[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-oikos-venezia-materia":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":210},{"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":205,"matched_pages":206,"match_count":207,"two_pages":208,"show_text":209},18451,"Venezia Materia","oikos-venezia-materia","\u002Fmedia\u002Fimages\u002F65\u002Fcf049969eae31b85d7fc01ea2faa11-28943d0ac3.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002Ff8\u002F8753b0c02eb4169c1b49998323d20d-28943d0ac1.pdf","Oikos",1689,"oikos","4.1 MB",[14,17,20,24,28,32,36,40,44,48,52,56,60,64,68,72,76,80,84,88,92,96,100,104,108,112,116,120,124,128,132,136,140,144,148,152,156,160,164,168,172,176,180,184,188,192,196,199,202],{"image":7,"text":15,"number":16},"",1,{"image":18,"text":15,"number":19},"\u002Fmedia\u002Fimages\u002F65\u002Fcf049969eae31b85d7fc01ea2faa11-28943d0ac3.2.png",2,{"image":21,"text":22,"number":23},"\u002Fmedia\u002Fimages\u002F65\u002Fcf049969eae31b85d7fc01ea2faa11-28943d0ac3.3.png","PROJECT BY\nDESIGN \nADRIANI&ROSSI\nPG. 02\n\u002F\n \nWHAT IS VENEZIA MATERIA\nPG. 06\n\u002F\n \nTHE MATERIALS\nPG. 14\n\u002F\n \nVENEZIA MATERIA COLLECTION\nCOS’È VENEZIA MATERIA\nI MATERIALI\nCOLLEZIONE VENEZIA MATERIA\n",3,{"image":25,"text":26,"number":27},"\u002Fmedia\u002Fimages\u002F65\u002Fcf049969eae31b85d7fc01ea2faa11-28943d0ac3.4.png","Venezia Materia, by rediscovering ancient materials, \nrevives a craftsmanship culture that is going lost, \nenhances its products with a design making them current, \nand integrates them in contemporary architecture.\nVenezia Materia, \nattraverso la \nriscoperta di antichi \nmateriali, fa rivivere \nuna cultura artigiana \nche si sta perdendo, \nne valorizza i \nprodotti con un \ndisegno che li rende \nattuali e li integra \nnell’architettura \ncontemporanea.\n2\nANCIENT MATERIALS\nCONTEMPORARY ARCHITECTURE\nCRAFTSMANSHIP CULTURE\nANTICHI MATERIALI\nCULTURA ARTIGIANA\nARCHITETTURA CONTEMPORANEA\n",4,{"image":29,"text":30,"number":31},"\u002Fmedia\u002Fimages\u002F65\u002Fcf049969eae31b85d7fc01ea2faa11-28943d0ac3.5.png","THE EXPRESSION OF A THOUGHT\nAnd then, the meeting with an unparalleled personality, \nCarlo Scarpa, who has characterized the history of \narchitecture of the twentieth century and is now crossing \nours, on a parallel track, representing the origin of a path \nthat flings open the doors to let the future enter.\nL’ESPRESSIONE DI UN PENSIERO\nE poi l’incontro di una \npersonalità impari, \nCarlo Scarpa che \nha contraddistinto la \nstoria dell’architettura \ndel Novecento ed \nora s’interseca con la \nnostra, in un binario \nparallelo, origine di \nun percorso che ci \nspalanca le \nporte al domani.\n4\n",5,{"image":33,"text":34,"number":35},"\u002Fmedia\u002Fimages\u002F65\u002Fcf049969eae31b85d7fc01ea2faa11-28943d0ac3.6.png","LA COMBINAZIONE DEI MATERIALI\n6\nCombining materials\nCraftsmanship is the expression \nof the skill of those who create \nworks of unquestioned value by \nusing their hands.