterale. \nMoroso, une recherche entre Arts décoratifs et \nDesign allestita presso il Musée des Tissus et des \nArts décoratifs di Lione, Patrizia Moroso ha voluto \nrealizzare una serie di pezzi unici coinvolgendo \nRubelli affinché producesse un tessuto ispirato \na un’antica messa in carta custodita nel museo. \nDa tale sfida è nata una stoffa eccezionale, \nche ha vestito alcuni pezzi disegnati da Patricia \nUrquiola e da Doshi Levien.\n \nCon il suo decoro delicato, composto da drappi \nricadenti e nastri intrecciati a piccoli ramoscelli \nin fiore, in cui una coppia di colombe riposa su un \nbouquet ornato da un cappello di paglia e spighe \ndi grano, l’opera (inv. MT 49489.6), per i suoi \nmotivi bucolici, evoca il gusto della Delfina Maria \nAntonietta, futura regina di Francia. Sin dagli anni \n1770, Philippe de Lasalle, uno dei più apprezzati \nfabbricanti lionesi, aveva proposto composizioni \ncon coppie di uccelli, rami fioriti e accessori che gli \nerano valse prestigiose commesse da parte della \ncorte di Francia e di sovrani stranieri. La messa \nin carta del Musée des Tissus è stata concepita \nnell’entourage di Philippe de Lasalle, secondo \nmodelli che l’artista aveva elaborato in base al gusto \ndell’epoca, esempio caratteristico della produzione \nlionese dell’ultimo quarto del XVIII secolo. \n \nPer questo Patrizia Moroso l’ha scelta per \ncelebrare l’evento organizzato al Musée des Tissus. \nAttraverso questa collaborazione con due delle più \nprestigiose firme italiane, Moroso e Rubelli, il Musée \ndes Tissus è fiero di contribuire all’eccellenza del \ndesign contemporaneo, qui rinnovato dall’audacia \ntecnica di Rubelli: il tessuto realizzato ispirandosi \nalla messa in carta non è quello previsto dal disegno \ntecnico, bensì la fedele riproduzione del disegno \ntecnico stesso.   —\nMusée des Tissus et Musée des Arts décoratifs de Lyon \n21.06 — 1.09.2013\nLo sguardo laterale.\nMoroso, \nune recherche \nentre Arts décoratifs \net Design\nMaximilien Durand\n",4,{"image":30,"text":31,"number":32},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.5.png","Setting the Elegance\npp. 006\n\u002F007\n \nThe Musée des Tissus de Lyon was opened \nto the public in 1864. It had been founded in 1856, \nfollowing the first Great Exhibition in London after \ncalls made for a museum by silk manufacturers in \nLyon. \nThe collection housed was intended to make way \nfor new creative design through prime examples \nfrom the past. Today this collection is the largest \nin the world with close to two million five hundred \nthousand references, covering four thousand five \nhundred years of textile production, from the Egypt \nof the pharaohs up to more recent production. \n \nThis primary mission of the museum as \na source of inspiration and fostering of creation \nlies still today at the heart of the interests of the \norganisation. Artists, designers and manufacturers \nare regularly invited to discover the wealth \nof the collection for adding to their production. \n \nIt is on this basis that the joint project with \nMoroso and Rubelli was developed. For the occasion \nof the exhibition A sideways Glance - Moroso, an \nexploration in decorative Arts and Design held \nrecently at the Musée des Tissus et des Arts \ndécoratifs de Lyon, Patrizia Moroso sought to \ncreate a set of unique pieces. To do so she contacted \nRubelli in order to produce a fabric inspired by \nhistoric pointed paper housed in the museum. \nThis challenge produced an outstanding textile \nused to upholster some pieces of furniture designed \nby Patricia Urquiola and Doshi Levien. \n \nThe original pointed paper (inv. MT 49489.6) \nhas a delicate decoration, composed of cascading \ndrapery and ribbons interwoven with sprigs of \nflowers, in which a pair of doves rest on a bouquet \nembellished with a straw hat and ears of corn, and \nit’s reminiscent of the style of Marie-Antoinette, \nfuture queen of France, with its bucolic motifs. \nAs from the 1770s Philippe de Lasalle, one of \nthe most remarkable manufacturers in Lyon, \nintroduced compositions combining pairs of birds, \nbranches with flowers and additional motifs which \nearned him very lucrative orders from the French \ncourt and foreign kings and queens. The pointed \npaper of the Musèe des Tissus was designed within \nthe circle of Philippe de Lasalle and according \nto the style which the artist had made fashionable. \nIt is a typical example of production in Lyon in the \nlast quarter of the eighteenth century. \n \nWhich is why Patrizia Moroso chose it to \ncelebrate the event at the Musée des Tissus. \nThrough this partnership with two of the most \nprestigious companies in Italy, Moroso and Rubelli, \nthe Musée des Tissus is proud to make \na contribution to the excellence of contemporary \ncreativity, with added inventiveness thanks to the \ninnovative technique implemented here by Rubelli: \nthe fabric produced from the pointed paper is not \nthe one foreseen by this technical drawing but \ninstead the identical copy of the technical drawing \nitself.   —\nLo sguardo laterale. Moroso, une recherche entre Arts décoratifs et Design\nMusée des Tissus et Musée des Arts décoratifs de Lyon \nCodes > p. 168\n",5,{"image":34,"text":35,"number":36},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.6.png","Setting the Elegance\npp. 008\n\u002F009\nMusée des Tissus et Musée des Arts décoratifs de Lyon \nCodes > p. 168\n",6,{"image":38,"text":39,"number":40},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.7.png","Setting the Elegance\npp. 010\n\u002F011\n \nLe Musée des Tissus de Lyon a ouvert au \npublic en 1864. Il avait été fondé en 1856, à la suite \nde la première Exposition universelle de Londres \net à la demande des fabricants de soierie lyonnais. \nLa collection constituée devait permettre de \nrenouveler la création contemporaine par les \nmeilleurs exemples du passé. Aujourd’hui, cette \ncollection est la plus importante du monde, avec \nprès de deux millions cinq cent mille œuvres, \nparcourant quatre mille cinq cents ans de \nproduction textile, depuis l’Égypte pharaonique \njusqu’aux productions les plus récentes.\n \nCette mission première du musée, source \nd’inspiration et ferment de la création, est \naujourd’hui encore au cœur des préoccupations \nde l’institution. Des artistes, des designers et des \nindustriels sont régulièrement invités à découvrir \nles richesses de la collection pour nourrir leur \nproduction.\n \nC’est dans cette optique que s’est développée \nla collaboration avec la maison Moroso et la maison \nRubelli. À l’occasion de l’exposition Lo sguardo \nlaterale. Moroso, une recherche entre Arts décoratifs \net Design qui s’est tenue au Musée des Tissus et au \nMusée des Arts décoratifs de Lyon, Patrizia Moroso \na souhaité réaliser un ensemble de pièces uniques. \nPour cela, elle a sollicité la maison Rubelli pour \nqu’elle produise un tissu inspiré par une mise en \ncarte historique conservée au musée. De ce défi est \nnée une étoffe exceptionnelle, qui a habillé quelques \nmeubles créés par Patricia Urquiola et Doshi Levien.\n \nLa mise en carte d’origine n’est \nmalheureusement pas signée, et l’on ne connaît pas \nles circonstances dans lesquelles elle fut créée. \nPar son décor délicat, composé de chutes de \ndraperies et de rubans entremêlés de tigelles \nfleuries, dans lequel un couple de colombes \nse repose sur un bouquet agrémenté d’un chapeau \nde paille et d’épis de blé, il évoque le goût de la \nDauphine Marie-Antoinette, future reine de France, \npour les motifs bucoliques. Dès les années 1770, \nPhilippe de Lasalle, l’un des plus remarquables \nfabricants lyonnais, avait proposé des compositions \nassociant couples d’oiseaux, rameaux fleuris et \naccessoires qui lui avaient valu de prestigieuses \ncommandes de la cour de France et des souverains \nétrangers. La mise en carte du Musée des Tissus a \nété conçue dans l’entourage de Philippe de Lasalle, \net selon les modèles que l’artiste avait mis au goût \ndu jour. Elle est un exemple caractéristique de la \nproduction lyonnaise du dernier quart du XVIIIe \nsiècle. \n \nC’est la raison pour laquelle Patrizia Moroso l’a \nchoisie pour commémorer l’événement qui se tenait \nau Musée des Tissus. Par ce partenariat avec deux \ndes plus prestigieuses maisons italiennes, Moroso \net Rubelli, le Musée des Tissus est fier de contribuer \nà l’excellence de la création contemporaine, \nrenouvelée ici par l’audace technique mise en œuvre \npar Rubelli : le tissu réalisé d’après la mise en carte \nn’est pas celui qui est prévu par ce dessin technique, \nmais la reproduction à l’identique du dessin \ntechnique lui-même.   —\nMusée des Tissus et Musée des Arts décoratifs de Lyon \nLo sguardo laterale. Moroso, une recherche entre Arts décoratifs et Design\n",7,{"image":42,"text":43,"number":44},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.8.png","Setting the Elegance\nVolant, Chandigarh, Fjord, Smock, \nBohemian, Paper Planes \nCodes > p. 168\npp. 012\n\u002F013\n \nMise-en-scène dell’eleganza. Un’operazione da leggere e interpretare \ncome un vero e proprio metaprogetto, come delle linee guida per \norientarsi nello spazio fluido e latente compreso tra architettura e \nimmagine del prodotto. Una magistrale opera di decoro che offre stimoli \ne nuove possibilità di arredo al professionista, al cliente più raffinato \ncome all’amante della bellezza: Setting the Elegance dimostra, nella \nconcretezza del fattibile, la natura profondamente eclettica dell’oggetto \ndi design. > p. 036\nMise-en-scène dell’eleganza\nLorenzo Taucer\n",8,{"image":46,"text":47,"number":48},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.9.png","pp. 014\n\u002F015\nBohemian, Fjord, Smock\nCodes > p. 168\nSetting the Elegance\n \nSetting the Elegance is much more than a simple mise-en-scène \nof elegance, it is an undertaking to be read and interpreted as a \ntrue meta-project, a masterclass in navigating the fluid and latent \nspace between architecture and product design. This masterfully \nexecuted work of interior decoration offers exciting new possibilities \nfor professional designers, their most discerning clients, and all who \nlove beauty. Setting the Elegance is the material embodiment of the \nprofoundly eclectic nature of product design.