[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-itlas-projects-and-works-2016":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":493},{"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":488,"matched_pages":489,"match_count":490,"two_pages":491,"show_text":492},20959,"Projects & Works 2016","itlas-projects-and-works-2016","\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002F29\u002Fe71dd5a1df9ebfda4952c71f87a97b-28cba7232e.pdf","Itlas",2405,"itlas","16.2 MB",[14,17,21,25,29,33,37,41,45,49,53,57,61,65,69,73,77,81,85,89,93,97,101,105,109,113,117,121,125,129,133,137,141,145,149,153,157,161,165,169,173,177,181,185,189,193,197,201,205,209,213,217,221,225,229,233,237,241,245,249,253,257,261,265,269,273,277,281,285,289,293,297,301,305,309,313,317,321,325,329,333,337,341,345,349,353,357,361,365,369,373,377,381,385,389,393,397,401,405,409,413,417,421,425,429,433,437,441,445,449,453,457,461,465,469,473,477,481,485],{"image":7,"text":15,"number":16},"ITLAS.IT\nITLAS.IT\nPROJECT AND WORKS\nITLAS \nvia del Lavoro, 35 – Zona industriale – 31016 Cordignano – Treviso, Italy \nTel +39 0438.368040 Fax +39 0438.368040 Email info@itlas.it\n16-0425_P&W 2016_copertina.indd   1-3\n21\u002F03\u002F16   08:44\n",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.2.png","16-0425_P&W 2016_copertina.indd   4-6\n11\u002F03\u002F16   17:37\n",2,{"image":22,"text":23,"number":24},"\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.3.png","16-0425_P&W 2016_interno.indd   3\n11\u002F03\u002F16   16:51\n",3,{"image":26,"text":27,"number":28},"\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.4.png","works\n16-0425_P&W 2016_interno.indd   4\n11\u002F03\u002F16   16:51\nFondersi e confondersi con la natura per \nentrare in contatto con se stessi e sentirsi \ncompleti. É il nuovo bisogno comune, la \nnecessità che l’uomo ha e vuole avere per \nriuscire a ristabilire il proprio equilibrio in-\nteriore. Un senso di benessere desiderato \ne da conquistare che non è una moda del \nmomento o una disciplina scientifica mo-\nderna, ma che al contrario sta diventando \nsempre più il filo conduttore di architettura \ne design a livello universale. E soprattutto \nuno stile di vita. \nCerto è che l’inganno è lì, dietro l’angolo: \nsi fa presto a dire ecologico, ma il reale \nbisogno dell’uomo va ormai oltre l’appa-\nrenza e non si accontenta di costruire e ar-\nredare la propria abitazione semplicemen-\nte in un perfetto “stile” ecocompatibile.\nIl consumatore-cliente della nuova gene-\nrazione chiede garanzie, chiede certezze, \nchiede qualità certificata del prodotto da \nchiede qualità certificata del prodotto da \nchiede qualità certificata del prodotto da \nacquistare. Chiede un’architettura ed un \nacquistare. Chiede un’architettura ed un \nacquistare. Chiede un’architettura ed un \ndesign che abbiano davvero la capacità di \ndesign che abbiano davvero la capacità di \ndesign che abbiano davvero la capacità di \nintegrarsi con l’ambiente in cui egli vive e \nintegrarsi con l’ambiente in cui egli vive e \nintegrarsi con l’ambiente in cui egli vive e \nsoprattutto con l’ecosistema circostante.\nsoprattutto con l’ecosistema circostante.\nsoprattutto con l’ecosistema circostante.\nIl legno è parte integrante di questo stile \nIl legno è parte integrante di questo stile \nIl legno è parte integrante di questo stile \ndi vita. Dire legno significa dire natura \nDire legno significa dire natura \nDire legno significa dire natura \ne rispetto per l’ambiente. Perché è una \ne rispetto per l’ambiente. Perché è una \ne rispetto per l’ambiente. Perché è una \nmateria prima che ricresce continua-\nmente e il suo utilizzo va ad incremen-\ntare una fonte rinnovabile con un ciclo \necologico proprio e ben definito.\nItlas nasce da una scelta molto chiara, per \nsé e per il consumatore finale: un proget-\nto ecocompatibile di totale garanzia. Chi \nsceglie i pavimenti Itlas ha la certezza \ndi essersi ritagliato una posizione attiva \nnella salvaguardia ambientale.\nPatrizio Dei Tos\nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nTo melt and blur with nature in order to \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \nget in touch with your inner self and feel \ncomplete – this is the new shared need, \nthe necessity that mankind has and wants \nto have to be able to re-establish their \nown interior balance. A sense of wellbe-\ning desired and to be conquered which is \nnot a temporary fashion trend or a modern \nscientific discipline, but on the contrary is \nbecoming more and more the thread of \narchitecture and design at universal level \n- and above all, a lifestyle. \nDeception is of course there, around the \ncorner: it’s easy to say biological, but man-\nkind’s real need now goes beyond appear-\nance and does not accept to build and \nfurnish their own house simply in a perfect \neco-friendly “style”. \nThe new generation consumer-client de-\nmands guarantees, asks for certified quali-\nty of the product to purchase, they request \nty of the product to purchase, they request \nty of the product to purchase, they request \nty of the product to purchase, they request \nty of the product to purchase, they request \nty of the product to purchase, they request \nty of the product to purchase, they request \nty of the product to purchase, they request \nty of the product to purchase, they request \nty of the product to purchase, they request \nty of the product to purchase, they request \nty of the product to purchase, they request \nty of the product to purchase, they request \nty of the product to purchase, they request \nty of the product to purchase, they request \nty of the product to purchase, they request \nty of the product to purchase, they request \nty of the product to purchase, they request \nty of the product to purchase, they request \nty of the product to purchase, they request \nty of the product to purchase, they request \nty of the product to purchase, they request \nty of the product to purchase, they request \nty of the product to purchase, they request \nty of the product to purchase, they request \nty of the product to purchase, they request \nty of the product to purchase, they request \nty of the product to purchase, they request \nty of the product to purchase, they request \nty of the product to purchase, they request \nty of the product to purchase, they request \nty of the product to purchase, they request \nty of the product to purchase, they request \nty of the product to purchase, they request \nty of the product to purchase, they request \nty of the product to purchase, they request \nty of the product to purchase, they request \nty of the product to purchase, they request \nty of the product to purchase, they request \nty of the product to purchase, they request \nty of the product to purchase, they request \nty of the product to purchase, they request \nty of the product to purchase, they request \nty of the product to purchase, they request \nty of the product to purchase, they request \nty of the product to purchase, they request \nty of the product to purchase, they request \nty of the product to purchase, they request \nty of the product to purchase, they request \nty of the product to purchase, they request \nty of the product to purchase, they request \nty of the product to purchase, they request \nty of the product to purchase, they request \nty of the product to purchase, they request \nty of the product to purchase, they request \nty of the product to purchase, they request \nty of the product to purchase, they request \nty of the product to purchase, they request \nty of the product to purchase, they request \nty of the product to purchase, they request \nty of the product to purchase, they request \nty of the product to purchase, they request \nty of the product to purchase, they request \nty of the product to purchase, they request \nty of the product to purchase, they request \nty of the product to purchase, they request \nty of the product to purchase, they request \nty of the product to purchase, they request \nty of the product to purchase, they request \nty of the product to purchase, they request \nty of the product to purchase, they request \nty of the product to purchase, they request \nty of the product to purchase, they request \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \narchitecture and design which really have \nthe ability to integrate with the environ-\nment where they live and most of all with \nthe surrounding ecosystem.\nWood is an integral part of this lifestyle. \nTo speak of wood is to speak of nature \nand respect for the environment, be-\ncause it is a raw material that regrows \ncontinuously and its use increases a \nrenewable source with its own well-\ndefined biological cycle.\nItlas was born from a very clear choice, \nfor itself and the final consumer: an eco-\nfriendly project with total guarantees. Peo-\nple who choose Itlas floors are sure to \ncarve themselves an active position in \nthe safeguard of the environment.\nPatrizio Dei Tos\nIl nostro progetto, uno stile di vita \nIl nostro progetto, uno stile di vita \nIl nostro progetto, uno stile di vita \nOur project, a way of life\n16-0425_P&W 2016_interno.indd   5\n11\u002F03\u002F16   16:51\n",4,{"image":30,"text":31,"number":32},"\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.5.png","Lino Dei Tos assieme a un gruppo di soci \napre a Vittorio Veneto “Italparchetti”, \nazienda di pavimenti in legno nella quale \ncoinvolge direttamente il figlio Patrizio in \nqualità di agente, credendo fortemente \nnelle sue capacità imprenditoriali e spin-\ngendolo a iniziare la sua attività lavorativa \nprima appunto come agente nella nuova \nazienda e successivamente, da protagoni-\nsta, in “Labor Legno”.\nIn Vittorio Veneto, together with a group \nof associates, Lino Dei Tos founds ‘Italpar-\nchetti’, a wood flooring company in which \nhe directly engages his son Patrizio as a \nsales representative, strongly believing in \nhis entrepreneurial ability and encourag-\ning him to start his professional career first \nas a representative in the new company \nand, later, in a protagonist role, at ‘Labor \nLegno’.\nLino Dei Tos acquista un terreno di dieci-\nmila metri quadrati a Cordignano, in pro-\nvincia di Treviso, e fonda la “Labor Legno \nsnc Dei Tos Lino & C.”\nLino Dei Tos purchases a ten thousand \nsquare metre territory in Cordignano, in \nthe Treviso province, and founds the or-\nganisation “Labor Legno snc Dei Tos Lino \n& C.”\nGrazie all’esperienza lavorativa di Patrizio \nDei Tos come agente di pavimenti, “Labor \nLegno” viene trasformata da azienda pro-\nduttrice di segato grezzo ad azienda pro-\nduttrice di pavimenti in legno.\nThanks to Patrizio Dei Tos’ experience as \na sales representative for floors, ‘Labor \nLegno’ is transformed from a company \nwhich produces rough sawn lumber to \none that produces wood floors.\nPoco più che ventenne, Patrizio Dei Tos in \nsoli sette anni riesce a dare a “Labor Le-\ngno” una spinta notevole, trasformandola \nin società per azioni. L’azienda fin dalla sua \nnascita guarda soprattutto alla Francia per \nl’importazione del legno che, trasportato \nin Italia, viene segato a Cordignano nella \nvicina azienda dei fratelli Zarpellon e suc-\ncessivamente lavorato fino ad ottenere il \nprodotto grezzo da rivendere ai costruttori \ndi ante per le cucine, attività molto diffusa \nnel territorio circostante, specie al di là del \nconfine friulano, in provincia di Pordenone.\nStill in his twenties, Patrizio Dei Tos man-\nages in just seven years to give ‘Labor \nLegno’ a remarkable boost, turning it into \na stock company. Right from the start, the \ncompany looked especially at France to \nimport wood, which is sawn in Cordignano \nin the nearby company belonging to the \nZarpellon brothers, and then carved with \nmulti-rip saw machines until obtaining the \nrough product to be sold to kitchen doors \nmanufacturers – an activity which is very \npopular in the surrounding area, especially \non the other side of the Friuli border, in the \nprovince of Pordenone.\n1980\n1980\n1985\u002F6\n1987\nitlas.it\n6\n16-0425_P&W 2016_interno.indd   6\n11\u002F03\u002F16   16:51\nIn questi anni il mercato è particolarmente \nattratto dal legno esotico. Patrizio Dei Tos \ninizia a viaggiare molto alla ricerca di una \nmateria prima di buona qualità. Nigeria, ex \nZaire, Costa d’Avorio, Congo e Camerun \nsono i paesi africani in cui “Labor Legno” \nè presente per importare legno di primis-\nsima qualità. L’azienda diventa un punto \ndi riferimento per questo tipo di mercato.\nIn this period, exotic wood is the most \npopular \nchoice \namong \nconsumers. \nPatrizio Dei Tos starts to travel a lot search-\ning for a good quality product. Nigeria, the \nformer Zaire, the Ivory Coast, Congo and \nCameroon are the African countries in \nwhich ‘Labor Legno’ is present, importing \nwood of very high quality. The company \nbecomes a reference point for this type of \nmarket.\nLa chiusura delle esportazioni dei tron-\nchi costringe la messa in vendita della \nsegheria dei fratelli Zarpellon, che viene \nacquistata da Patrizio Dei Tos in società \ncon il padre Lino. Nasce “Itlas”, acroni-\nmo di Italparchetti Labor Legno Segati. I \nmacchinari della segheria, per far fronte al \nproblema della chiusura delle esportazioni, \nvengono trasferiti in Camerun.\nThe closure of export markets for logs \nforces the Zarpellon brothers saw mill to \nbe put up for sale, and the company is \nbought by Patrizio Dei Tos in partnership \nwith his father Lino. ‘Itlas’ is born, acro-\nnym of Italparchetti Labor Legno Segati. \nTo deal with the export closure, the saw \nmill’s machinery is moved to Cameroon.