[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-billiani-edizioni-2024":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":190},{"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":185,"matched_pages":186,"match_count":187,"two_pages":188,"show_text":189},14389,"Edizioni 2024","billiani-edizioni-2024","\u002Fmedia\u002Fimages\u002F6c\u002F72174e5cf7d9c183678475fb821c3b-27e815d7f3.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002F7c\u002F8da28585beed34815723a7f99986b2-27e81562d5.pdf","Billiani",2218,"billiani","20.1 MB",[14,17,21,25,29,33,36,40,44,48,52,56,60,64,68,72,75,79,83,86,89,93,97,101,105,108,112,116,120,124,128,132,136,140,143,147,151,154,158,162,166,170,174,178,182],{"image":7,"text":15,"number":16},"Corolla \nEdelweiss \nFleuron \nFrisée \nHarry’s \nMarcel\nMarimba \nRaquette \nVeretta \nVincent v. G.\nEdizioni\n",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002F6c\u002F72174e5cf7d9c183678475fb821c3b-27e815d7f3.2.png","",2,{"image":22,"text":23,"number":24},"\u002Fmedia\u002Fimages\u002F6c\u002F72174e5cf7d9c183678475fb821c3b-27e815d7f3.3.png","Edizioni\n \nRaccontare Edizioni\nEdizioni è l’espressione più alta del design di Billiani. \nUn design che si caratterizza per le particolari lavorazioni \nartigianali, spesso ispirate all’ebanisteria — tra linee ondulate, \nintrecci, incastri e sapienti sottrazioni di materia. È naturale, \ndunque, che nel raccontare Edizioni si parli anche del territorio \ndi Billiani, l’angolo più a nord e più a est d’Italia, conosciuto \nin tutto il mondo per la sedia in legno. Nel dialogo con il \npaesaggio del fiume Tagliamento e con gli edifici di Jože \nPlečnik, Ivan Vurnik, Carlo Scarpa e Marcello D’Olivo, autori \ndi alcune delle architetture contemporanee più rilevanti tra \nFriuli Venezia Giulia e Slovenia, il design di Edizioni trova \ndunque non soltanto le sue radici, ma soprattutto un senso \nche va oltre il prodotto, raccontando la storia, il contesto \ne l’ambizione di una collezione di ricerca.\n \nThe Edizioni Story\nEdizioni is the highest expression of Billiani design. \nA design characterized by particular craftsmanship, often \ninspired by cabinet-making — featuring undulating lines, \nweaves, joints, and skilful material subtractions. It is therefore \nnatural that in telling Edizioni’s story, we also speak of Billiani's \nterritory, the northernmost and easternmost corner of Italy, \nknown worldwide for its wooden chairs. Edizioni’s design not \nonly finds its roots in the dialogue with the landscape of the \nTagliamento River and the buildings of Jože Plečnik, Ivan \nVurnik, Carlo Scarpa, and Marcello D’Olivo, authors of some \nof the most significant contemporary architecture between \nFriuli Venezia Giulia and Slovenia, but above all it offers \na meaning that goes beyond the product, narrating its history, \ncontext, and the ambition of a research collection.\nIn photo: Marimba Lounge\n",3,{"image":26,"text":27,"number":28},"\u002Fmedia\u002Fimages\u002F6c\u002F72174e5cf7d9c183678475fb821c3b-27e815d7f3.4.png","Billiani è un’azienda italiana che da più di un secolo produce sedie \nin un territorio di piccoli laboratori specializzati, dove la cultura \ndel legno ha radici profonde.\nNata nel 1911, Billiani è un’impresa che crede nel made in Italy \ne nel design: i suoi prodotti, pensati insieme a designer italiani \ne internazionali, sono espressione di un patrimonio culturale \ncondiviso, oltre che una storia di famiglia. Billiani si trova a \nManzano, nel cuore di un distretto che sulla sedia ha costru-\nito la sua fortuna, un territorio di piccoli laboratori e aziende \nartigiane che portano avanti una patrimonio secolare di co-\nnoscenza.\nFounded in 1911, Billiani is a company that believes in Made in \nItaly and design: its products, conceived in collaboration with \nboth Italian and international designers, are an expression of \na shared cultural heritage, as well as a family history. Billiani \nis located in Manzano, in the heart of a district that built its \nfortune on chairs, an area of small workshops and artisanal \ncompanies that carry forward a centuries-old heritage of \nknowledge.\nCompany\nBilliani is an Italian company that has been producing \nchairs for over a century in an area of small, specialized \nworkshops, where the culture of wood has deep roots.\n04\n05\n",4,{"image":30,"text":31,"number":32},"\u002Fmedia\u002Fimages\u002F6c\u002F72174e5cf7d9c183678475fb821c3b-27e815d7f3.5.png","Billiani produce al 100% in Italia, avvalendosi di una filiera \nd’eccellenza fatta di aziende artigiane dalla storia secolare, \nciascuna specializzata in una fase del lavoro. A tenere in vita \nquesto tessuto produttivo, che ha rischiato di perdersi sulla \nspinta della delocalizzazione che ha svuotato i laboratori e ne \nha disperso le capacità, sono anche i tecnici di Billiani. Cia-\nscuno di loro segue i prodotti passo per passo: una garanzia \ndi qualità ma anche un investimento, perché ogni innovazione \narricchisce il know-how di tutto il distretto. È così che il made in \nItaly di Billiani acquista un valore che va oltre il prodotto in sé e \ndiventa espressione di un patrimonio culturale e manifatturiero \ncondiviso.\n«Il lavoro di Billiani si lega \ne s’intreccia con quello \ndel tessuto produttivo locale: \nuna garanzia di qualità ma \nanche un investimento sulla \nfiliera, perché ogni innovazione \narricchisce il know-how di \ntutto il distretto».\n06\n07\n«The work of Billiani is linked and intertwined with that of the local productive fabric: \na guarantee of quality but also an investment in the supply chain, because every innovation \nenriches the know-how of the entire district».