[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-bandb-italia-home-14":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":260},{"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":255,"matched_pages":256,"match_count":257,"two_pages":258,"show_text":259},7693,"Home 14","bandb-italia-home-14","\u002Fmedia\u002Fimages\u002F15\u002F58bf8aa4b2cf85da43120b59f5ac12.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002F8a\u002F022e25d75e3e1ed9942f7d8aa99590.pdf","B&B Italia",296,"b-b-italia","9.5 MB",[14,17,20,24,28,32,36,40,44,48,52,56,60,64,68,72,76,80,84,88,92,96,100,104,108,112,116,120,124,128,132,136,140,144,148,152,156,160,164,168,172,176,180,184,188,192,196,200,204,208,212,216,220,224,228,232,236,240,244,248,252],{"image":7,"text":15,"number":16},"Tales of extraordinary living.\nN. 14\n",1,{"image":18,"text":15,"number":19},"\u002Fmedia\u002Fimages\u002F15\u002F58bf8aa4b2cf85da43120b59f5ac12.2.png",2,{"image":21,"text":22,"number":23},"\u002Fmedia\u002Fimages\u002F15\u002F58bf8aa4b2cf85da43120b59f5ac12.3.png","B&B Italia Home \nN. 14\nNature is a haunted house 4 \nNotes 53 \nA light exists in spring 70\nThe life of astronomer Bartolomeo Arcilaso,  \ndiscoverer of future cities \nby Giuseppe Lupo\nThe boy who dreamed of houses\nby Elisabetta Rasy\nWords and things, ideas and reality, objects and imagination. Clouds and wolves,  \nwhite facades and sumptuous decorations, interrupted conversations. Iconic details, \ntransparencies and lights, black, white, a harmony of forms. And permeating all of this  \nis a diktat that happily combines imagination, existence and the fairy tale of living,  \nmaking it possible to tell stories, to dream a bit, and to trust a hunch. This is the element \nthat design has always added to style: overcoming barriers, reconciling opposites  \n(like a castle or a totally white house), adding possibilities. A house is an object dense  \nwith stories, and each element contributes to narrating an identity, ours, fleeting and  \nyet firm: the theatre of creativity is the threshold we must cross if we want to appear,  \nbe it with discretion or as protagonists. We never travel so far as when we let ourselves  \nbe transported. In the freedom of thought and action, the only thing that really counts  \nis to be able to see beyond the horizon, be it through a metal tube, a photographic  \ncamera, or a pencil that draws a line. This is what creativity has always been:  \na step forward, sideways, in an unexplored direction. \nLe parole e le cose, le idee e la realtà, gli oggetti e la fantasia. Nuvole e lupi, bianche  \nfacciate e decori sontuosi, conversazioni sospese. Dettagli iconici, trasparenze  \ne luci, neri, bianchi, forme armoniche. E sotto, prima e dietro tutto questo, un dettato  \nche sa coniugare felicemente l’immaginazione, la presenza, la favola dell’abitare,  \nche rende ancora possibile raccontare, forse sognare, e avere giuste premonizioni.  \nÈ ciò che il design aggiunge da sempre allo stile: superare barriere, conciliare  \ngli opposti (come un castello e una casa totalmente bianca), aggiungere possibilità.  \nLa casa è un oggetto denso di storie e ciascun elemento concorre a raccontare un’identità, \nla nostra, fuggevole eppure salda: il teatro della creatività è la soglia da attraversare per \nproporsi con discrezione o da protagonisti. Non si va mai così lontano tanto quando  \nci si lascia trasportare. Nella libertà di pensiero e azione, l’unica cosa che conta davvero  \nè vedere oltre i limiti, siano essi un tubo che amplifica le visioni, una macchina fotografica, \nuna matita che traccia un segno. La creatività è sempre stata questo:  \nun passo avanti, laterale, in direzione inesplorata.\n",3,{"image":25,"text":26,"number":27},"\u002Fmedia\u002Fimages\u002F15\u002F58bf8aa4b2cf85da43120b59f5ac12.4.png","4\n5\nB&B Italia Home \nN. 14\n# 1\nNature is a haunted house\nbut Art, is a house\nthat tries to be haunted.\nRivoli, February 2018\n",4,{"image":29,"text":30,"number":31},"\u002Fmedia\u002Fimages\u002F15\u002F58bf8aa4b2cf85da43120b59f5ac12.5.png","6\n7\nB&B Italia Home \nN. 14\nAntonio Citterio, Mart, armchair, 2003.\nCollezione Luigi Caccia Dominioni, Cilindro, ottoman, 1963,\nImbuto, floor lamp, 1953.\npp. 8\u002F9\nPiero Lissoni, SAKé, modular sofa, Formiche, small tables, 2017.\nAntonio Citterio, Mart, armchair, 2003.\nCollezione Luigi Caccia Dominioni, Catilina, armchair, 1958,\nImbuto, floor lamp, 1953.\nchapter 1\n7\n",5,{"image":33,"text":34,"number":35},"\u002Fmedia\u002Fimages\u002F15\u002F58bf8aa4b2cf85da43120b59f5ac12.6.png","N. 14\n8\nB&B Italia Home \n9\n",6,{"image":37,"text":38,"number":39},"\u002Fmedia\u002Fimages\u002F15\u002F58bf8aa4b2cf85da43120b59f5ac12.7.png","N. 14\n10\nB&B Italia Home \n11\nGiuseppe Lupo\nA Bartolomeo Arcilaso un mago ricco  \ne istruito aveva detto che la fortuna del mondo \nsi trovava nelle oscurità del cielo e gli aveva \nvenduto un tubo di metallo, lungo quanto  \nun braccio, da usare nelle notti di luna nuova.\n«Guarda bene, guarda bene» \ngli ripeteva e lo invitava ad accostare gli occhi \na una delle estremità.\nBartolomeo aveva obbedito ed era rimasto \nsenza parole: quel tubo faceva il miracolo  \ndi ingrandire i puntini luminosi che in quel  \nmomento spuntavano come tizzoni incande-\nscenti all'altra estremità del tubo, tra le nuvole,  \nappesi ai fili che da qualche parte, lassù,  \nuna mano invisibile tirava uno per uno  \nsopra la sua testa.\nThe life of astronomer Bartolomeo Arcilaso,  \ndiscoverer of future cities\nby Giuseppe Lupo\nA rich and learned wizard told Bartolomeo  \nArcilaso one day that the world’s fortunes were  \nto be found in the darkness of the sky, and sold  \nhim a metal tube, as long as his arm, to use  \non nights when the moon is new. «Look closely,  \nlook closely,» he repeated, and advised him  \nto place an eye at one end. Bartolomeo had  \nobeyed, and had been struck speechless:  \nthe tube miraculously enlarged little points of  \nlight until they burst like red hot coals from the  \nother end, suspended by threads that someone  \nwas pulling, one by one, far above his head.\nThe life of astronomer Bartolomeo Arcilaso, discoverer of future cities\n",7,{"image":41,"text":42,"number":43},"\u002Fmedia\u002Fimages\u002F15\u002F58bf8aa4b2cf85da43120b59f5ac12.8.png","B&B Italia Home \nN. 14\n13\n12\nGaetano Pesce, Up7,  \nsculpture, 1969.\nNature is a haunted house\nchapter 1\n",8,{"image":45,"text":46,"number":47},"\u002Fmedia\u002Fimages\u002F15\u002F58bf8aa4b2cf85da43120b59f5ac12.9.png","B&B Italia Home \n14\nMario Bellini, Bolt Table, table, 2017.\nCollezione Luigi Caccia Dominioni, Catilina, armchair, 1958.\npp. 16\u002F17\nPiero Lissoni, SAKé, modular sofa, 2017,\nFormiche, small tables, 2017. \nAntonio Citterio, Eucalipto, storage units, 2016.\nGaetano Pesce, Up1, armchair, 1969.\nchapter 1\n15\nN. 14\n",9,{"image":49,"text":50,"number":51},"\u002Fmedia\u002Fimages\u002F15\u002F58bf8aa4b2cf85da43120b59f5ac12.10.png","B&B Italia Home \nN. 14\n17\n16\n",10,{"image":53,"text":54,"number":55},"\u002Fmedia\u002Fimages\u002F15\u002F58bf8aa4b2cf85da43120b59f5ac12.11.png","B&B Italia Home \nN. 14\n18\nchapter 1\nGaetano Pesce, Up5_Up6,  \narmchair and ottoman, 1969.