\nCONCRETE\nMOSAIC\nWOOD\nGLASS\nBRASS\nSMALTI\nCEMENTO\nMOSAICO\nLEGNO\nVETRO\nOTTONE\nSMALTI\nL’artigianalità è l’espressione \ndell’abilità di chi con le \nmani realizza un’opera di \nindiscusso valore.\n",6,{"image":37,"text":38,"number":39},"\u002Fmedia\u002Fimages\u002F65\u002Fcf049969eae31b85d7fc01ea2faa11-28943d0ac3.7.png","WOOD, GLASS AND SMALTI\nCombining materials very different from one another \ncreates extremely suggestive effects: uncommon \nscenographies to convey an absolutely unique style \nto each housing.\nIL LEGNO, IL VETRO E GLI SMALTI.\nL’accostamento di \nmateriali molto diversi \ntra loro crea effetti di \ngrande suggestione: \nscenografie inedite \nper dare uno stile \nassolutamente unico \nad ogni abitazione.\n8\n",7,{"image":41,"text":42,"number":43},"\u002Fmedia\u002Fimages\u002F65\u002Fcf049969eae31b85d7fc01ea2faa11-28943d0ac3.8.png","CONCRETE, STEEL AND BRASS\nVery antique materials acquire artistic and precious \nshades thanks to uncommon combinations and a \nclearness of shapes enhancing contrasts created by \nthese colors and materials.\nIL CEMENTO, L’ACCIAIO E L’OTTONE.\nMateriali antichissimi \nassumono valenze \nartistiche e di \npregio grazie ad \naccostamenti inediti \ne a una purezza di \nforme che ne esalta \ni contrasti cromatici \ne materici.\n10\n",8,{"image":45,"text":46,"number":47},"\u002Fmedia\u002Fimages\u002F65\u002Fcf049969eae31b85d7fc01ea2faa11-28943d0ac3.9.png","\"Concrete [...].\nI somewhat compare the use of this material to the art of \nthe confectioner, creating a mixture and then throwing \nit in. In nature, things are not like this: wood needs to \nbe cut, a slice needs to be cut, iron is molten, becomes \na block and is wiredrawn. Concrete... is like preparing \na cake, you throw it into the container, you cook it, you \nremove the mold and the cake is served. [...]\"\nin the book “A lezione con Carlo Scarpa” written by Franca Semi\nTemi del corso, l’ingresso IUAV, casa Ottolenghi\nPalazzo Tron, 30 January 1975\n“Il cemento […].\nIo paragono l’uso di questo \nmateriale un po’ all’arte del \npasticcere, che fa un impasto e \npoi lo butta dentro. In natura le \ncose non sono così:\nil legno bisogna tagliarlo,  \nla fetta bisogna tagliarla, \nil ferro si fonde, diventa un \nblocco si trafila. Il cemento… \nè come fare una torta, si butta \ndentro, si cuoce, si tira via la \ncassaforma e si serve in tavola \nla torta. […]”\nCarlo Scarpa\nin “A lezione con Carlo Scarpa” di Franca Semi\nTemi del corso, l’ingresso IUAV, casa Ottolenghi\nPalazzo Tron, 30 gennaio 1975\n12\n",9,{"image":49,"text":50,"number":51},"\u002Fmedia\u002Fimages\u002F65\u002Fcf049969eae31b85d7fc01ea2faa11-28943d0ac3.10.png","The collections features original proposals and \nsolutions. Six product lines in which concrete plays \nthe role of the undisputed protagonist, yet this is not \nall: oak wood, brass, mosaic and Smalti offer infinite \npossibilities of combinations and customizations.