\nRaw material is an essential component of Billiani's design. The material of choice is wood: \nbeech, oak, ash, and walnut, which are selected and worked based on their technical and \naesthetic characteristics. Much attention is also given to the textile component: Billiani's fabric \ncollection is the result of chromatic and material research aimed at enhancing the shapes and \nvolumes of the upholstered pieces, as well as their tactile appearance. Finally, Billiani relies on \nthe craftsmanship of specialized workshops for metal and marble processing, as well as for \nthe weaving of ropes, cords, and leathers.\nLa materia è una componente imprescindibile del design di Billiani. Materiale d’elezione è il legno: \nfaggio, rovere, frassino e noce sono selezionati e lavorati in base alle loro caratteristiche tecniche ed \nestetiche. Molta attenzione è riservata poi alla componente tessile: la cartella tessuti di Billiani è il \nfrutto di una ricerca cromatica e materica che punta a valorizzare le forme e i volumi degli imbottiti, \noltre che il loro aspetto tattile. Infine, per la lavorazione del metallo e del marmo, e per l’intreccio di \ncorde, cordini e pelli, Billiani si avvale del lavoro artigianale di laboratori specializzati.\nBilliani produces 100% in Italy, relying on an excellent sup-\nply chain made up of artisanal companies with centuries-old \nhistories, which are each specialized in a phase of the work. \nBilliani’s technicians are also fundamental in keeping this pro-\nductive fabric alive, which risked being lost in the wake of de-\nlocalization, which emptied the workshops and dispersed their \ncapabilities. Each of these technicians follows the products ste-\np-by-step: a guarantee of quality but also an investment since \neach innovation enriches the know-how of the entire district. \nThis is how Billiani's Made in Italy acquires a value that goes \nbeyond the product itself and becomes an expression of a sha-\nred cultural and manufacturing heritage.\nMade in Billiani\nL’importanza della materia\nThe importance of raw material\n",5,{"image":34,"text":19,"number":35},"\u002Fmedia\u002Fimages\u002F6c\u002F72174e5cf7d9c183678475fb821c3b-27e815d7f3.6.png",6,{"image":37,"text":38,"number":39},"\u002Fmedia\u002Fimages\u002F6c\u002F72174e5cf7d9c183678475fb821c3b-27e815d7f3.7.png","Timènt is a collection of furnishing fabrics inspired by the Tagliamento River, a Friulian River to \nwhich Billiani is deeply connected. The fabric is exclusively produced by Torri Lana, a historic \nwoollen mill from Bergamo that has been weaving natural fibres for five centuries to create hi-\ngh-quality products. A special synergy has emerged between Billiani and Torri Lana, allowing \nthe revival of a past dynamic - the close collaboration between furniture makers and weavers. \nThe result is a fabric collection designed by Cristina Celestino and exclusively produced to \ncomplement Billiani seating.\nTimènt è una collezione di tessuti d’arredo ispirata al Tagliamento, fiume friulano cui Billiani è molto legata. \nIl tessuto è prodotto in esclusiva da Torri Lana, storico lanificio bergamasco che da cinque secoli tesse fibre \nnaturali per creare prodotti di grande qualità. Tra Billiani e Torri Lana è nata una sintonia speciale, che ha per-\nmesso di recuperare nel presente una dinamica del passato – l’intima collaborazione tra mobilieri e tessutai. \nIl risultato è una collezione di tessuti disegnata da Cristina Celestino e prodotta unicamente in abbinamento \nalle sedute Billiani. \nTessuti ispirati al paesaggio\nFabrics inspired by the landscape\n",7,{"image":41,"text":42,"number":43},"\u002Fmedia\u002Fimages\u002F6c\u002F72174e5cf7d9c183678475fb821c3b-27e815d7f3.8.png","Le immagini delle pagine che seguono sono state scattate tra Italia e Slovenia dal 2019 al \n2024. Ritraggono i prodotti Billiani sullo sfondo di alcune delle più importanti architetture con-\ntemporanee del Friuli Venezia Giulia e dei territori a esso limitrofi, rimarcando l’importanza del \nlegame tra design e architettura. \nThe images on the following pages were taken between Italy and Slovenia from 2019 to 2024. \nThey depict Billiani products against the backdrop of some of the most significant contempo-\nrary architecture in Friuli Venezia Giulia and its surrounding areas, emphasizing the importan-\nce of the connection between design and architecture.\nUn’azienda con più di un secolo di vita ha, \nse non altro dal punto di vista storico \ne geografico, radici profonde. Ma per Billiani \nil legame con il territorio è qualcosa che supera \nil tempo e si esprime su molteplici livelli.  \n    È un legame con la tradizione produttiva, \ntalmente importante da arrivare a dare il nome \nall’intera area, conosciuta come triangolo della \nsedia. È un legame con il paesaggio: Billiani  \nha sede in via della Roggia, una parola che \nin alcune regioni dell’Italia settentrionale \nindica i canali artificiali usati fin dall’antichità \nper portare acqua ai mulini e ai campi. \n    È, infine, un legame che si esprime \nattraverso la valorizzazione dell’architettura \nlocale, espressione della creatività umana \nproprio come il design. \nA company with over a century \nof history that has deep roots, \nat least from a historical and \ngeographical perspective. \nHowever, for Billiani, its \nconnection with the territory \nis something that transcends \ntime and manifests on multiple \nlevels. It is a bond with \na productive tradition that is \nso significant that it has given \nits name to the entire area, \nknown as the chair triangle. \nIt is a connection with the \nnatural landscape: Billiani \nis based in Via della Roggia, \na word that in some of the \nnorthern regions of Italy \nindicates an artificial channel \nused to bring water to the mill \nand to the fields.. Finally, it \nis a bond expressed through \nthe enhancement of the local \narchitecture, an expression of \nhuman creativity just like design.