\n",11,{"image":57,"text":58,"number":59},"\u002Fmedia\u002Fimages\u002F15\u002F58bf8aa4b2cf85da43120b59f5ac12.12.png","B&B Italia Home \nN. 14\n20\n21\nSo many, and big as a fist or small as a speck of light. But without that metal \ntube not even an eagle would have found them. The more he looked,  \nthe more he realized they weren’t flying fireworks, but something more tan-\ngible: castles, palaces, bridges, domes, sails, ships. Near, but far away, re-\nvealing their hidden existence. No one knew Bartolomeo Arcilaso’s exact age, \nor where he came from. He didn’t have any relatives or friends he could tell \nabout the wonders he saw each night. He had always been a solitary man, \ncontent with whatever vegetables and fruit he could grow in his garden.  \nDuring the day he kept the tube rolled up in sackcloth, and impatiently \nwatched the sun move across the sky until sunset became his muse and he \nput his eye to the tube like the wizard had instructed, even when the sky was \nheavy with rain clouds. Merchants with their carts, pilgrims, beggars  \nin search of food, and armies of knights going off to war passed by.  \nBut Bartolomeo barely noticed, because the wizard’s words were so convinc-\ning that whenever someone stopped to ask what was in the tube, he would \nraise his hand and make incomprehensible signs with his fingers.«Hoops?» \na passerby would ask. Bartolomeo would shake his head. «Ancient inscrip-\ntions?» someone else tried. No again. «Mysterious lanterns?» No yet again.  \nThe more enigmatic Bartolomeo was, the longer grew the line of curious peo-\nple. So much so that at a certain point it was an easy step for these strangers \nto ask for a bit of advice, a glimpse of the future, a forecast of what will hap-\npen tomorrow, in exchange for a coin. Bartolomeo studied the horizon  \nand spoke: «A lucky voyage…future ventures…love of conquest…hunger \n for riches...» And his bag grew so full of coins that he was forced to hide \nthem here and there scattered under the dirt of his little vegetable garden. \nWinter came, but it didn’t stop the to and fro of people. Bartolomeo thought \nthat leaving his mysterious tool unguarded could be risky, so when he felt  \nhis eyelids closing under the weight of sleep heavy as a stone, he summoned \nCe n'erano tanti, grossi come un pugno o della misura di un lumicino, sen-\nza quell'oggetto di metallo nemmeno un'aquila li avrebbe scovati. Anzi, per \ndirla tutta, non erano solo fuochi volanti, ma qualcosa di più definito: castelli, \npalazzi, ponteggi, cupole, vele, navi. Erano proprio lì, lontani ma vicini,  \na mostrare la loro nascosta esistenza. Non aveva un'età definibile Bartolo-\nmeo Arcilaso, non si sapeva il luogo dov'era nato, non possedeva parenti  \no amici con cui dividere le meraviglie che la profezia del mago gli procurava \nogni notte. Era sempre stato un uomo solitario, contento del poco che riu-\nsciva a dargli un pezzo di orto coltivato a frutta e a verdura. Di giorno teneva \nil tubo avvolto in una tela di sacco e seguiva con impazienza il cammino del \nsole finché l'ora del tramonto non gli dava l'estro di infilare l'occhio nelle \noscurità del cielo, come gli aveva insegnato il mago, anche quando in aria \ngalleggiavano nuvoloni carichi di acqua. Davanti a quell'arnese passavano \nmercanti sui carri, viandanti in pellegrinaggio, mendicanti in cerca di cibo, \neserciti di cavalieri avviati alle guerre, ma era difficile che Bartolomeo ci \nfacesse caso perché le parole del mago erano state così convinte che chiun-\nque avesse chiesto cosa ci fosse nel tubo, Bartolomeo alzava una mano  \ne tracciava segni incomprensibili con le dita. «Cerchiature?» chiedeva ogni \ntanto qualcuno che si era fermato. Bartolomeo faceva no con la testa. \n«Scritture antiche?» toccava a un altro. Di nuovo no. «Lanterne misteriose?» \nAncora no. Più Bartolomeo si comportava enigmatico, più la fila di curiosi \naumentava tanto che a un certo punto fu un passo facile per gli sconosciuti \nazzardare un consulto, chiedere una profezia, farsi indovinare il domani, dan-\ndo in cambio una moneta. Bartolomeo scrutava l'orizzonte del cielo  \ne parlava: «Fortuna di viaggi..., imprese di ventura..., amori di conquiste..., \nfame di ricchezze...» E la borsa cominciava a farsi così pesante di monete  \nda costringere a nasconderle qua e là sotto terra, nel pezzo di orto. Nemmeno \ncon l'arrivo del cattivo tempo il viavai accennò a diminuire e Bartolomeo pensò \nche poteva essere un rischio lasciare incustodito il suo misterioso attrezzo, \nThe life of astronomer Bartolomeo Arcilaso, discoverer of future cities\nGiuseppe Lupo\n",12,{"image":61,"text":62,"number":63},"\u002Fmedia\u002Fimages\u002F15\u002F58bf8aa4b2cf85da43120b59f5ac12.13.png","B&B Italia Home \nN. 14\n22\nAntonio Citterio, Alex, table, 2017,\nCharlotte, chair, 2015.\nCollezione Luigi Caccia Dominioni,\nCilindro, ottoman, 1963.\nchapter 1\n23\n23\n",13,{"image":65,"text":66,"number":67},"\u002Fmedia\u002Fimages\u002F15\u002F58bf8aa4b2cf85da43120b59f5ac12.14.png","B&B Italia Home \nN. 14\n24\nchapter 1\npp. 24\u002F29\nAntonio Citterio for Arclinea,  \nItalia, kitchen, 1988,\nModus, doors system, 2018.\n25\n",14,{"image":69,"text":70,"number":71},"\u002Fmedia\u002Fimages\u002F15\u002F58bf8aa4b2cf85da43120b59f5ac12.15.png","N. 14\n27\n26\nB&B Italia Home \n",15,{"image":73,"text":74,"number":75},"\u002Fmedia\u002Fimages\u002F15\u002F58bf8aa4b2cf85da43120b59f5ac12.16.png","B&B Italia Home \nN. 14\n28\nchapter 1\n29\n",16,{"image":77,"text":78,"number":79},"\u002Fmedia\u002Fimages\u002F15\u002F58bf8aa4b2cf85da43120b59f5ac12.17.png","",17,{"image":81,"text":82,"number":83},"\u002Fmedia\u002Fimages\u002F15\u002F58bf8aa4b2cf85da43120b59f5ac12.18.png","B&B Italia Home \nN. 14\n32\nNaoto Fukasawa, Shelf X, bookcase, 2005,\nMini Papilio, small armchair, 2012.\nAntonio Citterio, Eileen, table, 2003,\nIuta, chair, 2012.\nCollezione Luigi Caccia Dominioni,\nBase Ghisa, table lamp, 1953, Cilindro, ottoman, 1963.\npp. 34\u002F35\nZaha Hadid, Moon System, sofa, 2007.\nchapter 1\n33\n",18,{"image":85,"text":86,"number":87},"\u002Fmedia\u002Fimages\u002F15\u002F58bf8aa4b2cf85da43120b59f5ac12.19.png","N. 14\n35\n34\nB&B Italia Home \n",19,{"image":89,"text":90,"number":91},"\u002Fmedia\u002Fimages\u002F15\u002F58bf8aa4b2cf85da43120b59f5ac12.20.png","N. 14\n36\n37\nB&B Italia Home \nquando sentiva il sonno pesare come una pietra sulle palpebre e doveva \nricorrere a tutta la forza che teneva in corpo per evitare di chiudere gli occhi. \nQualche volta gli era capitato di addormentarsi con le braccia poggiate sopra \nil suo tubo, le mani racchiuse nelle maniche, la testa ciondoloni. Dormiva  \nnon si sa quanto e dopo, al risveglio, di fianco a lui trovava una faccia scono-\nsciuta disposta a giurare che era solo un imbroglione perché il tubo non era  \nche un pertugio nero e dentro non c'era altro che un cerchio di buio, anzi \nnemmeno un cerchio, soltanto buio e basta. Cominciarono davvero giorni tri-\nsti per Bartolomeo, che fu denunciato all'autorità e citato in giudizio. Vennero  \nle guardie ad arrestarlo, lo portarono davanti al magistrato che volle esami-\nnare con calma lo strumento, assunse tutte le informazioni necessario  \ndalla bocca di esperti e aspettò la sera per metterci l'occhio anche lui:  \nnon trovò nulla di tutto quello che era stato raccontato e, nonostante il gran \nnome che Bartolomeo si era conquistato nella regione, capì di trovarsi  \ndi fronte a uno di quegli individui che ingannano l'umanità con le sofisticate \nmacchinazioni del cervello. «Un pertugio di buio è ciò che vedo» ripeté  \nil magistrato pari pari alle dicerie degli accusatori. E si chiuse a consulto con \ni colleghi per interrogare la legge e stabilire la condanna. Bartolomeo non \ndisse sì e non disse no, però era sicuro che i suoi occhi non lo avevano in-\ngannato: dentro il tubo che il mago gli aveva venduto non c'era il colore della \nnotte, ma lo scintillio