\n \nMise en scène de l’élégance. Une opération à lire et à interpréter \ncomme un véritable méta-projet, comme des lignes directrices pour \ns’orienter dans l’espace fluide et latent compris entre l’architecture et \nl’image du produit. Une œuvre magistrale de décor qui stimule des idées \net de nouvelles possibilités d’ameublement pour le professionnel, \npour le client le plus raffiné, comme pour tous ceux qui savent apprécier \nla beauté : Setting the Elegance démontre, dans le concret du faisable, \nla nature profondément éclectique de l’objet de design. > p. 039\n",9,{"image":50,"text":51,"number":52},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.10.png","Setting the Elegance\nFjord, Chandigarh, Rich\nCodes > p. 168\npp. 016\n\u002F017\n",10,{"image":54,"text":55,"number":56},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.11.png","Setting the Elegance\nRich, Moon, Bon Bon\nCodes > p. 168\npp. 018\n\u002F019\n",11,{"image":58,"text":59,"number":60},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.12.png","pp. 020\n\u002F021\nSetting the Elegance\nRich, \nFjord, Moon\nCodes > p. 168\n",12,{"image":62,"text":63,"number":64},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.13.png","Setting the Elegance\nMoon, Fjord, Volant, \nCapitello\nCodes > p. 169\npp. 022\n\u002F023\n",13,{"image":66,"text":67,"number":68},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.14.png","Setting the Elegance\nVolant\nCodes > p. 169\npp. 024\n\u002F025\n",14,{"image":70,"text":71,"number":72},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.15.png","pp. 026\n\u002F027\nVolant, Paper Planes,\nMoon, Anomaly\nCodes > p. 169\nSetting the Elegance\n",15,{"image":74,"text":75,"number":76},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.16.png","Setting the Elegance\nAmerica, Paper Planes, Kub\nCodes > p. 169\npp. 028\n\u002F029\n",16,{"image":78,"text":79,"number":80},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.17.png","pp. 030\n\u002F031\nAdriano\nCodes > p. 169\nSetting the Elegance\n",17,{"image":82,"text":83,"number":84},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.18.png","Setting the Elegance\nBig Mama, America, \nMoon, Cloud\nCodes > p. 169\npp. 032\n\u002F033\n",18,{"image":86,"text":87,"number":88},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.19.png","\u002F035\nSetting the Elegance\npp. 034\nBig Mama, Moon, Cloud\nCodes > p. 170\n",19,{"image":90,"text":91,"number":92},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.20.png","Setting the Elegance\nMoon, Diatom, No Waste\nCodes > p. 170\npp. 036\n\u002F037\n \nLa tentazione è grande: raccontare il Design come una comunità \ndi mercato dove la sperimentazione anticipa e influenza le regole \ne le necessità commerciali. E dove la visione dei progettisti, unita alla \ncapacità e al talento dei produttori, presuppone e sottintende l’essenza \nlibera e assoluta del processo creativo. Immaginare mondi ed esprimerli \nattraverso la finalità estetica e funzionale di un oggetto… la tentazione \nè grande, ma la variazione è travolgente, improvvisa, quasi a suggerire \nl’esaurimento del modo progettuale sostenuto nel corso di questi ultimi \nvent’anni. > p. 052\n",20,{"image":94,"text":95,"number":96},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.21.png","pp. 038\n\u002F039\nSetting the Elegance\nDiatom, No Waste\nCodes > p. 170\n \nThe temptation is great: to describe Design as a collective \nmarketplace, where experimentation anticipates and influences the \nrules and requirements of trade, where the vision of designers, \ncombined with the skill and talent of producers, presumes and implies \nthe free and absolute reign of the creative process. To imagine worlds \nand express them through the aesthetic and functional purpose of \nan object... the temptation is indeed great, but the change is sudden \nand overwhelming, almost suggesting the exhaustion of the design \nmodel applied over the last twenty years. \n \nLa tentation est grande : raconter le Design comme une \ncommunauté de marché où l’expérimentation anticipe et influence \nles règles et les besoins commerciaux. Et où la vision des créateurs, \nassociée à la capacité et au talent des producteurs, présuppose \net sous-entend l’essence libre et absolue du processus créatif. \nImaginer des mondes et les exprimer à travers la finalité esthétique \net fonctionnelle d’un objet… la tentation est grande, mais la variation \nest renversante, brusque, nous suggérant presque l’épuisement \ndu mode conceptuel qui s’est affirmé au cours de ces vingt dernières \nannées. > p. 060\n",21,{"image":98,"text":99,"number":100},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.22.png","Setting the Elegance\nAcqua Alta\nCodes > p. 170\npp. 040\n\u002F041\n",22,{"image":102,"text":103,"number":104},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.23.png","pp. 042\n\u002F043\nBerlin, No Waste\nCodes > p. 170\nSetting the Elegance\n",23,{"image":106,"text":107,"number":108},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.24.png","Setting the Elegance\nMiss, Morning Glory\nCodes >  p. 170\npp. 044\n\u002F045\n",24,{"image":110,"text":111,"number":112},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.25.png","pp. 046\n\u002F047\nMoon, Miss, Morning Glory, \nBikini Island, Phoenix\nCodes > p. 170\nSetting the Elegance\n",25,{"image":114,"text":115,"number":116},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.26.png","Setting the Elegance\nNovecento\nCodes > p. 170\npp. 048\n\u002F049\n",26,{"image":118,"text":119,"number":120},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.27.png","Witch, Novecento, Tia Maria, \nBon Bon, Fjord\nCodes > p. 170\npp. 050\n\u002F051\nSetting the Elegance\n",27,{"image":122,"text":123,"number":124},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.28.png","Setting the Elegance\nNew Tone\nCodes > p. 171\npp. 052\n\u002F053\n \nPagina dopo pagina, disposti e accostati all’interno di uno spazio \ntanto astratto quanto può esserlo un set teatrale, prodotti disegnati \nda designer diversi in diversi momenti e per diversi contesti d’utilizzo \nabdicano la propria individualità a favore di un gioco aperto \nall’esteriorità, evidenziando con meticolosa disciplina la coerenza \nsintattica alla base del progetto d’insieme. > p. 082\n",28,{"image":126,"text":127,"number":128},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.29.png","pp. 054\n\u002F055\nNew Tone\nCodes > p. 171\nSetting the Elegance\n",29,{"image":130,"text":131,"number":132},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.30.png","New Tone, Anomaly\nCodes > p. 171\npp. 056\n\u002F057\nSetting the Elegance\n",30,{"image":134,"text":135,"number":136},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.31.png","pp. 058\n\u002F059\nRift, New Tone, Nanook\nCodes > p. 171\nSetting the Elegance\n",31,{"image":138,"text":139,"number":140},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.32.png","Setting the Elegance\nNew Tone\nCodes > p. 171\npp. 060\n\u002F061\n \nPage after page of products, arranged and juxtaposed in a spatial \ncontext as abstract as a theatrical set can be, products designed by \ndifferent designers at different moments in time and for different \nuse contexts but which, here, relinquish their individuality in favour \nof creating an interplay between different decorative features, \nexemplifying, with meticulous discipline, the syntactic consistency \nunderpinning the whole project.\n \nUne page après l’autre, disposés et rapprochés à l’intérieur d’un \nespace aussi abstrait que peut l’être la scène d’un théâtre, des produits \ncréés par des designers différents à des moments différents et pour \ndes contextes d’utilisation différents abdiquent leur propre individualité \nen faveur d’un jeu ouvert à l’extériorité, en soulignant avec rigueur \nla cohérence syntactique qui est à la base du projet d’ensemble. > p. 090\n",32,{"image":142,"text":143,"number":144},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.33.png","pp. 062\n\u002F063\nNew Tone, Moon, Fjord\nCodes > p. 171\n",33,{"image":146,"text":147,"number":148},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.34.png","pp. 064\n\u002F065\nMassas, Fjord, Capitello\nCodes > p. 171\nSetting the Elegance\n",34,{"image":150,"text":151,"number":152},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.35.png","Massas, Fjord\nCodes > p. 171\npp. 066\n\u002F067\n",35,{"image":154,"text":155,"number":156},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.36.png","\u002F069\nSetting the Elegance\npp. 068\nBig Mama, Massas, \nBikini Island\nCodes > p. 172\n",36,{"image":158,"text":159,"number":160},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.37.png","Setting the Elegance\nPrint, Tia Maria, Moon, Kub\nCodes > p. 172\npp. 070\n\u002F071\n",37,{"image":162,"text":163,"number":164},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.38.png","Setting the Elegance\nPrint\nCodes > p. 172\npp. 072\n\u002F073\n",38,{"image":166,"text":167,"number":168},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.39.png","pp. 074\n\u002F075\nSetting the Elegance\nOrazio, Volant, Kub, \nSaruyama Islands\nCodes > p. 172\n",39,{"image":170,"text":171,"number":172},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.40.png","Setting the Elegance\nVolant\nCodes > p. 172\npp. 076\n\u002F077\n",40,{"image":174,"text":175,"number":176},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.41.png","pp. 078\n\u002F079\nMafalda, Bohemian\nCodes > p. 172\nSetting the Elegance\n",41,{"image":178,"text":179,"number":180},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.42.png","Setting the Elegance\npp. 080\n\u002F081\nBohemian, Cloud\nCodes > p. 172\n",42,{"image":182,"text":183,"number":184},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.43.png","Setting the Elegance\npp. 082\n\u002F083\nRedondo, Fjord, 3 Nuns\nCodes >  p. 173\n \nRicerca di superficie che, se da un lato conferma il rapporto \nsimbiotico tra forma e rivestimento, dall’altro rappresenta un movimento\ninverso capace di far riemergere l’attitudine concettuale di alcuni \nprodotti iconici sedimentati nella memoria visiva di ognuno di noi. \nAffiora un mondo dove la pratica decorativa si appropria della forza \ncostruttiva e della vitalità conferita dalla pluralità dei linguaggi \nprogettuali. > p. 100\n",43,{"image":186,"text":187,"number":188},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.44.png","Setting the Elegance\nRedondo, Saruyama Island, \n3 Nuns\nCodes > p. 173\npp. 084\n\u002F085\n",44,{"image":190,"text":191,"number":192},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.45.png","pp. 086\n\u002F087\nRedondo, Saruyama Island, \n3 Nuns\nCodes > p. 173\nSetting the Elegance\n",45,{"image":194,"text":195,"number":196},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.46.png","Double Zero, Nanook\nCodes > p. 173\npp. 088\n\u002F089\nSetting the Elegance\n",46,{"image":198,"text":199,"number":200},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.47.png","Setting the Elegance\nDoodle, Kub\nCodes > p. 173\npp. 090\n\u002F091\n \nAs a study of surface decoration, Setting the Elegance both confirms \nthe symbiotic relationship between form and finish and, at the same \ntime, inversely  reveals the conceptual underpinnings of some iconic \nproducts rooted in our collective visual memory. What emerges is \na world in which decorative practice assumes a vital and constructive \nforce, conferred by the plurality of design languages employed.