\n12\n",8,{"image":45,"text":46,"number":47},"\u002Fmedia\u002Fimages\u002F6c\u002F72174e5cf7d9c183678475fb821c3b-27e815d7f3.9.png","14\nJože Plečnik + Ivan Vurnik  \n— Ljubljana, Slovenia\nIn photo: Corolla Collection\n",9,{"image":49,"text":50,"number":51},"\u002Fmedia\u002Fimages\u002F6c\u002F72174e5cf7d9c183678475fb821c3b-27e815d7f3.10.png","16\n",10,{"image":53,"text":54,"number":55},"\u002Fmedia\u002Fimages\u002F6c\u002F72174e5cf7d9c183678475fb821c3b-27e815d7f3.11.png","19\nA Lubiana, la biblioteca nazionale e la casa di Jože Plečnik e il primo complesso \nsportivo coperto della Slovenia firmato da Ivan Vurnik uniscono architettura \ntradizionale e contemporaneità. \u002F In Ljubljana, the National Library and the house\nof Jože Plečnik, together with Slovenia's first indoor sports complex designed\nby Ivan Vurnik, blend traditional architecture with modernity.\n",11,{"image":57,"text":58,"number":59},"\u002Fmedia\u002Fimages\u002F6c\u002F72174e5cf7d9c183678475fb821c3b-27e815d7f3.12.png","20\nIn photo: Frisée Collection\n",12,{"image":61,"text":62,"number":63},"\u002Fmedia\u002Fimages\u002F6c\u002F72174e5cf7d9c183678475fb821c3b-27e815d7f3.13.png","Osoppo (Udine), \nItalia\n23\nIn photo: Veretta Chair\n",13,{"image":65,"text":66,"number":67},"\u002Fmedia\u002Fimages\u002F6c\u002F72174e5cf7d9c183678475fb821c3b-27e815d7f3.14.png","24\nLa fortezza di Osoppo, a ridosso del fiume Tagliamento, è un’architettura complessa \nnata dalla stratificazione tra diverse strutture difensive costruite a partire dal Medioevo, \nriqualificata negli anni Novanta da Pierluigi Grandinetti. \u002F The fortress of Osoppo, \nfound close to the Tagliamento River, is a complex piece of architecture born\nfrom the stratification of various defensive structures built from the Middle Ages\nand redeveloped in the 1990s by Pierluigi Grandinetti.\n",14,{"image":69,"text":70,"number":71},"\u002Fmedia\u002Fimages\u002F6c\u002F72174e5cf7d9c183678475fb821c3b-27e815d7f3.15.png","26\n",15,{"image":73,"text":19,"number":74},"\u002Fmedia\u002Fimages\u002F6c\u002F72174e5cf7d9c183678475fb821c3b-27e815d7f3.16.png",16,{"image":76,"text":77,"number":78},"\u002Fmedia\u002Fimages\u002F6c\u002F72174e5cf7d9c183678475fb821c3b-27e815d7f3.17.png","Carlo Scarpa,\n— Udine, Italia\n30\n",17,{"image":80,"text":81,"number":82},"\u002Fmedia\u002Fimages\u002F6c\u002F72174e5cf7d9c183678475fb821c3b-27e815d7f3.18.png","Una villa costruita in Friuli Venezia Giulia alla fine degli anni \nCinquanta è uno dei primi edifici residenziali progettati dall’architetto \nveneziano Carlo Scarpa. La villa presenta molte delle caratteristiche \nche diventeranno peculiari nelle architetture di Scarpa. \u002F A villa built \nin Friuli Venezia Giulia at the end of the 1950s, it was one of the first \nresidential buildings to be designed by the Venetian architect Carlo \nScarpa. The villa exhibits many of the characteristics that would become \ndistinctive in Scarpa’s later architecture.\n32\nIn photo: Edelweiss Lounge, Frisée Tables\n",18,{"image":84,"text":19,"number":85},"\u002Fmedia\u002Fimages\u002F6c\u002F72174e5cf7d9c183678475fb821c3b-27e815d7f3.19.png",19,{"image":87,"text":19,"number":88},"\u002Fmedia\u002Fimages\u002F6c\u002F72174e5cf7d9c183678475fb821c3b-27e815d7f3.20.png",20,{"image":90,"text":91,"number":92},"\u002Fmedia\u002Fimages\u002F6c\u002F72174e5cf7d9c183678475fb821c3b-27e815d7f3.21.png","39\nIn photo: Corolla Table\n",21,{"image":94,"text":95,"number":96},"\u002Fmedia\u002Fimages\u002F6c\u002F72174e5cf7d9c183678475fb821c3b-27e815d7f3.22.png","40\n",22,{"image":98,"text":99,"number":100},"\u002Fmedia\u002Fimages\u002F6c\u002F72174e5cf7d9c183678475fb821c3b-27e815d7f3.23.png","43\nIn photo: Fleuron Chair\n",23,{"image":102,"text":103,"number":104},"\u002Fmedia\u002Fimages\u002F6c\u002F72174e5cf7d9c183678475fb821c3b-27e815d7f3.24.png","Marcello D’Olivo \n— Lignano Pineta, Italia\n45\nIn photo: Raquette\n",24,{"image":106,"text":19,"number":107},"\u002Fmedia\u002Fimages\u002F6c\u002F72174e5cf7d9c183678475fb821c3b-27e815d7f3.25.png",25,{"image":109,"text":110,"number":111},"\u002Fmedia\u002Fimages\u002F6c\u002F72174e5cf7d9c183678475fb821c3b-27e815d7f3.26.png","48\nIn photo: Fleuron Lounge\nUno sguardo\ndel tutto friulano\nIl Friuli Venezia Giulia è una regione meravigliosamente \ncomplessa, ricca di sfumature culturali, di energie \ne tensioni diverse — politiche, sociali, economiche — \nche confluiscono in un’identità collettiva e in una morfologia \nterritoriale unica nel suo genere. È il risultato di una lunga \ne intensa stratificazione storica, punto nevralgico durante \ni due conflitti mondiali. Fatta di paesaggi eterogenei, \nil mare Adriatico, le Alpi, il Carso, il fiume Tagliamento, \nè una regione osmotica, dove i confini con le adiacenti \nnazioni si sfumano e si annullano, tanto da risultare, alle \nvolte, quasi invisibili. \nUna regione in cui l’architettura ha avuto un ruolo \nfondamentale nel corso del XIX secolo e del XX secolo, \nma che per decenni è stata poco valorizzata e che oggi \nviene esaltata secondo nuovi punti di vista. L’architettura \nmoderna friulana infatti è sempre stata considerata come \nla “sorella meno brillante” di