\n“Itlas” concentra la sua produzione sui \npavimenti prefiniti, che nei primi anni No-\nvanta sono un prodotto innovativo per il \nmercato. Non esistono ancora le tecniche \nproduttive assodate per la realizzazione di \nquesta tipologia di pavimento, ma l’azien-\nda mette a punto il processo produttivo \nidoneo grazie all’esperienza maturata.\n‘Itlas’ focusses its production on pre-\nfinished floors, which in the early Nine-\nties were a very innovative product for the \nmarket. There do not yet exist any estab-\nlished production techniques for this type \nof floor, but the company develops the \nappropriate production process thanks to \nthe experience acquired.\nL’inizio del nuovo millennio coincide con \nla liquidazione dei soci di Itlas da parte di \nPatrizio Dei Tos e con l’inizio del lancio sul \nmercato di prodotti prefiniti a due e tre strati \ndi grande successo come i progetti “Tavo-\nle del Piave”, “Legni del Doge” e “Assi del \nCansiglio”. Ai quali si aggiunge l’ideazione, \nnel 2012, di “Cinque Millimetri”, pelle di le-\ngno per ogni tipologia di rivestimento; nel \n2013 la “Collezione i Massivi”, frutto della \npreziosa collaborazione dell’azienda con \nMarco Casamonti, lo studio Archea, Doria-\nna e Massimiliano Fuksas; nel 2014 “Pro-\ngetto Bagno”. All’inizio del 2016 il network \ndi architetti si amplia con l’avvio della colla-\nborazione con Mario Botta, Adolfo Natalini \ne Pietro Carlo Pellegrini.\nThe biginning of the new millennium co-\nincides with Patrizio Dei Tos liquidating his \npartners and the start of the market launch \nof the successful three and two-layers \nprefinished products such as the “Tavole \ndel Piave”, “Legni del Doge” and “Assi del \nCansiglio” projects. To these is added the \ncreation of “Cinque Millimetri”, a wooden \nskin for any type of covering or panneling; in \n2013 “The Massivi” collection, result of the \nprecious collaboration between the com-\npany and Mario Casamonti, Archea Studio, \nDoriana and Massimiliano Fuksas, in 2014 \n“Progetto Bagno”. At the beginning of 2016 \nthe network of architects widens up thanks \nto the collaboration with Mario Botta, Adolfo \nNatalini and Pietro Carlo Pellegrini.\n1988\u002F9\n1989\n1990\n2000\u002F16\nLa nostra storia, tra tradizione e futuro\nOur history, tradition and future\n16-0425_P&W 2016_interno.indd   7\n11\u002F03\u002F16   16:51\n",5,{"image":34,"text":35,"number":36},"\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.6.png","ITLAS produce pavimenti in legno a due \ne tre strati. La sede produttiva è situata a \nCordignano, in provincia di Treviso.\nL’azienda si impegna alla tutela dell’am-\nbiente sia tramite l’applicazione e il man-\ntenimento nel tempo di un Sistema di \nGestione Ambientale, conforme ai requisiti \ncontenuti della norma UNI EN ISO 14001, \nsia rendendo disponibile al pubblico la pre-\nsente politica ambientale anche attraverso \nla pubblicazione del documento nel pro-\nprio sito internet ufficiale www.itlas.it\nITLAS ha fondato la propria attività \nsull’attenzione all’ambiente, a partire dal-\nla ricerca di una materia prima rigidamente \ncontrollata: il legno utilizzato proviene da fo-\nreste controllate e gestite in modo corretto \ne responsabile. Nel 2007 l’azienda ha otte-\nnuto la certificazione PEFC™ (Programme \nfor Endorsement of Forest Certification), \nmentre nel 2010 la certificazione FSC®\n(Forest Stewardship Council® – Chain of \nCustody). Assi del Cansiglio, Tavole del \nPiave e Legni del Doge nel 2009 hanno \nottenuto l’attestazione “100% Made in \nItaly Certificate” dall’Istituto per la Tutela \ndei Produttori Italiani, garantendo che si \ntratta di pavimenti in legno fabbricati intera-\nmente in Italia, costruiti con materiali natu-\nrali di qualità e di prima scelta, realizzati con \nmodelli esclusivi dell’azienda e adottando \nle lavorazioni artigianali tradizionali tipiche \nitaliane. Attenzione all’ambiente, ma anche \ncontinua attenzione alla salute dell’uomo: \nin questi anni è stato adottato un ciclo di \nverniciatura a base d’acqua per ridurre la \npresenza di solventi sintetici pericolosi per \nl’ambiente. I prodotti complementari utiliz-\nzati, come le colle viniliche, garantiscono \nla salute del consumatore e degli operatori \ndella produzione. I pavimenti sono trattati \ncon cere e oli naturali, oppure con vernici \na base d’acqua. Il prodotto è sottoposto a \nseveri controlli riguardo le emissioni di for-\nseveri controlli riguardo le emissioni di for-\nseveri controlli riguardo le emissioni di for\nmaldeide, tanto sulle materie prime che sul \nprodotto finito. Dal 2009 l’azienda ha stipu-\nlato un accordo pubblico-privato con Vene-\nto Agricoltura – ente preposto alla gestione \ndelle foreste del Veneto – per l’approvvigio-\nnamento dei tronchi di faggio della Foresta \ndel Cansiglio, situata a 35 chilometri dalla \nsede produttiva dell’azienda. Itlas ha dato \nvita al progetto “Assi del Cansiglio”, crean-\ndo il primo pavimento prefinito in legno cer-\ndo il primo pavimento prefinito in legno cer-\ndo il primo pavimento prefinito in legno cer\ntificato italiano. La vicinanza della Foresta \ndel Cansiglio, certificata PEFC, all’azienda \ncontribuisce – così come dimostrato dallo \nstudio LCA (Life Cycle Assessment) con\nLCA (Life Cycle Assessment) con\nLCA\n-\ndotto nel 2012 con il Consorzio Venezia \nRicerche - a una drastica riduzione delle \nemissioni di CO2 equivalente in fase di tra-\nsporto della materia prima. \nITLAS persegue:\n• il miglioramento continuo delle prestazio-\nni ambientali delle attività e dei prodotti \ndell’azienda\n• la prevenzione dell’inquinamento, utiliz-\nzando la migliore tecnologia disponibile \nche sia economicamente sostenibile\n• il rispetto delle prescrizioni legali, e delle \naltre prescrizioni che l’azienda sottoscri-\nve, riguardo ai propri aspetti ambientali.\nTale impegno si concretizza attraverso:\n• la formazione, sensibilizzazione e coin-\nvolgimento del personale\n• la collaborazione e sensibilizzazione dei \nfornitori per rispondere alle richieste dei \nclienti\n• la collaborazione con le Autorità Pubbli-\nche e la trasparenza e disponibilità con \nil vicinato\n• l’attuazione di piani annuali di miglioramento \ncon la definizione degli obiettivi e relativi tra-\nguardi ambientali, con l’attivazione di siste-\nmi di monitoraggio continuo per seguire lo \nsvolgimento delle azioni di miglioramento.\n• periodici riesami del Sistema di Gestione \nAmbientale per verificare la conformità \nalla Politica Ambientale e alle procedu-\nre di gestione e il raggiungimento degli \nobiettivi ambientali prefissati.\nITLAS in particolare è impegnata nel mi-\nglioramento delle prestazioni ambientali \nrelative a:\n• caratteristiche ambientali di prodotto con \nil raggiungimento di certificazioni speci-\nfiche\n• produzione di energia termica ed elettrica \nda fonti rinnovabili eliminando l’utilizzo di \ncombustibili fossili\n• riduzione del consumo di composti or-\n• riduzione del consumo di composti or-\n• riduzione del consumo di composti or\nganici volatili\nTali obiettivi vengono perseguiti attraverso \nla ricerca continua, investimenti e innova-\nzione tecnologica nel processo, sperimen-\ntazione e introduzione di prodotti a minor \nimpatto ambientale.\n8\nitlas.it\n16-0425_P&W 2016_interno.indd   8\n15\u002F03\u002F16   16:44\nITLAS produces two and three-layer wood \nfloors. The production plant is based in \nCordignano, in the Treviso province. The \ncompany is committed to protecting the \nenvironment both by applying and main-\ntaining over time an Environmental Man-\nagement System which meets the UNI EN \nISO 14001 requirements, and by making \nthe hereby policy available to the public, \neven publishing the document on its official \nwebsite www.itlas.it\nITLAS has based its business on atten-\ntion for the environment, starting from \nresearching a raw material which is rigidly \ncontrolled: the wood used comes from \ncontrolled forests which are managed in \na correct and responsible way. In 2007, \nthe company obtained the Programme \nfor Endorsement of Forest Certification\n(PEFC™), while in 2010 it obtained the \nForest Stewardship Council® – Chain of \nCustody (FSC®) certification.\nIn 2009, Assi del Cansiglio, Tavole del \nPiave and Legni del Doge obtained the \n“100% Made in Italy Certificate” issued \nby the Istituto per la Tutela dei Produt-\ntori Italiani (Institute for the Safeguard of \nItalian Manufacturers), guaranteeing that \nthe wood floors they produce are entirely \nmade in Italy, with quality, first-choice natu-\nral materials, created on models which are \nexclusively designed by the company and \nadopting traditional Italian artisan carving \nworkmanship.\nAttention for the environment, but also con-\ntinuous attention towards human health: in \nthese years the company has adopted a \nwater-based varnishing cycle in order to \nreduce the presence of synthetic solvents \nwhich are dangerous for the environment. \nThe complimentary products used, such \nas vinyl glues, protect the health of the \nconsumer and of the production opera-\ntors. The floors are treated with natural wax \nand oil, or with water-based varnish. The \nproduct is subject to strict controls regard-\ning formaldehyde emissions, both on the \nraw material and on the finished product.\nSince 2009, the company has stipulated a \npublic-private agreement with Veneto Agri-\ncoltura (Veneto Agriculture) – a body which \nmanages the forests of the Veneto region \n– to provide beech logs from the Cansiglio \nForest, which is 35 km from the company’s \nproduction plant. Itlas has given life to the \nproject “Assi del Cansiglio”, creating the \nfirst pre-finished floor in certified Italian \nwood. The closeness of the Cansiglio for-\nest, which is PEFC certified, to the compa-\nny contributes – as proven by the Life Cy-\ncle Assessment (LCA) study conducted \nin 2012 with Consorzio Venezia Ricerche \n(Venice Research Consortium) – to a dras-\ntic reduction of CO2 equivalent emissions \nduring the phase of transportation of the \nraw material.\nITLAS’ aims are:\n• continuous improvement of the environ-\nmental performance of its activity and \nproducts\n• prevention of pollution using the best \ntechnology available which is financially \nsustainable\n• respect for legal provisions, and other \nregulations that the company supports, \nwhich concerns its environmental as-\npects.\nThis commitment is put into effect by:\n• training, raising awareness among and \ninvolving staff\n• raising awareness among suppliers and \ntheir collaboration in answering clients’ \nrequests\n• collaboration with Public Authorities and \ntransparency and availability with the \nneighbourhood\n• carrying out yearly improvement plans \nwith the definition of environmental ob-\njectives and related goals, and the acti-\nvation of continuous monitoring systems \nto follow the implementation of improve-\nment activities\n• recurring re-examination of the Environ-\nmental Management System to verify its \nconformity to the Environmental Policy \nand to management procedures and to \nsee if the desired environmental objec-\ntives have been reached.\nIn particular, ITLAS is committed to im-\nproving its environmental performance in \nrelation to:\nproduct environmental characteristics with \nthe achievement of specific certifications\nproduction of thermal and electric energy \nthrough renewable sources, eliminating the \nuse of fossil fuel\nreduction in the use of volatile organic \ncomposts\nThese objectives are pursued through \ncontinuous research, investment and tech-\nnological innovation in the processing, ex-\nperimentation and introduction of products \nwith less environmental impact.\nPolitica ambientale\nEnvironmental policy\n16-0425_P&W 2016_interno.indd   9\n15\u002F03\u002F16   16:44\n8\nitlas.it\n16-0425_P&W 2016_interno.indd   8\n15\u002F03\u002F16   16:44\n",6,{"image":38,"text":39,"number":40},"\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.7.png","10\nitlas.it\n16-0425_P&W 2016_interno.indd   10\n11\u002F03\u002F16   16:52\nIn this period, exotic wood is the most \npopular \nchoice \namong \nconsumers. \nPatrizio Dei Tos starts to travel a lot search-\ning for a good quality product. Nigeria, the \nformer Zaire, the Ivory Coast, Congo and \nCameroon are the African countries in \nwhich ‘Labor Legno’ is present, importing \nwood of very high quality. The company \nbecomes a reference point for this type of \nmarket.\nThe closure of export markets for logs \nforces the Zarpellon brothers saw mill to \nbe put up for sale, and the company is \nbought by Patrizio Dei Tos in partnership \nwith his father Lino. ‘Itlas’ is born, acro-\nnym of Italparchetti Labor Legno Segati. \nTo deal with the export closure, the saw \nmill’s machinery is moved to Cameroon.\n‘Itlas’ focusses its production on pre-\nfinished floors, which in the early Nine-\nties were a very innovative product for the \nmarket. There do not yet exist any estab-\nlished production techniques for this type \nof floor, but the company develops the \nappropriate production process thanks to \nthe experience acquired.\nThe biginning of the new millennium co-\nincides with Patrizio Dei Tos liquidating his \npartners and the start of the market launch \nof the successful three and two-layers \nprefinished products such as the “Tavole \ndel Piave”, “Legni del Doge” and “Assi del \nCansiglio” projects. To these is added the \ncreation of “Cinque Millimetri”, a wooden \nskin for any type of covering or panneling; in \n2013 “The Massivi” collection, result of the \nprecious collaboration between the com-\npany and Mario Casamonti, Archea Studio, \nDoriana and Massimiliano Fuksas, in 2014 \n“Progetto Bagno”. At the beginning of 2016 \nthe network of architects widens up thanks \nto the collaboration with Mario Botta, Adolfo \nNatalini and Pietro Carlo Pellegrini.