\n\u002F LINE TETRIS\n\u002F LINE FRAMMENTI\n\u002F LINE ARMATURA\nLa collezione presenta inedite proposte e soluzioni. \nSei linee di prodotto in cui il cemento ne è il protagoni   \nlegno di rovere, ottone, mosaico e smalti si prestano in  \nLINEA\nLINEA\nLINEA\n14\n\u002F LINE SCACCHIERA\n\u002F LINE IMPERIALE\n\u002F LINE INFINITO\n sta indiscusso, ma non solo,\n  un infinito gioco di combinazioni e personalizzazioni.\nLINEA\nLINEA\nLINEA\n",10,{"image":53,"text":54,"number":55},"\u002Fmedia\u002Fimages\u002F65\u002Fcf049969eae31b85d7fc01ea2faa11-28943d0ac3.11.png","ARMATURA\nMONOLITICO\nARMATURA\nPOLIEDRO\nARMATURA\nPOLIEDRO CON FASCIA\nThe pure essence of concrete dominates the space of the door. \nIt's not just a finish, the wall integrates with the entrance, by \nmolding itself it enhances the body and essence of the same.\nLa pura essenza del \ncemento domina sullo \nspazio della porta. \nNon solo una finitura, \nil muro si integra con \nl’ingresso, plasmandosi ne \nesalta corpo e sostanza.\nLINEA ARMATURA\n16\n",11,{"image":57,"text":58,"number":59},"\u002Fmedia\u002Fimages\u002F65\u002Fcf049969eae31b85d7fc01ea2faa11-28943d0ac3.12.png","ARMATURA MONOLITICO\nLine\n   ARMATURA\nModel\n   MONOLITICO\n> SMOOTH BLACK CONCRETE\nLinea\n   ARMATURA\nModello\n   MONOLITICO\n> CEMENTO LISCIO NERO\n18\n",12,{"image":61,"text":62,"number":63},"\u002Fmedia\u002Fimages\u002F65\u002Fcf049969eae31b85d7fc01ea2faa11-28943d0ac3.13.png","ARMATURA POLIEDRO\nLine\n   ARMATURA\nModel\n   POLIEDRO\n> PLANKING CONCRETE\nLinea\n   ARMATURA\nModello\n   POLIEDRO\n> CEMENTO TAVOLATO\n20\n",13,{"image":65,"text":66,"number":67},"\u002Fmedia\u002Fimages\u002F65\u002Fcf049969eae31b85d7fc01ea2faa11-28943d0ac3.14.png","22\nThanks to masters like Carlo Scarpa, concrete has become \nparticularly refined and not only used in building works; it has \nrather become a creative tool in the field of design and architecture.\nGrazie a maestri \ncome Carlo Scarpa, \nIl cemento è divenuto \nparticolarmente \nsofisticato e non \npiù appannaggio \ndell’edilizia ma si è \nreso uno strumento \ncreativo nel campo \ndel design e \ndell’architettura.\n",14,{"image":69,"text":70,"number":71},"\u002Fmedia\u002Fimages\u002F65\u002Fcf049969eae31b85d7fc01ea2faa11-28943d0ac3.15.png","ARMATURA POLIEDRO CON FASCIA\nVenezia Materia: the\nessence of timeless values\npersistently searching for\nwhat is not born yet.\nVenezia Materia: l’essenza \ndi valori senza tempo nella \ncostante ricerca di ciò che \nancora non è nato.\n24\n",15,{"image":73,"text":74,"number":75},"\u002Fmedia\u002Fimages\u002F65\u002Fcf049969eae31b85d7fc01ea2faa11-28943d0ac3.16.png","ARMATURA POLIEDRO CON FASCIA\nLine\n   ARMATURA\nModel\n   POLIEDRO CON FASCIA\n> CHALK WHITE SAWN OAK\nWITH SMOOTH CONCRETE INSERTS\nLinea\n   ARMATURA\nModello\n   POLIEDRO CON FASCIA\n> ROVERE SEGATO BIANCO GESSO\nCON INSERTO IN CEMENTO LISCIO\n26\n",16,{"image":77,"text":78,"number":79},"\u002Fmedia\u002Fimages\u002F65\u002Fcf049969eae31b85d7fc01ea2faa11-28943d0ac3.17.png","\"[...] Andrea Palladio, the knowledge he had was \nthe best [...] at that time: he knew everything that \noccurred on that matter. \nWe, instead, never attain anything, every day there \nis knowledge to be acquired and so we maybe need \nto know that there is also the extended metal sheet. \nWe have to know this. Today, we have to deal with \na farrago of useless information and countless \npossibilities, however, all in all we are slipshod. [...] \nwe do not know things.