quella veneta, oscurata dalla \npotenza progettuale della “Scuola di Venezia”. Inoltre, in \ntempi recenti la mancanza di interventi di architettura \ncontemporanea, dalla piccola alla grande scala, non ha \ndi certo aiutato a valorizzare la storia dell’architettura \ndi questa regione così complicata e interessante allo stesso \ntempo, proprio per la sua osmosi territoriale e culturale \ncon i paesi limitrofi. \nLasciati nell’ombra, dimenticati dalla critica e dalla \nstoria dell’architettura, molti maestri friulani vengono oggi \nriscoperti grazie ad operazioni mediatiche e grazie all’uso \ndi queste architetture come scenografie di editoriali, video, \nservizi fotografici. Si pensi per esempio a Marcello D’Olivo. \nStudente di Giuseppe Samonà e Carlo Scarpa allo IUAV di \nVenezia, D’Olivo porta avanti la sua attività di architetto \naffiancandola a quella di pittore e al suo amore per gli studi \ndi matematica, di fisica e di statica. Le sue architetture, \ncome le ville Spezzotti e Mainardis e l’intero piano \nregolatore a spirale di Lignano Pineta si ispirano alle forme \nsinusoidali derivate proprio dalla passione per le scienze delle \ncostruzioni e le scienze esatte. Un organicismo dove le forme \nconcave e convesse, spesso presenti nei suoi progetti, sono \nforme discendenti dalla ricchezza del mondo naturale quanto \ndalle scienze matematiche. \ndi Bianca Felicori\n",26,{"image":113,"text":114,"number":115},"\u002Fmedia\u002Fimages\u002F6c\u002F72174e5cf7d9c183678475fb821c3b-27e815d7f3.27.png","50\nIn photo: Fleuron Lounge\nAnche le opere dei grandi maestri, come villa Veritti \ndi Carlo Scarpa a Udine, fanno fatica ad emergere nei libri \ndi architettura, dando prevalenza ad altri celebri suoi \nprogetti come la tomba Brion e il negozio di Olivetti. \nCapolavoro realizzato alla fine degli anni Cinquanta (1955-\n61), nella villa unifamiliare si ritrovano tutti gli elementi \ncaratterizzanti e ricorrenti nelle architetture di Scarpa: \nlo stucco veneziano, l’intonaco trattato con il latte di calce \nspatolato, il calcestruzzo martellinato e le sue meravigliose \nboiserie in mogano. Questa può essere una scelta data da \nun taglio critico, che può essere stata fatta, nel corso del \ntempo, anche per uno svantaggio geografico, nonostante \nUdine sia stata una città ricca di grandi architetti, tutti però \ntransitati sempre all’interno dello IUAV, che li ha in qualche \nmodo resi un “prodotto veneziano”, come D’Olivo stesso, \nGino Valle, Gianni Avon, Angelo Masieri.\nIn tempi recenti molte aziende hanno scelto di esaltare \ni loro prodotti tramite un’accurata selezione delle architetture \nche fanno da sfondo ai loro editoriali, siano essi un oggetto \ndi design o una collezione di vestiti. Eppure Billiani sembra \nspingersi oltre, perché non vuole solo lavorare sul rapporto \ntra prodotto e architettura negli scatti, ma anche costruire \nuna narrazione attorno ai luoghi prescelti come scenografia. \nE questo, per l’azienda, è un modo per raccontare il prodotto \ne fornire un nuovo punto di vista, quasi intimo, personale: \nun racconto del Friuli Venezia Giulia tramite la storia \ndel prodotto e dei suoi luoghi. Uno sguardo tutto friulano, \nper mettere in luce questi luoghi meravigliosi e dimenticati \nche meritano di essere valorizzati. \nBianca Felicori \nBianca Felicori, laureata al Politecnico di Milano con \nuna tesi in storia dell’architettura, è ricercatrice presso \nla UCLouvain. Dal 2019 cura il progetto Forgotten \nArchitecture, una piattaforma dedicata alle architetture \ndimenticate che è diventata anche un libro di Nero \nEditions, il cui spunto sono state, tra le altre, le \narchitetture di Marcello D’Olivo in Friuli Venezia Giulia.\n",27,{"image":117,"text":118,"number":119},"\u002Fmedia\u002Fimages\u002F6c\u002F72174e5cf7d9c183678475fb821c3b-27e815d7f3.28.png","Villa Spezzotti Gregoratti rappresenta l’ultimo progetto \ndell’architetto Marcello D’Olivo a Lignano Pineta, località di mare \ndi cui lui stesso aveva curato il peculiare progetto urbanistico. I muri \nperimetrali della villa, costruita negli anni Cinquanta, sono generati \ndall'intersezione di più circonferenze. \u002F Villa Spezzotti Gregoratti \nrepresents architect Marcello D’Olivo’s final project in Lignano \nPineta, a seaside resort for which he himself oversaw the distinctive \nurban planning. The perimeter walls of the villa, built in the 1950s, \nare generated by the intersection of multiple circles.\n52\nIn photo: Marimba Chair, Corolla Table\n",28,{"image":121,"text":122,"number":123},"\u002Fmedia\u002Fimages\u002F6c\u002F72174e5cf7d9c183678475fb821c3b-27e815d7f3.29.png","55\nIn photo: Harry’s Chair\n",29,{"image":125,"text":126,"number":127},"\u002Fmedia\u002Fimages\u002F6c\u002F72174e5cf7d9c183678475fb821c3b-27e815d7f3.30.png","56\nIn photo: Vincent v.G. Collection\n",30,{"image":129,"text":130,"number":131},"\u002Fmedia\u002Fimages\u002F6c\u002F72174e5cf7d9c183678475fb821c3b-27e815d7f3.31.png","59\n",31,{"image":133,"text":134,"number":135},"\u002Fmedia\u002Fimages\u002F6c\u002F72174e5cf7d9c183678475fb821c3b-27e815d7f3.32.png","60\nIn photo: Edelweiss Barstool\n",32,{"image":137,"text":138,"number":139},"\u002Fmedia\u002Fimages\u002F6c\u002F72174e5cf7d9c183678475fb821c3b-27e815d7f3.33.png","63\nIn photo: Veretta Lounge\n",33,{"image":141,"text":19,"number":142},"\u002Fmedia\u002Fimages\u002F6c\u002F72174e5cf7d9c183678475fb821c3b-27e815d7f3.34.png",34,{"image":144,"text":145,"number":146},"\u002Fmedia\u002Fimages\u002F6c\u002F72174e5cf7d9c183678475fb821c3b-27e815d7f3.35.png","67\nby Bianca Felicori\nA distinctly\nFriulian look\nFriuli Venezia Giulia is a marvellously complex region, rich \nin cultural nuances, diverse political, social and economic \nenergies and tensions that converge into a collective identity \nand a unique territorial morphology.  