[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-twils-biggie":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":74},{"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":69,"matched_pages":70,"match_count":71,"two_pages":72,"show_text":73},17653,"Biggie","twils-biggie","\u002Fmedia\u002Fimages\u002F27\u002F37d664887a33c4f5c4d678d7004279-28872c9eaf.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002F33\u002F48ddaee6b5605877a5a32b1fe5582d-28872bb482.pdf","Twils",1436,"twils","6.9 MB",[14,17,21,25,29,33,37,41,45,48,52,55,59,62,66],{"image":7,"text":15,"number":16},"Biggie\n",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002F27\u002F37d664887a33c4f5c4d678d7004279-28872c9eaf.2.png","100 cm\naltezza\naltezza giroletto\naltezza piedi\nprofondità\n100 cm\n18 cm\n15 cm\n235 cm\nheight\nbed frame height\nlegs height\ndepth\n196 cm\n235 cm\n",2,{"image":22,"text":23,"number":24},"\u002Fmedia\u002Fimages\u002F27\u002F37d664887a33c4f5c4d678d7004279-28872c9eaf.3.png","Luca Nichetto\n \nBiggie: better living\n \nbetter dreaming\n“A new collection encapsulates \nevery aspect of the brand. Twils \nis looking to evolve in terms \nof furniture for the living area. \nBut it’s in the sleeping areas \nthat its strengths lie. Biggie in-\ncludes both: I wanted to create \na fil rouge that combines and \ncapitalizes on all the compa-\nny’s expertise and experience.\n \nI considered the structure \nof both the bed and the sofa. If \nyou reduce them to the bare \nminimum, they are not too dis-\nsimilar. A rigid structure which \ncontains a soft element. So, first \nof all, I designed a shell, a struc-\nture which offers different pos-\nsibilities, different solutions.”\n“Una nuova collezione contie-\nne ogni parte del brand. Twils \nvuole evolvere nella zona giorno. \nMa la parte più consolidata è \nquella della zona notte. Biggie \nle contiene entrambe: ho voluto \ncreare un fil rouge che unisce \ne rilancia tutte le competenze \ndell’azienda.\n \nHo pensato allo schele-\ntro del letto, e a quello del di-\nvano. Ridotti ai minimi termini \nnon sono dissimili. Una strut-\ntura rigida che contiene una \nparte morbida. Quindi ho pro-\ngettato innanzitutto una scoc-\nca, uno scheletro che esprime \ndiverse possibilità, diverse \nsoluzioni”.\n",3,{"image":26,"text":27,"number":28},"\u002Fmedia\u002Fimages\u002F27\u002F37d664887a33c4f5c4d678d7004279-28872c9eaf.4.png","1. \nLa direzione\n \nMatteo Ragni e Luca Nichetto \nsi conoscono da tempo, non è difficile \nimmaginare il clima della loro conversa-\nzione su Twils. Il tema è l’identità, perché \nè dall’azienda che comincia un buon pro-\ngetto. Dice Luca Nichetto:\n“Una nuova collezione contie-\nne ogni parte del brand. Twils \nvuole evolvere nella zona gior-\nno. Ma la parte più consolidata \nè quella della zona notte. Biggie \nle contiene entrambe: ho voluto \ncreare un fil rouge che unisce \ne rilancia tutte le competenze \ndell’azienda”.\n2. \nLa struttura\n \nÈ l’intuizione che dà struttura \nal progetto. Sembra paradossale, ma è \nsempre il lampo dell’intelligenza creati-\nva che fa questa operazione. Il talento e, \novviamente, l’esperienza.\n “Ho pensato allo scheletro del \nletto, e a quello del divano. Ridotti \nai minimi termini non sono dissi-\nmili. Una struttura rigida che con-\ntiene una parte morbida. Quindi \nho progettato innanzitutto una \nscocca, uno scheletro che espri-\nme diverse possibilità, diverse \nsoluzioni”.