[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-oikos-natural-stone":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":157},{"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":152,"matched_pages":153,"match_count":154,"two_pages":155,"show_text":156},21574,"Natural Stone","oikos-natural-stone","\u002Fmedia\u002Fimages\u002F05\u002F18ec5550336db88e467ba39ce6cc05-28d91c446b.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002Fa8\u002F31d71bec9edd9be60052eb2d0a37bd-28d91b59e2.pdf","Oikos",1689,"oikos","5.8 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],{"image":7,"text":15,"number":16},"The Natural\nStone\n",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002F05\u002F18ec5550336db88e467ba39ce6cc05-28d91c446b.2.png","The Natural\nStone\nThe Natural\nStone\n",2,{"image":22,"text":23,"number":24},"\u002Fmedia\u002Fimages\u002F05\u002F18ec5550336db88e467ba39ce6cc05-28d91c446b.3.png","Introduzione alle pietre naturali\nIntroduction to natural stones\nLa natura, l’origine delle cose\nNature, the origin of things\nIl marmo, una storia millenaria fatta di pezzi unici\nMarble, a thousand-year history of unique pieces\nTra Medioevo, Rinascimento e Neoclassicismo.\nUn fil rouge che collega le ere\nFrom the Middle Ages, through the Renaissance, to Neoclassicism.\nA common thread binding the ages\nIl marmo nel mondo e fino ai giorni nostri\nMarble around the world and to this day\nL’interpretazione by Oikos\nOikos’s interpretation\nLa selezione dei materiali\nThe selection of materials\nLa collezione “The natural stone”. I modelli\n“The natural stone” collection. The models\nThe Natural Stone\nInterpretazioni d’ingresso by Oikos\nEntrance interpretations by Oikos\npage 02\npage 04\npage 06\npage 08\npage 10\npage 12\npage 14\npage 18\nMade in Italy Entrances\nDesigned by You.\n",3,{"image":26,"text":27,"number":28},"\u002Fmedia\u002Fimages\u002F05\u002F18ec5550336db88e467ba39ce6cc05-28d91c446b.4.png","Le pietre naturali sono i primi materiali da costruzione e da rivestimento usati nella storia, \noltre al fascino di esistere da milioni di anni, hanno caratteristiche di resistenza, compattezza \ne durata che le rendono uniche. Le pietre naturali sono ignifughe, igieniche, atossiche e per \nantonomasia biocompatibili essendo di esse costituita la terra.\nLa parola marmo, spesso si usa come sinonimo delle pietre naturali rifacendosi all’etimo greco \nmarmairon con il significato di “pietra splendente”.\nNatural stones are the first building and cladding materials that have been used in history.\nIn addition to being fascinating, since they have been existing for millions of years,\nthey have strength, compactness and duration features that make them unique.\nNatural stones are fireproof, hygienic, non-toxic, and biocompatible par excellence,\nsince the earth consists of them.\nThe word marble is often used as a synonym for natural stones, since, etymologically,\nit comes from the Greek marmairon, meaning “shining stone”.\nIntroduzione alle pietre naturali\nINTRODUCTION TO NATURAL STONES\n2\n3\n",4,{"image":30,"text":31,"number":32},"\u002Fmedia\u002Fimages\u002F05\u002F18ec5550336db88e467ba39ce6cc05-28d91c446b.5.png","Cava a cielo aperto\nSurface quarry\nLa natura, l’origine delle cose\nNATURE, THE ORIGIN OF THINGS \nIn natura esistono due tipologie di cave\nper l’estrazione delle pietre ornamentali,\ncome il marmo e i graniti: le cave a cielo\naperto e le cave sotterranee. \nIn nature there are basically two types \nof quarries where ornamental stones,\nsuch as marble and granite, are extracted:\nsurface and underground quarries. \nCava sotterranea\nUnderground quarry\nPer l’escavazione della pietra si utilizzano \ntecniche e tecnologie specifiche che \npermettono il distacco dalla parete\ndi grossi blocchi rocciosi il più possibili \nregolari e privi di danni.