It is the result of \na long and intense historical stratification, which was a pivotal \npoint during two world conflicts. Friuli Venezia Giulia \nis made up of heterogeneous landscapes – the Adriatic, \nthe Alps, the Karst, the Tagliamento River, and is an osmotic \nregion where the borders with adjacent nations blur and \nvanish, sometimes becoming almost invisible.\nA region where architecture played a fundamental role \nduring the 19th and 20th centuries, but which for decades \nhas been undervalued is now being celebrated from new \nperspectives. Friulian modern architecture has often been \nseen as the “less brilliant sister” of Venetian architecture, \novershadowed by the design prowess of the “Venetian \nSchool.” Moreover, in recent times, the lack of intervention \nin contemporary architecture, both small and large-scale, \ncertainly hasn’t helped in enhancing the architectural history \nof this region, which is so complex and interesting at \nthe same time, precisely because of its territorial and cultural \nosmosis with neighbouring countries.\nLeft in the shadow, forgotten by critics and architectural \nhistory, many Friulian masters are now being rediscovered \nthanks to media operations and the use of this architecture \nas backdrops for editorials, videos, and photo shoots. \nConsider, for example, Marcello D’Olivo. A student of \nGiuseppe Samonà and Carlo Scarpa at the IUAV in Venice, \nD’Olivo pursued his career as an architect alongside his \npassion for painting and his love for studies in mathematics, \nphysics, and statics. His architecture, such as the Spezzotti \nand Mainardis villas and the entire spiral master plan of \nLignano Pineta, are inspired by sinusoidal forms derived \nprecisely from his passion for both construction and exact \nsciences. An organicism where concave and convex forms, \noften present in his projects, descend from the abundance \nin the natural world as much as from mathematical sciences.\n",35,{"image":148,"text":149,"number":150},"\u002Fmedia\u002Fimages\u002F6c\u002F72174e5cf7d9c183678475fb821c3b-27e815d7f3.36.png","69\nBianca Felicori \nGraduate of the Politecnico di Milano with a thesis \nin architectural history, is a researcher at UCLouvain. \nSince 2019, she has been managing the Forgotten \nArchitecture project, which is a platform dedicated to \nforgotten architecture, which has also become a book \nby Nero Editions. The inspiration for this project includes \nthe architecture of Marcello D’Olivo in Friuli Venezia \nGiulia, among others.\nEven the works of great masters, such as Carlo Scarpa’s \nVilla Veritti in Udine, struggle to emerge in architecture \nbooks, giving precedence to his other famous projects like \nthe Brion Tomb and the Olivetti shop.\nA masterpiece completed in the late 1950s (1955-61), \nthis single-family villa which embodies all the characteristic \nand recurring elements of Scarpa’s architecture: Venetian \nstucco, limewash treated plaster, hammered concrete, and \nhis marvellous mahogany panelling. This may be a choice \ninfluenced by a critical bias, which may have been made over \ntime, perhaps due to a geographical disadvantage, despite \nUdine being a city rich in great architects, all of whom, \nhowever, having passed through the IUAV, which in some \nway made them a “Venetian product,” like D’Olivo himself, \nGino Valle, Gianni Avon, Angelo Masieri.\nIn recent times, many companies have chosen to \nhighlight their products through a careful selection of the \narchitecture that serves as the backdrop to their editorials, \nwhether they be a design object or a clothing collection. \nYet, Billiani seems to go further, as it does not only \naim to work on the relationship between product and \narchitecture in its shots, but also to build a narrative \naround the locations chosen as a backdrop. And this, for the \ncompany, is a way to tell the product’s story and provide a \nnew, almost intimate, personal perspective: a tale of Friuli \nVenezia Giulia through the history of the product and its \nlocal area. A completely Friulian look, to shed light on these \nwonderful and forgotten places that deserve to be valued.\n \n",36,{"image":152,"text":19,"number":153},"\u002Fmedia\u002Fimages\u002F6c\u002F72174e5cf7d9c183678475fb821c3b-27e815d7f3.37.png",37,{"image":155,"text":156,"number":157},"\u002Fmedia\u002Fimages\u002F6c\u002F72174e5cf7d9c183678475fb821c3b-27e815d7f3.38.png","72\n",38,{"image":159,"text":160,"number":161},"\u002Fmedia\u002Fimages\u002F6c\u002F72174e5cf7d9c183678475fb821c3b-27e815d7f3.39.png","75\n",39,{"image":163,"text":164,"number":165},"\u002Fmedia\u002Fimages\u002F6c\u002F72174e5cf7d9c183678475fb821c3b-27e815d7f3.40.png","p. 2\nMarimba 114 Lounge in faggio tinto \nnoce e Feltro 2471, Marimba 114 Loun-\nge in faggio tinto noce e cuoietto 1545. \n⁄ Marimba 114 Lounge in walnut stained \nbeechwood and Felt 2471, Marimba 114 \nLounge in walnut stained beechwood \nand hide 1545.\np. 8-9\nCorolla 270 Poltroncina in frassino tinto \nNCS S 3060 Y70R e Greto 2632, Co-\nrolla 271 Lounge in frassino tinto noce \ne Greto 2634. ⁄ Corolla 270 Armchair \nin NCS S 3060 Y70R stained ashwood \nand Greto 2632, Corolla 271 Lounge \nin walnut stained ashwood and Greto \n2634.