delle stelle. Anzi, di tanto in tanto tornavano a compa-\nrirgli strane forme di città con le case affusolate come alberi o poggiate sulle \nacque di un mare senza onde o addirittura con i tetti a forma di cupole che \nprendevano doratura con la luce dei lenti tramonti. Il futuro, pensava Barto-\nlomeo: non sappiamo come si chiameranno queste città ma di sicuro esi-\nsteranno, io le ho viste. Quei luoghi, Bartolomeo li aveva passati in rassegna \nuno per uno, anche se non avevano un nome e forse nemmeno consistenza, \ntanto da decifrare perfino il mobilio che riempiva i vani di ciascuna stanza  \ne indicare il punto preciso dov'era stato collocato: tende, tavoli, letti, scranni. \nall the strength in his body to keep them open. A few times he found himself \nasleep with his arms on top of the tube, his hands closed in his shirtsleeves, \nand his head bobbing like a pendant. He slept for who knows how long,  \nand when he awoke, next to him was a stranger ready to swear that he  \nwas a swindler, because the tube was just a hole with nothing more inside \nthan a black circle, actually not even a circle, just black and that’s all.  \nAnd so Bartolomeo’s troubles began. He was reported to the authorities  \nand served a judicial summons. The guards came to arrest him, and brought \nhim before a magistrate, who fully examined the instrument with great care, \nheard all of the necessary testimony from the mouths of experts, and waited \nuntil evening so he could place his eye on the tube himself: he saw none  \nof the wonders that had been recounted and, despite the name Bartolomeo  \nhad earned in the region, realized that he was dealing with one of those  \nindividuals able to trick humanity with the sophisticated machinations of their \nmind. «A dark hole is what I see,» the magistrate said, repeating exactly the \nsame words as the accusers. Then he withdrew into his chambers with his \ncolleagues to consult the legal texts and make a verdict. Bartolomeo didn’t  \nsay yes and didn’t say no, but he was sure his eyes had not fooled him:  \ninside the tube the wizard sold him was the twinkling of the stars and not  \nthe blackness of night. On the contrary, every so often strange shapes  \nreturned to his mind, cities with houses that tapered off at the end like trees,  \nor resting on the surface of a waveless sea, or even with domed roofs gilded \nby the light of the slowly setting sun. We don’t know what these cities are \ncalled, Bartolomeo thought, but for certain they will exist in the future, for \nI have seen them. Bartolomeo had seen these places pass before his eyes \none by one, even if they had no name or even perhaps no substance. He was \neven able to decipher the furnishings that filled each room and to discern  \nthe exact point where they were located: curtains, tables, beds, benches.  \nThe life of astronomer Bartolomeo Arcilaso, discoverer of future cities\nGiuseppe Lupo\n",20,{"image":93,"text":94,"number":95},"\u002Fmedia\u002Fimages\u002F15\u002F58bf8aa4b2cf85da43120b59f5ac12.21.png","N. 14\n39\nNature is a haunted house\nAntonio Citterio,  \nBackstage '18, wardrobe, 2013.\nNaoto Fukasawa,  \nGrande Papilio, armchair, 2009.\nPiero Lissoni,  \nFormiche, small tables, 2017.\nCollezione Luigi Caccia Dominioni,\nImbuto, floor lamp, 1953.\n38\nB&B Italia Home \n",21,{"image":97,"text":98,"number":99},"\u002Fmedia\u002Fimages\u002F15\u002F58bf8aa4b2cf85da43120b59f5ac12.22.png","N. 14\n41\n40\nB&B Italia Home \n",22,{"image":101,"text":102,"number":103},"\u002Fmedia\u002Fimages\u002F15\u002F58bf8aa4b2cf85da43120b59f5ac12.23.png","B&B Italia Home \nN. 14\n42\nchapter 1\n43\npp. 40\u002F 43\nPatricia Urquiola, Husk, bed, 2013.\nAntonio Citterio, Mera, small tables, 2012,\nEileen, console, 2003.\nNaoto Fukasawa, Grande Papilio, armchair, 2009.\nCollezione Luigi Caccia Dominioni,\nCilindro, ottoman, 1963, Imbuto, floor lamp, 1953,\nMonachella, floor lamp, 1953.\n",23,{"image":105,"text":106,"number":107},"\u002Fmedia\u002Fimages\u002F15\u002F58bf8aa4b2cf85da43120b59f5ac12.24.png","B&B Italia Home \nN. 14\n45\n44\nAntonio Citterio, Eileen, console, 2003.\nCollezione Luigi Caccia Dominioni,\nCilindro, ottoman, 1963, Imbuto, floor lamp, 1953.\nNature is a haunted house\nchapter 1\n",24,{"image":109,"text":110,"number":111},"\u002Fmedia\u002Fimages\u002F15\u002F58bf8aa4b2cf85da43120b59f5ac12.25.png","N. 14\n47\n46\nB&B Italia Home \nIl fatto curioso è che non si limitava solo ai mobili, pure gli animali indicava: \ncani, gatti, serpenti, colombe, tigri, leoni, elefanti, lupi. Avrebbe potuto giurare \nal mondo che tutte queste meraviglie erano dall'altra parte del tubo, proprio lì, \ncolpa delle braccia corte e non per difetto d'astronomia se fino a quel giorno \nnon riusciva a toccarli. Fosse stato buio in quel momento d'incertezza, avreb-\nbe invitato il magistrato a guardare meglio. Purtroppo era mattino  \ne i tamburi che accompagnavano le parole della corte, mentre si pronunciava  \nla sentenza, battevano a ritmo troppo lento per accelerare il cammino del \nsole. «Più forte, più forte» continuava a ripetere Bartolomeo stando attento \nperò che le parole restassero sulla punta della lingua. Cercava di spingere con \nla forza del pensiero il disco arroventato che invece pareva essersi  \nfermato nel cielo solo per fargli un dispetto, per assistere all'esecuzione di un \nuomo menzognero che si era permesso di raccontare fandonie agli uomini. \nChe brutta fine, pensò Bartolomeo, morire senza essere creduto è peggio non \nessere mai nato. Il sole, quel giorno, non fece in tempo a raggiungere  \nil punto più alto del cielo che il corpo di Bartolomeo era stato già buttato in \nuna fossa vicina al luogo dell'esecuzione. C'era una folla di curiosi ad assi-\nstere, ma nessuno ebbe la forza di gridare quando arrivò il momento supremo \nperché è probabile che lì, davanti a lui, ci fossero molti di quelli che avevano \npagato la moneta per ficcare gli occhi nel tubo di metallo. Di questo male-\ndetto strumento non si seppe più nulla. Forse fu dimenticato nello scantinato \ndella prigione, forse distrutto in uno dei numerosi saccheggi che il palazzo \ndovette subire nel corso degli anni. E le visioni che era in grado di spalancare \nfurono considerate fantasie di un uomo senza passato e senza età. Almeno \nfino a quando cessarono di essere fantasie e acquistarono materia, diventaro-\nno città con le case affusolate come alberi o poggiate sulle acque di un mare \nsenza onde o con le cupole tonde e dorate alla luce di un lento tramonto.  \nSarebbe stato importante che Bartolomeo fosse presente, quando tutto que-\nsto fu annunciato, ma a quel punto il suo nome era stato dimenticato.\nThe curious thing was that he wasn’t limited just to furniture, he could point \nout animals too: dogs, cats, snakes, doves, tigers, lions, elephants, wolves. \nHe would have sworn up and down to the world that all of these marvels existed \nthere, right there, at the end of the tube. If he wasn’t able to touch them yet,  \nit was not the fault of astronomy but because his arms were too short.