\"\nin the book “A lezione con Carlo Scarpa” written by Franca Semi\nTemi del corso, Giappone, giardini, Venezia\nPalazzo Tron, 20 February 1975\n“[…] un Andrea Palladio le \nconoscenze che aveva erano il \nmassimo […] in quel momento:  \nconosceva tutto quello che \navveniva in quel fatto. \nNoi invece non arriviamo mai a nulla, \nogni giorno ci sono conoscenze \nnuove e dobbiamo sapere magari \nche c’è anche la lamierina stirata, \ndobbiamo saperlo. Oggi abbiamo \nuna farragine di informazioni inutili \ned innumerevoli possibilità, ma nel \ncomplesso siamo sciatti. […] non \nabbiamo la conoscenza delle cose.”\nCarlo Scarpa\nin “A lezione con Carlo Scarpa” di Franca Semi\nTemi del corso, Giappone, giardini, Venezia\nPalazzo Tron, 20 febbraio 1975\n28\n",17,{"image":81,"text":82,"number":83},"\u002Fmedia\u002Fimages\u002F65\u002Fcf049969eae31b85d7fc01ea2faa11-28943d0ac3.18.png","FRAMMENTI\nINTERMITTENTE\nFRAMMENTI\nCONSECUTIVO\nFRAMMENTI\nTRACCIA\nSmalti and mosaic, the triumph of colors, contrasts and \nrefractions that surface from concrete as small drops of \nuncontaminated light.\nSmalti e mosaico, \nun trionfo di colori, contrasti \ne rifrazioni che dalla \nmateria cemento affiorano \ncome piccole gocce di luce \nincontaminata.\nLINEA FRAMMENTI\n30\n",18,{"image":85,"text":86,"number":87},"\u002Fmedia\u002Fimages\u002F65\u002Fcf049969eae31b85d7fc01ea2faa11-28943d0ac3.19.png","FRAMMENTI CONSECUTIVO\nLine\n   FRAMMENTI\nModel\n   CONSECUTIVO\n> SMOOTH BLACK CONCRETE\nWITH BRONZITE “TREND LIBERTY”\nMOSAIC INSERTS\nLinea\n   FRAMMENTI\nModello\n   CONSECUTIVO\n> CEMENTO LISCIO NERO\nCON INSERTI IN MOSAICO\nTREND LIBERTY BRONZITE\n32\n",19,{"image":89,"text":90,"number":91},"\u002Fmedia\u002Fimages\u002F65\u002Fcf049969eae31b85d7fc01ea2faa11-28943d0ac3.20.png","The collection Venezia\nMateria is enriched by\nuncommon combinations\nof formats and unusual\nharmonies of colors thanks\nto the Trend mosaics.\nLa collezione Venezia \nMateria si arricchisce di \ninediti accostamenti di \nformati e insolite armonie \ndi colori grazie ai \nmosaici Trend.\n34\n“TREND LIBERTY” MOSAIC\nSILVER DIAMOND\n“TREND LIBERTY” MOSAIC\nBRONZITE\n“TREND LIBERTY” MOSAIC\nTOPAZ\n“TREND LIBERTY” MOSAIC\nRED\nTrend Liberty\nRED\nTrend Liberty\nTOPAZ\nTrend Liberty\nBRONZITE\nTrend Liberty\nDIAMOND ARGENTO\n",20,{"image":93,"text":94,"number":95},"\u002Fmedia\u002Fimages\u002F65\u002Fcf049969eae31b85d7fc01ea2faa11-28943d0ac3.21.png","36\nFRAMMENTI INTERMITTENTE\nLine\n   FRAMMENTI\nModel\n   INTERMITTENTE\n> SMOOTH BLACK CONCRETE\nWITH BRONZITE “TREND LIBERTY”\nMOSAIC INSERTS\nLinea\n   FRAMMENTI\nModello\n   INTERMITTENTE\n> CEMENTO LISCIO NERO\nCON INSERTI IN MOSAICO LIBERTY \nTREND