\nQueste tecniche tendono a staccare\nil blocco dalla parete mediante tagli netti \neseguiti con macchinari che minimizzano\ni traumi indotti alla roccia.\nTo extract the stone specific techniques \nand technologies are employed, which \nallow large blocks of rock, as regular and \nundamaged as possible, to be detached \nfrom the rock face. \nThese techniques tend to detach the block \nfrom the rock face through clean cuts \nobtained by using machines that minimize \nany shocks to the rock.\n5\n4\n",5,{"image":34,"text":35,"number":36},"\u002Fmedia\u002Fimages\u002F05\u002F18ec5550336db88e467ba39ce6cc05-28d91c446b.6.png","Venere di Milo \u002F Venus of Milo\nNike di Samotracia \u002F Nike of Samothrace\nPantheon – Roma \u002F Pantheon – Rome\nPartenone – Atene \u002F Parthenon – Athen\nDal Pantheon di Roma al Partenone di \nAtene, i più importanti edifici della storia \ndell’uomo furono costruiti in marmo per\nla sua luminosa bellezza e la capacità \ndi perdurare a lungo nel tempo.\nIl marmo bianco era considerato il più \nraffinato, perché omogeneo e privo di \nimpurità e veniva estratto soprattutto \nnelle cave di Luni a Carrara, centro del \ncommercio marmoreo sin dal tempo \ndell’Impero Romano.\nFrom Rome’s Pantheon to Athens’s \nParthenon, the most important buildings \nin human history were built in marble, \nowing to its shining beauty and its ability \nto last for a long time.\nWhite marble was considered the most \nrefined, because it is homogeneous and \nfree from impurities, and was mostly \nextracted from the quarries of Luni, near \nCarrara, the centre of marble trade since \nthe Roman Empire.\nIl marmo, una storia\nmillenaria fatta di pezzi unici\nMARBLE, A THOUSAND-YEAR HISTORY OF UNIQUE PIECES\nLa storia del marmo inizia migliaia di anni fa, \nquando le antiche civiltà dell’Egitto e della \nMesopotamia trovarono in esso la pietra ideale \nper sostenere gli imponenti edifici pubblici e \ncostituire le colonne dei templi religiosi.\nThe history of marble begins thousands\nof years ago, when the ancient civilizations\nof Egypt and Mesopotamia found in it the\nideal stone to support imposing public buildings \nand out of which the pillars of religious temples \ncould be made. \n6\n7\n",6,{"image":38,"text":39,"number":40},"\u002Fmedia\u002Fimages\u002F05\u002F18ec5550336db88e467ba39ce6cc05-28d91c446b.7.png","David di Michelangelo \u002F David by Michelangelo\nDuomo – Milano \u002F Milan Cathedral\nFontana di Trevi – Roma \u002F Trevi Fountain – Rome\nL’arte gotica, attraverso la propria \ntipica ricerca di nuove forme elevatrici, \ntrovò nel marmo splendide potenzialità \nespressive. Ne è testimonianza irripetibile, \nil Duomo di Milano. Le successive \nesperienze artistiche, dal Rinascimento al \nNeoclassicismo, hanno dato luogo a una \nfioritura ancora più cospicua di impieghi \nlapidei, sottolineando l’idoneità del \nmarmo e della pietra a esprimere valori \nnon effimeri e sentimenti di viva umanità.\nGothic art, through its typical search\nfor new elevating shapes, found splendid \nexpressive potentials in marble.\nThe Milan Cathedral is an inimitable \ntestimony of this. Later artistic \nexperiences, from Renaissance to \nNeoclassicism, gave rise to an even \ngreater blossoming of stone uses, \nemphasizing the suitability of marble\nand stone to convey non-ephemeral \nvalues and feelings of vibrant humanity.