\nIf it had been dark precisely at that uncertain moment, he would have asked \nthe magistrate to take another look. But unfortunately it was morning, and  \nthe drums being beaten to accompany the court as it pronounced its sentence \nwere beaten too slowly to speed up the steps of the sun. «Faster, faster,»  \nBartolomeo repeated, taking care however that the words stayed on the tip  \nof his tongue. He tried pushing the burning disc forward with the strength  \nof his mind, but the sun seemed to stop midway just to spite him, so it could \nwitness the execution of a mendacious man who allowed himself to tell false-\nhoods to other men. What a horrible fate, Bartolomeo thought. To die without \nbeing believed is worse than never having been born. The sun, that day, did \nnot even reach the highest point in the sky before the body of Bartolomeo was \nthrown into a ditch near the place where he was executed.There had been  \na small crowd of onlookers, but no one had the strength to call out during the \nfinal moment, because it was likely that some of them were the same peo-\nple who had paid him for a look through the metal tube. What became of this \nwretched instrument? No one knows. Perhaps it lay forgotten in the cellars \nof the prison, or destroyed later in one of the many times the building was \nsacked. And the visions it unleashed were considered the fantasies of a man \nwithout a past and with no age. At least until they stopped being fantasies and \nstarted to come true, and became cities with houses that tapered like trees,  \nor floating on a waveless sea, or with rounded domes kissed by the golden light \nof a slow sunset. It would have been important for Bartolomeo to have been \nthere when all of this happened, but by that time his name had been forgotten.\nThe life of astronomer Bartolomeo Arcilaso, discoverer of future cities\nGiuseppe Lupo\n",25,{"image":113,"text":114,"number":115},"\u002Fmedia\u002Fimages\u002F15\u002F58bf8aa4b2cf85da43120b59f5ac12.26.png","N. 14\n49\n48\nB&B Italia Home \n",26,{"image":117,"text":118,"number":119},"\u002Fmedia\u002Fimages\u002F15\u002F58bf8aa4b2cf85da43120b59f5ac12.27.png","B&B Italia Home \nN. 14\n50\nAntonio Citterio, Mirto Outdoor, table, chair and armchair, 2013.\nB&B Italia CR&S, Twist, carpet, 2017.\npp. 48\u002F 49\nPatricia Urquiola, Butterfly, modular sofa, 2015,\nHusk Outdoor, small table, 2014,\nFat-Sofa Outdoor, ottoman, 2015.\nNaoto Fukasawa, Grande Papilio Outdoor, armchair and ottoman, 2013.\nAntonio Citterio, Mirto Outdoor, small tables, 2013.\nB&B Italia CR&S, Twist, carpet, 2017.\nchapter 1\n51\n",27,{"image":121,"text":122,"number":123},"\u002Fmedia\u002Fimages\u002F15\u002F58bf8aa4b2cf85da43120b59f5ac12.28.png","52\nB&B Italia Home \n53\nillustrations by Alyson Fox\nNotes\n",28,{"image":125,"text":126,"number":127},"\u002Fmedia\u002Fimages\u002F15\u002F58bf8aa4b2cf85da43120b59f5ac12.29.png","N. 14\n54\n55\nB&B Italia Home \nAlyson Fox\nNotes\nAntonio Citterio,  \nCharles, chaise longue, 1997.\n",29,{"image":129,"text":130,"number":131},"\u002Fmedia\u002Fimages\u002F15\u002F58bf8aa4b2cf85da43120b59f5ac12.30.png","N. 14\n56\n57\nB&B Italia Home \nNotes\nEdward Barber and Jay Osgerby,  \nTobi-Ishi, table, 2012.\nAlyson Fox\n",30,{"image":133,"text":134,"number":135},"\u002Fmedia\u002Fimages\u002F15\u002F58bf8aa4b2cf85da43120b59f5ac12.31.png","N. 14\n59\nNotes\nPatricia Urquiola,  \nTufty-Time, modular sofa, 2005.\nPatricia Urquiola,  \nCrinoline, armchair, 2008.\n58\nB&B Italia Home \nAlyson Fox\n",31,{"image":137,"text":138,"number":139},"\u002Fmedia\u002Fimages\u002F15\u002F58bf8aa4b2cf85da43120b59f5ac12.32.png","N. 14\nNaoto Fukasawa,  \nShelf, bookcases, 2005.\nNotes\n60\nB&B Italia Home \n61\nAlyson Fox\n",32,{"image":141,"text":142,"number":143},"\u002Fmedia\u002Fimages\u002F15\u002F58bf8aa4b2cf85da43120b59f5ac12.33.png","N. 14\n62\n63\nB&B Italia Home \nNotes\nNaoto Fukasawa,  \nHarbor, armchair and ottoman, 2017.\nAlyson Fox\n",33,{"image":145,"text":146,"number":147},"\u002Fmedia\u002Fimages\u002F15\u002F58bf8aa4b2cf85da43120b59f5ac12.34.png","N. 14\nNotes\n64\nB&B Italia Home \nAntonio Citterio and Paolo Nava,  \nDiesis, sofa, 1979.\n65\nAlyson Fox\n",34,{"image":149,"text":150,"number":151},"\u002Fmedia\u002Fimages\u002F15\u002F58bf8aa4b2cf85da43120b59f5ac12.35.png","N. 14\n66\n67\nB&B Italia Home \nNotes\nGaetano Pesce, Up5_Up6,  \narmchair and ottoman, 1969.\nAlyson Fox\n",35,{"image":153,"text":154,"number":155},"\u002Fmedia\u002Fimages\u002F15\u002F58bf8aa4b2cf85da43120b59f5ac12.36.png","N. 14\n68\nB&B Italia Home \n69\nMario Bellini,  \nBolt Table, table, 2017.\nAlyson Fox\n",36,{"image":157,"text":158,"number":159},"\u002Fmedia\u002Fimages\u002F15\u002F58bf8aa4b2cf85da43120b59f5ac12.37.png","B&B Italia Home \nN. 14\n70\nAlentejo, March 2018\n#2\nA light exists in spring,  \nnot present on the year  \nat any other period.\n",37,{"image":161,"text":162,"number":163},"\u002Fmedia\u002Fimages\u002F15\u002F58bf8aa4b2cf85da43120b59f5ac12.38.png","N. 14\n73\n72\nB&B Italia Home \n",38,{"image":165,"text":166,"number":167},"\u002Fmedia\u002Fimages\u002F15\u002F58bf8aa4b2cf85da43120b59f5ac12.39.png","B&B Italia Home \nN. 14\n75\n74\nchapter 2\nA light exists in spring\npp. 72\u002F75 \nAntonio Citterio, Richard, modular sofa, 2016, \nJ.J., armchair, 2012,\nMirto Indoor, small tables, console and ottoman, 2016.\npp. 76\u002F77\nPatricia Urquiola, Crinoline, armchair, 2008.\n",39,{"image":169,"text":170,"number":171},"\u002Fmedia\u002Fimages\u002F15\u002F58bf8aa4b2cf85da43120b59f5ac12.40.png","B&B Italia Home \nN. 14\n77\n76\n",40,{"image":173,"text":174,"number":175},"\u002Fmedia\u002Fimages\u002F15\u002F58bf8aa4b2cf85da43120b59f5ac12.41.png","78\n79\nB&B Italia Home \nN. 14\nElisabetta Rasy\nThe boy who dreamed of houses\nThe boy who dreamed of houses\nby Elisabetta Rasy\nI met him many years ago at a dinner party, and \nnever forgot him. Two hours spent nearly  \nelbow to elbow, with a parade of elaborate dish-\nes passionately praised by the guests out  \nof courtesy to the cook, who was the exuberant \nlady of the house. And he never said a word.  \nNot a comment, not an observation, not even  \na sigh, mute, with a mouth walled up in a hand-\nsome face framed by abundant dark curls. When \nI happened to ask for salt or bread, he would  \nimmediately reach across the table with his  \nlong arms, but never open his mouth, just lower-\ning his very dark eyelashes in a sign of assent.\nL’avevo incontrato molti anni prima a una cena, \ne non l’avevo più dimenticato. Quasi due ore \ngomito a gomito, mentre si alternavano cibi ela-\nborati che tutti noi commensali commentavamo \ncon foga per cortesia verso la cuoca, cioè l’esu-\nberante padrona di casa, e lui non aveva detto \nuna parola. Non un commento,  \nnon un’osservazione, neanche un sospiro,\nmuto, bocca murata nel bel viso incorniciato  \nda abbondanti riccioli scuri e mai una sillaba.  \nMi era capitato di chiedergli il sale o il pane,  \ne lui si era immediatamente messo in moto  \nattraverso la tavola con le sue lunghe braccia, \nma senza aprire bocca, limitandosi a chinare  \nle ciglia nerissime in segno di assenso. \n",41,{"image":177,"text":178,"number":179},"\u002Fmedia\u002Fimages\u002F15\u002F58bf8aa4b2cf85da43120b59f5ac12.42.png","80\nB&B Italia Home \nN. 14\nNaoto Fukasawa,  \nHarbor, armchair and ottoman, 2017.\nVincent Van Duysen,  \nSurface, storage units, 2015.\nchapter 2\n81\n",42,{"image":181,"text":182,"number":183},"\u002Fmedia\u002Fimages\u002F15\u002F58bf8aa4b2cf85da43120b59f5ac12.43.png","82\n83\nB&B Italia Home \nN. 14\n",43,{"image":185,"text":186,"number":187},"\u002Fmedia\u002Fimages\u002F15\u002F58bf8aa4b2cf85da43120b59f5ac12.44.png","84\n85\nB&B Italia Home \nN. 14\nchapter 2\nAntonio Citterio,  \nJens, chair, 2017. \npp. 82\u002F83\nAntonio Citterio,  \nMirto Indoor, table, 2014, \nJens, chair, 2017.