\nOur history, tradition and future\n16-0425_P&W 2016_interno.indd   7\n11\u002F03\u002F16   16:51\nNon solo sensibilità nei confronti dell’am-\nbiente e del proprio territorio di apparte-\nnenza. Itlas da diversi anni ha scelto \ndi affiancare le attività sociali della \nFondazione Umberto Veronesi, nata nel \n2003 allo scopo di sostenere la ricerca \nscientifica attraverso l’erogazione di borse \ndi ricerca per medici e ricercatori e il soste-\ngno a progetti di altissimo profilo. Ne sono \npromotori scienziati – tra i quali ben sei \npremi Nobel che ne costituiscono il Comi-\ntato d’Onore – il cui operato è riconosciuto \na livello internazionale.\nAl contempo la Fondazione è attiva anche \nnell’ambito della divulgazione scientifica, \naffinché i risultati e le scoperte della scien-\nza diventino patrimonio di tutti, attraverso \ngrandi conferenze con relatori interna-\nzionali, progetti per le scuole, campagne \ndi sensibilizzazione e pubblicazioni. Un \nprogetto ambizioso che, per raggiunge-\nre il suo obiettivo, agisce in sinergia con \nil mondo della scuola, con le realtà - sia \npubbliche che private - nel campo della \nricerca e con il mondo dell’informazione. \nProgettualità e concretezza, passione ed \nimpegno costante: queste le “parole d’or-\ndine” che da sempre rappresentano la \nnatura e la vocazione del nostro impegno. \nConcetti che costituiscono l’identità stes-\nsa della Fondazione, grazie ai quali può \ncontribuire a “produrre” un bene più alto, \nla salute ed il benessere per gli altri. \nSensitivity \nnot \njust \ntowards \nthe \nenvironment and their own territory – for \nmany years, Itlas has chosen to join \nthe social activities of the Umberto \nVeronesi Foundation, founded in 2003 \nwith the aim to support scientific research \nthrough the issue of fellowships for doctors \nand researchers and the support of very \nhigh-profile projects. Among promoters \nare scientists whose work has been \nrecognised at a global level, including \nsix Nobel Prize winners who form the \nHonours Committee.\nAt the same time, the Foundation is also \nactive in the popularisation of science \nso that scientific results and discoveries \nbecome everyone’s heritage, through \nlarge \nconferences \nwith \ninternational \nspokespeople, projects related to schools, \nawareness campaigns and publications. \nAn ambitious project which, in order to \nreach its objective, acts in synergy with the \nworld of schools, with realities – both public \nand private – belonging to the research field \nand with the information sphere. Forward-\nthinking ability and concreteness, passion \nand constant commitment: these are the \nkeywords which have always represented \nthe nature and vocation of our activities. \nThese concepts form the identity of the \nFoundation itself, thanks to which it can \ncontribute in the ‘production’ of a higher \ngood – the health and wellbeing of others.\nImpegno sociale\nSocial commitment\n16-0425_P&W 2016_interno.indd   11\n11\u002F03\u002F16   16:52\nIn Vittorio Veneto, together with a group \nof associates, Lino Dei Tos founds ‘Italpar-\nchetti’, a wood flooring company in which \nhe directly engages his son Patrizio as a \nsales representative, strongly believing in \nhis entrepreneurial ability and encourag-\ning him to start his professional career first \nas a representative in the new company \nand, later, in a protagonist role, at ‘Labor \nLegno’.\nLino Dei Tos purchases a ten thousand \nsquare metre territory in Cordignano, in \nthe Treviso province, and founds the or-\nganisation “Labor Legno snc Dei Tos Lino \n& C.”\nThanks to Patrizio Dei Tos’ experience as \na sales representative for floors, ‘Labor \nLegno’ is transformed from a company \nwhich produces rough sawn lumber to \none that produces wood floors.\nStill in his twenties, Patrizio Dei Tos man-\nages in just seven years to give ‘Labor \nLegno’ a remarkable boost, turning it into \na stock company. Right from the start, the \ncompany looked especially at France to \nimport wood, which is sawn in Cordignano \nin the nearby company belonging to the \nZarpellon brothers, and then carved with \nmulti-rip saw machines until obtaining the \nrough product to be sold to kitchen doors \nmanufacturers – an activity which is very \npopular in the surrounding area, especially \non the other side of the Friuli border, in the \nprovince of Pordenone.\nitlas.it\n6\n16-0425_P&W 2016_interno.indd   6\n11\u002F03\u002F16   16:51\n",7,{"image":42,"text":43,"number":44},"\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.8.png","12\nitlas.it\n16-0425_P&W 2016_interno.indd   12\n11\u002F03\u002F16   16:52\nTo melt and blur with nature in order to \nget in touch with your inner self and feel \ncomplete – this is the new shared need, \nthe necessity that mankind has and wants \nto have to be able to re-establish their \nown interior balance. A sense of wellbe-\ning desired and to be conquered which is \nnot a temporary fashion trend or a modern \nscientific discipline, but on the contrary is \nbecoming more and more the thread of \narchitecture and design at universal level \n- and above all, a lifestyle. \nDeception is of course there, around the \ncorner: it’s easy to say biological, but man-\nkind’s real need now goes beyond appear-\nance and does not accept to build and \nfurnish their own house simply in a perfect \neco-friendly “style”. \nThe new generation consumer-client de-\nmands guarantees, asks for certified quali-\nty of the product to purchase, they request \narchitecture and design which really have \nthe ability to integrate with the environ-\nment where they live and most of all with \nthe surrounding ecosystem.\nWood is an integral part of this lifestyle. \nTo speak of wood is to speak of nature \nand respect for the environment, be-\ncause it is a raw material that regrows \ncontinuously and its use increases a \nrenewable source with its own well-\ndefined biological cycle.\nItlas was born from a very clear choice, \nfor itself and the final consumer: an eco-\nfriendly project with total guarantees. Peo-\nple who choose Itlas floors are sure to \ncarve themselves an active position in \nthe safeguard of the environment.\nPatrizio Dei Tos\n16-0425_P&W 2016_interno.indd   5\n11\u002F03\u002F16   16:51\nL’amore per il legno è al centro della mia \nvita da sempre. Una passione che mi è \nstata trasmessa da mio padre, anche lui \nproduttore di pavimenti in legno, e che ho \ncercato di coltivare giorno dopo giorno \ncon lo stesso spirito di dedizione che si \nha nel crescere un figlio. Ho iniziato que-\nsto mestiere poco più che ventenne e in \nquesti anni ho avuto la fortuna di vedere \ncon i miei occhi le foreste più belle e pre-\nziose del mondo, guardandole sempre \ncon la consapevolezza dell’importanza di \nuna loro gestione controllata e responsa-\nbile. Per questo ho fortemente voluto, fino \ndal suo primo giorno di vita, che Itlas fos-\nse un’azienda che ruota attorno al legno \namando il legno e il suo essere vita.  Sulla \nmia strada ho incrociato un professioni-\nsta di grande prestigio come l’architetto \nMarco Casamonti, innamorato come me \ndi questa materia prima così affascinante. \nCon lui e con lo Studio Archea è iniziata \nuna collaborazione che ci ha portati insie-\nme all’edizione 2013 dei Saloni di Milano \ncon la prima collezione de “i Massivi”. Un \nautentico colpo d’occhio e non solo per \ngli intenditori o per chi fa il mio stesso \nmestiere. Una collezione di complementi \nd’arredo nella quale il legno è reale, in-\ntatto, massiccio, visivamente presente in \ntutta la sua unicità e bellezza. L’anno suc-\ncessivo abbiamo voluto riprovarci. Con \nqualche pezzo nuovo, ma soprattutto \naggiungendo a quella che già conside-\nravo una partnership di altissimo livello le \nfirme di archistar del calibro di Doriana e \nMassimiliano Fuksas, Claudio Silvestrin, \nMario Botta, Adolfo Natalini e Pietro Carlo \nPellegrini. Cosa dire di più? Posso solo rin-\ngraziare per l’onore e per l’emozione che \ntutto questo mi ha regalato e mi continua \na regalare.\nPatrizio Dei Tos\nMy love for wood has always been at \nthe centre of my life. A passion that was \npassed on to me by my father, who \nproduced wood floors as well, and which \nI have tried to grow day after day with the \nsame dedication one has in bringing up a \nchild. I started this job when I was in my \nearly twenties and in these years I have \nhad the fortune to see with my own eyes \nthe most beautiful and precious forests \nin the world, always looking at them with \nthe awareness of the importance of their \ncontrolled and responsible management. \nThis is why, from the very first day of its \nlife, I have always wanted Itlas to be a \ncompany that revolves around wood, \nwhile loving wood and its being life. A year \nago I met along the road a very important \nprofessional, architect Marco Casamonti, \nwho like me is in love with this fascinating \nmaterial. \nTogether with him and Studio Archea, a \ncollaboration was born that brought us \ntogether to the 2013 edition of Saloni di \nMilano with the first collection of Massivi. \nA real eyeful for connoisseurs or who does \nmy same job. \nA collection of furniture where wood is \nreal, intact, solid, visibly present in all of \nits uniqueness and beauty. And this year, \nwe wanted to try it again. With some new \npieces, but mostly adding to what I already \nconsidered a very high-level partnership, \nthe participation of mega-stars,  Doriana \nand \nMassimiliano \nFuksas, \nClaudio \nSilvestrin, Mario Botta, Adolfo Natalini and \nPietro Carlo Pellegrini. What more can I \nsay? I can only be thankful for the honour \nand emotion that all this is giving me.  \nPatrizio Dei Tos\nPartnership\nPartnership\n16-0425_P&W 2016_interno.indd   13\n15\u002F03\u002F16   16:44\nworks\n16-0425_P&W 2016_interno.indd   4\n11\u002F03\u002F16   16:51\n",8,{"image":46,"text":47,"number":48},"\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.9.png","14\nitlas.it\n16-0425_P&W 2016_interno.indd   14\n21\u002F03\u002F16   16:38\n16-0425_P&W 2016_interno.indd   3\n11\u002F03\u002F16   16:51\nMarco Casamonti si laurea nel 1990 \npresso l’Università di Firenze e nel 2001 \nottiene l’idoneità come Professore Ordi-\nnario in Progettazione Architettonica e \nUrbana presso la Facoltà di Architettura \ndi Genova. Conduce un intenso lavoro di \napprofondimento e riflessione critica sui \ntemi dell’architettura, pubblicando saggi e \nscritti e attraverso conferenze e lectures. \nDal 1997 è direttore responsabile della \nrivista internazionale di Architettura Area, \ndal 1999 è co-direttore con Paolo Porto-\nghesi della rivista Materia, entrambe del \nGruppo Tecniche Nuove. Nel 1988, fonda \nlo Studio Archea insieme a Laura Andreini \ne Giovanni Polazzi ai quali nel 1999 si as-\nsocia Silvia Fabi. \nArchea è un network di circa 100 archi-\ntetti, operativi nelle sei differenti sedi di \nFirenze, Milano, Roma, Pechino, Dubai \ne San Paolo. \nGli interessi e le attività di ricerca dello \nstudio muovono dal paesaggio alla città, \ndall’edificio al design e, pur essendo in-\ncentrati sull’architettura, i progetti spazia-\nno dalla grafica all’editoria, dalle mostre \nagli eventi. La complementarità ed il pas-\nsaggio di scala che muove dalla critica al \ncantiere, consente un’operatività integrata \ncapace di intervenire nelle diverse forme \ncompositive del progetto. Oltre alla ricerca \nin ambito progettuale ogni associato dello \nstudio svolge una parallela attività nelle Fa-\ncoltà di Architettura di Firenze e Genova. \nTra i progetti più importanti è possibile an-\nnoverare: la Biblioteca comunale di Nem-\nbro (Bergamo), la nuova Cantina Antinori a \nSan Casciano Val di Pesa (Firenze), l’UBPA \nB3-2 Pavilion World Expo 2010 e il GEL, \nGreen Energy Laboratory di Shanghai, \nl’ampliamento e riqualificazione della sede \nPerfetti Van Melle di Lainate nei pressi di \nMilano. Sono in costruzione la Torre di Ti-\nrana, Albania, la “Meravigliosa Island” in \n“the World” a Dubai, UAE, la Changri-La \nWinery a Penglai, e il Li Ling World Cera-\nmic Art City, in Cina.\nMarco Casamonti graduated in 1990 \nfrom the University of Florence, and in \n2001 became Ordinary Professor in Archi-\ntectural and Urban Design at the Architec-\nture Faculty of the University of Genoa. He \ncarried out intensive research and critical \nanalysis on architecture themes, publish-\ning essays and papers and holding con-\nferences and lectures. Since 1997, he \nhas been the editor-in-chief of the inter-\nnational architecture magazine Area, and \nsince 1999 he has been co-director of the \nmagazine Materia with Paolo Portoghesi, \nboth part of the Tecniche Nuove Group. In \n1988, he founded Studio Archea together \nwith Laura Andreini and Giovanni Polazzi, \nto whom was added Silvia Fabi in 1999. \nArchea is a network of about 100 archi-\ntects, who operate from the six differ-\nent offices in Florence, Milan, Rome, \nBeijing, Dubai and São Paulo. \nThe group’s interests and research activi-\nties range from landscapes to cities, from \nbuildings to design, and despite being \nfocussed on architecture, the projects \ncover graphics and publishing, exhibi-\ntions and events. The complementarity \nand scaling from assessment to building \nsite allows integrated operations which are \nable to intervene in the different types of \ncomponents of the projects. In addition to \ntheir research in the field of design, every \ngroup associate has a parallel activity at \nthe Architecture faculties of Florence and \nGenoa. The most important projects in-\nclude: the town library in Nembro (Berga-\nmo); the new Cantina Antinori in San Cas-\nciano Val di Pesa (Florence); UBPA B3-2 \nPavilion World Expo 2010; GEL, Green \nEnergy Laboratory, in Shanghai; and the \nenlargement and renovation of the Per-\nfetti Van Melle site in Lainate, near Milan. \nUnder construction are: the Tirana Tower, \nin Albania; ‘Beautiful Island’ in Dubai’s \n‘the World’, UAE; Changri-La Winery in \nPenglai; and Li Ling World Ceramic Art \nCity in China.