\n \nUne recherche de surface qui tout en confirmant, d’un côté, \nle rapport symbiotique entre forme et revêtement, de l’autre, représente \nun mouvement inverse capable de faire resurgir l’attitude conceptuelle \nde certains produits icônes sédimentés dans la mémoire visuelle \nde chacun de nous. C’est alors qu’émerge un monde où la pratique \ndécorative s’approprie de la force constructive et de la vitalité conférée \npar la pluralité des langages conceptuels. > p. 107\n",47,{"image":202,"text":203,"number":204},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.48.png","Setting the Elegance\nDoodle\nCodes > p. 173\npp. 092\n\u002F093\n",48,{"image":206,"text":207,"number":208},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.49.png","pp. 094\n\u002F095\nDoodle, Shanghai Tip\nCodes > p. 173\nSetting the Elegance\n",49,{"image":210,"text":211,"number":212},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.50.png","Setting the Elegance\nBerlin, Anywhere chair, \nSomewhere table\n\u002F22nd Floor collection\nCodes > p. 173\npp. 096\n\u002F097\n",50,{"image":214,"text":215,"number":216},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.51.png","Anywhere chair, Somewhere table \n\u002F22nd Floor collection\nCodes > p. 174\npp. 098\n\u002F099\nSetting the Elegance\n",51,{"image":218,"text":219,"number":220},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.52.png","Setting the Elegance\nBig Mama, Morning Glory\nCodes > p. 174\npp. 100\n\u002F101\n \nL’eccezione, così, è promossa a misura. L’eterogeneità della \nproduzione Moroso, da questa prospettiva, si coniuga perfettamente \na un modello di eleganza misurata, estremamente contemporanea, \nma al contempo ricca di valore intrinseco e di riferimenti classici. \nAlla tradizione delle sete e dei preziosi broccati di Rubelli si \ncontrappone la raffinata matericità delle lane e dei velluti della \ncollezione Kvadrat\u002FRaf Simons così come a lavorazioni prettamente \nindustriali si alternano ricercate confezioni artigianali. > p. 121\n",52,{"image":222,"text":223,"number":224},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.53.png","pp. 102\n\u002F103\nBig Mama, Morning Glory,\nClarissa\nCodes > p. 174\nSetting the Elegance\n",53,{"image":226,"text":227,"number":228},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.54.png","Setting the Elegance\nClarissa\nCodes > p. 174\npp. 104\n\u002F105\n",54,{"image":230,"text":231,"number":232},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.55.png","Setting the Elegance\nClarissa\nCodes > p. 174\npp. 106\n\u002F107\n \nThe exception thus becomes the guiding principle. From this \nperspective, the heterogeneity of Moroso’s production lends itself \nperfectly to a model of measured elegance, extremely contemporary, \nyet simultaneously rich in intrinsic qualities and classical references, \nas exemplified in the collection’s contrasting interplay between \nthe traditional silks and exquisite brocades employed by Rubelli and \nthe materiality of the fine wools and velvets employed by Raf Simons \nfor Kvadrat, and the alternating mix of industrially manufactured \nand finely finished artisan pieces.\n \nL’exception devient ainsi mesure. Le caractère hétérogène de la \nproduction Moroso, de ce point de vue, se conjugue parfaitement avec \nun modèle d’élégance mesurée, extrêmement contemporaine, mais \négalement riche d’une valeur intrinsèque et de références classiques. \nÀ la tradition des soies et des précieux brocarts de Rubelli s’oppose \nla texture raffinée des laines et des velours de la collection Kvadrat\u002FRaf \nSimons tout comme aux exécutions typiquement industrielles \ns’alternent les façonnages artisanaux les plus élaborés. > p. 122\n",55,{"image":234,"text":235,"number":236},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.56.png","Setting the Elegance\nVolant, Clarissa, \nSaruyama Island, Cloud\nCodes > p. 174\npp. 108\n\u002F109\n",56,{"image":238,"text":239,"number":240},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.57.png","Setting the Elegance\npp. 110\n\u002F111\nVolant, Saruyama Island, Fjord, \nWitch, Kub, Bloomy\nCodes > p. 174\n",57,{"image":242,"text":243,"number":244},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.58.png","Setting the Elegance\nPaper Planes\nCodes > p. 175\npp. 112\n\u002F113\n",58,{"image":246,"text":247,"number":248},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.59.png","(Love me) Tender\nCodes > p. 175\n\u002F115\nSetting the Elegance\npp. 114\n",59,{"image":250,"text":251,"number":252},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.60.png","(Love me) Tender, Pipe\nCodes >  p. 175\nSetting the Elegance\npp. 116\n\u002F117\n",60,{"image":254,"text":255,"number":256},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.61.png","Setting the Elegance\nMassas, Kub\nCodes > p. 175\npp. 118\n\u002F119\n",61,{"image":258,"text":259,"number":260},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.62.png","Setting the Elegance\nSilver Lake, Net\nCodes > p. 175\npp. 120\n\u002F121\n \nLusso autentico, dichiarato con il coraggio, la dedizione e la \nperseveranza che solo i visionari possono dedicare nel raggiungimento \ndell’eccellenza fino al dettaglio più piccolo, dimostrando che, \noltre ai cliché prestabiliti, alle etichette e alle definizioni, esistono \nmondi nuovi e meravigliosi.\n \nCiò che noi dobbiamo fare è solo volerli vedere.\n",62,{"image":262,"text":263,"number":264},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.63.png","Setting the Elegance\nMy Beautiful Backside, \nMoon, Nanook\nCodes > p. 175\npp. 122\n\u002F123\n \nThis collection is the quintessence of luxury, realized with \nthe courage, dedication and perseverance that only true visionaries can \ninvest, those whose quest for excellence is manifested in the finest \nof detail, who deftly show that beyond pre-established clichés, labels \nand definitions, there are new and wonderful worlds out there.\n \nAll we need to do is desire to explore them.\n \nLuxe authentique, déclaré avec le courage, le dévouement et \nla persévérance que seuls les visionnaires peuvent mettre en jeu pour \natteindre l’excellence jusqu’au plus petit détail, en démontrant \nqu’au-delà des clichés, des étiquettes et des définitions, il existe des \nmondes nouveaux et merveilleux.\n \nEt nous, ce que nous devons faire, c’est seulement vouloir les voir. \n",63,{"image":266,"text":267,"number":268},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.64.png","Setting the Elegance\nMy Beautiful Backside, \nFjord, Nanook\nCodes > p. 175\npp. 124\n\u002F125\n",64,{"image":270,"text":271,"number":272},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.65.png","Setting the Elegance\nMy Beautiful Backside\nCodes > p. 175\npp. 126\n\u002F127\n",65,{"image":274,"text":275,"number":276},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.66.png","Bold, Fjord, \nCloud, Fishbone, Net\nCodes > p. 176\nSetting the Elegance\n",66,{"image":278,"text":279,"number":280},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.67.png","\u002F131\npp. 130\nSetting the elegance\nViaggio dentro la Bellezza\nElena Commessatti\nMuseo Diocesano Udine\ngiugno 2015\n",67,{"image":282,"text":283,"number":284},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.68.png","\u002F133\nSetting the Elegance\npp. 132\nGalleria degli Ospiti, Giambattista Tiepolo \n— Museo Diocesano Udine\n \nC’è una sorta di risonanza magica nell’incontro \ncon la Bellezza, ed è tangibile, visibile. \nCi cattura all’improvviso, quando non la cerchi, \nquando non l’aspetti ti attraversa come una cometa \nattraversa il cielo, illuminante per sinergia o per \ncontrappunto. A volte le relazioni sono le più \ninusuali, tra i luoghi che la contengono e gli oggetti \nche la rappresentano. L’azienda Moroso ha spesso \nscelto i musei come il luogo in cui far rivivere \nil proprio lavoro: una riscrittura contemporanea \ne durevole nel tempo, dentro ciò che il tempo non \nha cancellato. Dipinti, sculture, acrobazie artistiche. \nEpigrafi. I musei sono vivi se li sai sorprendere.\n \nIl racconto inizia a Lione, in un giugno pieno \ndi sole del 2013, insieme a Maximilien Durand, \nbrillante direttore del Museo dei Tessuti e delle \nArti Decorative, e con una mostra, a cura di Patrizia \nMoroso e Marco Viola, dal titolo suggestivo: \nLo sguardo laterale (21 giugno\u002F1 settembre 2013). \nProtagonista: un semplice numero d’inventario, \n49489.6, e una buona idea. Capitato per caso come \na volte succede –sono gli oggetti che arrivano a te– \nquel numero, che è il codice di un disegno elaborato \na metà Settecento, è stato scelto da Moroso, \ncon l’aiuto di Giulio Ridolfo, per un ressettaggio \ndi eleganza. Setting the Elegance, appunto. \nL’idea per Moroso in quell’estate di suite francese, \n–e di amici al lavoro–, fu quella di creare una nuova \ncollezione con una nuova pelle. E fu Rubelli, \nla famosa azienda veneziana di tessuti, che rigenerò \nquella texture, fresca di colombe e fiori, spuntata \ndall’archivio del museo di Lione.\n \nDue anni dopo, eccoci a Udine, insieme \na Patrizia Moroso, Giulio Ridolfo, Marco Viola, \nper continuare l’atmosfera dorata dell’Europa \n“dei lumi”. Siamo al Museo Diocesano e alle Gallerie \ndel Tiepolo, nella dimora dei patriarchi Delfino, \narrivati da Venezia nel Settecento. I Delfino avevano \nchiamato a sé, per celebrare iconograficamente \nil loro potere, l’artista del momento: il loro \nconcittadino Giambattista Tiepolo, che nel palazzo \nora sede del museo affrescò stanze e soffitti, tra cui \nl’indimenticabile Galleria degli Ospiti (1727-1729). \nC’è una sorta di risonanza magica, dunque, \nnell’incontro con la Bellezza, ed è qui, con le creature \ndipinte dal Tiepolo che si manifesta con forza. \nIn questo spazio Patrizia Moroso fa dialogare \nle proprie creature di design contemporaneo con \nl’arte europea classica e chiude il viaggio iniziato \na Lione.