\nA light exists in spring\n",44,{"image":189,"text":190,"number":191},"\u002Fmedia\u002Fimages\u002F15\u002F58bf8aa4b2cf85da43120b59f5ac12.45.png","86\n87\nB&B Italia Home \nN. 14\n«Ludovico, aren’t you staying with us for coffee?» asked our hostess when \ndinner was over. But he had already left. «Ludo…» she called after him,  \nbut to no effect: her son Ludovico, also known as Ludo, wearing a stiff and \nelegant gray suit out of place for his age, evidently preferred solitude \n to our company. At the time I thought that his silence was his way of com-\npensating for his mother’s verbosity, who after a divorce from her husband \nhad drowned her sorrows in an alarming shade of platinum blond, in a \nseries of intensive cooking courses and in the habit of telling anyone she \nmet the tale of her initially marvelous and then infinitely painful marriage. \nBut that wasn’t why, an old friend of the family explained. The boy was just \nthat way, taciturn, not very sociable and reluctant to go to university, where \nhe was studying Art History, a topic he chose despite his parents being \nunited – for once – in a desire for him to study Economics. «There is a big \ndifference between Art History and Economics,» I observed somewhat  \nincongruously. The family friend shrugged his shoulders and said  \n«It doesn’t really matter, he’s a strange kid, he’ll never amount to anything.»\nThe next time I met Ludo, who everyone now respectfully called Ludovico, \nwas at another dinner party a short time ago. It was clear he was the main \nevent of the evening: fifteen years later he was still good looking, his full \nhead of curls now turning prematurely gray, casually dressed with a blue \npullover worn with jeans that were neither too tight nor too baggy.  \nHe had become well-known globetrotting photographer, specializing in im-\nages of unusual buildings that he hunted down across the continents.  \nAt the beginning no one, especially not his family, gave him any credit.  \nBut in a short while the singularity and the quality of his photographs won \nhim international acclaim. When they introduced us I said that we had  \nalready met at his mother’s house – I had seen her recently, even blonder \nbut at this point more of an expert on diets than food – and that he stuck  \nin my mind because of his invincible silence. I asked him how he became  \n«Ludovico non resti con noi per il caffè?» gli aveva chiesto la nostra ospite,  \na cena finita, ma lui era già scomparso. «Ludo…», aveva urlato la donna,  \nma niente: il figlio Ludovico detto Ludo, nel suo rigido ed elegante completo \ngrigio poco adatto alla sua età, evidentemente preferiva la solitudine alla no-\nstra compagnia. Pensavo che tanto silenzio servisse a compensare la verbosità \ndella madre, che dopo il divorzio dal marito aveva affogato l’amarezza  \nin un’allarmante tintura biondo platino, in una serie di intensivi corsi di cucina \ne nell’abitudine di raccontare a chiunque la storia prima meravigliosa poi infini-\ntamente dolente del suo matrimonio. Invece no, mi aveva spiegato un vecchio \namico della famiglia, quel ragazzo era fatto così, taciturno, poco socievole  \ne refrattario all’università, dove avrebbe dovuto studiare storia dell’arte, mate-\nria da lui scelta malgrado i genitori, in questa occasione di nuovo uniti, spin-\ngessero verso materie economiche. «C’è una bella differenza tra l’arte  \ne l’economia», avevo commentato un po’ incongruamente. L’amico di famiglia \naveva alzato le spalle replicando: «Tanto non conta, è un tipo bizzarro,  \nnon combinerà mai niente di buono». Ho rincontrato Ludo, che ora tutti chia-\nmavano rispettosamente Ludovico, di nuovo a una cena, poco tempo fa.  \nSi capiva che era lui il pezzo forte della serata: quindici anni dopo era ancora \nun bel ragazzo, gli scuri riccioli sempre abbondanti ora precocemente ingrigiti, \nabbigliamento sportivo, un pullover blu su jeans né stretti né larghi.  \nEra diventato un fotografo giramondo molto affermato, specializzato nelle \nimmagini di edifici speciali, unici e indimenticabili, scovati in tutti i continenti. \nAll’inizio nessuno, soprattutto nella cerchia famigliare, gli aveva dato credito, \nma in poco tempo la singolarità e la qualità delle sue fotografie si era imposta \ninternazionalmente. Quando me lo presentarono gli dissi che c’eravamo  \nincontrati tanto tempo prima a casa di sua madre – l’avevo rivista di recente,  \nsempre più bionda ma ormai esperta di diete più che di cucina – e che  \nlo ricordavo bene per il suo invincibile silenzio. Gli chiesi come fosse diven-\ntato fotografo, lo ricordavo in altri studi. «Se ha voglia di starmi ad ascoltare \nThe boy who dreamed of houses\nElisabetta Rasy\n",45,{"image":193,"text":194,"number":195},"\u002Fmedia\u002Fimages\u002F15\u002F58bf8aa4b2cf85da43120b59f5ac12.46.png","N. 14\n8 9\nN. 14\n8 8\nB&B Italia Home \n",46,{"image":197,"text":198,"number":199},"\u002Fmedia\u002Fimages\u002F15\u002F58bf8aa4b2cf85da43120b59f5ac12.47.png","90\nB&B Italia Home \nN. 14\nchapter 2\npp. 88\u002F91\nAntonio Citterio,  \nGio, chaise longue, 2016.\n",47,{"image":201,"text":202,"number":203},"\u002Fmedia\u002Fimages\u002F15\u002F58bf8aa4b2cf85da43120b59f5ac12.48.png","92\n93\nB&B Italia Home \nN. 14\nglielo racconto, le prometto che parlerò a lungo, così pareggio il conto», aveva \nrisposto sorridendo. Dopo il liceo si era iscritto a Lettere, indirizzo Storia  \ndell’arte, perché da piccolo, quando gli regalavano un libro, gli piacevano molto \npiù le figure della storia, ma soprattutto perché era innamorato di una ragazza \niscritta a quei corsi. Era una ragazza mora, dalle forme sensuali ed era il suo \nprimo amore. E soprattutto assomigliava a sua nonna, Teresa la lusitana.  \nLa nonna se n’era andata da questo mondo quando lui aveva sei o sette anni, \nlontana dal Portogallo dove era nata e che, diciottenne, aveva lasciato per \nsposare un ingegnere italiano, da cui aspettava un bambino, cioè sua madre. \nEra morta giovane, non ancora cinquantenne: era una donna bella, malinco-\nnica, con una testa piena di capelli scuri che portava raccolti in una grande \ncrocchia – così Ludo la ricordava e così appariva nelle foto che aveva conserva-\nto di lei. Teresa non aveva mai imparato bene l’italiano, forse per questo  \nparlava poco e con timidezza, ma con lui bambino, quando erano soli, diven-\ntava loquace. Nella sua sottile voce c’era sempre qualcosa di musicale,  \ne lui s’incantava ad ascoltarla. Gli raccontava delle storie del suo paese lontano, \ne in ogni storia c’era una casa bianca, la casa della sua infanzia, custodita da \nguardiani speciali: dei giovani cavalli agili e gentili, che lei amava accarezzare \ne cavalcare. «Un giorno ti ci porterò» aveva detto, ma non c’era stato il tempo. \n«Dopo la sua morte ne parlai a mia madre», continuò Ludovico,  \n«le chiesi dove fosse la casa bianca, in quale angolo di Portogallo e se  \nci saremmo andati. Ma mia madre cadde dalle nuvole: con lei la nonna non \nne aveva mai parlato, e da come gliela stavo descrivendo sembrava una casa \nda fiaba, probabilmente solo una fantasia nata dalla nostalgia. Per me invece \nquella casa esisteva, era più vera del vero, più reale della realtà».  \nAnche perché, mi spiegò, nonna Teresa non lo aveva del tutto abbandonato: \ncon una certa regolarità gli appariva in sogno, bella com’era, con la sua ricca \nchioma scura, e ancora più giovane di come la ricordava. Qualche volta  \nera sulla soglia di una meravigliosa casa bianca, qualche volta teneva le redini  \na photographer, since he had studied something else. «If you feel like \nlistening I’ll tell you the story,» he said smiling. «I promise I will talk a long \ntime, that way we’ll be even.» After finishing high school he decided  \nto get a degree in Literature, with a major in Art History, because as a child  \nhe had always liked the pictures in books more than the words. But mostly \nbecause he was in love with a girl who studied Literature. She was dark-\nhaired, sensually formed, and was his first love. She looked like his grand-\nmother, Teresa, from Lusitania. His grandmother had left this world when \nhe was seven or eight years old, far away from the Portugal where she  \nwas born and where, at age eighteen, she left to marry an Italian engineer \nwith whom she was expecting a child – his mother. She died before even \nturning fifty: a beautiful woman, melancholy, with dark curly hair that  \nshe wore in a large bun. That’s how Ludo remembered her, and how  \nshe appeared in the photos he had kept. Teresa never learned Italian very \nwell, perhaps that’s why she talked shyly and seldom, but when he was  \na child and they were alone she became loquacious. In her soft voice  \nthere was something musical, and he was enchanted by listening to it.  \nShe told him stories of her distant homeland, and in every story there  \nwas a white house, her childhood home, watched by special guardians: \ngentle, agile young horses that she loved to caress and ride. «I’ll bring you \nthere one day,» she said. But that day never came. «After she died  \nI told my mother about it,» Ludovico continued. «I asked her where the \nwhite house was, in what corner of Portugal, and if we could go. My mother \nwas taken by complete surprise: grandmother had never told her about  \na white house, and she thought it sounded like a nostalgic fairy tale.  \nBut for me that house existed, and was more real than real.» Also because \nTeresa had not completely abandoned him. She appeared with a certain \nregularity at night in his dreams, as beautiful as she was in life,  \nwith her rich dark hair, and even younger than he remembered her.  \nThe boy who dreamed of houses\nElisabetta Rasy\n",48,{"image":205,"text":206,"number":207},"\u002Fmedia\u002Fimages\u002F15\u002F58bf8aa4b2cf85da43120b59f5ac12.49.png","94\nB&B Italia Home \nN. 14\nMario Bellini, Le Bambole '07,  \narmchair, 1972.\nAntonio Citterio,  \nMirto Indoor, table, 2014,\nEl, chair, 2009,  \nP60, ottoman, 2003.\nchapter 2\n9 5\nN. 14\n",49,{"image":209,"text":210,"number":211},"\u002Fmedia\u002Fimages\u002F15\u002F58bf8aa4b2cf85da43120b59f5ac12.50.png","96\n97\nB&B Italia Home \nN. 14\n",50,{"image":213,"text":214,"number":215},"\u002Fmedia\u002Fimages\u002F15\u002F58bf8aa4b2cf85da43120b59f5ac12.51.png","B&B Italia Home \nN. 14\n98\npp. 96\u002F99\nAntonio Citterio, Richard, bed, 2017.\nVincent Van Duysen, Surface, small tables, 2010.\nchapter 2\n99\n",51,{"image":217,"text":218,"number":219},"\u002Fmedia\u002Fimages\u002F15\u002F58bf8aa4b2cf85da43120b59f5ac12.52.png","B&B Italia Home \nN. 14\n100\nchapter 2\nAntonio Citterio, J.J., rocking armchair, 2008,\nHarry Large, ottoman, 2004.\n101\n",52,{"image":221,"text":222,"number":223},"\u002Fmedia\u002Fimages\u002F15\u002F58bf8aa4b2cf85da43120b59f5ac12.53.png","102\n103\nB&B Italia Home \nN. 14\ndi un bel cavallo fulvo. Quando io lo avevo incontrato, Claudia, la ragazza  \nche studiava storia dell’arte, lo aveva da poco lasciato spezzandogli il cuore.  \nLui aveva smesso di andare all’università, aveva smesso di parlare e di sognare \nsua nonna. E quando Aldo e Maurizio, gli unici amici che gli erano rimasti per-\nché erano gli unici che sopportavano la sua tristezza e il suo mutismo,  \ngli avevano proposto un viaggio lui all’inizio aveva detto no, però dopo, visto \nche insistevano, aveva proposto come meta il Portogallo. Gli amici avevano \naccettato e lui era partito: voleva trovare la casa bianca, così sua nonna sa-\nrebbe tornata ad apparirgli in sogno. Dopo Lisbona si erano inoltrati nell’interno, \nverso Cascais e poi Sintra. Fu al ritorno, mentre il sole si ostinava  \na non tramontare, che la vide, lungo la piccola strada tortuosa che stavano \nseguendo per riprendere l’autostrada. Era lontana, tutt’intorno il verde dei \nprati, un bagliore azzurro forse di un lago, e lei, la casa, tutta bianca. Più in là \ndei cavalli annusavano l’aria. «Fermatevi», aveva urlato agli amici, «fermatevi», \nmentre si contorceva sul sedile per non perdere l’immagine, «fermatevi».  \nMa loro ascoltavano musica a tutto volume, erano stanchi e affamati e non  \ngli avevano dato retta. Avrebbe voluto afferrare quella immagine, tenerla  \ncon sé, non perderla, offrirla nel sonno a sua nonna. Ludovico guardò un punto \nlontano nella stanza, e per un attimo sembrò che non volesse più parlare.  \n«E ha ricominciato a sognare sua nonna?», gli ho chiesto per spingerlo a conti-\nnuare. «No», mi ha risposto. «E in Portogallo, a cercare la casa bianca,  \nnon è tornato?» «Sì, ma non l’ho più trovata», mi ha detto velocemente, come \nse stesse ridiventando il ragazzo taciturno di quindici anni prima. Ci siamo \naccomiatati con un cenno del capo, ma poi mentre si stava allontanando  \nsi è di nuovo rivolto a me, rendendosi conto che non mi aveva spiegato perché \nera diventato fotografo. «Da allora ho cominciato a sognare case, case bian-\nche, ognuna diversa dall’altra in terre che non avevo mai visto.  \nE mi sono messo in viaggio per ritrovarle. Ma non sono mai più partito senza \nuna macchina fotografica, per non perderle, se le avessi trovate».\nSometimes she was standing at the doorstep of a marvelous white  \nhouse, and other times was holding the reins of a handsome tawny horse.  \nWhen I first met him, Claudia, the literature student, had just left him  \nand had broken his heart. He stopped studying, stopped talking and \nstopped dreaming about his grandmother. And when his friends Aldo and \nMaurizio, who were the only ones who could put up with his moping and \nsilence, suggested going on a trip he at first said no. But since they insisted, \nhe suggested Portugal. His friends agreed and off they went: he wanted  \nto find the white house, so that his grandmother would return to him  \nin his dreams at night. After Lisbon they struck out for the interior, towards \nCascais and then Sintra. It was on the way back, when the sun stubbornly \nrefused to set, that he saw it, from the winding road back to the highway.  \nIt was far away, surrounded by green fields, with a blue reflection  \nof what could be a lake. There it was, the white house. A little bit father on, \nsome horses sniffed the breeze. «Stop,» he yelled to his friends, «stop!» \nwhile he twisted in his seat to keep the image in view. But they had the \nmusic on full blast, they were hungry and tired, and paid no attention. \nHe wanted to grasp that image and keep it with him, to never lose it,  \nand offer it to his grandmother in a dream. Ludovico looked across the \nroom, and for a moment seemed as if he no longer wanted to continue.  \n«Did you start dreaming about your grandmother again?» I asked him \nencouragingly. «No,» he replied. «And did you go back to Portugal, to look \nfor the white house?» «Yes, but I didn’t find it,» he said quickly, falling quiet. \nWe parted with a nod of the head, and as he was walking away, he turned \naround suddenly as he realized he had never told me why he became  \na photographer. «From then on I started dreaming of houses, white houses,  \neach one different from the next, in places where I had never been.  \nAnd I started to travel to search for them. But I never left without a camera, \nin order not to lose them if I were to find them again.»