\nPartnership\nPartnership\n16-0425_P&W 2016_interno.indd   15\n11\u002F03\u002F16   16:52\n",9,{"image":50,"text":51,"number":52},"\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.10.png","Ritratto degli architetti Doriana e Massimiliano Fuksas copyright Fabio Lovino\nPortrait of the architects Doriana and Massimiliano Fuksascopyright Fabio Lovino\n16\nitlas.it\n16-0425_P&W 2016_interno.indd   16\n21\u002F03\u002F16   16:42\nLo Studio Fuksas di Doriana e Massi-\nmiliano Fuksas è uno studio di archi-\ntettura internazionale con sede a Roma \n(dal 1967), Parigi (dal 1989) e Shenzhen \n(dal 2008).\nDi origine lituana, Massimiliano Fuksas\nè nato a Roma nel 1944. Si  è laureato \nin Architettura all’Università di Roma “La \nSapienza” nel 1969. A partire dagli anni \nottanta  è stato uno dei principali protago-\nnisti del mondo dell’architettura contem-\nporanea. E’ stato Professore Invitato (Vi-\nsiting Professor) presso numerose univer-\nsità, tra le quali: la Columbia University a \nNew York, l’Ecole Speciale d’Architecture \ndi Parigi, l’Akademie der Bildenden Kunste \na Vienna e la Staadtliche Akademia des \nBildenden Kunste di Stoccarda. Dal 1998 \nal 2000 è stato Direttore della “VII Mostra \nInternazionale di Architettura di Venezia”: \n“Less Aesthetics, More Ethics”. Dal 2000 \nè autore della rubrica di architettura, fon-\ndata da Bruno Zevi, del settimanale italia-\nno “L’Espresso”. \nVive e lavora tra Roma e Parigi.\nDoriana Fuksas è nata a Roma, dove si \nè laureata in Storia dell’Architettura Mo-\nderna e Contemporanea all’Università ‘’La \nSapienza’’ nel 1979. Ha anche ottenuto \nuna laurea in Architettura all’ESA, L’Ecole \nSpéciale d’Architecture, di Parigi, in Fran-\ncia. Ha svolto attività didattiche presso il \nDipartimento di Storia dell’Arte della Fa-\ncoltà di Lettere e il Dipartimento di Indu-\nstrial Design ITACA all’università “La Sa-\npienza” di Roma .\nHa curato quattro “Progetti Speciali” all’in-\nterno della VII Mostra Internazionale di \nArchitettura di Venezia “Less Aesthetics, \nMore Ethics”, nel 2000: Jean Prouvé, Jean \nManeval, il Padiglione della Pace e dell’Ar-\nchitettura degli Spazi, e la sezione dedica-\nta all’arte contemporanea. Collabora con \nMassimiliano Fuksas dal 1985, \ned è direttore responsabile di “Fuksas De-\nsign” dal 1997. \nLavora e vive tra Roma e Parigi.\nStudio Fuksas, led by Doriana and \nMassimiliano Fuksas, is an internation-\nal architectural practice with offices in \nRome (since 1967), Paris (since 1989), \nShenzhen (since 2008).\nOf Lithuanian descent, Massimiliano \nFuksas was born in Rome in 1944. He \ngraduated in Architecture from the Uni-\nversity of Rome “La Sapienza” in 1969. \nSince the eighties he has been one of the \nmain protagonists of the contemporary \narchitectural scene. He has been Visiting \nProfessor at a number of universities such \nas: Columbia University in New York, the \nÉcole Spéciale d’Architecture in Paris, the \nAkademie der Bildenden Künste in Wien, \nthe Staatliche Akademie der Bildenden \nKünste in Stuttgart. From 1998 to 2000 \nhe directed the “VII Mostra Internazionale \nd’Architettura di Venezia”: “Less Aesthet-\nics, More Ethics”. Since 2000 he has been \nthe author of the architecture column – \nfounded by Bruno Zevi – in the italian news \nmagazine “L’Espresso”.\nHe works and lives in Rome and in Paris.\nDoriana Fuksas was born in Rome where \nshe graduated in History of Modern and \nContemporary Architecture at the Univer-\nsity of Rome “La Sapienza” in 1979. She \nhas also earned a degree in Architecture \nfrom ESA, École Spéciale d’Architecture, \nParis. She has done didactic activities at \nthe Institute of History of Art at the Faculty \nof Letters and Arts and at Industrial Design \nDepartement ITACA at “La Sapienza” Uni-\nversity in Rome. She curated four “Special \nProjects” at the 7th International Architec-\nture Exhibition in Venice: “Less Aesthetics, \nMore Ethics” in 2000: Jean Prouvé, Jean \nManeval, the Peace Pavilion and Architec-\nture of Spaces, and the contemporary art \nsection. She has worked with Massimil-\niano Fuksas since 1985 and has been di-\nrector in charge of “Fuksas Design” since \n1997.\nShe works and lives in Rome and in Paris.\nPartnership\nPartnership\n16-0425_P&W 2016_interno.indd   17\n11\u002F03\u002F16   16:52\n",10,{"image":54,"text":55,"number":56},"\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.11.png","18\nitlas.it\n16-0425_P&W 2016_interno.indd   18\n11\u002F03\u002F16   16:53\nPartnership\nPartnership\nNel 1989 Claudio Silvestrin fonda lo \nstudio Claudio Silvestrin Architects con \nuffici prima a Londra e dal 2006 anche \na Milano. \nLa sua opera di respiro internazionale spa-\nzia da oggetti di uso quotidiano a interni \ndomestici e commerciali, spazi espositivi, \nedifici per musei e residenze private. Tra \ni suoi clienti più noti vanno riconosciuti \nGiorgio Armani, illycaffé, Anish Kapoor, \nCalvin Klein, Poltrona Frau, Victoria Miro, \nla Fondazione Sandretto Re Rebaudengo \nper la quale ha progettato il museo di Tori-\nno e la star rapper Kanye West. Lo studio \nha completato di recente il progetto di 18 \nville a Singapore (Sandy Island), il ristoran-\nte Oblix allo Shard di Londra e la boutique \ndi Giada in via Montenapoleone a Milano.\nClaudio Silvestrin é un creativo. Nato nel \n1954, è stato educato a Milano da A.G. \nFronzoni e ha proseguito gli studi alla Ar-\nchitectural Association di Londra. I suoi \nstudi di filosofia, la sua visione, l’integrità, \nla chiarezza di intenti e la rigorosa atten-\nzione al dettaglio sono le caratteristiche \ndella sua distintiva architettura: austera \nma non estrema, contemporanea e tutta-\nvia senza tempo, calma ma non ascetica, \nforte ma non intimidatoria, elegante ma \nnon ostentativa. Claudio Silvestrin è stato \ninvitato a presentare il suo lavoro in nume-\nrosi eventi e conferenze. Nel 2013 è stato \nWalton Critic e tutore alla Catholic Univer-\nsity of America, Scuola di Architettura a \nWashington DC\nClaudio Silvestrin Architects was es-\ntablished in 1989 with offices in Lon-\ndon, and since 2006 in Milan also. \nThe work of the practice encompasses \nreal estate developments, newly built \nhouses and resorts for private residence, \nart galleries and museums, restaurants, \nluxury retail stores and furniture design. \nClients include Giorgio Armani, illycaf-\nfé, Anish Kapoor, Calvin Klein, Victoria \nMiro, the Fondazione Sandretto Re Re-\nbaudengo for whom he has designed \nthe museum in Turin and the internation-\nally acclaimed hip hop artist and producer \nKanye West. Recently completed projects \ninclude: Sandy Island 18 Villas Develop-\nment in Singapore, Oblix restaurant at the \nShard in London and the Giada store in \nMilan Montenapoleone.\nHighly creative, Claudio Silvestrin was \nborn in 1954, studied under A.G. Fronzoni \nin Milan and at the Architectural Associa-\ntion in London. \nHis interest in philosophy, his vision, his \nintegrity, clarity of mind, inventiveness \nand concern for details is reflected in \nhis distinctive architecture: austere but \nnot extreme, contemporary yet timeless, \ncalming but not ascetic, strong but not \nintimidating, elegant but not ostentatious, \nsimple but not soulless.\nClaudio Silvestrin has lectured extensively. \nIn 2013 he was appointed as a Walton \nCritic and tutored at the Catholic Univer-\nsity of America, School of Architecture in \nWashington DC.\n16-0425_P&W 2016_interno.indd   19\n11\u002F03\u002F16   16:53\n",11,{"image":58,"text":59,"number":60},"\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.12.png","works\n16-0425_P&W 2016_interno.indd   20\n11\u002F03\u002F16   16:53\n16-0425_P&W 2016_interno.indd   21\n11\u002F03\u002F16   16:53\nworks\n16-0425_P&W 2016_interno.indd   20\n11\u002F03\u002F16   16:53\n",12,{"image":62,"text":63,"number":64},"\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.13.png","22\nitlas.it\n16-0425_P&W 2016_interno.indd   22\n11\u002F03\u002F16   16:53\nPartnership\nClaudio Silvestrin Architects was es-\ntablished in 1989 with offices in Lon-\ndon, and since 2006 in Milan also. \nThe work of the practice encompasses \nreal estate developments, newly built \nhouses and resorts for private residence, \nart galleries and museums, restaurants, \nluxury retail stores and furniture design. \nClients include Giorgio Armani, illycaf-\nfé, Anish Kapoor, Calvin Klein, Victoria \nMiro, the Fondazione Sandretto Re Re-\nbaudengo for whom he has designed \nthe museum in Turin and the internation-\nally acclaimed hip hop artist and producer \nKanye West. Recently completed projects \ninclude: Sandy Island 18 Villas Develop-\nment in Singapore, Oblix restaurant at the \nShard in London and the Giada store in \nMilan Montenapoleone.\nHighly creative, Claudio Silvestrin was \nborn in 1954, studied under A.G. Fronzoni \nin Milan and at the Architectural Associa-\ntion in London. \nHis interest in philosophy, his vision, his \nintegrity, clarity of mind, inventiveness \nand concern for details is reflected in \nhis distinctive architecture: austere but \nnot extreme, contemporary yet timeless, \ncalming but not ascetic, strong but not \nintimidating, elegant but not ostentatious, \nsimple but not soulless.\nClaudio Silvestrin has lectured extensively. \nIn 2013 he was appointed as a Walton \nCritic and tutored at the Catholic Univer-\nsity of America, School of Architecture in \nWashington DC.\n16-0425_P&W 2016_interno.indd   19\n11\u002F03\u002F16   16:53\nAbitazione privata\nPrivate residence\nBergamo\n16-0425_P&W 2016_interno.indd   23\n11\u002F03\u002F16   16:53\n18\nitlas.it\n16-0425_P&W 2016_interno.indd   18\n11\u002F03\u002F16   16:53\n",13,{"image":66,"text":67,"number":68},"\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.14.png","24\nitlas.it\n16-0425_P&W 2016_interno.indd   24\n11\u002F03\u002F16   16:53\nStudio Fuksas, led by Doriana and \nMassimiliano Fuksas, is an internation-\nal architectural practice with offices in \nRome (since 1967), Paris (since 1989), \nShenzhen (since 2008).\nOf Lithuanian descent, Massimiliano \nFuksas was born in Rome in 1944. He \ngraduated in Architecture from the Uni-\nversity of Rome “La Sapienza” in 1969. \nSince the eighties he has been one of the \nmain protagonists of the contemporary \narchitectural scene. He has been Visiting \nProfessor at a number of universities such \nas: Columbia University in New York, the \nÉcole Spéciale d’Architecture in Paris, the \nAkademie der Bildenden Künste in Wien, \nthe Staatliche Akademie der Bildenden \nKünste in Stuttgart. From 1998 to 2000 \nhe directed the “VII Mostra Internazionale \nd’Architettura di Venezia”: “Less Aesthet-\nics, More Ethics”. Since 2000 he has been \nthe author of the architecture column – \nfounded by Bruno Zevi – in the italian news \nmagazine “L’Espresso”.\nHe works and lives in Rome and in Paris.\nDoriana Fuksas was born in Rome where \nshe graduated in History of Modern and \nContemporary Architecture at the Univer-\nsity of Rome “La Sapienza” in 1979. She \nhas also earned a degree in Architecture \nfrom ESA, École Spéciale d’Architecture, \nParis. She has done didactic activities at \nthe Institute of History of Art at the Faculty \nof Letters and Arts and at Industrial Design \nDepartement ITACA at “La Sapienza” Uni-\nversity in Rome. She curated four “Special \nProjects” at the 7th International Architec-\nture Exhibition in Venice: “Less Aesthetics, \nMore Ethics” in 2000: Jean Prouvé, Jean \nManeval, the Peace Pavilion and Architec-\nture of Spaces, and the contemporary art \nsection. She has worked with Massimil-\niano Fuksas since 1985 and has been di-\nrector in charge of “Fuksas Design” since \n1997.\nShe works and lives in Rome and in Paris.