\n \nIl Museo Diocesano a Udine è una sede dalle \nprospettive incantate, dove il colore rosso della Sala \ndel Trono inanella 2000 anni di storia religiosa nei \n116 ritratti dei patriarchi di Aquileia. Qui le curve \nsi concretizzano in poesia architettonica, e mi \nriferisco alla scala “a bovolo”, cioè a chiocciola, con \ncui si apre questa sezione del catalogo, realizzata \nda Domenico Rossi, l’artista allievo di Baldassare \nLonghena. Se alzate gli occhi, a incorniciare \nal soffitto minuti bestiari e vegetazione esotica, \nci sono le grottesche cinquecentesche di Giovanni \nda Udine, l’amico di Raffaello, sepolto con lui a \nRoma al Pantheon; nelle stanze vicine brillano gli \nazzurri e i gialli intensi della celebrazione patriarcale \npiù tarda. Siamo in un’onda piena di luce per \nintrecciare il mondo Moroso a quello della pennellata \nimpertinente del Tiepolo, con i cieli color delle \nnuvole, e le anime rosa degli abitanti degli affreschi. \nDa Lione a Udine, –e sempre nel Settecento per \ncoerenza filologica–, siamo in un viaggio con \npersonaggi del Mito, cani levrieri, allegorie. \nFrivole giovani ragazze. Nani e zucche. \nBambini dentro la rievocazione dei loro sacrifici. \nUna vecchia Sara senza denti che ascolta: diventerà \nmadre a oltre novant’anni. L’arcangelo Gabriele, \nin versione pop. Sudditi che canticchiano ai sovrani \nla ribellione nel gomitolo di un sorriso. \n \nSono i vezzi del Tiepolo. \n \nEgli è uno degli artisti italiani che meglio si legge \ncon gli occhi dell’oggi: contaminazioni che piacciono \nal mondo Moroso. (Leggete le poesie del caraibico \nDerek Walcott.) Qui, nel Museo Diocesano, cadono \nnello sguardo laterale le relazioni più inusuali con \nle vestizioni dei prodotti Moroso, dentro \nla seduzione dei tessuti di Raf Simons per Kvadrat \ne del ricco jacquard targato Rubelli. \n \nNon c’è nulla di certo se il dialogo lo realizza \nlo still-life di Patrizia. Tutto scivola in un nuovo \nracconto, con gli elementi sacri che bucano \nil racconto laico, come gli omaggi ai patriarchi \nattraverso la Bibbia. A volte le relazioni sono \nle più inusuali, tra i luoghi che le contengono e gli \noggetti che le rappresentano. Lione come Udine, \nFrancia dentro l’Italia, nei pensieri del design \ncontemporaneo. Un messaggio che esplode, \nportatore di Bellezza, raccoglitore di esperienze e di \nnovità. Un cortocircuito con il nervo del coraggio.   —\nViaggio dentro la Bellezza\n",68,{"image":286,"text":287,"number":288},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.69.png","Setting the Elegance\npp. 134\n\u002F135\nMuseo Diocesano Udine\n",69,{"image":290,"text":291,"number":292},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.70.png","\u002F137\nSetting the Elegance\npp. 136\n",70,{"image":294,"text":295,"number":296},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.71.png","pp. 138\n\u002F139\nSetting the Elegance\nMuseo Diocesano Udine\n \nThere is a kind of magical resonance that occurs \nin our encounter with Beauty, a palpable almost \nvisible resonance. It catches us unawares when we’re \nnot looking and least expect it, crossing our path \nlike a comet crosses the sky, illuminating synergies \nor counterpoints. And at times, the most unusual \nand unexpected relationships emerge between the \nobjects represented and the places that contain them. \nMoroso has often chosen the museum as a place in \nwhich to breathe new life into its work: reviving it \nand imbuing it with a lasting, contemporary twist by \njuxtaposing it with that which time has not erased: \npaintings, sculptures, artistic feats, and epigraphs. \nMuseums are living, breathing spaces if you know how \nto catch them by surprise.\n \nThe story begins on a sunny day in June, back in \n2013 at the Musées des Tissus et des Arts Décoratifs \nin Lyon, together with the museum’s brilliant \nand charismatic Director, Maximilien Durand, \non the occasion of the evocatively titled exhibition \nA Sideways Glance (June 21 - September 1, 2013) \ncurated by Patrizia Moroso and Marco Viola. \nThe protagonist of the piece is a simple inventory \nnumber (49489.6) and the idea it inspired. It often \nhappens that objects come to you rather than you go \nlooking for them, and so it happened when Patrizia \nMoroso chanced upon an elaborate design from \nthe mid-eighteenth century in the museum’s archives, \nwhose beauty and elegance so inspired her that, \ntogether with Giulio Ridolfo, she chose to revive \nand recreate it for a new setting - hence the title, \nSetting the Elegance. The idea that came to Patrizia \nand her work friends that joyful summer was to \nregenerate the 18th century design that had popped \nup in the museum archives in Lyon to upholster \na new collection. Then Rubelli, the world-renowned \nVenetian textile company, kindly offered to recreate \nthe texture of the design, with its sprigs of flowers, \nribbons, and turtle doves.  \n \nTwo years later, here we are in Udine, with \nPatrizia Moroso, Giulio Ridolfo, and Marco Viola, \nto recapture once again the golden atmosphere of \nEnlightenment Europe, here in the  Museo Diocesano \nand Gallerie del Tiepolo, the residence of the Delfino \npatriarchs, who arrived from Venice in the eighteenth \ncentury. To celebrate their power ichnographically, \nthe Delfino patriarchs called upon the artist of \nthe moment: their fellow countryman Giambattista \nTiepolo, who was commissioned to paint the frescoes \nthat adorn the walls and ceilings of the building \nthat now houses the museum, including those in the \nunforgettable Galleria degli Ospiti (1727 -1729). \nThere is, we said, a kind of magical resonance that \noccurs when we encounter Beauty, and here, amongst \nthe creatures painted by Tiepolo, it is palpably \npresent. In this space, Moroso creates an interplay \nbetween the company’s contemporary design \ncreations and examples of classical European art, \nbringing the journey Patrizia began in Lyon full circle.\n \nThe Museo Diocesano in Udine offers an \nenchanting setting, particularly the red Throne Room \n(Sala del Trono) whose walls display the 116 portraits \nof the patriarchs of Aquileia, thus embracing 2,000 \nyears of religious history. The curves of the interiors  \nare echoed in the architectural poetry of the staircase \nthat introduces this section of the catalogue, and I \nrefer here to the bovolo (spiral) staircase designed by \nDomenico Rossi, the artist and pupil of Baldassare \nLonghena. Looking up, tiny beasts and exotic \nvegetation frame the ceiling, the work of Giovanni \nda Udine, a master of sixteenth century grottesche, \nand a friend of Raphael, with whom he was buried \nin the Pantheon in Rome. Rooms decorated in \nthe bright, regal blues and yellows of later patriarchal \nceremony follow, offering the perfect setting for \nMoroso’s graceful furnishings. Next, we enter the \nglorious, light-filled spaces of the Galleria degli Ospiti \nwhere the world of Moroso harmoniously intertwines \nwith the bold brushstrokes of Tiepolo, whose frescoes \nof cloud-filled skies and pink-toned figures adorn \nthe walls and ceiling. From Lyon to Udine, our journey \ntakes us once more to an eighteenth century setting, \nthis time presenting us with frescoes replete with \nmythical figures, imaginary creatures, allegorical \nscenes, hounds, pumpkins, dwarfs, frivolous young \ngirls, children being offered as ceremonial sacrifice, \nand Biblical characters: the toothless old Sara \nreceiving the news that she will become a mother at \nover ninety years old; the Archangel Gabriel in pop \nart mode; regal subjects hiding their rebellious intent \nbehind the mask of a smile. \n \nThese are Tiepolo’s hallmarks. \n \nIn fact, he is one of the Italian artists who lends \nhimself most readily to contemporary interpretation, \nas the poems of the Caribbean Derek Walcott \ndemonstrate, and this is something the masters of \nartistic cross-pollination at Moroso find particularly \nappealing. Here, in the Diocesan Museum, one \nchances upon some truly unusual and unexpected \nsynergies in the juxtaposition of the interior \nfurnishings with Moroso’s pieces, here adorned \nin the sumptuous fabrics of Raf Simons (for Kvadrat) \nand Rubelli’s rich jacquard prints.  \n \nNothing is ever certain if Patrizia is \norchestrating the dialogue. With her ‘still-life’ eye \nfor composition, she weaves an entirely new visual \nnarrative through the interplay of the secular \nand the sacred, much like the tributes Tiepolo makes \nto the patriarchs through his Biblical scenes. \nAt times, the most unusual and unexpected \nrelationships emerge between the objects \nrepresented and the places that contain them. \nLike Lyon, like Udine, like France, like Italy: in the \nmindset of contemporary design, the conversation \nis fluid. Bearer of beauty, collector of experience, \nits message reverberates, creating an explosion \nof possibilities brimming with novelty and surprise. \nA short circuit with a steely nerve of courage.   — \nJourney into Beauty\n",71,{"image":298,"text":299,"number":300},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.72.png","\u002F141\npp. 140\nSetting the Elegance\nMuseo Diocesano Udine\nGalleria degli Ospiti, Giambattista  Tiepolo \n— Museo Diocesano Udine\n",72,{"image":302,"text":303,"number":304},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.73.png","Setting the Elegance\npp. 142\n\u002F143\nMuseo Diocesano Udine\nCodes > p. 176\n \nIl y a une sorte de résonnance magique dans \nla rencontre avec la Beauté, et elle est tangible, \nvisible. Elle nous ravit à l’improviste, quand on ne \nla cherche pas. Alors qu’on ne s’y attend pas, \nelle nous traverse comme une comète traverse le ciel, \nilluminante par synergie ou par contrepoint. \nParfois, les relations sont des plus inhabituelles, \nentre les lieux qui la contiennent et les objets qui \nla représentent. Moroso a souvent choisi les musées \ncomme le lieu où faire revivre son travail : \nune réécriture contemporaine et durable dans \nle temps, dans ce que le temps n’a pas effacé. \nPeintures, sculptures, acrobaties artistiques. \nÉpigraphes. Les musées sont vivants si nous savons \nles surprendre.\n \nLe récit commence à Lyon, en un mois de juin \n2013 ensoleillé, avec Maximilien Durand, brillant \ndirecteur du Musée des Tissus et des Arts décoratifs, \net avec une exposition, conçue par Patrizia Moroso \net Marco Viola, au titre suggestif : Le regard latéral \n(21 juin\u002F1er septembre 2013). Protagoniste : un simple \nnuméro d’inventaire, 49489.6, et une bonne idée. \nDécouvert par hasard comme c’est parfois le cas – ce \nsont les objets qui nous trouvent – ce numéro, qui est \nle code d’un dessin réalisé au milieu du XVIIIe siècle, \na été choisi par Moroso, avec l’aide de Giulio Ridolfo, \npour une réinvention d’élégance. \nSetting the Elegance, justement. \nL’idée pour Moroso durant cet été de Suite française, \n– et d’amis au travail –, fut celle de créer une nouvelle \ncollection avec une nouvelle peau. Et c’est Rubelli, \nle célèbre fabricant vénitien de tissus, qui régénéra \ncette fraîche texture, ornée de colombes et de fleurs, \nsurgie des archives du musée de Lyon.