\np. 15\nCorolla 270 Poltroncina in faggio lac-\ncato RAL 7016 e Brionne 2411, Corolla \n270 Poltroncina in frassino sbiancato \ne Brionne 2408, Corolla 273 Divano \nin frassino sbiancato e Brionne 2408. \n⁄ Corolla 270 Armchair in RAL 7016 \nlacquered ashwood and Brionne 2411, \nCorolla 270 Armchair in bleached \nashwood and Brionne 2408, Corolla \n273 Sofa in bleached ashwood and \nBrionne 2408.\np. 16-17\nCorolla 271 Lounge in frassino laccato \nRAL 7016 e Brionne 2410, Corolla 272 \nBergére in frassino laccato RAL 7016 \ne Brionne 2410. ⁄ Corolla 271 Lounge \nin RAL 7016 lacquered ashwood and \nBrionne 2410, Corolla 272 Bergére in \nRAL 7016 lacquered ashwood and \nBrionne 2410.\np. 19\nCorolla 270 Poltroncina in frassino \nsbiancato e Brionne 2408. ⁄ Corolla \n270 Armchair in bleached ashwood \nand Brionne 2408.\np. 20-21\nFrisée 250 Sedia in frassino laccato RAL \n7044, Frisée 251 Sedia in frassino lac-\ncato RAL 7044 e Boemian 2407, Frisée \n253 Poltroncina in frassino sbiancato e \nCredo 2394, Frisée 253 Poltroncina in \nfrassino laccato RAL 6011. ⁄ Frisée 250 \nChair in RAL 7044 lacquered ashwood, \nFrisée Chair in RAL 7044 lacquered \nashwood and Boemian 2407, Frisée \n253 Armchair in bleached ashwood \nand Credo 2394, Frisée 253 Armchair \nRAL 6011 lacquered ashwood.\np. 22\nVeretta 921 Sedia in faggio tinto RAL \n3012 e Greto 2625 e 2633. ⁄ Veretta 921 \nChair in RAL 3012 stained beechwood \nand Greto 2625 and 2633.\np. 23\nCorolla 270 Poltroncina in frassino tin-\nto NCS S 3060 Y70R e Greto 2632.  \n⁄ Corolla 270 Armchair in NCS S 3060 \nY70R stained ashwood and Greto 2632.\np. 26-27\nCorolla 270 Poltroncina in frassino \ntinto NCS S 3060 Y70R e Greto 2632, \nVeretta 921 Sedia in faggio tinto RAL \n3012 e Greto 2625 e 2633, Frisée 250 \nSedia in frassino tinto NCS S 3060 \nY70R. ⁄ Corolla 270 Armchair in NCS S \n3060 Y70R stained ashwood and Gre-\nto 2632, Veretta 921 Chair in RAL 3012 \nstained beechwood and Greto 2625 \nand 2633, Frisée 250 Chair in NCS S \n3060 Y70R stained ashwood.\np. 29\nFleuron 200 Sedia in frassino sbian-\ncato. ⁄ Fleuron 200 Chair in bleached \nashwood.\np. 31\nFrisée 250 Sedia in frassino sbiancato, \nFrisée 257 Sgabello in frassino tinto \nRAL 7044 e Greto 2621 ⁄ Frisée 250 \nChair in bleached ashwood, Frisée 257 \nStool in ral 7044 stained ashwood and \nGreto 2621.\np. 33\nEdelweiss 297 Lounge in frassino tinto \nRAL 3012 e Greto 2626, Edelweiss 297 \nLounge in frassino tinto RAL 7016 e \nGreto 2622, Frisée 262 Tavolo in frassi-\nno tinto RAL 6020, Frisée 263 Tavolo in \nfrassino tinto RAL 7016. ⁄ Edelweiss 297 \nLounge in RAL 3012 stained ashwood \nand Greto 2626, Edelweiss 297 Lounge \nin RAL 7016 stained ashwood and Gre-\nto 2622, Frisée 262 Table in RAL 6020 \nstained ashwood, Frisée 263 Table in \nRAL 7016 stained ashwood.\np. 34-35\nVeretta 921 Sedia in faggio tinto RAL \n7044 e Ombra 2468, Frisée 265 Tavolo \nin frassino tinto RAL 7016 ⁄ Veretta 921 \nChair in RAL 7044 stained beechwood \nand Ombra 2468, Frisée 265 Table in \nRAL 7016 stained ashwood.\np. 36-37\nEdelweiss 297 Lounge in frassino sbian-\ncato e Greto 2621, Corolla 280 Tavolo in \nfrassino tinto RAL 6020 e piano in sughe-\nro Doveblue, Corolla 281 Tavolo in frassi-\nno tinto RAL 6020 e piano in Travertino \nclassico. ⁄ Edelweiss 297 Lounge in blea-\nched ashwood and Greto 2621, Corolla \n280 Table in RAL 6020 stained ashwood \nand top in Doveblue cork, Corolla 281 \nTable in RAL 6020 stained ashwood and \ntop in Classic Travertine stone.\np. 38-39\nCorolla 272 Bergére in frassino tinto \nRAL 7016 e Kvadrat Divina 856, Co-\nrolla 280 Tavolo in frassino tinto RAL \n6020 e piano in sughero Doveblue, \nFrisée 262 Tavolo in frassino tinto RAL \n6020. ⁄ Corolla 272 Bergére in RAL \n7016 stained ashwood and Kvadrat \nDivina 856, Corolla 280 Table in RAL \n6020 stained ashwood and top in Do-\nveblue cork, Frisée 262 Table in RAL \n6020 stained ashwood.\np. 40-41\nCorolla 270 Poltroncina in frassino tin-\nto NCS S 3060 Y70R e Credo 2284, \nCorolla 282 Tavolo in Frassino tinto \nRAL 7044 e piano in Travertino Noce  \n⁄ Corolla 270 Armchair in NCS S 3060 \nY70R stained ashwood and Credo \n2284, Corolla 282 Table in RAL 7044 \nstained ashwood and top in walnut Tra-\nvertine stone.\np. 42\nFleuron 201 Sedia in frassino tinto RAL \n7033 e Greto 2620, Spy 655 Tavolo \nin frassino tinto tabacco e MDF lac-\ncato RAL 6020. ⁄ Fleuron 201 Chair in \nRAL 7033 stained ashwood and Greto \n2620, Spy 655 Table in tobacco stai-\nned ashwood and RAL 6020 lacque-\nred MDF.\np. 43\nFleuron 200 Sedia in frassino sbian-\ncato ⁄ Fleuron 200 Chair in bleached \nashwood.\np. 45\nRaquette 180 Lounge in frassino tinto \nRAL 6020 e Brionne 2866, Corolla 280 \nTavolo in frassino tinto RAL 6020 e pia-\nno in sughero Doveblue. ⁄ Raquette 180 \nLounge in RAL 6020 stained ashwood \nand Brionne 2866, Corolla 280 Table in \nRAL 6020 stained ashwood and top in \nDoveblue cork.\np. 46-47\nRaquette 180 Lounge in frassino tinto \ntabacco e Tresigallo 2893, Raquette \n181 Divano in frassino tinto tabacco e \nTresigallo 2893, Raquette 183 Tavolino \nin frassino laccato RAL 8016 e mar-\nmo. ⁄ Raquette 180 Lounge in tobacco \nstained ashwood and Tresigallo 2893, \nRaquette 181 Sofa in tobacco stained \nashwood and Tresigallo 2893, Raquette \n183 Table in RAL 8016 stained ashwood \nand marble.\np. 49\nFleuron 203 Lounge in frassino laccato \nRAL 8016 e Greto 2625. ⁄ Fleuron 203 \nLounge in RAL 8016 lacquered ashwo-\nod and Greto 2625.\np. 51\nMarimba 110 Sedia in faggio tinto noce \ne feltro 2470, Corolla 283 Tavolo in fras-\nsino tinto NCS S 3060 Y70R. ⁄ Marimba \n110 Chair in walnut stained beechwood \nand felt 2470, Corolla 283 Table in NCS \nS 3060 Y70R stained ashwood.