BRONZITE\n",21,{"image":97,"text":98,"number":99},"\u002Fmedia\u002Fimages\u002F65\u002Fcf049969eae31b85d7fc01ea2faa11-28943d0ac3.22.png","FRAMMENTI TRACCIA\nLine\n   FRAMMENTI\nModel\n   TRACCIA\n> SMOOTH CONCRETE\nWITH MEDIUM GRAY ORSONI\nVENETIAN SMALTO INSERTS\nLinea\n   FRAMMENTI\nModello\n   TRACCIA\n> CEMENTO LISCIO\nCON INSERTI IN SMALTO \nVENEZIANO ORSONI \nGRIGIO MEDIO\n38\n",22,{"image":101,"text":102,"number":103},"\u002Fmedia\u002Fimages\u002F65\u002Fcf049969eae31b85d7fc01ea2faa11-28943d0ac3.23.png","The Smalto tiles by Orsoni,\ncreated craftsmanly and hand\ncut, feature each a different\nsize, which differentiates\nthem unmistakably from the\nindustrial production.\nLe tessere di smalto Orsoni, realizzate \nartigianalmente e tagliate a mano, sono \ntutte di dimensioni diverse, caratteristica \ninequivocabile che le contraddistingue dalla \nproduzione industriale.\nSMALTI\n40\n",23,{"image":105,"text":106,"number":107},"\u002Fmedia\u002Fimages\u002F65\u002Fcf049969eae31b85d7fc01ea2faa11-28943d0ac3.24.png","The city on water, ambassador of the material that comes from \nfire: glass, Smalti. An incandescent compound, cooled down, meets \ncolor and generates a precious craftmade item.\nLa città sull’acqua \nambasciatrice della \nmateria che nasce \ndal fuoco: il vetro, \ngli smalti. Un impasto \nincandescente, \nraffreddato, incontra \nil colore e genera una \npreziosità artigianale.\n42\nVenetian Smalto\nINTENSE BLUE\nVenetian Smalto\nSUN YELLOW\nVenetian Smalto\nMEDIUM GREY\nVenetian Smalto\nRED\nSmalto veneziano\nBLU INTENSO\nSmalto veneziano\nGIALLO SOLE\nSmalto veneziano\nGRIGIO MEDIO\nSmalto veneziano\nROSSO\n",24,{"image":109,"text":110,"number":111},"\u002Fmedia\u002Fimages\u002F65\u002Fcf049969eae31b85d7fc01ea2faa11-28943d0ac3.25.png","Mosaic is a chapter rich in evocative suggestions in the great \nbook of history of art. The Basilica di San Marco in Venice is an \nexcellent evidence of this.\nIl mosaico è un capitolo \ndenso di suggestioni \nevocative nel grande \nlibro della storia \ndell’arte. La Basilica di \nSan Marco a Venezia \nne è una grande \ndimostrazione.\n44\n",25,{"image":113,"text":114,"number":115},"\u002Fmedia\u002Fimages\u002F65\u002Fcf049969eae31b85d7fc01ea2faa11-28943d0ac3.26.png","TETRIS\nRETTILINEO SX\nTETRIS\nRETTILINEO DX\nTETRIS\nTRASVERSALE ALTO\nTETRIS\nTRASVERSALE BASSO\nTETRIS\nSEQUENZA\nTETRIS\nBANDIERA\nThe play becomes real... combinations of inserts, materials and \ncolors transform the door into a modular and dynamic puzzle.\nIl gioco diventa reale…\ncombinazioni d’inserti, \nmateriali e colori \ntrasformano la porta in \nun puzzle componibile \ne dinamico.\nLINEA TETRIS\n46\n",26,{"image":117,"text":118,"number":119},"\u002Fmedia\u002Fimages\u002F65\u002Fcf049969eae31b85d7fc01ea2faa11-28943d0ac3.27.png","TETRIS RETTILINEO\nLine\n   TETRIS\nModel\n   RETTILINEO SINISTRO\n> SMOOTH CONCRETE\nWITH AGATE GRAY AND LEAD GRAY\nSAWN OAK INSERTS\nLinea\n   TETRIS\nModello\n   RETTILINEO SINISTRO\n> CEMENTO LISCIO\nCON INSERTI IN ROVERE \nSEGATO GRIGIO AGATA E \nGRIGIO PIOMBO \n48\n",27,{"image":121,"text":122,"number":123},"\u002Fmedia\u002Fimages\u002F65\u002Fcf049969eae31b85d7fc01ea2faa11-28943d0ac3.28.png","The revision, the new applications and the combination of \nancient materials convey added value to the product.