\n \nDeux ans après, nous voici à Udine, avec Patrizia \nMoroso, Giulio Ridolfo, Marco Viola pour perpétuer \nl’atmosphère dorée de l’Europe “des lumières”. \nNous sommes au Museo Diocesano e Gallerie \ndel Tiepolo, dans la demeure des patriarches Delfino \n(Dolfin), arrivés de Venise au XVIIIe siècle. \nPour célébrer iconographiquement leur pouvoir, les \nDelfino avaient fait appel à l’artiste du moment : leur \nconcitoyen Giambattista Tiepolo, qui dans le palais \nabritant aujourd’hui le musée, orna de fresques \nles murs et les plafonds, comme dans l’inoubliable \nGalleria degli Ospiti (1727-1729). \nIl y a donc une sorte de résonnance magique, dans la \nrencontre avec la Beauté, et c’est ici, avec les figures \npeintes par Tiepolo qu’elle se manifeste avec force. \nDans cet espace, Patrizia Moroso fait dialoguer \nses créatures de design contemporain avec l’art \neuropéen classique et conclut le voyage commencé \nà Lyon.\n \nLe Museo Diocesano à Udine est un lieu aux \nperspectives enchantées, où la couleur rouge \nde la Salle du Trône enchaîne 2000 ans d’histoire \nreligieuse dans les 116 portraits des patriarches \nd’Aquileia. Ici, les courbes se traduisent en poésie \narchitecturale, et je me réfère à l’escalier “a bovolo”, \nen colimaçon, qui inaugure cette section \ndu catalogue, œuvre de Domenico Rossi, élève \nde Baldassare Longhena.\nSi vous levez les yeux au plafond, les grotesques \npeints au XVIe siècle par Giovanni da Udine, l’ami \nde Raphaël et enterré avec lui à Rome au Panthéon, \naniment le décor de fins bestiaires et de rinceaux \nexotiques ; dans les pièces voisines, les bleus azur \net les jaunes intenses célèbrent l’apogée des \npatriarches maîtres des lieux. Nous sommes dans \nune vague pleine de lumière où le monde Moroso se \nmêle au trait impertinent de Tiepolo, avec les ciels \ncouleur de nuage et les âmes roses des personnages \ndes fresques. \nDe Lyon à Udine – et toujours au XVIIIe siècle par \ncohérence philologique – nous effectuons un voyage \navec des personnages du Mythe, des lévriers, des \nallégories. De jeunes femmes frivoles. Des nains \net des courges. Des enfants dans l’évocation de leurs \nsacrifices. Une vieille Sarah édentée qui écoute : elle \napprend qu’elle enfantera à plus de quatre-vingt-dix \nans. L’archange Gabriel, en version pop. Des sujets \nqui murmurent aux souverains la rébellion, dans \nle pli d’un sourire. \n \nCe sont les charmes de Tiepolo. \n \nIl est l’un des artistes italiens qui se lit mieux \navec les yeux d’aujourd’hui : des contaminations qui \nplaisent au monde Moroso. (Lisez les vers du poète \ncaribéen Derek Walcott.) Ici, dans le Museo \nDiocesano, notre regard latéral s’arrête sur les \nrelations les plus insolites qu’interprètent les \nrevêtements des produits Moroso, dans la séduction \ndes tissus de Raf Simons pour Kvadrat et du riche \njacquard signé Rubelli. \n \nRien n’est acquis si le dialogue passe par \nle still-life de Patrizia. Tout glisse dans une nouvelle \nnarration, où les éléments sacrés se mêlent au récit \nlaïc, comme les hommages aux patriarches à travers \nla Bible. Parfois, les relations sont des plus \ninhabituelles, entre les lieux qui les contiennent et \nles objets qui les représentent. Lyon comme Udine, \nla France dans l’Italie, dans les pensées du design \ncontemporain. Un message qui explose, porteur \nde Beauté, collecteur d’expériences et de nouveautés.\nUn court-circuit avec le nerf du courage. \nVoyage dans la Beauté\n",73,{"image":306,"text":307,"number":308},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.74.png","Textiles\nby Kvadrat + Rubelli\nCrafting\n",74,{"image":310,"text":311,"number":312},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.75.png","pp. 2\n\u002F3\nSetting the Elegance\npp. 02   \u002F03\nSetting the Elegance\nMoroso — Crafting\nSetting the Elegance\nMoroso — Crafting\n",75,{"image":314,"text":315,"number":316},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.76.png","pp. 4\n\u002F5\nSetting the Elegance\npp. 04   \u002F05\nSetting the Elegance\nMoroso — Crafting\nSetting the Elegance\nMoroso — Crafting\n",76,{"image":318,"text":319,"number":320},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.77.png","pp. 6\n\u002F7\nSetting the Elegance\npp. 06   \u002F07\nSetting the Elegance\nMoroso — Crafting\nSetting the Elegance\nMoroso — Crafting\n",77,{"image":322,"text":323,"number":324},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.78.png","pp. 8\n\u002F9\nSetting the Elegance\npp. 08   \u002F09\nSetting the Elegance\nMoroso — Crafting\nSetting the Elegance\nMoroso — Crafting\n",78,{"image":326,"text":327,"number":328},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.79.png","pp. 10\n\u002F11\nSetting the Elegance\npp. 10   \u002F11\nSetting the Elegance\nMoroso — Crafting\nSetting the Elegance\nMoroso — Crafting\n",79,{"image":330,"text":331,"number":332},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.80.png","pp. 12\n\u002F13\nSetting the Elegance\npp. 12   \u002F13\nSetting the Elegance\nMoroso — Crafting\nSetting the Elegance\nMoroso — Crafting\n",80,{"image":334,"text":335,"number":336},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.81.png","pp. 14\n\u002F15\nSetting the Elegance\npp. 14   \u002F15\nSetting the Elegance\nSetting the Elegance\nMoroso — Crafting\nMoroso — Crafting\n",81,{"image":338,"text":339,"number":340},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.82.png","pp. 16\n\u002F145\nSetting the Elegance\nTextiles\nby Kvadrat + Rubelli\nSetting the Elegance\nMoroso — Crafting\n",82,{"image":342,"text":343,"number":344},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.83.png","pp. 146\n\u002F147\nKvadrat\nArgo   112 — cod. A7803\nDesigner: Raf Simons\nPattern: SOLID\nComposition: 72% polyester + 28% polyamid\nWeight: 750 g\u002Flin.m — Width: 133 cm\nDesigner: Raf Simons\nPattern: ORGANIC\nComposition: 100% mohair\nWeight: 870 g\u002Flin.m — Width: 140 cm\nAstor   932 — cod. A2107\nArgo   982 — cod. A7804\nAstor   192 — cod. A2105\nKvadrat – Textiles\n",83,{"image":346,"text":347,"number":348},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.84.png","Setting the Elegance\npp. 148\n\u002F149\nHaakon 2   532 — cod. A5026\nHaakon 2   632 — cod. A5019\nHaakon 2   682 — cod. A5018\nHaakon 2   1350 — cod. A5017\nHaakon 2   222 — cod. A5028\nHaakon 2   482 — cod. A5025\nBalder 3   542 — cod. A7804\nHaakon 2   172 — cod. A5029\nDesigner: Raf Simons\nPattern: SOLID\nComposition: 68% new wool + 26% cotton \n+ 6% polyamid \nWeight: 685 g\u002Flin.m — Width: 140 cm\nDesigner: Raf Simons\nPattern: SOLID\nComposition: 100% mohair \nWeight: 820 g\u002Flin.m — Width: 140 cm\nKvadrat\nKvadrat – Textiles\n",84,{"image":350,"text":351,"number":352},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.85.png","Setting the Elegance\npp. 150\n\u002F151\nHarald 2   722 — cod. A7790\nHarald 2   952 — cod. A7794\nHarald 2   942 — cod. A7793\nPillar   411 — cod. A7940\nDesigner: Raf Simons\nPattern: SOLID\nComposition: 100 % mohair (pile) \nWeight: 1330 g\u002Flin.m — Width: 140 cm\nHarald 2   212 — cod. A7778\nHarald 2   432 — cod. A7781\nHarald 2   382 — cod. A7780\nHarald 2   612 — cod. A7785\nDesigner: Raf Simons\nPattern: SOLID\nComposition: 100% cotton\nWeight: 520 g\u002Flin.m — Width: 140 cm\nKvadrat\nKvadrat – Textiles\n",85,{"image":354,"text":355,"number":356},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.86.png","Setting the Elegance\npp. 152\n\u002F153\nPilot   552 — cod. A7805\nPilot   972 — cod. A7806\nPilot   772 — cod. A7808\nSonar 1   132 — cod. A7809\nDesigner: Raf Simons\nPattern: SOLID\nComposition: 82% new wool + 10% polyester \n+ 8% polyamid \nWeight: 830 g\u002Flin.m — Width: 150 cm\nDesigner: Raf Simons\nPattern: GEOMETRIC\nComposition: 59% new wool + 25% viscose + 9% linen \n+ 5% polyamid + 2% polyester \nWeight: 740 g\u002Flin.m — Width: 150 cm\nPillar   461 — cod. A7942\nPillar   731 — cod. A7944\nPillar   621 — cod. A7943\nPillar   981 — cod. A7945\nKvadrat\nKvadrat – Textiles\n",86,{"image":358,"text":359,"number":360},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.87.png","pp. 154\n\u002F155\nSetting the Elegance\nVidar 2   542 — cod. A4072\nVidar 2   622 — cod. A4073\nVidar 2   554 — cod. A4708\nVidar 2   932 — cod. A4074\nDesigner: Raf Simons & Fanny Aronsen\nPattern: SOLID\nComposition: 94% new wool + 6% polyamid\nWeight: 765 g\u002Flin.m — Width: 140 cm\nSonar 2   553 — cod. A7913\nSonar 2   653 — cod. A7914\nSonar 2   633 — cod. A7802\nSonar 2   773 — cod. A7915\nKvadrat\nKvadrat – Textiles\n",87,{"image":362,"text":363,"number":364},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.88.png","pp. 156\n\u002F157\nSetting the Elegance\nDonna Fugata   bronzo — cod. A7760\nDonna Fugata   malachite — cod. A7752\nDonna Fugata   avorio — cod. A7750\nDonna Fugata   argilla — cod. A7751\nCollection: Rubelli Venezia \nComposition: 88% silk + 12% viscosa \nReproduction: 62 cm \nWidth: 138 cm — Weight: 340 gr\u002Fm\nEMBROIDERY \nBloody Mary   giallo — cod. A7757\nBloody Mary   pavone — cod. A7754\nBloody Mary   grigio — cod. A7756\nBloody Mary   tortora — cod. A7755\nCollection: Rubelli Venezia \nComposition: 100% cotton\nReproduction: 58 cm \nWidth: 150 cm — Weight: 580gr\u002Fm\nPRINT\nRubelli\nRubelli – Textiles\n",88,{"image":366,"text":367,"number":368},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.89.png","pp. 158\n\u002F159\nSetting the Elegance\nKusary   argento — cod. A7745\nGritti   oro — cod. A7761\nGritti   acqua — cod. A7758\nGritti   avorio — cod. A7753\nCollection: Rubelli Venezia \ncomposition: 100% polyester Trevira CS\nWidth: 135 cm — Weight: 390 gr\u002Fm\nTEXTURE\nCollection: Rubelli Venezia \nComposition: 38% cotton + 33% acrylic + 29% cupro\nReproduction: 81 cm \nWidth: 140 cm — Weight: 340 gr\u002Fm\nJACQUARD\nGropius   bordeaux — cod. A7979\nCollection: Rubelli Venezia \nComposition: 76% spun rayon + 24% cotton\nReproduction: 16 cm \nWidth: 135 cm — Weight: 930 gr\u002Fm\nJACQUARD VELVET\nGong   rame — cod. A7960\nDorian Grey   pietra — cod. A7982\nFedora   moro — cod. A7965\nCollection: Rubelli Venezia \nComposition: 49% polyamide + 24% cotton \n+ 17% silk + 10% acrylic\nPrint \u002F Reproduction: 87 cm \nWidth: 135 cm — Weight: 540 gr\u002Fm\nCHENILLE JACQUARD\nCollection: Rubelli Venezia \nComposition: 70% cotton + 30% polyamide \nReproduction: 44 cm \nWidth: 135 cm — Weight: 490 gr\u002Fm\nHAMMERED SATIN\nCollection: Rubelli Venezia \nComposition: 100% cotton\nReproduction: 58 cm \nWidth: 150 cm — Weight: 580 gr\u002Fm\nPRINT \nRubelli\nRubelli – Textiles\n",89,{"image":370,"text":371,"number":372},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.90.png","pp. 160\n\u002F161\nSetting the Elegance\nLady Hamilton   acqua — cod. A7765\nLady Hamilton   corallo — cod. A7723\nLady Hamilton   pesco — cod. A7763\nLady Hamilton   limone — cod. A7764\nCollection: Rubelli Venezia \nComposition: 35% acetate + 23% silk + 16% cotton \n+ 13% linen + 13% polyester metallized\nReproduction: 85 cm \nWidth: 140 cm — Weight: 370 gr\u002Fm\nBROCADE\nKusary   rame — cod. A7748\nKusary   stagno — cod. A7749\nKusary   oro — cod. A7747\nKusary   bronzo — cod. A7653\nRubelli\nRubelli – Textiles\n",90,{"image":374,"text":375,"number":376},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.91.png","pp. 