[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-new-design-porte-collezione-500-900":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":125},{"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":120,"matched_pages":121,"match_count":122,"two_pages":123,"show_text":124},5017,"Collezione 500, 900","new-design-porte-collezione-500-900","\u002Fmedia\u002Fimages\u002F68\u002F1caaa34fcb48fa3d534ff695896475.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002Ff6\u002F9d836da3b58ec3ae7426e72d362156.pdf","New Design Porte",1347,"new-design-porte","12.6 MB",[14,17,21,25,29,33,37,41,45,49,53,57,61,65,69,73,77,81,85,89,93,97,101,105,109,113,117],{"image":7,"text":15,"number":16},"�\nLa passione, il gusto e la ricchezza d’idee che ci animano uniti alla \nconoscenza del legno tipica del mobiliere, alla maestria delle lavorazioni \neseguite secondo canoni artigianali, seppur su scala industriale dal nostro \npersonale altamente specializzato: sono queste le caratteristiche che \ncontraddistinguono la produzione di New Design Porte, nata nel 1996 e \nspecializzata nella produzione di porte per interni e complementi d’arredo, \ntutti di altissima qualità e destinati ad una clientela dai gusti raffi nati.\nGrazie all’ispirazione alle varie epoche storiche, la produzione si arricchisce \ncontinuamente di nuove proposte, tutte all’insegna dell’eleganza e del buon \ngusto. Nelle varie collezioni si combinano materiali pregiati e lavorazioni \nartigianali; le fi niture sono realizzate utilizzando i prodotti tipici di una volta: \ncera d’api, gommalacca, patine e tecniche di decoro eseguite rigorosamente \na mano da esperti maestri d’arte.\nNew Design è in grado di realizzare progettazioni in stretta collaborazione \ncon il cliente offrendogli un servizio di consulenza di architettura d’interni, \nper soddisfare al meglio le esigenze. Inoltre realizza ogni tipo di lavorazione, \nanche su misura e  personalizzata per esaudire ogni richiesta, anche \nla più particolare. Un servizio che è reso possibile dall’organizzazione \nestremamente fl essibile dell’azienda. \nIl prodotto New Design, unico nel suo genere è facilmente distinguibile \ndalle numerose e spesso approssimative imitazioni che stanno invadendo \nil mercato.\n",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002F68\u002F1caaa34fcb48fa3d534ff695896475.2.png","Un po’ di storia…………………………………….   Il Cinquecento\nDal Rinascimento al Rinascimento maturo. Quell’interesse per le forme esuberanti e fiorite, che aveva \nincominciato a manifestarsi nell’ultimo del Quattrocento, si affermò senza più ostacoli sia nell’arte che \nnell’arredo del Cinquecento. Le forme strutturali ( nelle quali per tutto il Quattrocento aveva predominato \nla linea retta orizzontale e continua) si mossero in una maggiore libertà di ritmi e armonie. Le decorazioni \nsi moltiplicarono e si fecero più dinamiche. Un altro elemento che favorì l’evoluzione delle arti, maggiori e \nminori, fu la precisa influenza esercitata dall’arte                  dell’antica Roma. Nel Cinquecento gli architetti \ncominciarono a recarsi a Roma per studiare con maggiore serietà i monumenti superstiti. \nIl desiderio di maestosità  e la passione per l’intaglio ( tipici del mobile cinquecentesco) richiesero l’impiego \ndi legni scuri.La plasticità di questi legnami favorì il gioco del chiaro scuro, tipico delle decorazioni a \nintaglio.