\nTra Medioevo, Rinascimento e Neoclassicismo.\nUn fil rouge che collega le ere\nFROM THE MIDDLE AGES, THROUGH THE RENAISSANCE,\nTO NEOCLASSICISM. A COMMON THREAD BINDING THE AGES\nIn epoca medievale gli impieghi \nlapidei risentirono della crisi culturale \ned economica ma con l’affermarsi \ndell’arte romanica, architettura e \nscultura, collegate in un’armonica \nsintesi di valori costruttivi e decorativi, \ntrovarono un ampio supporto \nfunzionale ed espressivo in numerose \nvarietà di pietre.\nIn the Middle Ages the use of\nstone suffered from the cultural\nand economic crisis, but with the\nrise of Romanesque art, architecture \nand sculpture, which were linked\nby a harmonious synthesis of \nconstructive and decorative values,\nthe functional and expressive \ncapabilities of numerous varieties of \nstones were exploited.\n8\n9\n",7,{"image":42,"text":43,"number":44},"\u002Fmedia\u002Fimages\u002F05\u002F18ec5550336db88e467ba39ce6cc05-28d91c446b.8.png","Taj Mahal - Agra\nPalazzo di Marmo – San Pietroburgo \u002F Marble Palace – St. Petersburg\nAmore e Psiche – Canova \u002F Cupid & Psyche by Antonio Canova\nIl marmo nel mondo e fino ai giorni nostri\nMARBLE AROUND THE WORLD AND TO THIS DAY\nA partire dal diciottesimo secolo, in Europa,\nil marmo iniziò ad essere impiegato per realizzare \ncomplementi d’arredo quali lavandini e grandi \norologi che diventarono un’ostentazione di status \nper l’alta borghesia locale.\nIn the eighteenth century, in Europe, marble \nbegan to be used to make furnishing accessories \nsuch as wash basins and large clocks, with\nwhich local upper middle class families flaunted \ntheir status.\nNel mondo esistono esempi molto\nfamosi dell’impiego di questo materiale\nin altri contesti. Uno su tutti è il maestoso \nTaj Mahal in India, antico mausoleo \nrealizzato interamente in marmo bianco.\nAnche oltreoceano la pietra naturale \nha giocato un ruolo importante, grazie \nall’esportazione delle tecniche di \nlavorazione negli Stati Uniti a cura delle \ndiverse potenze europee.\nAncora oggi il marmo è utilizzato \nnell’edilizia e molto apprezzato \nnell’arredamento per il modo particolare \nin cui riflette la luce, risultando limpido e \ntraslucido, simile alla cera.\nExtremely famous examples of the use \nof this material in other contexts can be \nfound around the world. One of them is \nthe majestic Taj Mahal in India, an ancient \nmausoleum built entirely in white marble. \nNatural stone has also played a significant \nrole on the other side of the Atlantic, \nthanks to the exporting of processing \ntechniques to the United States by various \nEuropean powers. \nMarble is still used today in the \nconstruction field and is much appreciated \nin interior design, owing to the peculiar \nway it reflects light, appearing limpid\nand translucent, similar to wax. \n11\n10\n",8,{"image":46,"text":47,"number":48},"\u002Fmedia\u002Fimages\u002F05\u002F18ec5550336db88e467ba39ce6cc05-28d91c446b.9.png","Nessun materiale può eguagliare il marmo per l’ampia gamma di tinte, disegni, \nvenature e, se bene impiegato, la sua bellezza resta immutabile. Ogni lastra è un pezzo unico \nanche se tagliata da un blocco che ne ha restituite tante altre di simili e ciò indubbiamente \nconferisce al marmo il potere di dare personalità all’ambiente in cui viene impiegato.