\np. 53\nHarry’s 815 Sedia in iroko tinto nero e \ncordino in cellulosa 0530. ⁄ Harry’s 815 \nChair in black stained iroko and cellulo-\nse rope 0530.\np. 55\nVincent v.G 440 Sedia in frassino tinto \ntabacco e cuoietto 1545, Vincent V.G \n441 Poltroncina in frassino tinto tabacco \ne cuoietto 0536. ⁄  Vincent v.G 440 Chair \nin tobacco stained ashwood and hide \n1545, Vincent v.G 441 Armchair in to-\nbacco stained ashwood and hide 0536.\np. 56\nVincent v.G. 440 Sedia in frassino \nsbiancato e cordino in cellulosa 0530, \nVincent v.G. 444 Sgabello in frassino \nsbiancato e cordino in cellulosa 0530. \n⁄ Vincent v.G. 440 Chair in bleached \nashwood and cellulose rope 0530, \nVincent v.G 444 Barstool in bleached \nashwood and cellulose rope 0530.\np. 57\nFrisée 262 Tavolo in frassino laccato \nRAL 8016, Frisée 263 Tavolo in frassino \nlaccato NCS S 3060 Y70R. ⁄ Frisée 262 \nTable in RAL 8016 stained ashwood, \nFrisée 263 Table in NCS S 3060 Y70R \nstained ashwood.\np. 59\nEdelweiss 298 Sgabello in frassino tinto \nRAL 7016 e Greto 2626. ⁄ Edelweiss 298 \nBarstool in RAL 7016 stained ashwood \nand Greto 2621.\np. 60-61\nVeretta 927 Lounge in faggio laccato \nRAL 6020 e Volta Celeste 2882. ⁄ Veret-\nta 927 Lounge in RAL 6020 lacquered \nbeechwood and Volta Celeste 2882.\np. 63-64-65\nHarry’s 816 Lounge in iroko e cordino \nin cellulosa 0530, Harry’s 817 Tavolo in \niroko. ⁄ Harry’s 816 Lounge in iroko and \ncellulose rope 0530, Harry’s 817 Table \nin iroko.\np. 66\nHarry’s 815 Sedia in frassino sbiancato \ne cordino in cellulosa 0530. ⁄ Harry’s \n815 Chair in bleached ashwood and \ncellulose rope 0530.\np. 67\nHarry’s 815 Sedia in iroko tinto nero e \ncordino in cellulosa 0530, Harry’s 816 \nLounge in frassino tinto nero e cordino \nin cellulosa 0530. ⁄ Harry’s 815 Chair in \nblack stained iroko and cellulose rope \n0530, Harry’s 816 Lounge in black stai-\nned ashwood and cellulose rope 0530.\np. 69-70\nHarry’s 816 Lounge in iroko e cordino in \ncellulosa 0530. ⁄ Harry’s 816 Lounge in \niroko and cellulose rope 0530.\nPhoto Index\n76\n",40,{"image":167,"text":168,"number":169},"\u002Fmedia\u002Fimages\u002F6c\u002F72174e5cf7d9c183678475fb821c3b-27e815d7f3.41.png","270\n271\n272\n273\n262\n263\n264\n265\n280\n281\n282\n290\n294\n292\n298\n291\n297\n200\n201\n203\n250\n251\n252\n253\n254\n255\n256\n257\n258\n259\n260\n261\n815\n816\n817\n470\n471\n472\n473\n474\nCorolla\ndesign by Cristina Celestino\ndesign by Philippe Bestenheider \ndesign by Constance Guisset\ndesign by Cristina Celestino\ndesign by Luigi Billiani\ndesign by Kazuhide Takahama\nEdelweiss\nFleuron\nFrisée\nHarry′s\nMarcel\n",41,{"image":171,"text":172,"number":173},"\u002Fmedia\u002Fimages\u002F6c\u002F72174e5cf7d9c183678475fb821c3b-27e815d7f3.42.png","920\n921\n927\n928\n929\n440\n441\n444\nVeretta\nVincent v.G.\ndesign by Cristina Celestino\ndesign by Werther Toffoloni \n110\n114\n113\n180\n181\n183\nMarimba\nRaquette\ndesign by Emilio Nanni\ndesign by Cristina Celestino\n",42,{"image":175,"text":176,"number":177},"\u002Fmedia\u002Fimages\u002F6c\u002F72174e5cf7d9c183678475fb821c3b-27e815d7f3.43.png","Designers\nPhilippe Bestenheider, Luigi Billiani, Cristina Celestino, \nConstance Guisset, Emilio Nanni, Kazuhide Takahama, \nWerther Toffoloni. \nLavoriamo insieme ai nomi più brillanti del panorama italiano e internazionale, in un dialogo \nche si nutre di buon design e capacità artigianale. ⁄ We work together with the brightest \nnames on the Italian and international scene, in a dialogue that feeds on good design and \ncraftsmanship. \nLuigi Billiani\nCristina Celestino\nProdotti ⁄ Products: \nHarry's  \nProdotti ⁄ Products: \nCorolla  \nFrisée   \nRaquette   \nVeretta  \nPhilippe Bestenheider\nProdotti ⁄ Products: \nEdelweiss  \nNasce nel 1971 a Sion, Svizzera. Dopo la laurea in architettura, un Master in de-\nsign industriale ed importanti esperienze internazionali, apre il suo studio lavo-\nrando tra la Svizzera e Milano. Nel 2010 riceve il Premio Italiano per l’Innova-\nzione con la sedia Nanook. I suoi progetti si caratterizzano per un approccio al \ncontempo razionale e sensuale, mescolando tradizione e sperimentazione, tra la \nprogettazione assistita dal computer e la bottega di un artigiano.\n \nBorn in 1971 in Sion, Switzerland. After graduating in architecture, getting a Ma-\nster in industrial design and important international experiences, he opens his \nown studio working between Switzerland and Milan. In 2010 he is awarded with \nthe Italian Innovation Award for his Nanook chair. His projects are characteri-\nzed by a rational but still sensual approach to the contemporary, mixing tradition \nand experimentation, between a computer-aided design and the workshop of a \ncraftsman.\nEmilio Nanni\nProdotti ⁄ Products: \nMarimba \nNasce a Bazzano, Bologna,nel 1955. Architetto, designer, artista. Le sue ope-\nre sono esposte in numerose mostre personali, i suoi oggetti di design sono \npresenti in diverse collezioni pubbliche e private sia in Italia che all’estero. \nBorn in Bazzano, Bologna in 1955. Architect, designer, artist. He has displayed \nhis works at numerous private exhibitions, and his design works are on display in \nmany Italian and international state and private collections.\nKazuhide Takahama\nProdotti ⁄ Products: \nMarcel \nNasce nel 1930 in Giappone. Nel 1957 progetta l’allestimento dello stand giappo-\nnese per la XI Triennale di Milano. Qui conosce Dino Gavina, evento che segnerà \nl’inizio di una prolifica collaborazione e di un’amicizia profonda. Si trasferisce in \nItalia e progetta per numerose aziende del design italiano, per residenze private \ne commissioni pubbliche. Tra queste ultime la facciata e la vip lounge dell’aero-\nporto Guglielmo Marconi e le pensiline delle fermate degli autobus di Bologna. \nMuore a 80 anni a Bologna.