\nPartnership\n16-0425_P&W 2016_interno.indd   17\n11\u002F03\u002F16   16:52\nQUADROTTA - Rovere finitura personalizzata\n16-0425_P&W 2016_interno.indd   25\n11\u002F03\u002F16   16:53\nRitratto degli architetti Doriana e Massimiliano Fuksas copyright Fabio Lovino\nPortrait of the architects Doriana and Massimiliano Fuksascopyright Fabio Lovino\n16\nitlas.it\n16-0425_P&W 2016_interno.indd   16\n21\u002F03\u002F16   16:42\n",14,{"image":70,"text":71,"number":72},"\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.15.png","26\nitlas.it\n16-0425_P&W 2016_interno.indd   26\n11\u002F03\u002F16   16:53\nMarco Casamonti graduated in 1990 \nfrom the University of Florence, and in \n2001 became Ordinary Professor in Archi-\ntectural and Urban Design at the Architec-\nture Faculty of the University of Genoa. He \ncarried out intensive research and critical \nanalysis on architecture themes, publish-\ning essays and papers and holding con-\nferences and lectures. Since 1997, he \nhas been the editor-in-chief of the inter-\nnational architecture magazine Area, and \nsince 1999 he has been co-director of the \nmagazine Materia with Paolo Portoghesi, \nboth part of the Tecniche Nuove Group. In \n1988, he founded Studio Archea together \nwith Laura Andreini and Giovanni Polazzi, \nto whom was added Silvia Fabi in 1999. \nArchea is a network of about 100 archi-\ntects, who operate from the six differ-\nent offices in Florence, Milan, Rome, \nBeijing, Dubai and São Paulo. \nThe group’s interests and research activi-\nties range from landscapes to cities, from \nbuildings to design, and despite being \nfocussed on architecture, the projects \ncover graphics and publishing, exhibi-\ntions and events. The complementarity \nand scaling from assessment to building \nsite allows integrated operations which are \nable to intervene in the different types of \ncomponents of the projects. In addition to \ntheir research in the field of design, every \ngroup associate has a parallel activity at \nthe Architecture faculties of Florence and \nGenoa. The most important projects in-\nclude: the town library in Nembro (Berga-\nmo); the new Cantina Antinori in San Cas-\nciano Val di Pesa (Florence); UBPA B3-2 \nPavilion World Expo 2010; GEL, Green \nEnergy Laboratory, in Shanghai; and the \nenlargement and renovation of the Per-\nfetti Van Melle site in Lainate, near Milan. \nUnder construction are: the Tirana Tower, \nin Albania; ‘Beautiful Island’ in Dubai’s \n‘the World’, UAE; Changri-La Winery in \nPenglai; and Li Ling World Ceramic Art \nCity in China.\nPartnership\n16-0425_P&W 2016_interno.indd   15\n11\u002F03\u002F16   16:52\nSPINA - Rovere finitura personalizzata\nQUADROTTA - Rovere finitura personalizzata\n16-0425_P&W 2016_interno.indd   27\n11\u002F03\u002F16   16:53\n",15,{"image":74,"text":75,"number":76},"\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.16.png","QUADROTTA - Rovere finitura personalizzata\n28\nitlas.it\n16-0425_P&W 2016_interno.indd   28\n11\u002F03\u002F16   16:53\n16-0425_P&W 2016_interno.indd   29\n11\u002F03\u002F16   16:53\n",16,{"image":78,"text":79,"number":80},"\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.17.png","QUADROTTA - Composizione a disegno personalizzata\n30\nitlas.it\n16-0425_P&W 2016_interno.indd   30\n15\u002F03\u002F16   16:44\nASSI DEL CANSIGLIO - Faggio Antico\n16-0425_P&W 2016_interno.indd   31\n15\u002F03\u002F16   16:44\n",17,{"image":82,"text":83,"number":84},"\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.18.png","ASSI DEL CANSIGLIO - Faggio finitura del Poggio\n32\nitlas.it\n16-0425_P&W 2016_interno.indd   32\n11\u002F03\u002F16   16:53\nASSI DEL CANSIGLIO - Faggio finitura del Poggio\n32\nitlas.it\n16-0425_P&W 2016_interno.indd   32\n11\u002F03\u002F16   16:53\nQUADROTTA - Rovere finitura personalizzata\n16-0425_P&W 2016_interno.indd   33\n11\u002F03\u002F16   16:55\n",18,{"image":86,"text":87,"number":88},"\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.19.png","34\nitlas.it\n16-0425_P&W 2016_interno.indd   34\n11\u002F03\u002F16   16:55\nASSI DEL CANSIGLIO - Faggio Antico\n16-0425_P&W 2016_interno.indd   31\n15\u002F03\u002F16   16:44\nCOMPLESSO RESIDENZIALE \nCOLLE LORETO\nLugano \nCH\nStudio Archea Associati\n16-0425_P&W 2016_interno.indd   35\n11\u002F03\u002F16   16:55\nQUADROTTA - Composizione a disegno personalizzata\n30\nitlas.it\n16-0425_P&W 2016_interno.indd   30\n15\u002F03\u002F16   16:44\n",19,{"image":90,"text":91,"number":92},"\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.20.png","16-0425_P&W 2016_interno.indd   29\n11\u002F03\u002F16   16:53\nTEAK OLIATO\nphoto: Pietro Savorelli\n36\nitlas.it\n16-0425_P&W 2016_interno.indd   36\n11\u002F03\u002F16   16:55\n16-0425_P&W 2016_interno.indd   37\n11\u002F03\u002F16   16:55\nQUADROTTA - Rovere finitura personalizzata\n28\nitlas.it\n16-0425_P&W 2016_interno.indd   28\n11\u002F03\u002F16   16:53\n",20,{"image":94,"text":95,"number":96},"\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.21.png","TEAK OLIATO\nphoto: Pietro Savorelli\n38\nitlas.it\n16-0425_P&W 2016_interno.indd   38\n11\u002F03\u002F16   16:56\nSPINA - Rovere finitura personalizzata\nQUADROTTA - Rovere finitura personalizzata\n16-0425_P&W 2016_interno.indd   27\n11\u002F03\u002F16   16:53\n16-0425_P&W 2016_interno.indd   39\n11\u002F03\u002F16   16:56\n",21,{"image":98,"text":99,"number":100},"\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.22.png","40\nitlas.it\n16-0425_P&W 2016_interno.indd   40\n11\u002F03\u002F16   16:56\nTEAK OLIATO\nphoto: Pietro Savorelli\n16-0425_P&W 2016_interno.indd   41\n11\u002F03\u002F16   16:56\n",22,{"image":102,"text":103,"number":104},"\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.23.png","42\nitlas.it\n16-0425_P&W 2016_interno.indd   42\n11\u002F03\u002F16   16:56\nAbitazione privata\nPrivate residence\nOderzo \nTreviso\n16-0425_P&W 2016_interno.indd   43\n11\u002F03\u002F16   16:56\n",23,{"image":106,"text":107,"number":108},"\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.24.png","TAVOLE DEL PIAVE - Rovere finitura personalizzata\n44\nitlas.it\n16-0425_P&W 2016_interno.indd   44\n11\u002F03\u002F16   16:56\n16-0425_P&W 2016_interno.indd   45\n11\u002F03\u002F16   16:56\nTAVOLE DEL PIAVE - Rovere finitura personalizzata\n44\nitlas.it\n16-0425_P&W 2016_interno.indd   44\n11\u002F03\u002F16   16:56\n",24,{"image":110,"text":111,"number":112},"\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.25.png","46\nitlas.it\n16-0425_P&W 2016_interno.indd   46\n11\u002F03\u002F16   16:57\nAbitazione privata\nPrivate residence\nOderzo \nTreviso\n16-0425_P&W 2016_interno.indd   43\n11\u002F03\u002F16   16:56\nAbitazione privata\nPrivate residence\nMartellago\nVenezia\nStudio Eikón \nArchitetto Claudio Manni   \n16-0425_P&W 2016_interno.indd   47\n11\u002F03\u002F16   16:57\n42\nitlas.it\n16-0425_P&W 2016_interno.indd   42\n11\u002F03\u002F16   16:56\n",25,{"image":114,"text":115,"number":116},"\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.26.png","TAVOLE DEL PIAVE - Rovere fior di Giglio\n48\nitlas.it\n16-0425_P&W 2016_interno.indd   48\n11\u002F03\u002F16   16:57\nTEAK OLIATO\nphoto: Pietro Savorelli\n16-0425_P&W 2016_interno.indd   41\n11\u002F03\u002F16   16:56\n16-0425_P&W 2016_interno.indd   49\n15\u002F03\u002F16   16:44\n40\nitlas.it\n16-0425_P&W 2016_interno.indd   40\n11\u002F03\u002F16   16:56\n",26,{"image":118,"text":119,"number":120},"\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.27.png","TAVOLE DEL PIAVE - Rovere fior di Giglio\n50\nitlas.it\n16-0425_P&W 2016_interno.indd   50\n11\u002F03\u002F16   16:57\n16-0425_P&W 2016_interno.indd   39\n11\u002F03\u002F16   16:56\n16-0425_P&W 2016_interno.indd   51\n11\u002F03\u002F16   16:58\n",27,{"image":122,"text":123,"number":124},"\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.28.png","52\nitlas.it\n16-0425_P&W 2016_interno.indd   52\n11\u002F03\u002F16   16:58\nAbitazione privata\nPrivate residence\nBergamo \nStudio Geom. \nAndrea Vavassori\n16-0425_P&W 2016_interno.indd   53\n15\u002F03\u002F16   16:44\n",28,{"image":126,"text":127,"number":128},"\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.29.png","LEGNI DEL DOGE - Rovere Natura\n54\nitlas.it\n16-0425_P&W 2016_interno.indd   54\n11\u002F03\u002F16   16:58\n16-0425_P&W 2016_interno.indd   55\n15\u002F03\u002F16   16:45\n",29,{"image":130,"text":131,"number":132},"\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.30.png","LEGNI DEL DOGE - Rovere Natura\n56\nitlas.it\n16-0425_P&W 2016_interno.indd   56\n11\u002F03\u002F16   16:58\nLEGNI DEL DOGE - Rovere Natura\n56\nitlas.it\n16-0425_P&W 2016_interno.indd   56\n11\u002F03\u002F16   16:58\n16-0425_P&W 2016_interno.indd   57\n15\u002F03\u002F16   16:45\n",30,{"image":134,"text":135,"number":136},"\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.31.png","58\nitlas.it\n16-0425_P&W 2016_interno.indd   58\n15\u002F03\u002F16   16:45\n16-0425_P&W 2016_interno.indd   55\n15\u002F03\u002F16   16:45\nLEGNI DEL DOGE - Rovere Natura\n54\nitlas.it\n16-0425_P&W 2016_interno.indd   54\n11\u002F03\u002F16   16:58\nAbitazione privata\nPrivate residence\nStudio Acrivoulis\nArchitetto Maria \nAcrivoulis\n16-0425_P&W 2016_interno.indd   59\n15\u002F03\u002F16   16:45\n",31,{"image":138,"text":139,"number":140},"\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.32.png","60\nitlas.it\n16-0425_P&W 2016_interno.indd   60\n11\u002F03\u002F16   16:58\nAbitazione privata\nPrivate residence\nBergamo \nStudio Geom. \nAndrea Vavassori\n16-0425_P&W 2016_interno.indd   53\n15\u002F03\u002F16   16:44\nTAVOLE DEL PIAVE - Rovere Prosecco\n16-0425_P&W 2016_interno.indd   61\n11\u002F03\u002F16   16:58\n52\nitlas.it\n16-0425_P&W 2016_interno.indd   52\n11\u002F03\u002F16   16:58\n",32,{"image":142,"text":143,"number":144},"\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.33.png","62\nitlas.it\n16-0425_P&W 2016_interno.indd   62\n11\u002F03\u002F16   16:59\n16-0425_P&W 2016_interno.indd   51\n11\u002F03\u002F16   16:58\nAbitazione privata\nPrivate residence\nLondra \nUK\nClaudio Silvestrin \nArchitects\n16-0425_P&W 2016_interno.indd   63\n11\u002F03\u002F16   16:59\n",33,{"image":146,"text":147,"number":148},"\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.34.png","TAVOLE DEL PIAVE - Rovere Accadueo\nphoto: Pietro Savorelli\n64\nitlas.it\n16-0425_P&W 2016_interno.indd   64\n15\u002F03\u002F16   16:45\n16-0425_P&W 2016_interno.indd   65\n15\u002F03\u002F16   16:45\n",34,{"image":150,"text":151,"number":152},"\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.35.png","TAVOLE DEL PIAVE - Rovere Accadueo\nphoto: Pietro Savorelli\n66\nitlas.it\n16-0425_P&W 2016_interno.indd   66\n11\u002F03\u002F16   17:00\n16-0425_P&W 2016_interno.indd   67\n11\u002F03\u002F16   17:00\n",35,{"image":154,"text":155,"number":156},"\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.36.png","68\nitlas.it\n16-0425_P&W 2016_interno.indd   68\n11\u002F03\u002F16   17:00\nAbitazione privata\nPrivate residence\nMiami\nFlorida USA\n16-0425_P&W 2016_interno.indd   69\n11\u002F03\u002F16   17:00\n68\nitlas.it\n16-0425_P&W 2016_interno.indd   68\n11\u002F03\u002F16   17:00\n",36,{"image":158,"text":159,"number":160},"\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.37.png","70\nitlas.it\n16-0425_P&W 2016_interno.indd   70\n11\u002F03\u002F16   17:00\n16-0425_P&W 2016_interno.indd   67\n11\u002F03\u002F16   17:00\nQUADROTTE TAVOLE DEL PIAVE - Rovere del Borgo\n16-0425_P&W 2016_interno.indd   71\n11\u002F03\u002F16   17:00\nTAVOLE DEL PIAVE - Rovere Accadueo\nphoto: Pietro Savorelli\n66\nitlas.it\n16-0425_P&W 2016_interno.indd   66\n11\u002F03\u002F16   17:00\n",37,{"image":162,"text":163,"number":164},"\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.38.png","16-0425_P&W 2016_interno.indd   65\n15\u002F03\u002F16   16:45\n72\nitlas.it\n16-0425_P&W 2016_interno.indd   72\n11\u002F03\u002F16   17:00\nABITAZIONE PRIVATA\nPrivate residence\nMontebelluna\nTreviso\n16-0425_P&W 2016_interno.indd   73\n11\u002F03\u002F16   17:00\nTAVOLE DEL PIAVE - Rovere Accadueo\nphoto: Pietro Savorelli\n64\nitlas.it\n16-0425_P&W 2016_interno.indd   64\n15\u002F03\u002F16   16:45\n",38,{"image":166,"text":167,"number":168},"\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.39.png","LEGNI DEL DOGE - A21 Rovere finitura Materia \n74\nitlas.it\n16-0425_P&W 2016_interno.indd   74\n11\u002F03\u002F16   17:00\nAbitazione privata\nPrivate residence\nLondra \nUK\nClaudio Silvestrin \nArchitects\n16-0425_P&W 2016_interno.indd   63\n11\u002F03\u002F16   16:59\n16-0425_P&W 2016_interno.indd   75\n11\u002F03\u002F16   17:01\n",39,{"image":170,"text":171,"number":172},"\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.40.png","LEGNI DEL DOGE - A21 Rovere finitura Materia \n76\nitlas.it\n16-0425_P&W 2016_interno.indd   76\n11\u002F03\u002F16   17:01\n16-0425_P&W 2016_interno.indd   77\n11\u002F03\u002F16   17:01\n",40,{"image":174,"text":175,"number":176},"\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.41.png","78\nitlas.it\n16-0425_P&W 2016_interno.indd   78\n11\u002F03\u002F16   17:01\nAbitazione privata\nPrivate residence\nMarina Velca\nViterbo\nArchitetto \u002F Architect\nAlessandra Orsini \nStudio Giammetta \n& Giammetta\n16-0425_P&W 2016_interno.indd   79\n11\u002F03\u002F16   17:01\n",41,{"image":178,"text":179,"number":180},"\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.42.png","LEGNI DEL DOGE - Rovere online industriale sfarinato plus\n80\nitlas.it\n16-0425_P&W 2016_interno.indd   80\n11\u002F03\u002F16   17:01\nLEGNI DEL DOGE - Rovere online industriale sfarinato plus\n80\nitlas.it\n16-0425_P&W 2016_interno.indd   80\n11\u002F03\u002F16   17:01\n16-0425_P&W 2016_interno.indd   81\n15\u002F03\u002F16   16:45\n",42,{"image":182,"text":183,"number":184},"\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.43.png","Abitazione privata\nPrivate residence\nMarina Velca\nViterbo\nArchitetto \u002F Architect\nAlessandra Orsini \nStudio Giammetta \n& Giammetta\n16-0425_P&W 2016_interno.indd   79\n11\u002F03\u002F16   17:01\n82\nitlas.it\n16-0425_P&W 2016_interno.indd   82\n11\u002F03\u002F16   17:02\n78\nitlas.it\n16-0425_P&W 2016_interno.indd   78\n11\u002F03\u002F16   17:01\nABITAZIONE PRIVATA\nPrivate residence\n16-0425_P&W 2016_interno.indd   83\n11\u002F03\u002F16   17:02\n",43,{"image":186,"text":187,"number":188},"\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.44.png","16-0425_P&W 2016_interno.indd   77\n11\u002F03\u002F16   17:01\nTAVOLE DEL PIAVE - COL. C30 Rovere\u002FOak Sfarinato\n84\nitlas.it\n16-0425_P&W 2016_interno.indd   84\n11\u002F03\u002F16   17:02\n16-0425_P&W 2016_interno.indd   85\n15\u002F03\u002F16   16:45\nLEGNI DEL DOGE - A21 Rovere finitura Materia \n76\nitlas.it\n16-0425_P&W 2016_interno.indd   76\n11\u002F03\u002F16   17:01\n",44,{"image":190,"text":191,"number":192},"\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.45.png","86\nitlas.it\n16-0425_P&W 2016_interno.indd   86\n11\u002F03\u002F16   17:02\n16-0425_P&W 2016_interno.indd   75\n11\u002F03\u002F16   17:01\n16-0425_P&W 2016_interno.indd   87\n11\u002F03\u002F16   17:02\n",45,{"image":194,"text":195,"number":196},"\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.46.png","88\nitlas.it\n16-0425_P&W 2016_interno.indd   88\n11\u002F03\u002F16   17:02\nABITAZIONE PRIVATA\nPrivate residence\nBrescia\n16-0425_P&W 2016_interno.indd   89\n11\u002F03\u002F16   17:02\n",46,{"image":198,"text":199,"number":200},"\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.47.png","TAVOLE DEL PIAVE - COL. H04 Rovere\u002FOak del Borgo\nitlas.it\n90\n16-0425_P&W 2016_interno.indd   90\n11\u002F03\u002F16   17:02\n16-0425_P&W 2016_interno.indd   91\n11\u002F03\u002F16   17:02\n",47,{"image":202,"text":203,"number":204},"\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.48.png","92\nitlas.it\n16-0425_P&W 2016_interno.indd   92\n11\u002F03\u002F16   17:03\nABITAZIONE PRIVATA\nPrivate residence\nBiadene\nTreviso\n16-0425_P&W 2016_interno.indd   93\n11\u002F03\u002F16   17:03\n92\nitlas.it\n16-0425_P&W 2016_interno.indd   92\n11\u002F03\u002F16   17:03\n",48,{"image":206,"text":207,"number":208},"\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.49.png","GARDEN WOOD - Teak \n94\nitlas.it\n16-0425_P&W 2016_interno.indd   94\n11\u002F03\u002F16   17:03\n16-0425_P&W 2016_interno.indd   91\n11\u002F03\u002F16   17:02\n16-0425_P&W 2016_interno.indd   95\n11\u002F03\u002F16   17:03\nTAVOLE DEL PIAVE - COL. H04 Rovere\u002FOak del Borgo\nitlas.it\n90\n16-0425_P&W 2016_interno.indd   90\n11\u002F03\u002F16   17:02\n",49,{"image":210,"text":211,"number":212},"\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.50.png","TAVOLE DEL PIAVE - COL. 