\nQueste premesse non potevano non aprire le porte alla sperimentazione che Oikos mette \nin atto continuamente nell’interpretazione dello spazio dell’ingresso con materiali e finiture \nin grado di ampliare la visione della progettazione architettonica contemporanea.\nNo material can match marble and its wide range of shades, patterns, veins, also,\nif correctly used, its beauty becomes everlasting. Every slab is a unique piece, even if it is\ncut from a single block that generated many other similar slabs and this, undoubtedly, confers \nto marble the power to bring personality to the location where it is used.\nThese preconditions could not help opening the doors to the experimentation that Oikos \ncontinuously conducts in its interpretation of the entrance area with materials and\nfinishing that can broaden the vision of contemporary architectural design.\nL’interpretazione by Oikos\nOIKOS’S INTERPRETATION\n12\n13\n",9,{"image":50,"text":51,"number":52},"\u002Fmedia\u002Fimages\u002F05\u002F18ec5550336db88e467ba39ce6cc05-28d91c446b.10.png","Arabescato \nOrobico Grigio\nMarmo proveniente dall’Italia.\nColorazione a base grigia con\nvenature a volte anche oro.\nMarble from Italy.\nGrey-based hue with\npartially golden veins.\nOnice\nOcean Blue\nOnice proveniente dall’Iran.\nOmbreggiature di blu scuro si\nmescolano a superfici dall’azzurro \nal bianco intrise di colorazioni\nocra e dorate.\nOnyx from Iran.\nDark blue shadings are mixed\nwith surfaces from light blue\nto white, soaked with ochre\nand golden hues.\nFusion Brown\nQuarzite proveniente dal Brasile.\nSfondo marrone con sfumature\ndi colori caldi e tocchi dorati.\nQuartzite from Brazil.\nBrown background with nuances\nof warm colours and golden touches.\nFior di Bosco\nMarmo proveniente dall’Italia.\nSfondo grigio con sottili\nvenature bianche.\nMarble from Italy.\nGrey background with\nthin white veins.\nInvisible Grey\nMarmo proveniente dalla Turchia.\nSfondo bianco caratterizzato\nda macchie e vene grigie che\ns’intersecano tra loro.\nMarble from Turkey.\nWhite background characterized\nby overlapping grey stains and veins.\nLa selezione dei materiali\nTHE SELECTION OF MATERIALS\nLa materia prima diventa uno strumento\ndi progettazione fondamentale quasi quanto\nla creatività e la competenza.\nEcco che per disegnare nuovi spazi d’ingresso\nabbiamo selezionato accuratamente le migliori\npietre naturali presenti sul mercato.\nThe raw material becomes a fundamental\ndesigning tool, almost as much as creativity\nand skills. Therefore, to design new entrance\nspaces, we have accurately selected\nthe best natural stones on the market.\n14\n15\n",10,{"image":54,"text":55,"number":56},"\u002Fmedia\u002Fimages\u002F05\u002F18ec5550336db88e467ba39ce6cc05-28d91c446b.11.png","Sodalite Blue\nMarmo proveniente dal Brasile.\nColore blu intenso, intarsiato con\neleganti venature bianche o rosa.\nMarble from Brazil.\nIntense blue hue inlaid with\nelegant white or pink veins.\nSahara Noir\nMarmo proveniente dalla Tunisia.\nSfondo nero con venature oro e bianche.\nMarble from Tunisia. Black background \nwith golden and white veins.\nOnice Scorpione\nOnice proveniente dall’Iran.\nColore beige-ocra con venature\ngrigiastre.\nOnyx from Iran.\nBeige-ochre hue with greyish veins.\nOnice Bianco Lucido\nOnice proveniente dall’Iran. \nColore bianco candido con leggere\nvenature di calcite.\nOnyx from Iran. Pure white\ncolour with light calcite veins.\nOnice Ivory White\nOnice proveniente dalla Turchia dalle \ntonalità beige, marroni e bianche.\nOnyx from Turkey with beige,\nbrown and white shades.