162\n\u002F163\nSetting the Elegance\nCollection: Rubelli Venezia \nComposition: 100% polyester\nWidth: 130 cm — Weight: 720 gr\u002Fm\nTEXTURE\nCollection: Rubelli Venezia \nComposition: 56% polyester + 44% polyamide\nReproduction: 29 cm \nWidth: 135 cm — Weight: 320 gr\u002Fm\nJACQUARD\nSing   cotto — cod. A7881\nSing   argento — cod. A7893\nPerù   corallo — cod. A7977\nSing   ebano — cod. A7894\nPanama   oro vecchio — cod. A7974\nPanama   smeraldo — cod. A7975\nMadame du Barry   classica — cod. A7799\nMartora   smeraldo — cod. A7775\nCollection: Rubelli Venezia \nComposition: 100% polyester\nWidth: 145 cm — Weight: 600 gr\u002Fm\nPLAIN VELVET\nCollection: Rubelli Venezia \nComposition: 65% spun rayon + 12% cotton \n+ 12% silk + 8% acetate + 3% polyester metallized\nReproduction: 93 cm\nWidth: 135 cm — Weight: 760 gr\u002Fm\nBROCADE\nCollection: Rubelli Venezia \nComposition: 100% polyester\nWidth: 140 cm — Weight: 730 gr\u002Fm\nTEXTURE\nRubelli\nRubelli – Textiles\n",91,{"image":378,"text":379,"number":380},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.92.png","pp. 164\n\u002F165\nSetting the Elegance\nVenier   giallo — cod. A7886\nVenier   argilla — cod. A7884\nVenier   piombo — cod. A7885\nVenier   argento — cod. A7883\nCollection: Rubelli Venezia \nComposition: 40% cotton + 26% cupro + 15% spun rayon \n+ 13% acetate + 3% polyester metallized + 3% metal\nReproduction: 51 cm \nWidth: 140cm — Weight: 380gr\u002Fm\nJACQUARD\nVenier   rosa — cod. A7882\nSing   peltro — cod. A7896\nSing   muschio — cod. A7897\nSing   legno di rosa — cod. A7895\nRubelli\nRubelli – Textiles\n",92,{"image":382,"text":383,"number":384},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.93.png","pp. 166\n\u002F167\nSetting the Elegance\nVelours Décontracté   acier — cod. A8135\nVelours Décontracté   laguna\n— cod. A7925\nVelours Décontracté   acquamarina \n— cod. A8132\nCollection: Dominique Kieffer\nComposition: 61% acrylic + 19% cotton \n+ 10% polyester + 10% spun rayon\nWidth: 135 cm — Weight: 590 gr\u002Fm\nVELVET\nVenier   ardesia — cod. A7890\nVenier   lampone — cod. A7888\nVenier   acqua — cod. A7889\nVenier   ossido — cod. A7887\nRubelli\nRubelli – Textiles\n",93,{"image":386,"text":387,"number":388},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.94.png","Setting the Elegance\n\u002F169\npp. 168\nLo sguardo laterale. \nMoroso, une recherche entre \nArts décoratifs et Design\n \np. 007\nKlara armchair — KL0490\nby Patricia Urquiola, 2010\nRubelli Madame du Barry — A7799\n+ Kvadrat Divina 3 636 — A0927\nstructure: natural beech\n \np. 008  \nAntibodi armchair — AB0256\nby Patricia Urquiola, 2006\nRubelli Madame du Barry — A7799\n+ petals from the high left side on\nKvadrat Divina md 203 — A5867 \n+ 653 — A5856 + 613 — A5868 + \n843 — A5853 + 783 — A5878 + 713 \n— A5877 + Divina 3 552 — A0903 \n+ 966 — A0971 + Divina md 203 \n— A5867 + Divina melange 2 731 — \nA3349 + Divina md 203 — A5867 \n+ 433 — A5857 + 633 — A5870 + \n733 — A5876 + 673 — A5871 + 613 \n— A5868 + 843 — A5853 + 783 — \nA5878 + Divina 3 462 — A0902\nSetting the Elegance\n \np. 013 \nVolant armchair — VO0 295\nby Patricia Urquiola, 2007\nRubelli Madame du Barry — A7799\nband: Units 3 Uniforms — A7392\nbase: gold chrome\nChandigarh armchair — CH1001\nby Doshi+Levien, 2012\nRubelli Madame du Barry — A7799\ntrim: leather Blush Cirè Z B218\nbase: oxidored\nFjord Relax armchair — FJ003G\nby Patricia Urquiola, 2002\nRubelli Madame du Barry — A7799 \nquilt+ leather Blush Cirè Z B218\nzip: oxidored\nbase: sand grey\nFjord stool — FJ0214\nby Patricia Urquiola, 2002\nRubelli Madame du Barry — A7799\ntop: leather Oil Cirè Z B211\nFjord stool — FJ0017\nby Patricia Urquiola, 2002\nRubelli Madame du Barry — A7799\ntop: leather Blush Cirè Z B218\nSmock armchair — SM00VT\nby Patricia Urquiola, 2005\nRubelli Madame du Barry — A7799\nbase: oxiderd\nBohemian armchair — BH0001\nby Patricia Urquiola, 2008\nRubelli Madame du Barry — A7799\n+ Units 3 Uniforms — A7391\nbase: sand grey\nPaper Planes right high \narmchair — special edition\nby Doshi+Levien, 2010\nRubelli Madame du Barry — A7799\n+ Remix 653 — A4356\npiping: leather Bone \nWhite Z B212\n \np. 014\nFjord Relax armchair — FJ03K\nby Patricia Urquiola, 2002\nKvadrat Astor 192 — A2105 + \nKvadrat Divina 3 191 — A0914\nbase: black\nFjord stool — FJ0017\nby Patricia Urquiola, 2002\nRubelli Madame du Barry — A7799\ntop: leather Blush Cirè Z B218\nSmock armchair — SM00VT\nby Patricia Urquiola, 2005\nRubelli Madame du Barry — A7799\nbase: oxiderd\nBohemian armchair — BH0001\nby Patricia Urquiola, 2008\nRubelli Madame du Barry — A7799 \n+ Units 3 Uniforms — A7391\nbase: sand grey\n \npp. 016  \u002F017\nFjord Relax armchair — FJ003G\nby Patricia Urquiola, 2002\nRubelli Madame du Barry — A7799 \nquilt\n+ leather Blush Cirè Z B218\nzip: oxidored; base: sand grey\nChandigarh armchair — CH1001\nby Doshi+Levien, 2012\nRubelli Madame du Barry — A7799\ntrim: leather Blush Cirè Z B218\nbase: oxidored\nFjord stool — FJ0017\nby Patricia Urquiola, 2002\nRubelli Madame du Barry — A7799\ntop: leather Blush Cirè Z B218\nRich cushion sofa — RI006K\nby Antonio Citterio, 1989\nleather Magia T B194\nAmerica cushion — AG004K\nRubelli Venier 30082-003 rosa — \nA7882\nAmerica cushion — AG0080\nRubelli Lady Hamilton 30079-003 \npesco — A7763\nRubelli Donna Fugata 30090-\n002 argilla — A7751Rubelli Sing \n30060-016 legno \ndi rosa — A7895\n \np. 019 \nRich cushion sofa — RI006K\nby Antonio Citterio, 1989\nleather Magia — B0194\nGentry cushion — GE0531\nKvadrat Haakon 2 682 — A5018\nMoon armchair metallic — \nMU0361\nby Tokujin Yoshioka, 2011\nbronze \nAmerica cushion — AG004K\nRubelli Sing 30060-08 ebano — \nA7894\n \npp. 020  \u002F021\nRich cushion armchair — \nRI006S\nby Antonio Citterio, 1989\nleather Chartreuse cirè Z B214\nFjord Relax armchair — FJ003K\nby Patricia Urquiola, 2002\nKvadrat Astor 932 — A2107\n+ leather Chartreuse Cirè Z B214\nbase: black\nMoon armchair metallic — \nMU0361\nby Tokujin Yoshioka, 2011\ntitanium\n \npp. 022  \u002F023\nVolant sofa — VO0297\nby Patricia Urquiola, 2007\nRubelli Venier 30082-04 argento \n— A7883\nband: Dominique Kieffer by Rubelli \nVelours Decontractè 17209-003 \nacier — A7898 \nbase: chrome steel\nAmerica cushion — AG0080 \nRubelli Lady Hamilton 30079-003 \npesco — A7763\nRubelli Venier 30082-010 giallo — \nA7886\nRubelli Donna Fugata 30090-001 \navorio — A7750\nAmerica cushion — AG004K \nRubelli Venier 30082-003 rosa — \nA7882\nDominique Kieffer by Rubelli \nVelours Decontractè 17209-10 \nlaguna — A7925\nKvadrat Argo 112 — A7803\nFjord Relax armchair — FJ003K\nby Patricia Urquiola, 2002\nKvadrat Astor 932 — A2107\nleather Chartreuse Cirè Z B214\nbase: black\nMoon armchair metallic — \nMU0361\nby Tokujin Yoshioka, 2011\ntitanium\nCapitello stool — CP0057 \nby Rajiv Saini, 2009\nlotus\n \npp. 024  \u002F025\nVolant sofa — VO0297\nby Patricia Urquiola, 2007\nRubelli Venier 30082-04 argento \n— A7883\nband: Dominique Kieffer by Rubelli \nVelours Decontractè 17209-03 acier \n— A7898\nbase: chrome steel\nAmerica cushion — AG0080 \nRubelli Lady Hamilton 30079-003 \npesco — A7763\nRubelli Venier 30082-010 giallo — \nA7886\nRubelli Donna Fugata 30090-001 \navorio — A7750\nAmerica cushion — AG004K \nRubelli Venier 30082-003 rosa — \nA7882\nDominique Kieffer by Rubelli \nVelours Decontractè 17209-10 \nlaguna — A7925\nKvadrat Argo 112 — A7803\n \npp. 026  \u002F027\nVolant sofa — VO0297\nby Patricia Urquiola, 2007\nRubelli Venier 30082-04 argento \n— A7883\nband: Velours Decontractè 17209-\n03 acier — A7898\nbase: chrome steel\nAmerica cushion — AG0080 \nRubelli Lady Hamilton 30079-003 \npesco — A7763\nRubelli Venier 30082-010 giallo — \nA7886\nRubelli Donna Fugata  30090-001 \navorio — A7750\nAmerica cushion — AG004K \nRubelli Venier 30082-003 rosa — \nA7882\nDominique Kieffer by Rubelli \nVelours Decontractè 17209-10 \nlaguna — A7925\nKvadrat-Argo 112 — A7803\nPaper Planes left high armchair\n— special edition\nby Doshi+Levien, 2010\nfront covering: Rubelli Donna \nFugata 30090-003 bronzo — \nA7760\nback covering: Rubelli Venier \n30082-007 piombo — A7885\npiping: leather Bone Cirè Z B212\nMoon armchair metallic — \nMU0361\nby Tokujin Yoshioka, 2011\nblack iron\nAnomaly stool — AN1017\nby Front, 2013\n \npp. 028  \u002F029\nAmerica sofa — AG0003\nby Moroso, 1974\nStory Tellings — A5269\nPaper Planes armchair — \nA0000\nby Doshi+Levien, 2010\nfront covering: Rubelli Donna \nFugata 30090-003 bronzo — \nA7760\nback covering: Rubelli Venier \n30082-007 piombo — A7885\npiping: leather Bone Cirè Z B212\nAmerica cushion — AG0080\nRubelli Bloody Mary 30092-001 \ngrigio — A7756\nRubelli Donna Fugata 30090-003 \nbronzo — A7760\nAmerica cushion — AG004K\nRubelli Venier 30082-020 ardesia \n— A7890\nKvadrat Pillar 411 — A7940\nKub stool — KU0325 + KU0326 \nby Nendo, 2009\nextrawhite\n \npp. 030  \u002F031\nAdriano sofa — AD0018\nby Moroso, 1996\nRubelli Kusary 30095-06 stagno \n— A7749\nAmerica cushion — AG004K\nKvadrat-Argo 112 — A7803\nDominique Kieffer by Rubelli \nVelours Decontractè 17209-010 \nlaguna — A7925\nAmerica cushion — AG0080\nKvadrat Pillar 621 — A7943\nRubelli Sing 30060-017 peltro — \nA7896\nAmerica cushion — AG080\nRubelli Martora 30072-027 \nsmeraldo — A7775\nRubelli Lady Hamilton 30079-003 \npesco — A7763\nRubelli Sing 30060-016 legno di \nrosa — A7895\nAmerica cushion — AG004K\nRubelli Venier 30082-006 avorio \n— A7884\n \npp. 032  \u002F033\nCodes\n",94,{"image":390,"text":391,"number":392},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.95.png","pp. 170\n\u002F171\nSetting the Elegance\nBig Mama armchair — BI00N1 \nby Massimo Iosa Ghini, 1992\nRubelli Lady Hamilton 30079-006 \nacqua — A7765\nfeet: beech stained light\nAmerica sofa — AG0022 + \nAG0023\nRubelli Kusary 30095-006 stagno \n— A7749\nAmerica cushion — AG0080\nRubelli Bloody Mary 30092-002 \ntortora — A7755\nRubelli Venier 30082-016 acqua — \n2A7889\nAmerica cushion — AG004K\nRubelli Venier 30082-006 avorio \n— A7884\nRubelli Lady Hamilton 30079-006 \nacqua — A7765\nMoon armchair metallic — \nMU0361\nby Tokujin Yoshioka, 2011\nbronze\nCloud low table — special \nedition CL0 T62 + T60\nby Nendo, 2013\n \npp. 034  \u002F035\nBig Mama armchair — BI00N1 \nby Patricia Urquiola, 2008\nRubelli Lady Hamilton 30079-006 \nacqua — A7765\nfeet: beech stained light\nCloud low table — special \nedition CL0 T62 + T60\nby Nendo, 2013\nMoon armchair metallic — \nMU0361\nby Tokujin Yoshioka, 2011\nbronze, copper, titanium\n \np. 037\nNo Waste table — NW006U\nby Ron Arad, 2004\nvarnished oxidized copper\nDiatom chair — DT001F\nby Ross Lovegrove, 2014\nmetallic copper\nMoon armchair metallic — \nMU0361\nby Tokujin Yoshioka, 2011\nbronze, copper, titanium\n \np. 038\nNo Waste table — NW006U\nby Ron Arad, 2004\nvarnished oxidized copper\nDiatom chair — DT001F\nby Ross Lovegrove, 2014\nmetallic copper\n \npp. 040  \u002F041\nAcqua Alta sofa