\nLa rivisitazione, le \nnuove applicazioni \ne l’abbinamento \ndi antichi materiali \nconferiscono valore \naggiunto al prodotto.\n50\n",28,{"image":125,"text":126,"number":127},"\u002Fmedia\u002Fimages\u002F65\u002Fcf049969eae31b85d7fc01ea2faa11-28943d0ac3.29.png","TETRIS TRASVERSALE ALTO\nSMOOTH CONCRETE\nSMOOTH BLACK CONCRETE\nBLACK GLASS\nCEMENTO LISCIO\nCEMENTO LISCIO NERO\nVETRO NERO\n52\nTETRIS TRASVERSALE BASSO\nSMOOTH CONCRETE\nTOBACCO SAWN OAK\nCEMENTO LISCIO\nROVERE SEGATO \nTABACCO\n",29,{"image":129,"text":130,"number":131},"\u002Fmedia\u002Fimages\u002F65\u002Fcf049969eae31b85d7fc01ea2faa11-28943d0ac3.30.png","54\nTETRIS \nRETTILINEO DX\nLine\n   TETRIS\nModel\n   RETTILINEO DESTRO\n> SMOOTH CONCRETE\nWITH BLUE OCEAN GLASS INSERTS\nLinea\n   TETRIS\nModello\n   RETTILINEO DESTRO\n> CEMENTO LISCIO\nCON INSERTI IN VETRO\nBLU OCEANO\n",30,{"image":133,"text":134,"number":135},"\u002Fmedia\u002Fimages\u002F65\u002Fcf049969eae31b85d7fc01ea2faa11-28943d0ac3.31.png","SMOOTH CONCRETE\nBLUE OCEAN GLASS\nCEMENTO LISCIO\nVETRO BLU OCEANO\n56\n",31,{"image":137,"text":138,"number":139},"\u002Fmedia\u002Fimages\u002F65\u002Fcf049969eae31b85d7fc01ea2faa11-28943d0ac3.32.png","TETRIS BANDIERA\nLine\n   TETRIS\nModel\n   BANDIERA\n> SMOOTH CONCRETE\nWITH SMOOTH BLACK CONCRETE\nAND AGATE GRAY GLASS INSERTS\nLinea\n   TETRIS\nModello\n   BANDIERA\n> CEMENTO LISCIO\nCON INSERTI IN CEMENTO \nLISCIO NERO E VETRO \nGRIGIO AGATA\n58\n",32,{"image":141,"text":142,"number":143},"\u002Fmedia\u002Fimages\u002F65\u002Fcf049969eae31b85d7fc01ea2faa11-28943d0ac3.33.png","60\nSMOOTH CONCRETE\nSMOOTH BLACK CONCRETE\nAGATE GRAY GLASS\nCEMENTO LISCIO\nCEMENTO LISCIO NERO\nVETRO GRIGIO AGATA\n",33,{"image":145,"text":146,"number":147},"\u002Fmedia\u002Fimages\u002F65\u002Fcf049969eae31b85d7fc01ea2faa11-28943d0ac3.34.png","TETRIS SEQUENZA\nLine\n   TETRIS\nModel\n   SEQUENZA\n> SMOOTH BLACK CONCRETE\nWITH BLACK GLASS INSERTS\nLinea\n   TETRIS\nModello\n   SEQUENZA\n> CEMENTO LISCIO NERO\nCON INSERTI IN VETRO NERO\n62\n",34,{"image":149,"text":150,"number":151},"\u002Fmedia\u002Fimages\u002F65\u002Fcf049969eae31b85d7fc01ea2faa11-28943d0ac3.35.png","\"Plastered reinforced concrete is real nonsense, no \nmatter how skilled the mason is. Instead, reinforced \nconcrete has in its essence the idea of strength. Once it \nhas been plastered, no one knows whether the wall is \nmade of reinforced concrete or twenty-six cm bricks. This \nmeans that we need to be genuine, that we have to try - \nin as much as possible - to enhance a given material.\"\nin the book “A lezione con Carlo Scarpa” written by Franca Semi\nTemi del corso, l’ingresso IUAV, casa Ottolenghi\nPalazzo Tron, 30 January 1975\n“Un cemento armato \nintonacato è una bestialità, \nper quanto bravo sia il \nmuratore. Mentre nella sua \nessenza il cemento armato ha \nl’idea della forza. Quando è \nintonacato nessuno sa se è di \ncemento armato o in mattoni \nda ventisei.