\nThe boy who dreamed of houses\nElisabetta Rasy\n",53,{"image":225,"text":226,"number":227},"\u002Fmedia\u002Fimages\u002F15\u002F58bf8aa4b2cf85da43120b59f5ac12.54.png","104\nB&B Italia Home \nN. 14\nchapter 2\npp. 104\u002F107\nAntonio Citterio for Arclinea,  \nLignum et Lapis, kitchen, 2008,\nIuta, stool, 2000.\n105\n",54,{"image":229,"text":230,"number":231},"\u002Fmedia\u002Fimages\u002F15\u002F58bf8aa4b2cf85da43120b59f5ac12.55.png","106\n107\nB&B Italia Home \nN. 14\n",55,{"image":233,"text":234,"number":235},"\u002Fmedia\u002Fimages\u002F15\u002F58bf8aa4b2cf85da43120b59f5ac12.56.png","108\nB&B Italia Home \nN. 14\nchapter 2\nAntonio Citterio,  \nGio, table and chair, 2016.\npp. 110\u002F111,\nAntonio Citterio, Gio,  \nmodular sofa, armchair, bench and small tables, 2016.\nB&B Italia CR&S, Twist, carpet, 2017.\n109\n",56,{"image":237,"text":238,"number":239},"\u002Fmedia\u002Fimages\u002F15\u002F58bf8aa4b2cf85da43120b59f5ac12.57.png","110\n111\nB&B Italia Home \nN. 14\n",57,{"image":241,"text":242,"number":243},"\u002Fmedia\u002Fimages\u002F15\u002F58bf8aa4b2cf85da43120b59f5ac12.58.png","B&B Italia Home \nN. 14\n113\n112\nPRODUCT INDEX \nB&B ITALIA \nAlex\nAntonio Citterio\ntable, 2017\npp. 22, 23\nBackstage \nAntonio Citterio\nwardrobe, 2013\npp. 38, 39\nBolt Table \nMario Bellini\ntable, 2017\npp. 14, 15\nCharlotte \nAntonio Citterio\nchair, 2015\np. 23\nEileen \nAntonio Citterio\ntable, 2003\npp. 32, 33\nconsole\npp. 40, 44, 45 \nEl \nAntonio Citterio\nchair, 2009\np. 95\nEucalipto\nAntonio Citterio\nstorage units, 2016\npp. 16\u002F17\nFormiche  \nPiero Lissoni\nsmall tables, 2017\npp. 7, 8\u002F9, 17, 38\nGrande Papilio \nNaoto Fukasawa \narmchair, 2009\npp. 38, 40, 42\nHarbor \nNaoto Fukasawa\narmchair and ottoman, 2017\npp. 80, 81\nHarry Large \nAntonio Citterio\nottoman, 2004\np. 101\nHusk \nPatricia Urquiola\nbed, 2013\npp. 40\u002F41, 42, 43\nIuta \nAntonio Citterio \nchair, 2012\np. 33\nJ.J.\nAntonio Citterio\narmchair, 2008 \npp. 72, 101\nJens \nAntonio Citterio\nchair, 2017\npp. 82\u002F83, 85\nLe Bambole '07 \nMario Bellini\narmchair, 1972\npp. 94, 95\nMart \nAntonio Citterio \narmchair, 2003\npp. 6, 7, 8\nMera \nAntonio Citterio\nsmall tables, 2012 \npp. 41, 42, 43\nMini Papilio \nNaoto Fukasawa\nsmall armchair, 2012 \np. 32\nMirto Indoor \nAntonio Citterio\ntable, 2016\npp. 82, 95\nsmall tables, 2016\npp. 72\u002F73, 75\nconsole, 2016\np. 72\nottoman, 2016\np. 73\nMoon System \nZaha Hadid\nsofa, 2007\npp. 34\u002F35\nP60 \nAntonio Citterio\nottoman, 2003\np. 95\nRichard\nAntonio Citterio\nmodular sofa, 2016\npp. 72\u002F73, 75\nbed, 2017\npp. 96\u002F97, 98, 99\nSAKé\nPiero Lissoni\nmodular sofa, 2017\npp. 7, 8\u002F9, 16\u002F17\nShelf X \nNaoto Fukasawa\nbookcase, 2005\np. 32\nSurface \nVincent Van Duysen\nstorage units, 2015\np. 81\nsmall tables, 2010\np. 97\nUp Series\nGaetano Pesce\nUp1, \narmchair, 1969\np. 16\nUp5_Up6,\narmchair and ottoman, 1969\npp. 9, 19\nUp7, \nsculpture, 1969\np. 13\nB&B ITALIA \nOutdoor Collection\nButterfly \nPatricia Urquiola \nmodular sofa, 2015\npp. 48\u002F49\nCrinoline \nPatricia Urquiola\narmchair, 2008\npp. 76\u002F77\nFat-Sofa Outdoor \nPatricia Urquiola\nottoman, 2015\npp. 48\u002F49\nGio\nAntonio Citterio\nmodular sofa, 2016\npp. 110\u002F111 \nchaise longue, 2016\npp. 89\u002F91\narmchair, 2016\npp. 110\ntable and chair, 2016\np.109\nsmall tables, 2016\npp. 89, 110\u002F111\nbench, 2016\np. 111\nHusk Outdoor\nPatricia Urquiola\nsmall table, 2014\npp. 48\u002F49\nMirto Outdoor\nAntonio Citterio\ntable and chair, 2013\np. 51\nsmall tables, 2013\np. 49\nTwist \nB&B Italia CR&S\ncarpets, 2017\npp. 48\u002F49, 51, 109, 110\u002F11\nB&B ITALIA \nProject Collection\nIuta, \nAntonio Citterio \nstool, 2000\npp. 105, 107\n \nARCLINEA\nModus\nAntonio Citterio\ndoors system, 2018\npp. 25, 26\u002F27, 29\nItalia \nAntonio Citterio\nkitchen, 1988\npp. 25, 26\u002F27, 29\nLignum et Lapis \nAntonio Citterio\nkitchen, 2008\npp. 105, 106\u002F107\n \nDescriptions and pictures of products\nincluded in this catalogue have  \nan indicative value only and are not \nbinding for products’ use. \nB&B Italia reserves the right to \nmodify their products without prior \nnotification.\nFor further technical information of \nthe products, please contact the \nauthorised dealer closest to you\n(see www.bebitalia.com).\nLa descrizione e le immagini dei \nprodotti del presente catalogo \nsono puramente indicative e non \npossono essere considerate \nvincolati ai fini del loro utilizzo.  \nB&B Italia si riserva di apportare  \nai prodotti le modifiche che \nritiene più opportune, in qualsiasi \nmomento e senza preavviso.\nPer ulteriori informazioni sulle \ncaratteristiche tecniche dei \nprodotti, invitiamo a consultare \nil sito www.bebitalia.com dove \ntroverete l’elenco dei rivenditori \nautorizzati a cui rivolgervi.\n",58,{"image":245,"text":246,"number":247},"\u002Fmedia\u002Fimages\u002F15\u002F58bf8aa4b2cf85da43120b59f5ac12.59.png","114\n115\nN. 14\nB&B Italia Home \nCONTACTS \nEurope\nAmericas\nB&B Italia Milano\nVia Durini 14, Milano\nT. 02 76 44 41\nstore.milano@bebitalia.it\nB&B Italia “Scalo Milano”\nVia Milano 5, Locate Triulzi (MI)\nT. +39 328 5905162\nscalomilano@internionline.it\nhttp:\u002F\u002Fscalomilano.bebitalia.it\nB&B Italia Genova\nVia Macaggi 41 R, 16121 Genova\nT. 010 8446734\nbebitalia@fedesign.it\nhttp:\u002F\u002Fgenova.bebitalia.it\nB&B Italia London\n250 Brompton Road  \nLondon SW3 2AS \nT. 020 7591 8111\nstore.london@bebitalia.it\nB&B Italia Paris\n35, Rue du Bac  \n75007 Paris\nT. 01 55 35 14 35\ninfo@bebitalia.fr\nB&B Italia Saint-Tropez\nAvenue Maréchal Foch \nquartier Saint Roch\n83992 Saint-Tropez\nT. 0033.494457720 \ncontact@bebsttropez.fr\n  \nB&B Italia Lyon\n22 Rue Auguste Comte \n69002 Lyon\nT. 0033 09 86 56 21 53 \nbebitalia@maisonhomedesign.fr\nB&B Italia Berlin \nTorstrasse 140  \n10119 Berlin \nT. 0049 30403 691020 \ninfo@minimum.de\nB&B Italia München \nMaximiliansplatz 21 \n80333 München \nT. 089 461 368 - 0 \ninfo@bebitalia.de\nB&B Italia Wien\nFranz-Josefs - Kai 45 - 1010 Wien\nT. +43 (0) 1 533 55 00\nInfo@bebitalia-wien.at  \nB&B Italia Athens\n358 Kifisias Ave,  \n15233 Halandri - Athens  \nT. 0030 210 6847720  \ninfo@deloudis.gr\nB&B Italia Istanbul\nDereboyu Cd. No. 78,  \nOrtaköy - Istanbul\nT. +90 212 327 0595\ninfo@mozaikdesign.com\nB&B Italia Cyprus\n50 Limassol Avenue  \n2014 Nicosia - Cyprus\nT. 00357 22758788\nfurn-art@spidernet.com.cy\nB&B Italia New York \n150 East 58th Street \nNew York, NY 10155 \nT. 212 758 4046\ninfo.usa@bebitalia.com\nB&B Italia Madison Avenue \n135 Madison Avenue \nNew York, NY 10016 \nT. +1 212 889 9606\ninfo.usa@bebitalia.com\nB&B Italia Washington DC\n3320 M Street Northwest \nWashington DC 20007\nT. 202 337 7700\ninfo.usa@bebitalia.com\nB&B Italia Los Angeles\n8801 Beverly Boulevard  \nLos Angeles, CA 90048\nT. 310 278 3191\ninfo@divafurniture.com  \nB&B Italia Chicago\n314 West Superior St.