system — \nspecial project\nby Zanellato+Bortotto, 2004\nRubelli Kusari argento — 25A336\n \npp. 042  \u002F043\nNo Waste table — NW006U\nby Ron Arad, 2004\nvarnished oxidized copper\nBerlin armchair — BE001C\nby Moroso, 1988\nRubelli Venezia Gritti 30080-009 \nacqua — A7758\nRubelli Venezia Bloody Mary \n30092-005 pavone — A7754\nBerlin chair — BE001D\nby Moroso, 1988\nStory Tellings — A5269\n \npp. 044  \u002F045\nMiss sofa — MS0003\nby Enrico Franzolini, 2003\nKvadrat Haakon 2 172 — A5029 \n+ leather Lava — T B115\nstucture: ash grey oak\nMiss armchair — MS0001\nby Enrico Franzolini, 2003\nleather T 122 Affresco \nstructure: ash grey oak\nMorning Glory table — MG006H\nby Marc Thorpe, 2014\nocean blue\nAmerica cushion — AG004K\nRubelli Lady Hamilton 30079-006 \nacqua — A7765\n \npp. 046  \u002F047\nMiss sofa — MS0003\nby Enrico Franzolini, 2003\nKvadrat Haakon 2 172 — A5029 \n+ leather Lava — T B115\nstucture: ash grey oak\nMoon armchair metallic — \nMU0361\nby Tokujin Yoshioka, 2011\ntitanium\nMorning Glory table — MG006H\nby Marc Thorpe, 2014\nocean blue\nBikini Island table — BK106U\nby Werner Aisslinger, 2013\ntop: galvanized copper; base: sand \ngrey\nPhoenix table — PH00HG\nby Patricia Urquiola, 2004\ntop: light-dark rift; base: black \nmatt oak\nAmerica cushion — AG004K\nRubelli Lady Hamilton 30079-006 \nacqua — A7765\nGentry cushion — GE0531\nSurfaces 5 — A5712\n \np. 049\nNovecento sofa — NS0078\nby Massimo Iosa Ghini, 1989\nleather Blush cirè Z B218\nbase: stained dark beech\nAmerica cushion — AG0080 \nRubelli Donna Fugata 30090-002 \nargilla — A7751\n \npp. 050  \u002F051\nNovecento sofa — NS0078\nby Massimo Iosa Ghini, 1989\nleather Blush cirè Z B218\nbase: stained dark beech\nWitch chair — TB0 132\nby Tord Boontje, 2004\nleather Off White Z B255\nTia Maria table — TI0T75\nby Enrico Franzolini, 2012\nRAL 7030 concrete\nBon Bon table — BB0229\nby Tord Boontje, 2004\nmirror printed white + white base\nFjord stool — FJ0017\nby Patricia Urquiola, 2002\nRubelli Madame du Barry — A7799\ntop: leather Blush Cirè Z B218\nAmerica cushion — AG0080 \nRubelli Donna Fugata 30090-002 \nargilla — A7751\nAmerica cushion — AG004K\nRubelli Sing 30060-008 ebano — \nA7894\nFergana cushion — FE0529\nRubelli Lady Hamilton 30079-003 \npesco — A7763\n \np. 053 \nNewTone sofa — NT005B\nby Massimo Iosa Ghini, 1989\nKvadrat Haakon 2 222 — A5028\nAmerica cushion — AG080\nRubelli Lady Hamilton 30079-003 \npesco — A7763\nKvadrat Pillar 621 — A7943\n \np. 054 \nNewTone sofa — NT005B\nby Massimo Iosa Ghini, 1989\nKvadrat Haakon 2 222 — A5028\n \npp. 056  \u002F057\nNewTone sofa — NT005B\nby Massimo Iosa Ghini, 1989\nKvadrat Haakon 2 222 — A5028\nNewTone armchair — NT005X\nKvadrat Haakon 2 222 — A5028\nAnomaly stool — AN1017\nby Front, 2013\nAmerica cushion — AG004K\nKvadrat Argo 112 — A7803\nAmerica cushion — AG0080\nRubelli Lady Hamilton 30079-003 \npesco — A7763\n \npp. 058  \u002F059\nNewTone sofa — NT005B\nby Massimo Iosa Ghini, 1989\nKvadrat Haakon 2 222 — A5028\nAmerica cushion — AG0080\nRubelli Kusary 30095-003 bronzo \n— A7653\nAmerica cushion — AG004K\nKvadrat Argo 112 — A7803\nRubelli Venier 30082-013 ossido \n— A7887\nRift armchair — RF0001\nby Patricia Urquiola, 2009\nRubelli Gropius 30124-005 \nbordeaux — A7979\nNanook table — NA006X\nby Philippe Bestenheider, 2008\ngold chromed\n \np. 061 \nNewTone sofa — NT005G\nby Massimo Iosa Ghini, 1989\nKvadrat Haakon 2 1350 — A5017\nFjord stool — FJ0214\nby Patricia Urquiola, 2002\nRubelli Madame du Barry — A7799 \ntop: leather oil cirè Z B211\nAmerica cushion — AG0080\nRubelli Sing 30060-008 ebano — \nA7894\nRubelli Lady Hamilton 30079-006 \nacqua — A7765\n \npp. 062  \u002F063\nNewTone sofa — NT005G\nby Massimo Iosa Ghini, 1989\nKvadrat Haakon 2 1350 — A5017\nFjord Relax armchair — FJ03K\nby Patricia Urquiola, 2002\nKvadrat Astor 192 — A2105\n + Kvadrat Divina 3 191 — A0914\nbase: black\nMoon armchair lacquered — \nMU0161\nby Tokujin Yoshioka, 2011\ntraffic red\nMoon armchair metallic — \nMU0361\nby Tokujin Yoshioka, 2011\nbronze\n \npp. 064  \u002F065\nMassas sofa composition — \nMA1E50 + MA1E51\nby Patricia Urquiola, 2012\nKvadrat Haakon 2 482 — A5025 \nFjord armchair — FJ03K\nby Patricia Urquiola, 2002\nKvadrat Astor 192 — A2105 \n+ Kvadrat Divina 3 191 — A0914\nbase: black\nFjord Relax armchair — FJ003G\nby Patricia Urquiola, 2002\nRubelli Madame du Barry — A7799 \nquilt + leather blush cirè Z B218\nzip: oxidored; base: sand grey\nCapitello stool — special \nedition CP0057\nby Rajiv Saini, 2009\nFjord stool — FJ0214\nby Patricia Urquiola, 2002\nRubelli Madame du Barry — A7799\ntop: leather oil cirè Z B211\n \npp. 066  \u002F067\nMassas sofa composition — \nMA1E50 + MA1E51\nby Patricia Urquiola, 2012\nKvadrat Haakon 2 482 — A5025\nCodes\n",95,{"image":394,"text":395,"number":396},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.96.png","pp. 172\n\u002F173\nSetting the Elegance\nFjord Relax armchair — FJ003G\nby Patricia Urquiola, 2002\nRubelli Madame du Barry — A7799 \nquilt + leather Blush Cirè Z B218\nzip: oxidored; base: sand grey\nFjord stool — FJ0214\nby Patricia Urquiola, 2002\nRubelli Madame du Barry — A7799\ntop: leather oil cirè Z B211\n \npp. 068  \u002F069\nBig Mama armchair — BI00N1\nby Massimo Iosa Ghini, 1992\nRubelli Lady Hamilton 30079-006 \nacqua — A7765\nfeet: beech stained light\nMassas sofa composition — \nMA1E50 + MA1E51\nby Patricia Urquiola, 2012\nKvadrat Haakon 2 482 — A5025\nAmerica cushion — AG004K\nRubelli Kusary 30095-004 rame \n— A7748\nRubelli Lady Hamilton 30079-006 \nacqua — A7765\nBikini Island table — BK106U\nby Werner Aisslinger, 2013\ntop: galvanized copper; base: sand \ngrey\n \np. 071\nPrint sofa — PD0018\nby Marcel Wanders, 2005\nRubelli Martora 30072-027 \nsmeraldo — A7775\nGentry cushion — GE004K\nKvadrat Haakon 2 682 — A5018\nAmerica cushion — AG0080\nKvadrat Pillar 621 — A7943\nRubelli Donna Fugata 30090-005 \nmalachite — A7752\nAmerica cushion — AG004K\nKvadrat Harald 2 942 — A7793\nKub stools — KU0327\nby Nendo, 2009\nKvadrat Harald 2 552 — A7783\nTia Maria armchair — TI00FZ\nby Enrico Franzolini, 2012\nKvadrat Haakon 2 482 — A5025\nMoon armchair lacquered — \nMU0161 traffic red\nby Enrico Franzolini, 2012\n \np. 073\nPrint sofa — PD0018 \nby Marcel Wanders, 2005\nRubelli Martora 30072-027 \nsmeraldo — A7775\nAmerica cushion — AG0 080\nKvadrat Pillar 621 — A7943\nRubelli Donna Fugata 30090-005 \nmalachite — A7752\nAmerica cushion — AG004K\nKvadrat Harald 2 942 — A7793\n \npp. 074  \u002F075\nOrazio sofa — OR0003\nby Moroso, 1996\nKvadrat Sonar 2 633 — A7802\nAmerica cushion — AG004K\nRubelli Venier 30082-020 ardesia \n— A7890\nRubelli Sing 30060-003 argento \n— A7893\nRubelli Venier 30082-003 rosa —\nA7882\nAmerica cushion — AG0080\nRubelli Donna Fugata 30090-001 \navorio — A7750\nRubelli Sing 30060-016 legno di \nrosa — A7895\nRubelli Lady Hamilton 30079-003 \npesco — A7763\nRubelli Kusary 30095-006 stagno \n— A7749\nVolant armchair — VO0295 \nby Patricia Urquiola, 2007\nRubelli Donnafugata 30090-005 \nmalachite — A7752\n+ Rubelli Venier 30082-04 argento \n— A7883\nband: Dominique Kieffer by Rubelli \nVelours Decontractè 17209-010 \nlaguna — A7925\nKub stool — KU0325 + KU0326 \nby Nendo, 2009\nextrawhite\nSaruyama Islands stool — \nS40214\nby Toshiyuki Kita, 2006\nKvadrat Harald 2 612 — A7785 \n+ Kvadrat Sonar 2 653 — A7914\n \npp. 076  \u002F077\nVolant armchair — VO0295 \nby Patricia Urquiola, 2007\nRubelli Donna Fugata  30090-005 \nmalachite — A7752\n+ Rubelli Venier 30082-04 argento \n— A7883\nband: Dominique Kieffer by Rubelli \nVelours Decontractè 17209-010 \nlaguna — A7925\nFergana cushion — \nFE0529Rubelli Lady Hamilton \n30079-003 pesco — A7763\nAmerica cushion — AG0080 \nRubelli Donnafugata 30090-001\navorio — A7750\nAmerica cushion — AG004K\nRubelli Venier 30082-020 ardesia \n— A7890\n \npp. 078  \u002F079\nBohemian sofa — BH00VZ\nby Patricia Urquiola, 2008\nleather Caramello Cirè Z B240 + \nBlur fabric Taupe\u002FGinger — A7994\nGentry cushion — GE0 531\nRubelli Donna Fugata 30090-005 \nmalachite — A7752\nAmerica cushion — AG0080\nRubelli Kusary 30095-003 bronzo \n— A7653\nAmerica cushion — AG004K\nRubelli Venier 30082-013 ossido \n— A7887\nMafalda armchair — MA2061\nRubelli Panama 30127-008 oro \nvecchio — A7974\nstructure: natural oak oiled\nRubelli Panama 30127-013 \nsmeraldo — A7975\nstructure: natural oak oiled\n \npp. 080  \u002F081\nBohemian sofa — BH00VZ\nby Patricia Urquiola, 2008\nleather Caramello Cirè Z B240 + \nBlur fabric Taupe\u002FGinger — A7994\nGentry cushion — GE0 531\nRubelli Donna Fugata 30090-005 \nmalachite — A7752\nAmerica cushion — AG0080\nRubelli Lady Hamilton 30079-003 \npesco — A7763\nRubelli Sing 30060-003 argento \n— A7893\nKvadrat Harald 2 612 — A7785\nAmerica cushion — AG004K\nRubelli Venier 30082-007 piombo \n— A7885\nCloud tables — CL0 T60 + T61 \n+ T62\nby Nendo, 2013\n \np. 083\nRedondo armchair — RD0001\nby Patricia Urquiola, 2010\nKvadrat Remix 2 612 — A5938\nFjord stool — FJ0017\nby Patricia Urquiola, 2002\ntop: leather Blush Cirè Z B218\nRubelli Madame du Barry — A7799\n3 Nuns stool — NU0020\nby Ron Arad, 2013\n \npp. 084  \u002F085\nRedondo sofa — RD0003\nby Patricia Urquiola, 2010\nKvadrat Harald 2 942 — A7793\nAmerica cushion — AG0080\nRubelli Lady Hamilton 30079-003 \npesco — A7763\nGentry cushion — GE0 \n531Dominique Kieffer by Rubelli \nVelours Decontractè 17209 — 010 \nlaguna — A7925\nFergana cushion — FE0529\nRubelli Lady Hamilton 30079-003\npesco — A7763\n \nPrint cushion — PD00H9\nRubelli Martora 30072-027 \nsmeraldo — A7775\nRedondo armchair — RD0001\nby Patricia Urquiola, 2010\nKvadrat Remix 2 612 — A5938\n3 Nuns Stool — NU0020\nby Ron Arad, 2013\nSaruyama Islands stool — \nS40214\nby Toshiyuki Kita, 2006\nKvadrat Harald 2 612 — A7785\n+ Kvadrat Sonar 2 653 — A7914\nSaruyama Islands stool — \nS40076\nby Toshiyuki Kita, 2006\nKvadrat Harald 2 942 — A7793 \n+ Vidar 2 932 — A4074\n \npp. 086  \u002F087\nRedondo armchair — RD0001\nby Patricia Urquiola, 2010\nKvadrat Remix 2 612 — A5938\nAmerica cushion — AG0080\nRubelli Lady Hamilton 30079-003 \npesco — A7763\n3 Nuns stool — NU0020\nby Ron Arad, 2013\nSaruyama Islands stool — \nS40214\nby Toshiyuki Kita, 2006\nKvadrat Harald 2 612 — A7785 \n+ Kvadrat Sonar 2 653 — A7914\n \npp. 088  \u002F089\nDouble Zero armchair — \nDZ00NX\nby David Adjaye, 2015\nLeather Buffalo Black Z B256\nstructure: gold chrome\nDouble Zero chair with\narmrests — DZ00NU\nRaf Simons for Kvadrat Haakon 2 \n1830 — A5045\nstructure: gold chrome\nDouble Zero stool — DZ00NV\nRaf Simons for Kvadrat Harald 2 \n432 A7781\nstructure: gold chrome\nNanook table — NA006X\nby Philippe Bestenheider, 2008\ngold chromed\n \np. 091\nDoodle sofa — DU0931\nby Front, 2013\nembroidered leather Z B303\nblack stiching\nKub stool — KU0325 + KU0326\nby Nendo, 2009\nextrawhite\n \npp. 092  \u002F093\nDoodle armchair — DU0930\nby Front, 2013\nembroidered