\nVuol dire che bisogna essere \ngenuini, cercare il più \npossibile di esaltare una\ndata materia.”\nCarlo Scarpa\nin “A lezione con Carlo Scarpa” di Franca Semi\nTemi del corso, l’ingresso IUAV, casa Ottolenghi\nPalazzo Tron, 30 gennaio 1975\n64\n",35,{"image":153,"text":154,"number":155},"\u002Fmedia\u002Fimages\u002F65\u002Fcf049969eae31b85d7fc01ea2faa11-28943d0ac3.36.png","SCACCHIERA\nDAMA\nThe texture of inserts becomes a non-conventional chess board \nfeaturing countless material consistencies.\nLa trama d’inserti diviene una \nnon convenzionale tavola da \nscacchi dalle innumerevoli \nconsistenze materiche.\nLINEA SCACCHIERA\n66\n",36,{"image":157,"text":158,"number":159},"\u002Fmedia\u002Fimages\u002F65\u002Fcf049969eae31b85d7fc01ea2faa11-28943d0ac3.37.png","SCACCHIERA DAMA\nLine\n   SCACCHIERA\nModel\n   DAMA\n> SMOOTH BLACK CONCRETE\nWITH BLACK GLASS INSERTS\nLinea\n   SCACCHIERA\nModello\n   DAMA\n> CEMENTO LISCIO NERO\nCON INSERTI IN VETRO NERO\n68\n",37,{"image":161,"text":162,"number":163},"\u002Fmedia\u002Fimages\u002F65\u002Fcf049969eae31b85d7fc01ea2faa11-28943d0ac3.38.png","Line\n   SCACCHIERA\nModel\n   DAMA\n> SMOOTH CONCRETE\nWITH MOTHER OF PEARL AND ANTIQUE  \nSAWN OAK INSERTS\nLinea\n   SCACCHIERA\nModello\n   DAMA\n> CEMENTO LISCIO\nCON INSERTI IN ROVERE \nSEGATO MADREPERLA\nE QUERCIA ANTICA\n70\nAs history teaches, tradition and the past give value, insight and \ndepth to our future. Venezia Materia is inspired by art and design \nreinterpreting in contemporary way shapes and solutions.\nCome la storia insegna \nsono la tradizione e \nil passato che danno \nvalore, spessore e \nprofondità al nostro \nfuturo. Venezia Materia \ntrae ispirazione \ndall’arte e dal design \nper reinterpretare in \nchiave contemporanea \nforme e soluzioni. \n",38,{"image":165,"text":166,"number":167},"\u002Fmedia\u002Fimages\u002F65\u002Fcf049969eae31b85d7fc01ea2faa11-28943d0ac3.39.png","IMPERIALE\nLINEA IMPERIALE\n72\nA cascade of elements makes its way into the concrete. The door \nbecomes an expression of regality of the entrance attracting on \nitself the entity of the material.\nUna cascata di elementi si fa \nstrada nel cemento. La porta \ndiviene espressione della \nregalità dell’ingresso attirando \na sé l’entità della materia.\n",39,{"image":169,"text":170,"number":171},"\u002Fmedia\u002Fimages\u002F65\u002Fcf049969eae31b85d7fc01ea2faa11-28943d0ac3.40.png","IMPERIALE\nLine\n   IMPERIALE\nModel\n   IMPERIALE\n> SMOOTH BLACK CONCRETE\nWITH MOTHER OF PEARL AND \nTOBACCO GLASS INSERTS\nLinea\n   IMPERIALE\nModello\n   IMPERIALE\n> CEMENTO LISCIO NERO\nCON INSERTI IN VETRO \nMADREPERLA E TABACCO\n74\n",40,{"image":173,"text":174,"number":175},"\u002Fmedia\u002Fimages\u002F65\u002Fcf049969eae31b85d7fc01ea2faa11-28943d0ac3.41.png","76\nVenezia Materia leaves\na distinctive mark on the\ncontemporary panorama\nand simultaneously creates\noriginality, inspiration,\ntrends and art.