\nLa selezione dei materiali\nTHE SELECTION OF MATERIALS\n16\n17\n",11,{"image":58,"text":59,"number":60},"\u002Fmedia\u002Fimages\u002F05\u002F18ec5550336db88e467ba39ce6cc05-28d91c446b.12.png","La collezione “The natural stone”. I modelli\n“THE NATURAL STONE” COLLECTION. THE MODELS\nPrendendo spunto da alcune delle \nicone storiche realizzate in marmo, \nnascono modelli archetipi che sanno \nvalorizzare ogni ambiente d’ingresso.\nTaking cues from some historic icons\nin marble, these archetypal models \ncan enhance every entrance area.\nModel: LEANA\nPorta \u002F Door\nSYNUA\nModel: PANTHEON\nModel: DUOMO\nPorta \u002F Door \nTEKNO DOPPIA\nTEKNO WITH DOUBLE LEAF\nPorta \u002F Door \nTEKNO DOPPIA\nTEKNO WITH DOUBLE LEAF\nModel: PARTENONE\nPorta \u002F Door\nSYNUA\nModel: DAVID\nPorta \u002F Door\nTEKNO\nModel: TAJ MAHAL\nPorta \u002F Door\nSYNUA\nPorta \u002F Door\nSYNUA\nModel: VENERE\nModel: AMORE & PSICHE\nPorta \u002F Door\nSYNUA\nModel: TRE GRAZIE\nPorta \u002F Door\nTEKNO\n18\n19\n",12,{"image":62,"text":63,"number":64},"\u002Fmedia\u002Fimages\u002F05\u002F18ec5550336db88e467ba39ce6cc05-28d91c446b.13.png","Arabescato\nOrobico Grigio\nPorta \u002F Door\nSYNUA\nModello\u002F Model\nVENERE\n››\n››\n20\n21\n",13,{"image":66,"text":67,"number":68},"\u002Fmedia\u002Fimages\u002F05\u002F18ec5550336db88e467ba39ce6cc05-28d91c446b.14.png","Arabescato Orobico Grigio\nMARMO \u002F MARBLE\nArabescato Orobico Grigio\nSahara Noir\nImmagine lastra 350 cm _ H. 150 cm\nPlate image 350 cm _ H. 150 cm \nDisposizione lastre a macchia aperta\nPlates arrangement as open vein\nCOLOUR SHADE\nIl primo piano del campione è\nrappresentativo di un dettaglio della lastra\nThe close-up of the sample is representative\nof a plate detail\nVariante colore\n22\n23\n",14,{"image":70,"text":71,"number":72},"\u002Fmedia\u002Fimages\u002F05\u002F18ec5550336db88e467ba39ce6cc05-28d91c446b.15.png","Invisible\nGrey\nPorta \u002F Door\nSYNUA\nModello\u002F Model\nTAJ MAHAL\n››\n››\n24\n25\n",15,{"image":74,"text":75,"number":76},"\u002Fmedia\u002Fimages\u002F05\u002F18ec5550336db88e467ba39ce6cc05-28d91c446b.16.png","Invisible Grey\nMARMO \u002F MARBLE\nInvisible Grey\nOnice Ocean Blu\nVariante colore\nImmagine lastra 350 cm _ H. 150 cm\nPlate image 350 cm _ H. 150 cm \nDisposizione lastre a macchia aperta\nPlates arrangement as open vein\nCOLOUR SHADE\nIl primo piano del campione è\nrappresentativo di un dettaglio della lastra\nThe close-up of the sample is representative\nof a plate detail\n26\n27\n",16,{"image":78,"text":79,"number":80},"\u002Fmedia\u002Fimages\u002F05\u002F18ec5550336db88e467ba39ce6cc05-28d91c446b.17.png","Onice\nBianco Lucido\nPorta \u002F Door\nTEKNO DOPPIA\nModello\u002F Model\nDUOMO\n››\n››\n28\n29\n",17,{"image":82,"text":83,"number":84},"\u002Fmedia\u002Fimages\u002F05\u002F18ec5550336db88e467ba39ce6cc05-28d91c446b.18.png","Onice Bianco Lucido\nONICE \u002F ONYX\nOnice Bianco Lucido\nOnice Scorpione\nImmagine lastra 350 cm _ H. 150 cm\nPlate image 350 cm _ H. 150 cm \nDisposizione lastre\nPlates arrangement\nVariante colore\nCOLOUR SHADE\nIl primo piano del campione è\nrappresentativo di un dettaglio della lastra\nThe close-up of the sample is representative\nof a plate detail\n30\n31\n",18,{"image":86,"text":87,"number":88},"\u002Fmedia\u002Fimages\u002F05\u002F18ec5550336db88e467ba39ce6cc05-28d91c446b.19.png","Onice\nOcean Blu\nPorta \u002F Door\nSYNUA\nModello\u002F Model\nAMORE & PSICHE\n››\n››\n32\n33\n",19,{"image":90,"text":91,"number":92},"\u002Fmedia\u002Fimages\u002F05\u002F18ec5550336db88e467ba39ce6cc05-28d91c446b.20.png","Onice Ocean Blu\nONICE \u002F