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Y15 Teak Natura\n16-0425_P&W 2016_interno.indd   101\n11\u002F03\u002F16   17:05\n",52,{"image":222,"text":223,"number":224},"\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.53.png","102\nitlas.it\n16-0425_P&W 2016_interno.indd   102\n11\u002F03\u002F16   17:05\nABITAZIONE PRIVATA\nPrivate residence\nOderzo\nTreviso\nArchitetto \u002F Architect\nClaudia Tardivo\nGARDEN WOOD - Teak \n16-0425_P&W 2016_interno.indd   103\n11\u002F03\u002F16   17:05\n",53,{"image":226,"text":227,"number":228},"\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.54.png","ASSI DEL CANSIGLIO - COL. H88 Faggio\u002FBeech la Fenice\n104\nitlas.it\n16-0425_P&W 2016_interno.indd   104\n11\u002F03\u002F16   17:05\nASSI DEL CANSIGLIO - COL. 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Rovere Impero finitura Naura Y15\n16-0425_P&W 2016_interno.indd   139\n15\u002F03\u002F16   16:46\n",71,{"image":298,"text":299,"number":300},"\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.72.png","140\nitlas.it\n16-0425_P&W 2016_interno.indd   140\n11\u002F03\u002F16   17:10\nZAMBELLI GOMME\nPadova\n16-0425_P&W 2016_interno.indd   141\n11\u002F03\u002F16   17:10\n140\nitlas.it\n16-0425_P&W 2016_interno.indd   140\n11\u002F03\u002F16   17:10\n",72,{"image":302,"text":303,"number":304},"\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.73.png","142\nitlas.it\n16-0425_P&W 2016_interno.indd   142\n11\u002F03\u002F16   17:10\nLEGNI DEL DOGE - Rovere Impero finitura Naura Y15\n16-0425_P&W 2016_interno.indd   139\n15\u002F03\u002F16   16:46\nASSI DEL CANSIGLIO - Faggio finitura personalizzata\n16-0425_P&W 2016_interno.indd   143\n11\u002F03\u002F16   17:10\n138\nitlas.it\n16-0425_P&W 2016_interno.indd   138\n15\u002F03\u002F16   16:46\n",73,{"image":306,"text":307,"number":308},"\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.74.png","144\nitlas.it\n16-0425_P&W 2016_interno.indd   144\n11\u002F03\u002F16   17:10\nARBI ARREDOBAGNO\nBrugnera \nPordenone\n16-0425_P&W 2016_interno.indd   137\n11\u002F03\u002F16   17:09\n16-0425_P&W 2016_interno.indd   145\n11\u002F03\u002F16   17:12\n136\nitlas.it\n16-0425_P&W 2016_interno.indd   136\n11\u002F03\u002F16   17:09\n",74,{"image":310,"text":311,"number":312},"\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.75.png","146\nitlas.it\n16-0425_P&W 2016_interno.indd   146\n11\u002F03\u002F16   17:12\n16-0425_P&W 2016_interno.indd   135\n11\u002F03\u002F16   17:09\nFLASH ENTERTAIMENT \nOFFICE \nAbu Dhabi\nUAE\nM N Florence Architects LLC\n16-0425_P&W 2016_interno.indd   147\n11\u002F03\u002F16   17:12\n",75,{"image":314,"text":315,"number":316},"\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.76.png","LEGNI DEL DOGE - 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Rovere finitura Materia\npavimento TAVOLE DEL PIAVE - Rovere finitura personalizzata\nphoto: Pietro Savorelli\n16-0425_P&W 2016_interno.indd   183\n11\u002F03\u002F16   17:17\n",93,{"image":386,"text":387,"number":388},"\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.94.png","184\nitlas.it\n16-0425_P&W 2016_interno.indd   184\n11\u002F03\u002F16   17:17\nFLAME ‘N CO.\nCodroipo\nUdine\n16-0425_P&W 2016_interno.indd   185\n11\u002F03\u002F16   17:17\n",94,{"image":390,"text":391,"number":392},"\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.95.png","186\nitlas.it\nLEGNI DEL DOGE - Rovere finitura Accadueo\n16-0425_P&W 2016_interno.indd   186\n11\u002F03\u002F16   17:18\n16-0425_P&W 2016_interno.indd   187\n15\u002F03\u002F16   16:46\n",95,{"image":394,"text":395,"number":396},"\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.96.png","188\nitlas.it\nLEGNI DEL DOGE - Rovere finitura Accadueo\n16-0425_P&W 2016_interno.indd   188\n11\u002F03\u002F16   17:18\n16-0425_P&W 2016_interno.indd   189\n11\u002F03\u002F16   17:18\n188\nitlas.it\nLEGNI DEL DOGE - Rovere finitura Accadueo\n16-0425_P&W 2016_interno.indd   188\n11\u002F03\u002F16   17:18\n",96,{"image":398,"text":399,"number":400},"\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.97.png","ASSI DEL CANSIGLIO FAGGIO - Finitura personalizzata \n190\nitlas.it\n16-0425_P&W 2016_interno.indd   190\n11\u002F03\u002F16   17:18\n16-0425_P&W 2016_interno.indd   187\n15\u002F03\u002F16   16:46\nRISTORANTE PIAZZETTA \nSAN MARCO13\nPordenone\n16-0425_P&W 2016_interno.indd   191\n11\u002F03\u002F16   17:18\n186\nitlas.it\nLEGNI DEL DOGE - Rovere finitura Accadueo\n16-0425_P&W 2016_interno.indd   186\n11\u002F03\u002F16   17:18\n",97,{"image":402,"text":403,"number":404},"\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.98.png","192\nitlas.it\n16-0425_P&W 2016_interno.indd   192\n11\u002F03\u002F16   17:18\nFLAME ‘N CO.\nCodroipo\nUdine\n16-0425_P&W 2016_interno.indd   185\n11\u002F03\u002F16   17:17\nASSI DEL CANSIGLIO FAGGIO - Finitura personalizzata \n16-0425_P&W 2016_interno.indd   193\n11\u002F03\u002F16   17:20\n184\nitlas.it\n16-0425_P&W 2016_interno.indd   184\n11\u002F03\u002F16   17:17\n",98,{"image":406,"text":407,"number":408},"\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.99.png","TAVOLE DEL PIAVE LARICE - 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Y15 Rovere\u002FOak Natura\nTAVOLE DEL PIAVE - Col. Y15 Rovere\u002FOak Natura\n204\nitlas.it\n16-0425_P&W 2016_interno.indd   204\n11\u002F03\u002F16   17:21\n16-0425_P&W 2016_interno.indd   197\n11\u002F03\u002F16   17:20\n16-0425_P&W 2016_interno.indd   205\n11\u002F03\u002F16   17:21\nTAVOLE DEL PIAVE LARICE - Finitura personalizzata \n196\nitlas.it\n16-0425_P&W 2016_interno.indd   196\n11\u002F03\u002F16   17:20\n",104,{"image":430,"text":431,"number":432},"\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.105.png","GARDEN WOOD - Iroko\n206\nitlas.it\n16-0425_P&W 2016_interno.indd   206\n11\u002F03\u002F16   17:21\nAGRITURISMO \nLA VIGNA DI SARAH\nVittorio Veneto (TV)\n16-0425_P&W 2016_interno.indd   195\n11\u002F03\u002F16   17:20\n16-0425_P&W 2016_interno.indd   207\n11\u002F03\u002F16   17:21\n",105,{"image":434,"text":435,"number":436},"\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.106.png","GARDEN WOOD - Iroko\nTAVOLE DEL PIAVE\nCol. Y15 Teak Natura\n208\nitlas.it\n16-0425_P&W 2016_interno.indd   208\n11\u002F03\u002F16   17:21\n16-0425_P&W 2016_interno.indd   209\n11\u002F03\u002F16   17:23\n",106,{"image":438,"text":439,"number":440},"\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.107.png","210\nitlas.it\n16-0425_P&W 2016_interno.indd   210\n11\u002F03\u002F16   17:23\nELDA HOTEL\nConcei \nTrento\n16-0425_P&W 2016_interno.indd   211\n11\u002F03\u002F16   17:23\n",107,{"image":442,"text":443,"number":444},"\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.108.png","LEGNI DEL DOGE - COL. C60 Rovere\u002FOak Jazz\n212\nitlas.it\n16-0425_P&W 2016_interno.indd   212\n11\u002F03\u002F16   17:24\n16-0425_P&W 2016_interno.indd   213\n11\u002F03\u002F16   17:24\nLEGNI DEL DOGE - COL. C60 Rovere\u002FOak Jazz\n212\nitlas.it\n16-0425_P&W 2016_interno.indd   212\n11\u002F03\u002F16   17:24\n",108,{"image":446,"text":447,"number":448},"\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.109.png","214\nitlas.it\n16-0425_P&W 2016_interno.indd   214\n11\u002F03\u002F16   17:24\nELDA HOTEL\nConcei \nTrento\n16-0425_P&W 2016_interno.indd   211\n11\u002F03\u002F16   17:23\nDEVERO HOTEL\nMilano\n16-0425_P&W 2016_interno.indd   215\n11\u002F03\u002F16   17:24\n210\nitlas.it\n16-0425_P&W 2016_interno.indd   210\n11\u002F03\u002F16   17:23\n",109,{"image":450,"text":451,"number":452},"\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.110.png","LEGNI DEL DOGE - COL. V00 Wengè\n216\nitlas.it\n16-0425_P&W 2016_interno.indd   216\n11\u002F03\u002F16   17:24\n16-0425_P&W 2016_interno.indd   209\n11\u002F03\u002F16   17:23\nTAVOLE DEL PIAVE - finitura personalizzata\n16-0425_P&W 2016_interno.indd   217\n11\u002F03\u002F16   17:24\nGARDEN WOOD - Iroko\nTAVOLE DEL PIAVE\nCol. Y15 Teak Natura\n208\nitlas.it\n16-0425_P&W 2016_interno.indd   208\n11\u002F03\u002F16   17:21\n",110,{"image":454,"text":455,"number":456},"\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.111.png","TAVOLE DEL PIAVE - COL. H04 Rovere\u002FOak del Borgo\n218\nitlas.it\n16-0425_P&W 2016_interno.indd   218\n11\u002F03\u002F16   17:24\n16-0425_P&W 2016_interno.indd   207\n11\u002F03\u002F16   17:21\n16-0425_P&W 2016_interno.indd   219\n11\u002F03\u002F16   17:24\n",111,{"image":458,"text":459,"number":460},"\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.112.png","LEGNI DEL DOGE - COL. R06 Rovere\u002FOak Funky\n220\nitlas.it\n16-0425_P&W 2016_interno.indd   220\n11\u002F03\u002F16   17:24\n16-0425_P&W 2016_interno.indd   221\n11\u002F03\u002F16   17:24\n",112,{"image":462,"text":463,"number":464},"\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.113.png","222\nitlas.it\n16-0425_P&W 2016_interno.indd   222\n11\u002F03\u002F16   17:24\nGRAND HOTEL PALAZZO\nLivorno\n16-0425_P&W 2016_interno.indd   223\n11\u002F03\u002F16   17:24\n",113,{"image":466,"text":467,"number":468},"\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.114.png","LEGNI DEL DOGE - COL. U00 Wengè\n224\nitlas.it\n16-0425_P&W 2016_interno.indd   224\n11\u002F03\u002F16   17:24\n16-0425_P&W 2016_interno.indd   225\n11\u002F03\u002F16   17:24\n",114,{"image":470,"text":471,"number":472},"\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.115.png","LEGNI DEL DOGE - COL. U00 Doussiè\n226\nitlas.it\n16-0425_P&W 2016_interno.indd   226\n11\u002F03\u002F16   17:24\n16-0425_P&W 2016_interno.indd   227\n11\u002F03\u002F16   17:25\nLEGNI DEL DOGE - COL. U00 Doussiè\n226\nitlas.it\n16-0425_P&W 2016_interno.indd   226\n11\u002F03\u002F16   17:24\n",115,{"image":474,"text":475,"number":476},"\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.116.png","ASSITO PREFINITO A 3 STRATI\nÈ un prodotto esclusivo, grazie alla sua \nprovenienza certificata. E’ un assito in \nlegno di faggio, lavorato in maniera arti-\ngianale con finiture di pregio. Il prodotto \nè trattato con vernici naturali all’acqua e \npresentato sul mercato in otto diverse fi-\nniture, ciascuna elaborata con interventi \ndi carattere strutturale tale da garantire un \nrisultato unico e decisamente caratteristi-\nco dell’ambiente di provenienza del legno: \nla Foresta del Cansiglio. Oltre alla rinobili-\ntazione di un legno che un tempo veniva \nposato nelle pavimentazioni di abitazioni \nfamose e che poi ha vissuto un lungo pe-\nriodo di anonimato, con il progetto “Assi \ndel Cansiglio” Itlas si è impegnata a dare \nrisposte sempre più concrete alla gestio-\nne forestale sostenibile, alla tracciabilità di \nun prodotto certificato totalmente italiano, \nproducendo un pavimento a chilometro \nzero, autoctono e salutare.\nPREFINISHED THREE-LAYER PLANKING\nIt’s an exclusive product, thanks to its cer-\ntified prove- nance. It’s a planking made \nof beech wood, handcrafted with pre-\ncious finishes. The product is treated with \nnatural water-based varnish and offered \non the market in eight different finishes, \neach presenting structural work which can \nguarantee a unique result, decidedly char-\nacteristic of the environment from which \nthe wood comes: the Cansi- glio Forest. In \naddition to the re-ennoblement of a wood \nthat in the past was found on the floors of \nfamous houses and which has then lived \na long period of anonymity, with the “Assi \ndel Cansiglio” project Itlas has committed \nitself to giving more and more concrete \nanswers to sustaina- ble forest manage-\nment and traceability of a totally Italian, \ncertified product, producing a local, au-\ntochthonous and healthy floor.