\n3. \nIl progetto\n \nLuca Nichetto è cresciuto fuori e \ndentro le fornaci muranesi, ascoltando i \nracconti di chi fabbrica e respirandone il \nclima un po’ rude. Gli piace parlare con gli \noperai e gli artigiani: dice che ogni volta \nè come prendere un master in design. È \ninsieme a loro che sconfina dai limiti or-\ndinari della produzione. Del resto il buon \nprogetto dipende anche dall’intensa ri-\nflessione sui processi produttivi.\n“La scocca di Biggie può essere \nstampata con uno o due braccioli. \nOppure senza. Un solo stampo \nper ogni componente della col-\nlezione: con bracciolo diventa \nparte finale del divano, senza \n1. \nThe direction\n \nMatteo Ragni and Luca Nichetto \nhave known each other for quite some \ntime, so it’s not difficult to imagine the \ntone of their conversation about Twils. \nThey are speaking about identity, be-\ncause it’s only from an understanding \nof a company’s personality and values \nthat strong designs can originate. Luca \nNichetto says: \n“A new collection encapsulates \nevery aspect of the brand. Twils \nis looking to evolve in terms of \nfurniture for the living area. But \nit’s in the sleeping areas that its \nstrengths lie. Biggie includes \nboth: I wanted to create a fil \nrouge that combines and capi-\ntalizes on all the company’s ex-\npertise and experience.”\n2. \nThe structure\n \nThe design’s structure is the \nfruit of intuition: it might seem a little \nparadoxical, but this always comes from \na flash of creative genius. Talent and, of \ncourse, experience.\n“I considered the structure of \nboth the bed and the sofa. If you \nreduce them to the bare mini-\nmum, they are not too dissimilar. \nA rigid structure which contains \na soft element. So, first of all, I \ndesigned a shell, a structure \nwhich offers different possibil-\nities, different solutions.”\n3. \nThe design\n \nLuca Nichetto grew up in and \naround the furnaces of Murano, listening \nto the stories of glass artisans, immersed \nin a no-frills environment. He used to love \nchatting with the workers and craftsmen: \nhe says it was like taking a master’s in \ndesign every single time. And it was with \nthem that he learned to push beyond the \nordinary limits of production. After all, \ngood design also means carefully tak-\ning into consideration the production \nprocesses that will be required.\n",4,{"image":30,"text":31,"number":32},"\u002Fmedia\u002Fimages\u002F27\u002F37d664887a33c4f5c4d678d7004279-28872c9eaf.5.png","“The Biggie shell can be mould-\ned with one or two armrests. Or \neven none. Just one mould for \neach component of the collec-\ntion: with just one armrest we \nhave the end section of a sofa, \nwith no armrest it becomes a \nmodule, and with both arms it’s \nan armchair.”\n4. \nThe manufacture\n \nThe manufacturing process pro-\nvides the foundation. It’s there that we dis-\ncover all the limits of what’s feasible, but \nit’s also there that we find the solutions.\n \nHaving a system that’s developed \naround a single mould makes the scal-\nability of the manufacturing absolutely \nkey. In other words: putting yourself in \nthe manufacturer’s shoes and making \ntheir needs correspond with the aims \nof the design means coming up with a \ncomplete design, one that takes into \nconsideration all the complexities of the \nmanufacturing process.\n5. \nThe geography\n \nBiggie is a collection consisting \nof an original composition that finds its \nrationale in one simple observation: tastes \nand habits are governed by geography.\n“Southern Europe loves modular \nsofas. The Centre, the North and \nthe Far East, especially further \nnorth, prefer configurations con-\nsisting of two or three seats.” \n \nThe Biggie aesthetic works in \nboth free-standing mode and in the mod-\nular version. It’s based on a versatile, \nrepetitive framework. But which can be \nconfigured to create different forms: the \nsofa, the bed, an ample chaise longue. \nIt’s all there: north and south. Rationality, \nsoftness. As the name suggests, Biggie \nis an extensive collection.