\nChicago, IL 60654\nT 312 335 3855\ninfo@wpachicago.com\nB&B Italia Miami\n2331 Ponce de Leon Boulevard\nCoral Gables, FL 33134 \nT. 305 448 7367\ninfo@luminaire.com \nB&B Italia Dallas\n1707 Oak Lawn Avenue, \nDallas, TX 75207\nT. 214 389 9513\ninfo@bebitalia.com\nB&B Italia Austin\n801 West 5th Street, Suite 100 \nAustin TX 78703\nT. 512 476 0014\nshop@urbanspaceinteriors.com\nB&B Italia San Francisco \n2211 Alameda Street,  \nSan Francisco, CA 94103 \nT. 415 565 0900 \nsales@arksf.com \nB&B Italia Seattle \n1300 Western Avenue  \nSeattle, WA 98101 \nT. 206 287 9992 \nseattle@divafurniture.com \nB&B Italia Sun Valley \n350 Walnut Avenue \nKetchum, ID 83340\nT. 208 928 6379\nrob@arsunvalley.com\nB&B Italia Mexico City\nAvenida Presidente Masaryk 275,\nEsquina con Temístocles, Colonia Polanco, \nDelegación Miguel Hidalgo, C.P. 11560,  \nCiudad De Mexico, Local B\nT. 0052 5552815551\nbebitalia@piso18.com \nB&B Italia Sao Paulo \nAvenida Brasil 1653 Jardim America \nCEP: 01431-001 São Paulo (SP) Brasil \nT. +55 11 3368-6033\ncontato@casualmoveis.com.br\nB&B Italia Belo Horizonte \nRua Andaluzita, 125 Carmo Sion \nBelo Horizonte (MG)\nT. +55 31 3281 4882\ncontato@casualmoveis.com.br\nB&B Italia STORES\nAsia\nMiddle East \u002F Africa\nB&B Italia Tokyo\n1, 3F Aoyama OM- Square 2-5-8, \nKita Aoyama,  \nMinato-ku, Tokyo 107-0061\nT. 03 3478 3837 \ninfo@bebitalia.co.jp\nB&B Italia Beijing\n1st floor, International Hall 5,  \nEasyhome at North \n4th Ring Road, Beijing, China\nT. 0086 10 84648161\nbeb@designspace.com.cn\nB&B Italia Shanghai \nUnit L1-W10, No. 168 Hubin Rd., \nHuangpu District, Shanghai 200021 \nT. 0086 021 63300606\ninfo@arealiving.cn\nB&B Italia Hong Kong\n31st floor. China Online Center\n333 Lockhart Road, Wanchai  \nHong Kong\nT. +852 2295 3612\nbebitalia@colourliving.com\nB&B Italia Kaohsiung \n67, Minquan 1st Rd.,  \nKaohsiung, Taiwan 80251\nT. +886 7 332 7676\nservice@bonmaison.co\n \nB&B Italia Taipei\n39, Sec. 2, Dunhua S. Rd.,  \nTaipei, Taiwan 10681\nT. +886 2 2755 5855\nservice@bonmaison.co\nB&B Italia Taichung\n211, Chaofu Rd., \nTaichung, Taiwan 40757\nT. +886 4 2258 5632\nservice@bonmaison.co\nB&B Italia Seoul \n6-15 Chungdam-dong \nGangnam-gu, Seoul \nT. + 82 2 3447 6000 \ninfini@infini.co.kr\nB&B Italia Busan\n454, Jwadong Sunhwan-Ro, \nHaeundae-Gu, Busan, \nT. +82 (0)51 731 3470\ninfini@infini.co.kr\nB&B Italia Bangkok \n523 Mahaprutharam Road\n10500 Bangkok, Thailand\nT. +66 2 237 6999\nbadipol.ch@yipjacks.com\nB&B Italia Ho Chi Minh City\n1st Floor Times Square Building\n22-36 Nguyen Hue Boulevard & 57-69F \nDong Khoi Street, Ben Nghe Ward, \nDistrict 1, Ho Chi Minh City, Vietnam\nT. 0084-8 66 840 333\nbebitalia@eurasia-concept.com\nB&B Italia Manila\nTwenty-four Seven McKinley\nCorner of Seventh Avenue,\n24th Street & McKinley Parkway,\nBonifacio Global City Philippines\nT. +63 2 634 85 87\ncorporate@focusglobalinc.com\nB&B Italia Jakarta\nJl. Kemang Raya No. 17\nJakarta 12730 Indonesia\nT. +62 21 7180349\nbebitalia@magran.co.id\nB&B Italia New Delhi\nDLF Chattarpur Farms 2, North Drive \n110074 Chattarpur, New Delhi\nT. +91 999 969 3093 \nbebitalia@latendenza.com\nB&B Italia Dubai \nJumeirah Beach Road - Jumeirah 3 \nnext to Dubai offshore Sailing Club \nDubai UAE - T. 971 43466932\nbaituti@baituti.com\nB&B Italia Abu Dhabi \nShop 1 Al Ain Tower, Khalidiya\nAbu Dhabi - UAE \nT. + 971 2 2222 566\nbebitalia@livinginteriors.ae\nB&B Italia Beirut\nAn Nahar Building.\nMartyrs Sqaure, Dowtown\nT. +961 1971444\nbebitalia@cercle.me\nB&B Italia Tel Aviv\n3 Hatarucha Street \n63509, Tel Aviv, Israel \nT. 972 3 7449935 \nstudio3@bebitalia.co.il\nB&B Italia Accra\nNo. 6,7, 9 Liberation Road \nAccra, Ghana\nT. 00233 302 79 1393 \nbebitalia@forbghana.com\nMaxalto STORES\nMaxalto is a B&B Italia brand.  \nFor additional information  \non the Maxalto collection please visit  \nour Maxalto or B&B Italia Stores.\nMaxalto è un marchio B&B Italia.  \nPer conoscere la collezione Maxalto visiti  \ngli Store Maxalto o B&B Italia.\nAmericas\nMaxalto Los Angeles \n8811 Beverly Blvd. \nLos Angeles, CA 90048 \nT. 310 986 6448\ninfo@divafurniture.com\nMaxalto Miami\n30 NE 39th St, Miami, FL 33137\nT. 305-572-2900\ninfo@maxaltomiami.com\nAsia\nMaxalto Hong Kong  \nC\u002FO Déntro -Shop C, Lg\u002FF, Ruttonjee Centre, \n11 Duddell Street, Central\nHong Kong, China\nT. 00852 28668829  \ninfo@dentro.com.hk \nMaxalto Ho Chi Minh City\n1st Floor Times Square Building\n22-36 Nguyen Hue Boulevard & 57-69F \nDong Khoi Street, Ben Nghe Ward, \nDistrict 1, Ho Chi Minh City, Vietnam\nT. 0084-8 66 840 333 \nbebitalia@eurasia-concept.com\nB&B ITALIA SPA\n22060 Novedrate (CO) Italy\nStrada Provinciale 32\nT. + 39 031 795 111\nF. + 39 031 791 592\nInfo: info@bebitalia.com \nItalia\nnumero verde 800 018 370\nUSA\ntoll free number 800 872 1697\nAll other countries\nT. + 39 031 795 213\nF. + 39 031 791 592\nwww.bebitalia.com\nwww.maxalto.it\n",59,{"image":249,"text":250,"number":251},"\u002Fmedia\u002Fimages\u002F15\u002F58bf8aa4b2cf85da43120b59f5ac12.60.png","N. 14\nV9085086_Made in Italy\nCREDITS \nArt direction\nand graphic design\nJuma\nStyling \nNature is a haunted house\nPatrizia Cantarella Studio\nA light exists in spring\nsimonasilenzistudio\nwith Gaia Marchesini\nand Alessandra Chiarelli  \nPhotography\nTommaso Sartori\nTranslations\nJennifer Clark\nCopyright \nCR&S B&B Italia \nApril 2018\nPrinting \nOGM\nV9085086_Made in Italy\nThanks to \nNature is a haunted house\n \np. 7\npaper sculpture, Papuli\nglass sphere, Compasso\nceramic sculptures, Officine Saffi\ncarpet, Amini  \npp. 8\u002F9\nsuspension lamp, Flos \ncarpets, Amini\np. 15 \nobjects on the table, Compasso\npp. 16\u002F17\nlamp, Flos \ncarpets, Amini\nceramic vases, Officine Saffi\np. 23\nsuspension lamp, Edizioni Design\nvases, Compasso\ncarpet, Amini\np. 29\nceramic jars, Compasso\np. 32\nblack and white painting, \nMichele Reginaldi\np. 33\nbrass sculptures, Michele Reginaldi\ncarpet, Amini\np 34\nfloor lamp, Atelier Areti\np. 38\nceramic jars, Compasso\ncarpet, Amini\npp. 40\u002F41\nceramic vases, Officine Saffi\ntable lamp, Flos \ncarpets, Amini\np. 42\ntable lamp, Flos \np. 44\nceramic vases, Officine Saffi\np. 45\nceramic vases, Officine Saffi\nA light exists in spring\np. 72 \nvase, Officine Saffi\nplaid, Ivano Redaelli\ntrays, AYTM and Louise Roe\ncarpets, Amini\np. 75 \ncarpet, Nanimarquina\nPlaid, Ivano Redaelli\np. 81 \ncarpets, Nanimarquina\nbowl, Manufatto\nplaid, Ivano Redaelli\npp. 82\u002F83\nfloor lamp, Vitra\ndistributed by Molteni&C-Unifor\ncarpet, Nanimarquina\np. 95\nfloor lamp, Flos\ntable lamp, Flos\ncarpet, Nanimarquina\nbowl, Kanz Architetti\npp. 96\u002F97\ntable lamp, Flos\ncarpet, Nanimarquina\nbed linen and plaid, \nIvano Redaelli and Society Limonta\nchair, Eligo\npp. 98\u002F99\ntable lamp, Flos\ncarpet, Nanimarquina\nbed linen and plaid,\nIvano Redaelli and Society Limonta\np. 101\ncarpet, Nanimarquina\nbasket, As’art\nvase, Ames\np. 105\nbowls, Ames\ntextile, Society Limonta\npp. 106\u002F107\nbowls, Ames\ntextile, Society Limonta\np. 109\ncenterpiece, Officine Saffi\ntextile, Society Limonta\npp. 110\u002F111\nfloor lamp, Flos\nlanterns, AYTM\nbasket, As’art\ntrays, Louise Roe\nvase, Ames\np. 4\nQuote from a 1876 letter  \nby Emily Dickinson\nto Thomas Wentworth \nHigginson\np. 70\nQuote from  \n\"A Light Exists in Spring\"  \nby Emily Dickinson\nThanks for the collaboration \non this communication \nproject to:\nCastello di Rivoli\nMuseo d'Arte Contemporanea\n",60,{"image":253,"text":254,"number":255},"\u002Fmedia\u002Fimages\u002F15\u002F58bf8aa4b2cf85da43120b59f5ac12.61.png","www.bebitalia.com\n",61,[],0,false,true,{"success":259,"data":261,"meta":478,"count":479,"next":480,"previous":481,"results":516,"brand_chips":577},[262,275,285,295,305,314,324,334,344,356,368,381,391,404,417,427,437,446,456,468],{"id":263,"title":264,"slug":265,"image":266,"source":267,"brand_name":268,"brand":269,"brand_slug":270,"file_size":271,"pages":272,"pages_count":273,"matched_pages":274,"match_count":257,"two_pages":258,"show_text":259},26607,"Working 2026","leds-c4-working-2026","\u002Fmedia\u002Fimages\u002F3a\u002F295e58aee952a0d50352f22925106a-29704a6e39.1.png","\u002Fprivate\u002Ffiles\u002Fad\u002F06804e7560a395bf4a98c17bd40b17-29704a6af8.pdf","Leds C4",2502,"leds-c4","106.7 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