\nA bit of history ……………………………………   The Fifteen hundreds\n \nFrom the Renaissance until the late Rinascimento, that interest in exuberant, flowery shapes which had \nbegun to appear at the end of the Fourteen hundreds, took hold without obstacles, both in the art and \nfurniture of the Fifteen hundreds. The structural forms (in which the straight horizontal continuous line \nhad prevailed throughout the Fourteen hundreds) moved with greater freedom of rhythm and harmony. \nThe decorations multiplied and became more dynamic. Another element which encouraged the evolution \nof the major and minor arts was the precise influence exercised by the art of ancient Rome. In the Fifteen \nhundreds architects began travelling to Rome to study the surviving monuments. The desire for majesty and \nthe passion for fretwork (typical of the furniture of the Fifteen hundreds) required the use of dark woods. \nThe plasticity of these woods favoured the use of light and shade effects, typical of fretwork decorations.\n‘500\n‘500\n‘500\n‘500\n‘500\n‘500\n‘500\n‘500\n‘500\n‘500\n‘500\n‘500\n2\n3\n",2,{"image":22,"text":23,"number":24},"\u002Fmedia\u002Fimages\u002F68\u002F1caaa34fcb48fa3d534ff695896475.3.png","Mod. BUON TALENTI 1205\u002FQQ\u002FV Wengé\nvetro bianco satinato\nCF. 6 - telaio brevettato\n5\n4\n",3,{"image":26,"text":27,"number":28},"\u002Fmedia\u002Fimages\u002F68\u002F1caaa34fcb48fa3d534ff695896475.4.png","Mod. GIORGIONE 1203\u002FQQ\nRovere Sbiancato\nCF. 6 - telaio brevettato\n7\n6\nMod. BUONTALENTI 1205A\u002FQQ\nTanganica chiaro - CF. 6 - telaio brevettato\nMod. BUONTALENTI 1205\u002FQQ\nTanganica chiaro - CF. 6 - telaio brevettato\n",4,{"image":30,"text":31,"number":32},"\u002Fmedia\u002Fimages\u002F68\u002F1caaa34fcb48fa3d534ff695896475.5.png","9\n8\nMod. PALLADIO 1204\u002FQQ\nCiliegio - CF. 6 - telaio brevettato\nMod. GIORGIONE 1203\u002FQQ\nRovere decapato CF. 6 - telaio brevettato\nParticolare della porta in toulipier chiaro\n",5,{"image":34,"text":35,"number":36},"\u002Fmedia\u002Fimages\u002F68\u002F1caaa34fcb48fa3d534ff695896475.6.png","11\n10\nMod. TINTORETTO 1214\u002FTQ\nNoce nazionale biondo\nCF. 6 - telaio brevettato\nMod. RAFFAELLO 1213\u002FQQ\u002FV\nCiliegio - CF. 6 - telaio brevettato\ncon vetro bianco satinato\n",6,{"image":38,"text":39,"number":40},"\u002Fmedia\u002Fimages\u002F68\u002F1caaa34fcb48fa3d534ff695896475.7.png","13\n12\nMod. MONDRIAN CUOIO 916\u002FQQ\u002F03\nWengé e cuoio inserti alabastro 03\nCF. Mondrian rivestito in cuoio\n",7,{"image":42,"text":43,"number":44},"\u002Fmedia\u002Fimages\u002F68\u002F1caaa34fcb48fa3d534ff695896475.8.png","15\n14\nMod. MONDRIAN 913\u002FQQ\u002F04\nNoce nazionale naturale inserto alabastro 04\nCF. Mondrian\nMod. MONDRIAN 915\u002FQQ\u002F04\nPalissandro inserti alabastro 04\nCF. Mondrian\n",8,{"image":46,"text":47,"number":48},"\u002Fmedia\u002Fimages\u002F68\u002F1caaa34fcb48fa3d534ff695896475.9.png","17\n16\nMod. MONDRIAN 