\nCONCRETE\nGLASS \nVenezia Materia lascia \nun segno distintivo\nnel panorama \ncontemporaneo e \nsimultaneamente crea \noriginalità, Ispirazione,\ntendenza e arte.\nCEMENTO\nVETRO\n",41,{"image":177,"text":178,"number":179},"\u002Fmedia\u002Fimages\u002F65\u002Fcf049969eae31b85d7fc01ea2faa11-28943d0ac3.42.png","\"[...] I thought that here, in the evening one used to say:\n\"Good morning Nina, how are you?\".\nThat is like two dead persons talking to each other.\n[...] It seemed to me I could hear the other one reply:\n\"So, you too have come to meet me!\"\nin the book “A lezione con Carlo Scarpa” written by Franca Semi\nTemi del corso, la tomba Brion\nTolentini, 18 February 1976\n“[…] pensavo che qui\nalla sera si dicesse:\n“Bondì Nina, come ti sta?”. \nCioè che i due morti  \nparlassero fra di loro.\n[…] Mi pareva di sentire\nche l’altro dicesse:\n“Oh, anca ti te se vegnua \nfinalmente a trovarme!”\nCarlo Scarpa\nin “A lezione con Carlo Scarpa” di Franca Semi\nTemi del corso, la tomba Brion\nTolentini, 18 febbraio 1976\n78\n",42,{"image":181,"text":182,"number":183},"\u002Fmedia\u002Fimages\u002F65\u002Fcf049969eae31b85d7fc01ea2faa11-28943d0ac3.43.png","INFINITO\nTRATTO INCROCIATO\nLINEA INFINITO\n80\nA valuable stroke, a crossed line tending to infinity: Scarpa drawing \nbreaks into contemporary design.\nUn tratto prezioso, una linea \nincrociata tendente all’infinito: \nil disegno scarpiano irrompe \nnel design contemporaneo.\n",43,{"image":185,"text":186,"number":187},"\u002Fmedia\u002Fimages\u002F65\u002Fcf049969eae31b85d7fc01ea2faa11-28943d0ac3.44.png","INFINITO\nLine\n   INFINITO\nModel\n   TRATTO INCROCIATO\n> LEAD GRAY SAWN OAK\nWITH STEEL INSERTS\nLinea\n   INFINITO\nModello\n   TRATTO INCROCIATO\n> ROVERE SEGATO GRIGIO PIOMBO\nCON INSERTO IN ACCIAIO\n82\n",44,{"image":189,"text":190,"number":191},"\u002Fmedia\u002Fimages\u002F65\u002Fcf049969eae31b85d7fc01ea2faa11-28943d0ac3.45.png","The infinito line is\nintended to be a tribute\nto the great Venetian\nmaster Carlo Scarpa\nwho inspired it.\nLa linea Infinito vuole \nessere un omaggio \nal grande maestro \nveneziano Carlo Scarpa \nche l’ha ispirata.\n84\n",45,{"image":193,"text":194,"number":195},"\u002Fmedia\u002Fimages\u002F65\u002Fcf049969eae31b85d7fc01ea2faa11-28943d0ac3.46.png","INFINITO\n86\nLine\n   INFINITO\nModel\n   TRATTO INCROCIATO\n> TOBACCO SAWN OAK\nWITH ANTIQUE BRASS INSERTS\nLinea\n   INFINITO\nModello\n   TRATTO INCROCIATO\n> ROVERE SEGATO TABACCO\nCON INSERTO IN OTTONE ANTICATO \n",46,{"image":197,"text":15,"number":198},"\u002Fmedia\u002Fimages\u002F65\u002Fcf049969eae31b85d7fc01ea2faa11-28943d0ac3.47.png",47,{"image":200,"text":15,"number":201},"\u002Fmedia\u002Fimages\u002F65\u002Fcf049969eae31b85d7fc01ea2faa11-28943d0ac3.48.png",48,{"image":203,"text":204,"number":205},"\u002Fmedia\u002Fimages\u002F65\u002Fcf049969eae31b85d7fc01ea2faa11-28943d0ac3.49.png","Oikos Venezia srl\nVia della Tecnica 6, 30020 Gruaro (Ve) - Italy \nT. 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