\nAssi del Cansiglio\n228\nASSITO PREFINITO A 3 STRATI\nDi grandi dimensioni, questo assito è de-\nstinato a pavimenti, controsoffitti e rivesti-\nmenti. Lo strato in vista è in legno nobile, \nla controfaccia di bilanciamento in legno \nmassiccio di abete e l’anima centrale in \ncompensato di betulla con minimo cinque \nstrati posizionati in modo ortogonale agli \naltri strati: il tutto per una stabilità estre-\nma. La profilatura è costituita da una mi-\nschiatura a denti di seghetto sui quattro \nlati, con spigoli bisellati per evidenziare la \ncaratteristica della plancia. Le Tavole del \nPiave vengono realizzate in diverse specie \nlegnose e finiture.\nPREFINISHED THREE-LAYER PLANKING \nLarge-sized planking destined to floors, \nfalse ceilings and panelling. The visible \nlayer is in noble wood, while the balancing \ncounter-face is made of fir hardwood and \nthe core is birch plywood, with a minimum \nof five layers, positioned orthogonally to \nthe other layers: this is all for extreme sta-\nbility. The profiling is made of sawtooth \ntapping on the four sides, with bevelled \nangles to highlight the plank’s character-\nistics. Tavole del Piave are produced in dif-\nferent wood species and finishes.\nTavole del Piave\nitlas.it\n16-0425_P&W 2016_interno.indd   228\n11\u002F03\u002F16   17:25\n16-0425_P&W 2016_interno.indd   225\n11\u002F03\u002F16   17:24\nI nostri prodotti\nOur products\nPARQUET PREFINITO A 2 STRATI \nÈ composto da un’essenza nobile in legno \nmassiccio e da un supporto in multistrato \ndi betulla con incastri calibrati maschio-\nfemmina sui quattro lati. Anche i Legni del \nDoge vengono realizzati in diverse specie \nlegnose e finiture.\nPREFINISHED TWO-LAYER PLANKING\nIt’s composed of a hardwood noble es-\nsence and a birch multi-layer support with \ncalibrated tongue-and-groove joints on \nthe four sides. Even Legni del Doge are \nproduced in different wood species and \nfinishes.\nLegni del Doge\nRIVESTIMENTO \n5 MILLIMETRI è un rivestimento in legno \ninnovativo e veloce. Sottile come se fosse \nproprio una seconda pelle, è un prodotto \nstudiato da Itlas per rispondere a tutte le \nesigenze di ristrutturazione e di trasfor-\nmazione di ambienti e arredamento. Può \nessere applicato su qualsiasi superficie \npreesistente. Gli elementi sono dotati di \nincastro maschio-femmina per facilitare \nulteriormente la messa in opera. In legno \nmassello di rovere e compensato di be-\ntulla in diverse finiture a base d’acqua, il \nprodotto è ideale soprattutto in quelle si-\ntuazioni di riqualificazione edilizia in cui si \nvoglia ottenere un sensibile miglioramento \ndell’efficienza energetica dell’edificio con \nsistemi di riscaldamento radiante. \nPREFINISHED SOLID COATED\nFive millimetres of noble French oak wood, \nin nine fashionable finishes and planks of \ndifferent sizes to co- ver any surface. A \npractical product which is easy to apply, \nand able to respond to an ever more de-\nmanding market, at the same time main-\ntaining all the features and the peculiarity \nof Itlas quality products.\nPAVIMENTO PREFINITO A 2 STRATI \nTOTALMENTE IN LEGNO DI ROVERE.\nIl primo strato (formato da 4 millimetri di \nlegno nobile pregiato) e il secondo strato \n(formato da un supporto in legno massic-\ncio di rovere) sono incollati fra loro con col-\nla vinilica in classe D3. Il prodotto, che pre-\nsenta una grande naturalezza d’insieme, \nviene proposto in formati medio-piccoli.\nPREFINISHED TWO-LAYER FLOOR \nCOMPLETELY IN OAK WOOD.\nThe first layer (4 millimetres of precious no-\nble wood) and second layer (a support in \nsolid oak wood) are glued to each other \nwith class D3 vinyl adhesive. The product, \nwhich looks very natural, is offered in small \nand medium size.\n5 millimetri\n100% Rovere\n16-0425_P&W 2016_interno.indd   229\n11\u002F03\u002F16   17:25\n224\nitlas.it\n16-0425_P&W 2016_interno.indd   224\n11\u002F03\u002F16   17:24\n",116,{"image":478,"text":479,"number":480},"\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.117.png","NOTA INFORMATIVA PER LA \nCONOSCENZA ED UN CONSEGUENTE \nUSO CORRETTO DEL PARQUET \nE’ il più antico materiale da costruzione. \nUn materiale straordinario, una risorsa che \nsi rinnova continuamente: il legno è vivo e \nricco di “segreti”. Leggero, resistente, ca-\npace di emanare calore e una sensazione \nparticolare di accoglienza. Proprio perché \nil legno è un materiale vivo, è necessario \ntenere ben presente che la sua struttura \npuò essere modificata o alterata da alcuni \nagenti esterni cui viene sottoposto: la luce \ndel sole, la temperatura, l’umidità, l’utilizzo \nquotidiano. Chi acquista un pavimento \nin legno deve tenere presente che \nquesto materiale non presenta le ca-\nratteristiche di uniformità di colore e \ndi aspetto estetico di un pavimento \nsintetico. Pavimenti della stessa specie \nlegnosa, per questa ragione, possono \ndiscostare l’uno dall’altro. I campioni \npresentati al momento della scelta del \npavimento offrono un’idea di massima, \nma non rappresentano l’esatto risultato \nestetico finale del pavimento. \nIL COLORE DI UN PAVIMENTO IN LEGNO \nLa medesima specie legnosa può presen-\ntarsi con una forte variabilità delle proprie \ncaratteristiche, come ad esempio il colore: \nvariazioni che sono strettamente legate all’a-\nrea geografica di accrescimento. Il colore del \nlegno può variare, nell’ambito della medesi-\nma specie, a causa della presenza nel legno \nstesso delle sostanze estrattive, le quali \nvengono determinate nella loro colorazione \ndall’esposizione all’aria e alla luce. E’ perciò \nun fattore del tutto fisiologico e naturale che \ncon il passare del tempo il colore di un pavi-\nmento in legno venga modificato dagli agenti \nesterni. Un pavimento in legno caratterizzato \nda una finitura colorata con il trascorrere \ndel tempo vedrà modificarsi la propria \ncolorazione iniziale in modo direttamente \nproporzionale alla tonalità della colorazione. \nLe specie legnose di origine tropicale sono \nper loro natura maggiormente soggette alle \nalterazioni cromatiche, con evoluzioni ten-\ndenti alle tonalità scure. Pertanto chi sceglie \nun pavimento in legno Afrormosia, Iroko e \nDoussié deve tenere conto che ciascuna \ndi queste specie è esposta al fenomeno in \nmaniera marcata. In particolare il Doussié \nsubisce evoluzioni del colore originario a \ncausa del fenomeno di ossidazione. Il Teak, \nanch’esso di origine tropicale, con il passare \ndel tempo e per effetto della luce tende a \nsubire un processo di uniformizzazione del \ncolore su tonalità medio-chiare. \nLA STRUTTURA DI UN PAVIMENTO \nIN LEGNO \nChi sceglie un pavimento in legno formato \nda tavole di grande formato deve tenere \npresente che, a causa della tipologia di \ntaglio necessaria per ottenere questo tipo \ndi pavimento (taglio tangenziale), possono \nessere più evidenti alcune leggere fratture in \ncorrispondenza dei raggi midollari del legno. \nSi tratta di un fenomeno tipico del prodotto, \nche però può subire effetti più marcati nel \ncaso il pavimento venga sottoposto agli \neffetti di condizioni climatiche particolari. \nNei pavimenti che presentano lavorazioni \ndi tipo strutturale (come la spazzolatura, la \nseghettatura e la piallatura) questo fenome-\nno in alcuni casi può creare la comparsa di \nscheggiature. Nelle finiture a poro aperto (Oil \nUV e finiture all’acqua) è bene tenere pre-\nsente che i liquidi possono essere assorbiti \ndal legno, con il risultato di un’alterazione \ndella colorazione originale con il passare \ndel tempo. Si consiglia pertanto di utilizzare \nper la pulizia l’aspirapolvere e un successivo \nuso di uno panno inumidito ben strizzato. Il \npavimento in legno di Rovere e di Faggio \nsono caratterizzati da venature rigate oltre \nche per la presenza di specchiature, visibili \nanche nel caso in cui si scelga una finitura \ncolorata. Più in generale va sottolineato che \ndeve essere considerata come un elemento \ndi pregio e di ricercatezza e non un difetto del \npavimento in legno la presenza di evidenze \ncome le venature e le specchiature. \nLA STABILITÀ DI UN PAVIMENTO \nIN LEGNO \nIl pavimento in legno prevede una struttura \nstabilizzante. Va però tenuto presente che \numidità e temperatura dell’ambiente nel \nquale è posato possono influire sulla sua \nstabilità e causare delle variazioni dimen-\nsionali: lievi fessurazioni tra lista e lista e \nmicrofratture nello strato nobile del legno \nsono le conseguenze più comuni di un’espo-\nsizione prolungata del pavimento ad un clima \neccessivamente secco o eccessivamente \numido. Per evitare tali inconvenienti è \nnecessario mantenere la temperatura \nambientale di circa 20° centigradi e il \nlivello di umidità deve essere compreso \nfra il 45% e il 65%, anche in locali non \nabitati. \nLA DUREZZA DI UN PAVIMENTO IN LEGNO \nNonostante ogni specie legnosa utilizzata \nper creare un pavimento in legno possieda \ntutte le caratteristiche di durabilità e resi-\nstenza necessarie a questa funzione, gli urti \nimprovvisi, le cadute di oggetti, i carichi con-\ncentrati possono causare danni superficiali. \nL’IMPORTANZA DI UNA CORRETTA \nMANUTENZIONE DEL PAVIMENTO \nIN LEGNO \nLa finitura superficiale è una protezione \nimportante per il pavimento in legno. Il con-\ntinuo calpestio, se unito ad una scarsa e non \ncorretta manutenzione periodica, può influire \nnegativamente sull’aspetto del legno, che \ncon il tempo potrebbe presentarsi opaciz-\nzato e impoverito. Per mantenere in buono \nstato il pavimento in legno è consigliabile: \nrimuovere la polvere periodicamente; pulire \nabitualmente il pavimento con un panno \nben strizzato, preventivamente inumidito \ncon acqua e detersivo neutro per pavi-\nmenti in legno; trattare il pavimento perio-\ndicamente con prodotti protettivi a base di \nresine in dispersione acquosa autolucidanti \no rilucidabili o secondo quanto indicato dai \nproduttori. La periodicità del trattamento \nprotettivo dipende dall’intensità dell’uso del \npavimento. I pavimenti Itlas sono verniciati \ncon prodotti a base d’acqua privi di emissioni \ndi sostanze nocive per la salute dell’uomo. \nSono pavimenti perfettamente compatibili \ncon il calpestio anche intenso, soprattutto \nin presenza di prodotti con lavorazioni strut-\nturali della superficie. \nSconsigliamo di usare nastro adesivo \nsulle finiture artigianali in quanto può \ndanneggiare la superficie.\n230\nitlas.it\n16-0425_P&W 2016_interno.indd   230\n11\u002F03\u002F16   17:25\nGRAND HOTEL PALAZZO\nLivorno\n16-0425_P&W 2016_interno.indd   223\n11\u002F03\u002F16   17:24\nINFORMATION SHEET ABOUT \nPARQUET FLOORING AND HOW \nTO USE IT  \nThe oldest of construction materials, wood \nis an extraordinary resource that is con-\nstantly renewable: a living source that is \nfull of “secrets”. Lightweight but resistant, \nit emanates warmth and a natural sense \nof welcoming. \nIt is because wood is a living material that we \nmust always bear in mind that its structure \nmay be affected or altered by certain \nexternal agents it comes into contact with: \nsunlight, temperature, humidity, and daily \nuse. Those who purchase a wooden \nfloor should be aware that this mate-\nrial does not feature the uniformity of \ncolours and appearance of synthetic \nfloors. These characteristics may dif-\nfer from species to species. Samples \nare only a general representative of \ncolour and design which does not rep-\nresent the exact aesthetic end result of \nthe finished floor. \nCOLOUR IN WOODEN FLOORS \nThe characteristics of the same type of \nwood may vary greatly, for example in col-\nour – variations that are strictly linked to the \ngeographical area where the tree grows. \nColour may differ even if the type of wood \nis the same, due to it containing extracts \nwhich establish their colour when exposed \nto air and light. It is therefore a completely \nphysiological and natural factor which over \ntime causes the colour of a wooden floor to \nbe affected by external agents. \nOver time, a wooden floor with a coloured \nfinish will inevitably change colour in direct \nproportion to the shade used. Wood of \ntropical origin is by nature more subject to \ncolour changes which cause the colour to \ndarken. As a result, those who choose a \nwood species such as Afrormosia, Iroko \nor Doussié for their floor must bear in mind \nthat each of these species will undergo \nmarked changes. \nDoussié in particular is subject to changes \nin its original colour due to oxidation. As \ntime goes by, Teak, another tropical wood, \nis affected by light and its colour tends to \ndevelop a uniform medium-light shade. \nTHE STRUCTURE OF A WOODEN FLOOR \nIf you choose a wooden floor with larger \nwidths and lengths you may notice some \ncracks around the pith of the wood. This is \npartly due to the wood’s cutting method \n(tangential cutting). This is a typical char-\nacteristic of the product and may be more \npresent when the floor is exposed to the \neffects of particular climatic conditions. \nFloors which have undergone structural \nchanges (such as brushing, sawing and \nplaning) could create splinters in certain \ncases. In open pore finishes (UV oil and \nwater finishing) it must be taken into con-\nsideration that liquids could be absorbed \nby the wood, resulting in alteration of the \noriginal colour over time. It is therefore ad-\nvisable to maintain your floor by vacuuming \nand then using a well wrung mop. Floors \nin Oak or Beech wood are distinguished by \nstriped grain or pith ray flecks, also visible with \ncoloured finishes. In general we should point \nout that evident striped grain or pith ray flecks \nmust be considered a sign of top quality \nwood and refinement; they