916\u002FQQ\u002F05\nNoce nazionale naturale inserti alabastro 05\nCF. Mondrian\nMod. MONDRIAN 914\u002FQQ\u002F08\nNoce nazionale inserti cuoio 08\nCF. Mondrian\nParticolare della cornice\n",9,{"image":50,"text":51,"number":52},"\u002Fmedia\u002Fimages\u002F68\u002F1caaa34fcb48fa3d534ff695896475.10.png","19\n18\nMod. MONDRIAN 913\u002FQQ\u002F06\nNoce nazionale naturale inserto pelle capitonné 06\nCF. Mondrian\nParticolare della pelle capitonné 06\n",10,{"image":54,"text":55,"number":56},"\u002Fmedia\u002Fimages\u002F68\u002F1caaa34fcb48fa3d534ff695896475.11.png","21\n20\nMod. MONDRIAN CUOIO 914\u002FQQ\u002F10\nWengé e cuoio inserti alabastro 10\nCF. Mondrian\nIn evidenza Wengè\n",11,{"image":58,"text":59,"number":60},"\u002Fmedia\u002Fimages\u002F68\u002F1caaa34fcb48fa3d534ff695896475.12.png","23\n22\nMod. MONDRIAN 913\u002FQQ\u002F07\nNoce nazionale naturale inserto cuoio 07\nCF. Mondrian\nParticolare dell’inserto in cuoio 07\n",12,{"image":62,"text":63,"number":64},"\u002Fmedia\u002Fimages\u002F68\u002F1caaa34fcb48fa3d534ff695896475.13.png","25\n24\nMod. P. KLEE 926\u002FQQ\u002F09\nRovere sbiancato inserti pitone 09\nCF. Klee\nParticolare della cornice e dell’insero in pitone 09\n",13,{"image":66,"text":67,"number":68},"\u002Fmedia\u002Fimages\u002F68\u002F1caaa34fcb48fa3d534ff695896475.14.png","‘900\n‘900\n‘900\n‘900\n‘900\n‘900\nUn po’ di storia............................................................   Il Novecento\n“Art Nouveau”, “Jugendstil”, “Modern style”, “Succession”, “Liberty”, novità giovinezza, modernità stacco dal passato, libertà \necco i concetti di questa sequenza di nomi immediatamente suggerisce e mai nomi diversi furono più effi caci per evidenziare \ngli attributi dello stile che fu internazionale nella diffusione e nelle ipotesi ideologiche pur esibendo nazionalistici connotati \ne fasi diverse di evoluzione. E se gli attributi non bastassero potremmo continuare con.  “fl oreale”, “stile Giulio Verne”,  “stile \nBelle Epoque” ,  “Yachting style”, tutti termini che in un gioco defi nitorio, anche al negativo, contribuiscono a fi ssare l’epoca \ndi sviluppo e i più appariscenti caratteri decorativi. In realtà il termine più corretto è quello di “Modernismo” che si è esteso \normai, nella pubblicistica recente, ad indicare il fenomeno nel suo complesso sviluppo internazionale. Era viva tuttavia la \nconsapevolezza che una battaglia a favore del fare artigianale esigesse, un’azione di svecchiamento delle fonti d’ispirazione \nal fi ne di offrire alle maestranze artigiane modelli di riferimento. Si sostituì, pertanto, al saccheggiato repertorio degli stili \nstorici il variegato mondo naturale le cui ricchissime manifestazioni potevano offrire inesauribili spunti di elaborazione \nformali e di applicazioni pratiche. Mondo animale e vegetale divengono così la fonte d’ispirazione privilegiata del nuovo \nstile. Nasce così la tipica mobilità liberty che produce, a scale diverse e in campi differenti, il taglio asimmetrico di porte e \nfi nestre, il movimento ondulante di facciate e pareti, tutto ciò diventa caratteristica peculiare dello stile. \nA bit of history..................................................      