\n6. \nThe key\n“I was looking for a passepartout \ndesign. Not business nor resi-\ndential. But rather, a composition \nthat encompassed the formal \ndiventa modulo, con entrambi \ni braccioli è poltrona”.\n4. \nL’industria\n \nIl processo industriale è alla \nbase. Nella sua realtà si trovano i con-\nfini corretti e, di conseguenza, anche le \nsoluzioni giuste.\n \nUn sistema che si sviluppa intor-\nno a un unico stampo rende prioritaria la \nscalabilità dell’investimento industriale. In \npoche parole: mettersi dalla parte dell’a-\nzienda e sovrapporre i suoi bisogni alle \nfinalità del progetto vuol dire lavorare a \nun progetto completo, che gestisce ogni \nparte della complessità industriale.\n5. \nLa geografia\n \nBiggie è una collezione con una \ncomposizione originale che trova ragio-\nne in una semplice constatazione: esiste \nuna geografia del gusto e delle abitudini.\n“Il Sud Europa ama i divani mo-\ndulari. Il Centro, il Nord e il Far \nEast, soprattutto nelle fasce alte, \npreferiscono configurazioni da \ndue o tre posti”.\n \nL’estetica di Biggie funziona sia \nfree standing che in versione modulare. \nÈ basata su uno schema versatile, ripe-\ntitivo. Che però esprime diverse tipolo-\ngie: il divano, il letto, una chaise longue \ndalle dimensioni importanti. C’è tutto: il \nnord, il sud. La razionalità, la morbidez-\nza. Biggie è, come dice il suo nome, una \ncollezione ampia.\n6. \nLa chiave\n“Ho cercato un progetto pas-\nsepartout. Né contract né re-\nsidenziale. Una composizione \ndi dettagli formali di entrambi i \nmondi, piuttosto. Per dare a Twils \nuno strumento utile ad aprirsi a \nnuovi mercati”.\n \nL’impatto visivo è di grande \ncomfort, con cuscini ampi e morbidi, \nuna seduta alta e profonda. Il pensiero \nergonomico è evoluto. E c’è una parte \nprofondamente funzionalista, con le scoc-\nche che agganciano ciascun modulo a \n",5,{"image":34,"text":35,"number":36},"\u002Fmedia\u002Fimages\u002F27\u002F37d664887a33c4f5c4d678d7004279-28872c9eaf.6.png","details of both worlds. To pro-\nvide Twils with a key for opening \ndoors onto new markets.”\n \nThe visual impact is one of ex-\ntreme comfort, with large, soft cushions \nand a high, deep seat. The ergonomic \naspect has undergone an evolution. And \nthere’s also a deeply functional aspect, \nwith the structures of each module able \nto be secured to bars of varying lengths. \nA small space divides one seat from the \nnext: a remnant typical of a technical \nproduct intended for collective use. Luca \nNichetto is right: Biggie is a contempo-\nrary passepartout.\n7. \nThe gender\n \nPadded means soft. Gentle, wel-\ncoming. Biggie has a gender, she’s fem-\ninine. This is apparent in the rationale of \nusing a single mould, in the nearness of \ncontrasting details, in the desire for an \naesthetic that unites different cultures \nand ways of living. And in the shape of \nthe bed: the gentle curve of the wooden \nstructure, delicate, almost poetic. But \nyour eyes have to be open to it.\nun binario di lunghezza aggiustabile. Un \npiccolo spazio divide una seduta dall’al-\ntra: una memoria da prodotto tecnico, \ndestinato a un uso collettivo. Ha ragione \nLuca Nichetto: Biggie è un passepartout \ncontemporaneo.\n7. \nIl genere\n \nImbottito sta per morbido. Gentile, \naccogliente. Biggie ha un genere, ed è \nfemminile. Nella razionalità della solu-\nzione dello stampo unico, nella vicinanza \ndi istanze opposte, nella ricerca estetica \nche media diverse culture e diversi modi \ndi vivere. E nelle forme del letto: la curva \ndolce nella scocca di legno è delicata, \npoetica. Va cercata però.