leather Z B242\nblack stiching\nDoodle sofa — DU0931\nby Front, 2013\nembroidered leather Z B303\nblack stiching\nMBB cushion 41x38 + Ø39 —\nspecial edition\nRubelli Dorian Gray 30110-03 \nPietra — A7982\n \npp. 094  \u002F095\nDoodle sofa — DU0931\nby Front, 2013\nembroidered leather Z B303\nblack stiching\nDoodle armchair — DU0930\nby Front, 2013\nembroidered leather Z B242\nblack stiching\nShanghai Tip table — SH0342 + \nSH0343 \nby Patricia Urquiola, 2006\nchromed steel\n \np. 097\nBerlin chair — BE001D\nby Moroso, 1988\nRubelli Sing 30060-017 peltro —\nA7896\nAnywhere chairs — \nspecial edition\nby Tord Boontje, 2015\nblack RAL 7021 \noxidored RAL 3009\nSomewhere table — \nspecial edition\nby Tord Boontje, 2015\nblack RAL 7021 structure \n+ dark glass\nCodes\n",96,{"image":398,"text":399,"number":400},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.97.png","pp. 174\n\u002F175\nSetting the Elegance\n \np. 098\nAnywhere chairs — \nspecial edition\nby Tord Boontje, 2015\nblack RAL 7021\nSomewhere table — \nspecial edition\nby Tord Boontje, 2015\nblack RAL 7021 structure + dark \nglass\n \np. 101\nBig Mama sofa — BIO0N9\nby Massimo Iosa Ghini, 1992\nRubelli Kusary 30095-002 oro — \nA7747\nAmerica cushion — AG004K\nRubelli Gritti 30080-005 oro — \nA7761\nDominique Kieffer by Rubelli \nVelours Decontractè 17209-010 \nlaguna — A7925\nAmerica cushion — AG0080\nDominique Kieffer by Rubelli \nVelours Decontractè 17209-010 \nlaguna — A7925\nMorning Glory table — MG006H\nby Marc Thorpe, 2014\nocean blue\n \npp. 102  \u002F103\nBig Mama sofa — BIO0N9\nby Massimo Iosa Ghini, 1992\nRubelli Kusary 30095-002 oro — \nA7747\nAmerica cushion — AG004K\nRubelli Gritti 30080-005 oro — \nA7761\nMorning Glory table — MG006H \nby Marc Thorpe, 2014 \nocean blue\nNanook table — NA006X\nby Philippe Bestenheider, 2008\ngold chromed\nClarissa armchair — CL103Q\nby Patricia Urquiola, 2014\nshell: leather Dark Brown Z B251\nquilt: Rubelli Kusary 30095-002 \noro — A7747\nbase: natural brushed oak\nClarissa armchair — CL103Q\nby Patricia Urquiola, 2014\nshell: leather Club Chesnut Z B252\nquilt: Kvadrat Haakon 2 172 —\nA5029\nbase: natural brushed oak\n \npp. 104  \u002F105\nClarissa armchair — Santoni \nspecial edition CL103Q \nby Patricia Urquiola, 2014\nshell: leather Santoni Blue Green \nquilt: Kvadrat Haakon 2 172 — \nA5029\nbase: natural brushed oak\n \npp. 106  \u002F107\nAmerica cushion — AG0080\nRubelli Donna Fugata 30090-005 \nmalachite — A7752\nClarissa armchair — CL103Q\nby Patricia Urquiola, 2014\nshell: leather Club Chesnut Z \nB252quilt: Rubelli Perù 30128-011 \ncorallo — A7977\nbase: natural brushed oak\n \npp. 108  \u002F109\nVolant sofa — VO0297\nby Patricia Urquiola, 2007\nKvadrat Pilot 972 — A7806\n+ Blur Fuchsia\u002FPassion — A7988\nband: Haakon 2 632 viola — A5019\noxidored base: fuori misura\nAmerica cushion — AG0080\nRubelli Donna Fugata 30090-005 \nmalachite — A7752\nKvadrat Harald 2 612 — A7785\nAmerica cushion — AG004K\nDominique Kieffer by Rubelli \nVelours Decontractè 17209-010 \nlaguna — A7925\nPrint cushion — PD00H9\nRubelli Martora 30072-027 \nsmeraldo — A7775\nClarissa armchair — CL103Q\nby Patricia Urquiola, 2014\nshell: leather Dark Brown Z B251\nquilt: Rubelli Kusary 30095-002 \noro — A7747\nbase: natural brushed oak\nSaruyama Islands stool — \nS40214\nby Toshiyuki Kita, 2006\nKvadrat Harald 2 612 — A7785 \n+ Kvadrat Sonar 2 653 — A7914\nCloud tables — special edition\nCL0 T62 + T61\nby Nendo, 2013\n \npp. 110  \u002F111\nVolant sofa — VO0297\nby Patricia Urquiola, 2007\nKvadrat Pilot 972 — A7806\n+ Blur Fuchsia\u002FPassion — A7988\nband: Haakon 2 632 viola — A5019\noxidored base: fuori misura\nSaruyama Islands stool — \nS40214\nby Toshiyuki Kita, 2006\nKvadrat Harald 2 612 — A7785 \n+ Kvadrat Sonar 2 653 — A7914\nFjord Relax armchair — FJ03K\nby Patricia Urquiola, 2002\nKvadrat Astor 192 — A2105 \n+ Kvadrat Divina 3 191 — A0914\nbase: black\nWitch chair — TB0 132\nby Tord Boontje, 2004\nleather Black Magic Z B250\nKub stool — KU0325\nby Nendo, 2009\nextra black\nBloomy table — BM006H\nby Patricia Urquiola, 2004\ntop: black; base: black\n \np. 113\nPaper Planes right low armchair \n— special edition\nby Doshi+Levien, 2010\nfront covering: Kvadrat Sonar 2 \n653 — A7914\nback covering: Kvadrat Vidar 554 \n— A4708\npiping: leather Orange T B148\nPaper Plane left low armchair\n— special edition\nby Doshi+Levien, 2010\nfront covering: Kvadrat Sonar 2 \n773 — A7915\nback covering: Kvadrat Vidar 554 \n— A4708\npiping: leather Class Black Magic \nZ B250\n \npp. 114  \u002F115\n(Love me) Tender sofa — LD00WC\nby Patricia Urquiola, 2014\nKvadrat Haakon 2 222 — A5028\nbase: beigegrau RAL 7006\nGentry cushion — GE00531\nSurfaces 5 — A5712\nKvadrat Haakon 2 222 — A5028\nAmerica cushion — AG004K\nRubelli Panama 30127-008 oro \nvecchio — A7974\nRubelli Venier 30082-013 ossido \n— A7887\n \npp. 116  \u002F117\nPipe armchair — PI00NQ\nby Sebastian Herkner, 2015\nKvadrat Argo 112 — A7803\n+ Kvadrat Haakon 2 222 — A5028\nstructure: silver chromed\nPipe table — PI006H\nby Sebastian Herkner, 2015\nlaquered black \nlaquered red\n(Love me) Tender sofa — LD00WC\nby Patricia Urquiola, 2014\nKvadrat Haakon 2 222 — A5028\nbase: beigegrau RAL 7006\n \npp. 118  \u002F119\nMassas sofa composition — \nMA1E50 + MA1E51\nby Patricia Urquiola, 2012\nKvadrat Haakon 2 482 — A5025\nAmerica cushion — AG0080\nRubelli Kusary 30095-003 bronzo \n— A7653\nRubelli Sing 30060-008 ebano — \nA7894\nAmerica cushion — AG004K\nRubelli Venier 30082-013 ossido \n— A7887\nMassas armchair — MA1061\nby Patricia Urquiola, 2012\nKvadrat Haakon 2 532 — A5026\nKvadrat Haakon 2 632 — A5019\nKub stools — KU0327\nby Nendo, 2009\nKvadrat Harald 2 552 — A7783\nKub stool — KU0325\nby Nendo, 2009\nextra black\n \np. 120\nSilver Lake armchair high — \nSLB091\nby Patricia Urquiola, 2010\nKvadrat Haakon 2 172 — A5029\nside: natural oak\nstructure: grey black RAL 7021\nNet table — NE106U\nby Benjamin Hubert, 2013\nblue RAL 5003\n \np. 123\nMy Beautiful Backside — \nspecial edition MD00T6\nby Doshi+Levien, 2008\nRubelli Fedora 30108-001 moro — \nA7965\nKvadrat Divina melange 2 220 — \nA3334\nMBB cushion Ø39 + 41x38 — \nspecial edition\nRubelli Dorian Gray 30110-03 \npietra — A7982\nMBB pillow — MD0080\nRubelli Fedora 30108-001 moro — \nA7965\nNanook table — NA006X\nby Philippe Bestenheider, 2008\ngold chromed\nMoon armchair metallic — \nMU0361\nby Tokujin Yoshioka, 2011\nblack iron\n \npp. 124  \u002F125\nFjord Relax armchair — FJ03K\nby Patricia Urquiola, 2002\nKvadrat Astor 192 — A2105 \n+ Kvadrat Divina 3 191 — A0914\nbase: black\nMy Beautiful Backside — \nspecial edition MD00T6\nby Doshi+Levien, 2008\nRubelli Fedora 30108-001 moro — \nA7965\n+ Kvadrat Divina melange 2 220 — \nA3334\nNanook table — NA006X\nby Philippe Bestenheider, 2008\ngold chromed\n \npp. 126  \u002F127\nMy Beautiful Backside — \nspecial edition MD00T6\nby Doshi+Levien, 2008 \nRubelli Fedora 30108-001 moro — \nA7965\n+ Kvadrat Divina melange 2 220 — \nA3334\nCodes\n",97,{"image":402,"text":403,"number":404},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.98.png"," \np. 128\nBold sofa composition\nby Patricia Urquiola, 2015\nKvadrat Masai 762 — A8352\nantracite RAL 7016\nAmerica cushion — \nspecial edition AG0080 \nafrican fabric\nAmerica cushion — AG004K\nKvadrat Pillar 731 — A7944\nBlur Acquatic\u002FOrange — A7991\nFjord stool — FJ0017\nby Patricia Urquiola, 2002\ntop: leather Bianco ghiaccio \nT B126\nside: african fabric — special \nedition\nCloud tables — CL0 T60 + T61 \nby Nendo, 2013\nFishbone table — FB0T37\nby Patricia Urquiola,2012\nversion 1\nNet table — NE106I\nby Benjamin Hubert, 2013\nBlue RAL 5003\nViaggio dentro la Bellezza\n \np. 131\nNewTone armchair — NT005X\nby Massimo Iosa Ghini, 1989\nKvadrat Haakon 2 222 — A5028\n \np. 133\nBoquet armchair — BQ0050\nby Tokujin Yoshioka, 2008\nB005\n \npp. 134  \u002F135\nDouble Zero armchair — \nDZ00NX\nby David Adjaye, 2015\nLeather Buffalo Black Z B256 \nstructure: gold chrome\nDouble Zero chair with\narmrests — DZ00NU\nRaf Simons for Kvadrat Haakon 2 \n1830 —  A5045\nstructure: gold chrome\nDouble Zero stool — DZ00NV\nRaf Simons for Kvadrat Harald 2 \n432 A7781\nstructure: gold chrome\n \npp. 136  \u002F137\nDouble Zero chair with\narmrests — DZ00NU\nRaf Simons for Kvadrat Haakon 2 \n1830 — A5045\nstructure: gold chrome\nDouble Zero stool — DZ00NV\nRaf Simons for Kvadrat Harald 2 \n432 A7781\nstructure: gold chrome\n \np. 138\nHusk low armchair\nby Marc Thorpe, 2015\ngolden-yellow\n \np. 141\nBoquet armchair — BQ0050\nby Tokujin Yoshioka, 2008\nB005\nSmock armchair — SM00VT\nby Patricia urquiola, 2005\nleather Pure White T B110\nbase: white\nAntibodi armchair — AB0256\nby Patricia Urquiola, 2006\nKvadrat Divina 3 106 — A0921 + \nKvadrat Divina 3 334 — A0940\nVolant armchair — VO0 295\nby Patricia Urquiola, 2007\nRubelli Madame du Barry — A7799\nband: Units 3 Uniforms — A7392\nbase: gold chrome\n \np. 142\nPipe armchair — PI00NQ\nby Sebastian Herkner, 2015\nKvadrat Argo 112 — A7803 +\nKvadrat Haakon 2 222 — A5028\nstructure: silver chromed\nSetting the Elegance\nCodes\n",98,{"image":406,"text":407,"number":408},"\u002Fmedia\u002Fimages\u002Fce\u002F7ddbfd3e5e7189732d67da7cf1e8a9-289296118e.99.png","Moroso Setting\nthe Elegance\nTextiles by Kvadrat \nand Rubelli\nArt direction\nPatrizia Moroso\nTextiles and colour selection \nGiulio Ridolfo\nSetting\nMarco Viola\nPhotography\nAlessandro Paderni\n[studio Eye]\nGraphic design\nChiara Caucig\n[Designwork]\nText\nGiulio Ridolfo\nMaximilien Durand\nLorenzo Taucer\nElena Commessatti\nEnglish translation\nAmanda Hunter \nfor Elena Commessatti \nand Lorenzo Taucer \nMary Consonni\nfor Maximilien Durand\nFrench translation\nAgnès Levillayer\n[Studio Intra]\nEditing\nElena Commessatti\nColour separation\nLucegroup.it\nPrinted in Italy \nby OGM\n©Moroso Spa\nText copyright: the authors©2015\nSpecial thanks to:\nMusée des Tissus \net Musée des Arts décoratifs \nde Lyon \nand Director, \nMaximilien Durand\nMuseo Diocesano \ne Gallerie del Tiepolo\nand Director, \nGiuseppe Bergamini\nMoroso Spa\nvia Nazionale 60\n33010 Cavalicco, UD — Italy\nT +39 0432 577 111\ninfo@moroso.it\nMilano Showroom\nvia Pontaccio 8\u002F10\n20121 Milano — Italy\nT +39 02 7201 6336\nMoroso Ltd\nLondon Showroom\n7-15 Rosebery Avenue \nLondon EC1R-4SP — UK\nT +44 (0)20 3328 3560 \ninfo@moroso.co.uk\nMoroso USA\nNew York Showroom\n146 Greene Street\nNew York, NY10012 — USA\nT +1 800 7056 863\ninfo@morosousa.com\nAmsterdam Showroom\nCruquiusweg 109 R\n1019 AG Amsterdam\nThe Netherlands\nT +31 (0)20 694 64 00\namsterdam@moroso.it\nKöln Showroom\nDesign Post Köln\nDeutz-Mülheimer Straße 22A\n50679 Köln — Germany\nT +49 221 690 650\ninfo@designpostkoeln.de\nMoroso Gulf Office\nJBC3, Office number 2407\nCluster Y\nJumeirah Lake Towers\nDubai — UAE\nT +97 145 521 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