The Nineteen hundreds\n“Art Nouveau”, “Jugendstil”, “Modern style”, “Succession”, “Liberty”, new youthfulness, modernity, detachment from the \npast, liberty, these are the concepts that this sequence of names immediately calls to mind and never were any other names \nso effi cient in highlighting the attributes of the style which was international in its diffusion and ideological hypotheses \nwhile displaying nationalistic connotations and different phases of evolution. And if the attributes weren’t enough, we \ncould continue with “fl oral”, “Jules Verne style”,  “Belle Époque style” ,  “Yachting style”,  all terms which in a sometimes \nnegative defi niting game contributed to fi xing the age of development and the more striking decorative characters.\nIn actual fact, the more correct term is “Modernism”, which has now become commonly used in recent advertising to \nindicate the phenomenon in its complex international development. However there was an awareness that a battle in \nfavour of the artisan way of doing things was needed in order to renew the sources of inspiration and offer craftsmen \nmodels of reference. The variegated natural world, the rich manifestations of which were able to offer endless ideas for \nformal development and practical applications, replaced the ransacked repertory of historical styles. So the animal and \nvegetable world became the favourite source of inspiration for the new style. This was the birth of the typical mobility of \nLiberty which produced, on different scales and in different fi elds, the asymmetrical shape of doors and windows, the wavy \nmovement of facades and walls, all of which became a particular feature of the style.\n27\n26\n",14,{"image":70,"text":71,"number":72},"\u002Fmedia\u002Fimages\u002F68\u002F1caaa34fcb48fa3d534ff695896475.15.png","Mod. CARAVAGGIO 1211\u002FQQ\u002FF\nWengé inserti Alluminio tipo F\nCF. 6 - telaio brevettato\n29\n28\n",15,{"image":74,"text":75,"number":76},"\u002Fmedia\u002Fimages\u002F68\u002F1caaa34fcb48fa3d534ff695896475.16.png","30\n31\nMod. CARAVAGGIO 1211\u002FQQ\u002FE\nWengé con intarsio tipo E\nCF. 6 - telaio brevettato\nMod. CARAVAGGIO 1211\u002FQQ\u002FC \nWengé con Intarsio tipo C\nCF. 6 - telaio brevettato\n Wengé con intarsio tipo E\n",16,{"image":78,"text":79,"number":80},"\u002Fmedia\u002Fimages\u002F68\u002F1caaa34fcb48fa3d534ff695896475.17.png","Mod. GIUDETTO 1011\u002FQQ\u002FF\nWengè inserti alluminio tipo F\nCF. 8\u002F7\n32\n33\n Wengé con inserti alluminio tipo F\n",17,{"image":82,"text":83,"number":84},"\u002Fmedia\u002Fimages\u002F68\u002F1caaa34fcb48fa3d534ff695896475.18.png","Mod. GIUDETTO 1011\u002FQQ\u002FF01\nRovere tinto wengé inserti alabastro 01\nCF. 10\u002F10\n34\n35\n34\nin evidenza rovere tinto wengé inserti alabastro 01\n",18,{"image":86,"text":87,"number":88},"\u002Fmedia\u002Fimages\u002F68\u002F1caaa34fcb48fa3d534ff695896475.19.png","Mod. GIUDETTO 1011\u002FQQ\u002FF02\nRovere sbiancato inserti alabastro 02\nCF. 10\u002F10\n36\n37\nin evidenza rovere sbiancato inserti alabastro 02\n",19,{"image":90,"text":91,"number":92},"\u002Fmedia\u002Fimages\u002F68\u002F1caaa34fcb48fa3d534ff695896475.20.png","Mod. PICASSO 