\n",6,{"image":38,"text":39,"number":40},"\u002Fmedia\u002Fimages\u002F27\u002F37d664887a33c4f5c4d678d7004279-28872c9eaf.7.png","",7,{"image":42,"text":43,"number":44},"\u002Fmedia\u002Fimages\u002F27\u002F37d664887a33c4f5c4d678d7004279-28872c9eaf.8.png","“La scocca di Biggie può \nessere stampata con uno\no due braccioli. Oppure senza. \nUn solo stampo per ogni \ncomponente della collezione”.\n“The Biggie shell can\nbe moulded with one or two \narmrests. Or even none.\nJust one mould for each \ncomponent of the collection”.\n",8,{"image":46,"text":39,"number":47},"\u002Fmedia\u002Fimages\u002F27\u002F37d664887a33c4f5c4d678d7004279-28872c9eaf.9.png",9,{"image":49,"text":50,"number":51},"\u002Fmedia\u002Fimages\u002F27\u002F37d664887a33c4f5c4d678d7004279-28872c9eaf.10.png","“Ho cercato un progetto \npassepartout. Né contract\nné residenziale. Una \ncomposizione di dettagli \nformali di entrambi i mondi, \npiuttosto”.\n“I was looking for a \npassepartout design. Not \nbusiness nor residential.\nBut rather, a composition\nthat encompassed the\nformal details of both worlds”.\n",10,{"image":53,"text":39,"number":54},"\u002Fmedia\u002Fimages\u002F27\u002F37d664887a33c4f5c4d678d7004279-28872c9eaf.11.png",11,{"image":56,"text":57,"number":58},"\u002Fmedia\u002Fimages\u002F27\u002F37d664887a33c4f5c4d678d7004279-28872c9eaf.12.png","communication\ndirector:\nVilma Carnieletto\nart direction:\nMatteo Ragni\nphoto:\nMax Rommel\ngraphic design:\nAlessandro Boscarino\nValerio Aprigliano\nvia degli Olmi 5\n31040 Cessalto (TV) Italy\nT \n+39 0421 469011 \nR.A.\nT \n+39 0421 469090 \nuff. comm.\nT \n+39 0421 469050 \nuff. sped.\nF \n+39 0421 327916\ninfo@twils.it\n  \n  @mytwils\ntwils.it\ncontent curation: \nElisa Massoni\npostproduction: \nStudio Dilux\nprint:\nGrafiche Antiga\nI prodotti presenti in questo volume sono proget-\ntati e realizzati in Italia secondo i più alti standard \nqualitativi, nella tutela dell'ambiente, dei diritti e \ndella salute dei lavoratori.\nLe immagini e i dati contenuti nel presente cata-\nlogo sono da ritenersi indicativi e possono subire \nvariazioni anche senza alcun preavviso.\nThe products in this catalogue have been de-\nsigned and made in Italy to the highest quality \nstandards, while protecting the environment as \nwell as the rights, health and safety of workers.\nThe images and data contained in this catalogue \nare provided for illustrative purposes only and can \nbe changed without notice.\nQuella di Twils è una storia molto italiana. Un’azienda \nradicata nel territorio, a filiera corta, che alimen-\nta una rete di fornitori locali e si fa alimentare da \nloro, in un circuito virtuoso potenzialmente infini-\nto. Circolare prima che la parola diventasse di mo-\nda. Eccellente nel saper fare prima del voler dire.\n \nTwils è un po’ come un albero: si prende \ncura di quello che produce e le sta intorno, ha ra-\ndici solide ma quando serve guarda verso il cielo. \nUn’azienda che produce imbottiti e che ci è arriva-\nta per la via più difficile: quella costruita sull’espe-\nrienza di un saper fare vero. Perfezionando l’arte \ndell’imbottitura dei cuscini, poi dei letti e, in ulti-\nma battuta, mettendo a prova la propria sartoria-\nlità, per una manifattura pregiata e gusto per i tes-\nsuti di qualità nel mondo del living. \nThat of Twils is a very Italian story. A company root-\ned in the territory, with a short supply chain linked \nto a mutually fed network of local suppliers, in a po-\ntentially endless virtuous circuit. Circular before the \nword became of common use. Excellent in knowing \nhow to do before saying it.