are not defects. \nSTABILITY IN WOODEN FLOORS \nWooden floors require a stabilising struc-\nture. However, keep in mind that humidity \nand temperature of the area where the floor \nis laid can affect its stability and cause di-\nmensional variations: slight cracks between \nboards and micro splits in the top layer are \nthe most common effects of prolonged \nexposure to an atmosphere that is either \ntoo dry or too damp. \nTo avoid these problems, ambient \ntemperature must be kept at 15° to 25° \nCelsius and humidity must be kept at \n45% to 65%, even in unused rooms. \nHARDNESS IN WOODEN FLOORS \nAlthough every species used to create a \nwooden floor has all the necessary fea-\ntures of durability and resistance, sudden \nshocks, falling objects and concentrated \nloads can damage the surface. \nTHE IMPORTANCE OF LOOKING AFTER \nA WOODEN FLOOR \nSurface finish is an important protective \nfactor for wood floors. Heavy trampling, if \njoined to an inappropriate periodic mainte-\nnance, may have a negative effect on the \nwood’s appearance, resulting in an opaque \nand impoverished look over time. To keep \nwooden floors in good condition it is advis-\nable to: dust periodically; clean the floor \nregularly with a well-wrung mop soaked \nin water and neutral cleaning detergent \ndesigned for wood floors; treat the floor \nperiodically with resin-based protective \nproducts diluted in water, self-polishing or \nto polish as recommended by the manufac-\nturer. Frequency of the protective treatment \ndepends on how intensive is the floor’s use. \nItlas floors are varnished with water-based \nproducts free from emissions that can be \nharmful to human health. These floors are \nperfectly compatible with traffic, even when \nintense, especially in the presence of prod-\nucts with structural work on the surface. \nOn craftsman finishing we recommend not \nto use any adhesive tapes as it may damage \nsurface finishes. \nItlas floors respect all of the wood’s features \nand are not subjected to adulteration with \nselections which alter their original natura \nness. The end product is character-\nised by the presence, in tune with the \nwood species, of striped and streaked \nelements, as well as the possible pres-\nence of caulked and restored fissures, \nwholes and knots, and tone variations, \neven noticeable, which confer to the \nfinished floor originality and character.\nLa natura del legno\nThe nature of wood \n16-0425_P&W 2016_interno.indd   231\n11\u002F03\u002F16   17:25\n222\nitlas.it\n16-0425_P&W 2016_interno.indd   222\n11\u002F03\u002F16   17:24\n",117,{"image":482,"text":483,"number":484},"\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.118.png","ESCLUSIVITÀ CERTIFICATA\nI pavimenti Itlas vengono progettati da de-\nsigner esperti secondo tecniche artigianali \ne moderne tecnologie. Tutti i progetti sono \nprotetti dal rischio di contraffazione dalla \nregistrazione dei marchi. I pavimenti a tre \nstrati Itlas hanno una copertura assicurativa \ntotale che viene attivata con l’attestato di \ngaranzia del prodotto.\nAUTENTICITÀ CERTIFICATA\nL’esclusività dei progetti itlas è garantita dal \nrilascio della certificazione “100% made in \nItaly”, sinonimo di qualità originale italiana. \nA garanzia dell’autenticità il rivenditore \nautorizzato rilascia uno speci co certificato \nchiamato attestato di autenticità.\nPROVENIENZA CERTIFICATA\nI marchi di certificazione ambientale e di \nprodotto testimoniano che la provenienza \ndel legname è da sempre uno degli argo-\nmenti fondamentali di Itlas.\nTECNOLOGIA ECO-SENSIBILE\nItlas dispone di tecnologie produttive \nall’avanguardia che garantiscono controlli \ncostanti ai massimi livelli dalla gestione \ndel supporto al trattamento e alla  nitura \ndell’essenza nobile,  no allo stoccaggio \nnale. I pavimenti che escono dagli stabi-\nlimenti aziendali sono sottoposti a test di \nresistenza all’abrasione, all’ assorbimento \ne al calpestio, innalzando contestualmente \nil livello qualitativo del prodotto. Itlas investe \nin maniera signi cativa in ricerca e sviluppo \nper trovare nuove soluzioni progettuali e \nproduttive che portino ad avere prodotti \ne processi rispettosi dell’uomo e del suo \nhabitat e pone la massima attenzione\nall’uso responsabile delle risorse. L’ energia \nnecessaria alla produzione deriva da fonte \nenergetica rinnovabile senza emissioni di \nsostanze inquinanti. L’impegno alla tutela \ndell’ambiente è garantito attraverso il si-\nstema di gestione ambientale conforme \nai requisiti contenuti nella norma UNI EN \nISO 14001.\nTECNOLOGIA ECOCOMPATIBILE\nI pavimenti Itlas hanno valori di formaldeide \nche rispettano le norme più restrittive, sono \nprivi di solventi pericolosi per l’ambiente, \nvengono trattati con cere, oli naturali e \nvernici a base d’acqua.\nECONOMIA RESPONSABILE\nLa natura è al primo posto nella mission di \nItlas. Scegliere un pavimento in legno cer-\ntificato signi ca scegliere la natura. Perché \nil legno è una materia prima rinnovabile. \nPerché un pavimento in legno è riciclabile. \nPerché utilizzare il legno contribuisce a \nridurre le emissioni di CO2 nell’atmosfera.\nMARCATURA CE\nTutti i prodotti ITLAS (Assi \ndel Cansiglio, Tavole del \nPiave, Legni del Doge) \nrispondono \nai \nrequisi-\nti dettati dalla normativa \neuropea sulla marcatura \nCE relativa ai pavimenti \nin legno.\nCERTIFICAZIONE \nFSC®-COC Forest \nStewardship Council ®\nAttesta che la materia pri-\nma utilizzata proviene da \nforeste gestite secondo gli \nstandard FSC®.\nCERTIFICAZIONE \nMADE IN ITALY\nL’Istituto per la Tutela dei \nProduttori Italiani attesta \nche i prodotti Itlas sono \ncertificati e rispondenti ai \nrequisiti del Sistema IT01 \n– 100% Qualità Originale \nItaliana. Una certificazio-\nne che garantisce che i \npavimenti sono fabbricati \ninteramente in Italia, co-\nstruiti con materiali naturali \ndi qualità e di prima scel-\nta, realizzati con modelli \nesclusivi dell’azienda e \nadottando le lavorazioni \nartigianali tradizionali tipi-\nche italiane.\nCERTIFICAZIONE PEFC™\nProgramme for Endorse-\nment of Forest Certification \nTM Attesta che la materia \nprima utilizzata provie-\nne da foreste gestite in \nmodo conforme ai requisiti \nPEFC™.\nCERTIFICAZIONE \nIGNIFUGA\nOmologazione certificata \nin classe C -s1, la classe \nche certifica la più alta \nresistenza al fuoco del \nprodotto, secondo i re-\nquisiti dettati dalla norma \nEN14342 sulla marcatura \nCE.\nFORMALDEIDE\nAttesta che tutti i prodotti \nrispettano pienamente i li-\nmiti imposti dalla classe E1, \nla più restrittiva tra le classi \nde nite dalla normativa \neuropea in vigore (UNI EN \n14342).\nF 4 STARS\nPer alcuni pavimenti It-\nlas le prove di laboratorio \neseguite con il metodo JIS \nA 1460:2001 fanno emer-\ngere valori di emissione di \nformaldeide secondo gli \nstandard giapponesi (va-\nlori più restrittivi rispetto a \nquelli consentiti nei paesi \neuropei).\nISO 14001\nAttesta l’impegno alla tu-\ntela dell’ambiente tramite \nl’applicazione e il man-\ntenimento nel tempo di \nun Sistema di Gestione \nAmbientale conforme ai \nrequisiti contenuti nella \nnorma UNI EN ISO 14001.\nFRENCH LABEL A+\nI pavimenti in legno Itlas \nsono in CLASSE A+, se-\ncondo il Decreto N° 2011-\n321 del 23 marzo 2011 del \nMinistero francese dell’E-\ncologia, dello Sviluppo \nSostenibile, dei Trasporti \ne della Casa.\n232\nitlas.it\nCERCA I PRODOTTI  \nCERTIFICATI FSC \nI\nT\n0\n1\n.\nI\nT\n\u002F\n3\n9\n7\n.\n1\n1\n9\n.\nM\n16-0425_P&W 2016_interno.indd   232\n15\u002F03\u002F16   16:46\n16-0425_P&W 2016_interno.indd   221\n11\u002F03\u002F16   17:24\nLEGNI DEL DOGE - COL. R06 Rovere\u002FOak Funky\n220\nitlas.it\n16-0425_P&W 2016_interno.indd   220\n11\u002F03\u002F16   17:24\nCERTIFIED EXCLUSIVITY\nItlas floors are designed by expert designers\nfollowing craftmanship techniques and-\nmodern technologies. All the projects are \nprotected from counterfeiting by trademark\ncopyright. Itlas’s three layers floors come \nwith a total insurance coverage that is being\nactivated with the warranty certificate of the\nproduct.\nCERTIFIED AUTHENTICITY\nThe exclusivity of Itlas projects is guaran-\nteed by the issue of the “100% Made in \nItaly” certification, synonym of original Italian \nhigh quality.\nAs guarantee of the authenticity the authori-\nzed dealer issue a speci c document called \nautenthicity certificate.\nCERTIFIED PROVENIENCE\nAmbiental certification and products tra-\ndemarks testify that the provenience of the \nwood it’s been a fundamental concern of \nItlas since the beginning.\nECO SENSITIVE TECHNOLOGY\nItlas use advanced production technologies \nthat guarantee constant controls from the \ntreatment and  nals  nishes of the noble \nessence to the  nal storage of the product. \nAll the  oors that leave the factory plants\ngo through qualitative tests such as abra-\nsion resistance, absorption and heavy tram-\npling, contextually increasing the quality \nlevel of the product. Itlas signi cantly invest\nin research and development to  nd\nnew projectual and productive solutions \nleading to new products and processes \nrespectful of people and their environment \nand put maximum attention to resources’ \nresponsible use. The necessary power for \nproduction comes from renewable sources \nwithout any emissions of pollutants.\nThe commitment to environmental \nprotection is guaranteed from the envi-\nronmental managment system compliant \nto the requirements contained in the UNI \nEN ISO 14001 regulation.\nECO-FRIENDLY TECHNOLOGY\nItlas  oors have formaldehyde values that re-\nspects the strictest regulations, are devoid \nof dangerous for the environment solvents, \nare treated with waxes, natural oils\nand water based varnishes.\nRESPONSIBLE ECONOMY\nNature is put at  rst place in Itlas mission. \nTo choose a certified wood  oor mean \nchoose nature. Because wood is a renew-\nable raw material. Because a wood  oor is \nrecyclable. Because the utilisation of wood \ncontributes to reduce CO2 emissions in the \natmosphere.\nMARCATURA CE\nAll Itlas’ products (Assi del \nCansiglio, Tavole del Piave, \nLegni del Doge) ful ll the \nrequirements of European \nlaws regarding CE marking \nfor wooden  oorings.\nFSC®-COC \nCERTIFICATION\nFOREST STEWARDSHIP \nCOUNCIL ® Forest Ste-\nwardship Council ®\nCertify that the raw ma-\nterial utilised comes from \nforests managed following \nthe FSC® standards.\n100% MADE IN ITALY \nCERTIFICATION\nThe Institute for the Pro-\ntection of Italian Producers \nproves that Itlas products \nare certified and ful ll the \nrequirements of System \nIT01 - 100% Original Ita-\nlian Quality. This certifica-\ntion guarantees that our  \noorings are made com-\npletely in Italy, produced \nwith natural, top-quality \nand selected materials, \nmanufactured according \nto the company’s exclu-\nsive models, adopting the \ntypical Italian craftmanship \ntechniques.\nPEFC™ CERTIFICATION\nPROGRAMME FOR \nENDORSEMENT OF \nFOREST CERTIFICATION\nProgramme for Endorse-\nment of Forest Certification \nTM Certify that the utilised \nraw material comes from \nforests managed accor-\nding to PEFC™ standards.\nFIRE RETARDANT \nCERTIFICATION\nThis certifies that Itlas \nobtained the rati cation \nfor class C -S1, the class \nthat proves the highest re-\nsistance to  re for wooden  \noorings, according to the \nstandards of EN14342 on \nCE marking.\nFORMALDEHYDE\nIt certifies that all our pro-\nducts fully respect the li-\nmits of class E1, the most \nrestrictive among the clas-\nses included in European \nlaw currently in force (UNI \nEN 14342).\nF 4 STARS\nFor several Itlas  oorings \nthe tests made with me-\nthod JIS A 1460:2001 de-\nmonstrate formaldehyde \nemissions that comply\nto Japanese standards \n(which are more restrictive \nthan European ones).\nISO 14001\nIt certifies the commit-\nment to environmental \nsafeguard through the ap-\nplication of a environmen-\ntal managment system \nin compliance to require-\nments included in the UNI \nEN ISO 14001.\nFRENCH LABEL A+\nItlas  oors are in A+ CLASS, \nfollowing the Decree N° \n2011-321 of 23 March \n2011 of the French Ministry \nof Ecology, Sustainable \nDevelopment, Transporta-\ntion and Housing.\nLe certificazioni\nThe certification \nI\nT\n0\n1\n.\nI\nT\n\u002F\n3\n9\n7\n.\n1\n1\n9\n.\nM\nCERCA I PRODOTTI  \nCERTIFICATI FSC \n16-0425_P&W 2016_interno.indd   233\n15\u002F03\u002F16   16:46\n",118,{"image":486,"text":487,"number":488},"\u002Fmedia\u002Fimages\u002F0c\u002F1df5a20100c81df805a3ae0d815c9a-28cba80d7a.119.png","Bologna\nBologna\nCersaie\nCersaie\nBrà (CN\nBrà (CN)\nHerry Cottons - cor\nHerry Cottons 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Europa\nopa\nAlcune nostre referenze\nPreview of some of our latest projects\nPreview of some of our latest projects\n16-0425_P&W 2016_interno.indd   234\n11\u002F03\u002F16   17:25\n16-0425_P&W 2016_interno.indd   219\n11\u002F03\u002F16   17:24\n",119,[],0,false,true,{"success":492,"data":494,"meta":706,"count":707,"next":708,"previous":709,"results":741,"brand_chips":802},[495,507,519,532,541,554,566,576,586,595,605,617,626,636,645,655,668,677,687,697],{"id":496,"title":497,"slug":498,"image":499,"source":500,"brand_name":501,"brand":502,"brand_slug":503,"file_size":504,"pages":505,"pages_count":412,"matched_pages":506,"match_count":490,"two_pages":491,"show_text":492},26599,"News 2026","porada-news-2026","\u002Fmedia\u002Fimages\u002Fce\u002Fd99f531b06a46fd5bee10f83389e8c-296fcd1b7e.1.png","\u002Fprivate\u002Ffiles\u002Fc2\u002F62a24ea3de0c50ca2a88817e98c8e9-296fcd1b61.pdf","Porada",394,"porada","9.3 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