911\u002FQQ\u002FB\nTanganica Tinto Ciliegio tipo B\nCF. stondato telaio R50\nMod. PICASSO 911\u002FQQ\u002FC\nCiliegio tipo C\nCF. stondato\ntelaio R50\ncimasa Picasso \nMod. PICASSO 911\u002FQQ\u002FD\nToulipier Tinto Ciliegio tipo D\nCF. stondato - telaio R50\n39\n38\n",20,{"image":94,"text":95,"number":96},"\u002Fmedia\u002Fimages\u002F68\u002F1caaa34fcb48fa3d534ff695896475.21.png","41\nMod. GORKY PARK 901\u002FQQ\nCiliegio lucido - CF. Park laccato nero\n40\n",21,{"image":98,"text":99,"number":100},"\u002Fmedia\u002Fimages\u002F68\u002F1caaa34fcb48fa3d534ff695896475.22.png","42\n43\nMod. GORKY PARK 901\u002FQQ\nCiliegio lucido\nCF. Klee\nParticolare della porta in evidenza il tranciato intarsiato\n",22,{"image":102,"text":103,"number":104},"\u002Fmedia\u002Fimages\u002F68\u002F1caaa34fcb48fa3d534ff695896475.23.png","Mod. CENTRAL PARK 901\u002FQQ\nMogano lucido - CF. Klee\nIn evidenza il tranciato intarsiato in mogano\n44\n45\n",23,{"image":106,"text":107,"number":108},"\u002Fmedia\u002Fimages\u002F68\u002F1caaa34fcb48fa3d534ff695896475.24.png","Mod. HYDE PARK 901\u002FQQ\nRovere fi nitura cera CF. Klee\nParticolare della porta in rovere con fi nitura a cera\nMod. HYDE PARK 901\u002FQQ\nRovere fi nitura cera CF. Mondrian\n47\n46\n",24,{"image":110,"text":111,"number":112},"\u002Fmedia\u002Fimages\u002F68\u002F1caaa34fcb48fa3d534ff695896475.25.png","49\n48\nMod. GIUDETTO 1011\u002FQQ\nCF. 8\u002F7 finitura Damasco argento\nParticolare della finitura Damasco argento\n",25,{"image":114,"text":115,"number":116},"\u002Fmedia\u002Fimages\u002F68\u002F1caaa34fcb48fa3d534ff695896475.26.png","51\n50\nMod. GIUDETTO 1011\u002FQQ\u002FINC\nFrassino sbiancato con incisioni CF. 8\u002F7\nParticolare dell’anta incisa\nMod. GIUDETTO 1011\u002FQQ\u002FINC\n",26,{"image":118,"text":119,"number":120},"\u002Fmedia\u002Fimages\u002F68\u002F1caaa34fcb48fa3d534ff695896475.27.png","NEW DESIGN PORTE s.r.l.\n53035 MONTERIGGIONI (Siena)\nVia Provinciale Colligiana, 14\nTel. 0577 306075 - Fax 0577 304078\nwww.newdesignporte.com\ne-mail: newdesign@newdesignporte.com\n�\nsi ringrazia:\nBlanc Homecollection - Borgo la croce 32\u002Fr - Firenze\nCafi ssi - via Livorno, 8\u002F5 - Firenze - www.cafi ssi.com\nCasa Wolf - Borgo San Frediano 77 e 151r - Firenze\nChelini - via Don Perosi, 15 - Scandicci (Fi) - www.chelini.com\nConforma Design - Via dei Lecci, 11\u002F13 - Loc. Pian dei Peschi - Poggibonsi (Si) - www.conformadesign.com\nCrepeia - Via Pietrapiana 59\u002Fr - Firenze\nGiancarlo Zanessi  Tappeti & Manufatti - Via Maggio 74\u002Fr - Firenze - www.gzanessi.it\nIl Bronzetto - Via Romana 149\u002F151 - Firenze - www.ilbronzetto.com\nIl Piumaccio d’Oro - Borgo San frediano, 65\u002Fr - Firenze\nLeopoldi & Co - Piazza de’ Frescobaldi, 1\u002Fr - Firenze - www.leopoldoantichita.com\nSalvini - Strada Palazzuolo, 33 - Tavarnelle Val di Pesa (Fi) - www.salviniarredamenti.it\nSigma L2 - Via degli Olmi, 145 - Sesto Fiorentino (Fi) - www.sigmal2.it\nart buyer:\nAlice Parlanti\nstampa: \nFederighi Colorgrafi che - Certaldo (Fi)\nAzienda\ncertifi 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