ONYX\nOnice Ocean Blu\nFusion Brown\nImmagine lastra 350 cm _ H. 150 cm\nPlate image 350 cm _ H. 150 cm \nDisposizione lastre a macchia aperta\nPlates arrangement as open vein\nVariante colore\nCOLOUR SHADE\nIl primo piano del campione è\nrappresentativo di un dettaglio della lastra\nThe close-up of the sample is representative\nof a plate detail\n34\n35\n",20,{"image":94,"text":95,"number":96},"\u002Fmedia\u002Fimages\u002F05\u002F18ec5550336db88e467ba39ce6cc05-28d91c446b.21.png","Sahara\nNoir\nPorta \u002F Door\nSYNUA\nModello\u002F Model\nAMORE & PSICHE\n››\n››\n36\n37\n",21,{"image":98,"text":99,"number":100},"\u002Fmedia\u002Fimages\u002F05\u002F18ec5550336db88e467ba39ce6cc05-28d91c446b.22.png","Sahara Noir\nMARMO \u002F MARBLE\nSahara Noir\nOnice Ivory White\nImmagine lastra 350 cm _ H. 150 cm\nPlate image 350 cm _ H. 150 cm \nDisposizione lastre a macchia aperta\nPlates arrangement as open vein\nVariante colore\nCOLOUR SHADE\nIl primo piano del campione è\nrappresentativo di un dettaglio della lastra\nThe close-up of the sample is representative\nof a plate detail\n38\n39\n",22,{"image":102,"text":103,"number":104},"\u002Fmedia\u002Fimages\u002F05\u002F18ec5550336db88e467ba39ce6cc05-28d91c446b.23.png","Fior\ndi Bosco\nPorta \u002F Door\nTEKNO\nModello\u002F Model\nDAVID\n››\n››\n40\n41\n",23,{"image":106,"text":107,"number":108},"\u002Fmedia\u002Fimages\u002F05\u002F18ec5550336db88e467ba39ce6cc05-28d91c446b.24.png","Fior di Bosco\nMARMO \u002F MARBLE\nFior di Bosco\nInvisible Grey\nImmagine lastra 350 cm _ H. 150 cm\nPlate image 350 cm _ H. 150 cm \nVariante colore\nCOLOUR SHADE\nIl primo piano del campione è\nrappresentativo di un dettaglio della lastra\nThe close-up of the sample is representative\nof a plate detail\nDisposizione lastre a macchia aperta\nPlates arrangement as open vein\n42\n43\n",24,{"image":110,"text":111,"number":112},"\u002Fmedia\u002Fimages\u002F05\u002F18ec5550336db88e467ba39ce6cc05-28d91c446b.25.png","Onice\nIvory White\nModello\u002F Model\nPANTHEON\n››\n››\nPorta \u002F Door\nTEKNO DOPPIA\n44\n45\n",25,{"image":114,"text":115,"number":116},"\u002Fmedia\u002Fimages\u002F05\u002F18ec5550336db88e467ba39ce6cc05-28d91c446b.26.png","Onice Ivory White\nONICE \u002F ONYX\nOnice Ivory White\nSodalite Blue\nImmagine lastra 350 cm _ H. 150 cm\nPlate image 350 cm _ H. 150 cm \nVariante colore\nCOLOUR SHADE\nIl primo piano del campione è\nrappresentativo di un dettaglio della lastra\nThe close-up of the sample is representative\nof a plate detail\nDisposizione lastre\nPlates arrangement\n46\n47\n",26,{"image":118,"text":119,"number":120},"\u002Fmedia\u002Fimages\u002F05\u002F18ec5550336db88e467ba39ce6cc05-28d91c446b.27.png","Sodalite\nBlue\nPorta \u002F Door\nSYNUA\nModello\u002F Model\nLEANA\n››\n››\n48\n49\n",27,{"image":122,"text":123,"number":124},"\u002Fmedia\u002Fimages\u002F05\u002F18ec5550336db88e467ba39ce6cc05-28d91c446b.28.png","Sodalite Blu\nMARMO \u002F MARBLE\nSodalite Blu\nOnice Bianco Lucido\nImmagine lastra 350 cm _ H. 150 cm\nPlate image 350 cm _ H. 150 cm \nVariante colore\nCOLOUR SHADE\nIl primo piano del campione è\nrappresentativo di un dettaglio della lastra\nThe close-up of the sample is representative\nof a plate detail\nDisposizione lastre a macchia aperta\nPlates arrangement as open vein\n50\n51\n",28,{"image":126,"text":127,"number":128},"\u002Fmedia\u002Fimages\u002F05\u002F18ec5550336db88e467ba39ce6cc05-28d91c446b.29.png","Fusion\nBrown\nPorta \u002F Door\nTEKNO\nModello\u002F Model\nTRE 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