\nBorn in Japan in 1930. In 1957 he designed the Japanese stand at the XI Triennial \nin Milan where he got to know Dino Gavina, marking the start of a prolific wor-\nking relationship and lasting friendship. He relocated to Italy and was commissio-\nned by numerous Italian design houses, both for residential and public projects. \nAmongst these were the facade and the VIP lounge at Guglielmo Marconi Airport \nand the shelters at Bologna’s bus stops. He died in Bologna aged 80.\nLuigi Billiani rappresenta la terza generazione della famiglia Billiani. Studente di \narchitettura appassionato di design, al suo ingresso in azienda negli anni Ottan-\nta porta un approccio nuovo, più legato al progetto. Dal dialogo con i designer \nnasce una Billiani diversa, che al saper fare delle origini unisce uno sguardo più \ncontemporaneo. Una Billiani di cui è artefice lo stesso Luigi, che firma alcune delle \nsue collezioni. \n  \nLuigi Billiani represents the third generation of the Billiani family. An architecture \nstudent, passionate about design; when he joined the company in the Eighties \nhe brought a new approach, more related to the project itself. From the dialogue \nwith the designers a different Billiani is born, which combines the know-how of the \norigins with a more contemporary look. A Billiani created by Luigi himself, who \ndesigns some of his collections.\nNasce a Pordenone nel 1980. Nel 2005, dopo aver concluso il percorso universi-\ntario alla facoltà di Architettura IUAV di Venezia, collabora con prestigiosi studi di \nprogettazione e dedica la sua attenzione all’architettura d’interni e al design. Nel \n2010 si trasferisce a Milano, dove fonda il suo studio e il brand Attico Design. Negli \nanni, riceve numerosi riconoscimenti a livello internazionale. Dal 2019 al 2023 \nBilliani le ha affidato la direzione artistica dell'azienda, per raccontare un nuovo \ncapitolo in continuità con la storia, i materiali e le lavorazioni tipiche del territorio.\nBorn in Pordenone in 1980, she graduated in Architecture from IUAV Venice Uni-\nversity. In 2005 she started to collaborate with prestigious studios, focusing on \ninterior and product design. In 2010 she moved to Milan, where she founded her \nbrand Attico Design. She has received numerous awards and international rec-\nognition. From 2019 to 2023, Billiani has entrusted her with the artistic direction \nof the company, with the aim to tell a new chapter in continuity with the history, \nmaterials, and workmanship typical of the area.\nConstance Guisset \nProdotti ⁄ Products: \nFleuron\nConstance Guisset è una designer francese. Nel 2009 fonda uno studio specializ-\nzato in product&interior design  e scenografia. Una costante ricerca di equilibrio \ntra ergonomia, delicatezza ed immaginazione marca il suo lavoro. I suoi oggetti \nsono tentativi di esplorare la reincarnazione del movimento nella leggerezza o \nnella sorpresa, difendendo l’importanza del comfort per il corpo. Le sue creazioni \nsono protagoniste in musei importanti come il Centre Pompidou di Parigi.\n \nConstance Guisset is a French designer. She founded her studio in 2009, spe-\ncialized in product design, interior design and scenography. Her work is marked \nby a search for balance between ergonomics, delicacy and imagination. Her \nobjects are as many attempts to explore the incarnation of the movement by \nlightness or surprise, while defending a requirement of comfort and hospitality \nfor the body. Her objects are now part of many museum collections including the \nCentre Pompidou in Paris.\nWerther Toffoloni\nProdotti ⁄ Products: \nVincent v.G.\nNasce a Udine nel 1930 e studia a Venezia. Insegna progettazione industriale e \ncollabora da subito con varie industrie per il design e la consulenza artistica. È \nuna matita feconda e, senza dubbio, uno dei protagonisti del design industriale \nitaliano. Creatività, conoscenza dei materiali e grande attenzione alla funzio-\nnalità caratterizzano tutto il suo pregevole lavoro. Muore nel 2017, a 86 anni. \nBorn in Udine in 1930. After having studied in Venice, he taught industrial design \nand quickly started working in various design sectors and as an artistic consul-\ntant. He was quite prolific and undoubtedly a major player in Italian industrial de-\nsign. Creativity, a thorough knowledge of materials, and a great eye for functio-\nnality were the hallmarks of his corpus of work. He died in 2017, at the age of 86.\n",43,{"image":179,"text":180,"number":181},"\u002Fmedia\u002Fimages\u002F6c\u002F72174e5cf7d9c183678475fb821c3b-27e815d7f3.44.png","Billiani srl\nVia della Roggia 28\n33044 Manzano \n(UD) Italia \nT. (+39) 0432 740180\nF. 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Billiani srl is a registered trademark. \nModels shown in this catalogue are patented; \nall rights of reproduction, eve partial, of the \nillustrations here within are the sole and exclusive \nproperty of Billiani srl and such illustrations \nmay only be used with express prior consent. \nThe colours are shown in this catalogue may \nnot correspond perfectly to the originals. Please \ncontact Billiani srl for an accurate indication.\n",44,{"image":183,"text":184,"number":185},"\u002Fmedia\u002Fimages\u002F6c\u002F72174e5cf7d9c183678475fb821c3b-27e815d7f3.45.png","Edizioni è l’espressione più alta del design di Billiani. 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