\n \nTwils is like a tree: it takes care of what \nit produces and what is around it, it has solid roots \nbut when needed is capable of looking up towards \nthe sky. A company that produces upholstered fur-\nniture and that has come a very long way in the most \nchallenging way: the way built on the experience of \nknowing how to do things. Perfecting the art of pad-\nding cushions, crafting beds and ultimately, testing \ntheir tailoring, aiming at fine manufacturing and in-\nstinct for quality fabrics in the world of living.    \n \nLuca Nichetto\n \nnasce a Venezia nel 1976, dove il suo \ntalento artistico trae ispirazione dalla famosa indu-\nstria vetraria di Murano, che dava lavoro ai membri \ndella sua famiglia. La sua carriera inizia ai tempi \ndella scuola, quando trascorreva le vacanze ven-\ndendo i suoi disegni alle fabbriche locali, prima di \nproseguire gli studi presso l’Istituto Statale d’Arte \ndella città per poi laurearsi in disegno industriale \npresso l’Università Iuav di Venezia (IUAV) nel 1998. \nL’anno successivo inizia a lavorare per il vetraio \nmuranese Salviati, diventando in seguito product \ndesigner e consulente per l’azienda di illuminazio-\nne Foscarini. Nel 2006 decide di aprire il proprio \nstudio in città: Nichetto Studio. Cinque anni dopo \narriva un’altra svolta importante nella sua carriera: \nsi trasferisce in Svezia, a Stoccolma, per aprire lì \nun secondo studio, combinando il suo stile italiano \ncon lo spirito svedese di modernità e sostenibilità.\n \nNel corso degli anni, Luca è stato art direc-\ntor per molti marchi internazionali di design e si è gua-\ndagnato la reputazione di designer multidisciplinare. \nHa tenuto conferenze e seminari in diverse uni-\nversità, è stato professore di design allo IUAV e \nha fatto parte di diverse giurie di vari concorsi \ninternazionali di design. Il suo lavoro è spesso \npresente in prestigiose mostre in tutto il mondo \ned è stato oggetto di retrospettive in città tra cui \nLondra, New York e Pechino. I suoi progetti inno-\nvativi e altamente ricercati gli sono valsi una serie \nimpressionante di premi internazionali per design \nche spaziano da prodotti, accessori e mobili all’ar-\nchitettura, alle mostre e al branding.\n \nLuca Nichetto\n \nwas born in Venice in 1976, where his ar-\ntistic talents were inspired by the famous Murano \nglassmaking industry, which employed members of \nhis family. His career effectively started in his school-\ndays, where holidays were spent selling his designs \nto local factories, before he went on to study at the \ncity’s Istituto Statale d’Arte and then take a degree \nin industrial design at the local Università Iuav di \nVenezia (IUAV), graduating in 1998. The following year, \nhe joined the Murano-based glassmaker Salviati, \nlater becoming a product designer and consultant \nfor lighting company Foscarini. He took the leap to \nsetting up his own practice in the city, Nichetto Studio, \nin 2006. Five years later came another major turn in \nhis career, when he moved to Stockholm, Sweden, \nto start his family and opened a second studio there, \ncombining his Italian flair with the Swedish spirit of \nmodernity and sustainability. \n \nOver the years, Luca has served as art \ndirector for many international design brands and \ngained a reputation as a multidisciplinary design-\ner. He has lectured and led workshops at several \nuniversities, including serving as a professor of \ndesign at the IUAV, and has sat on juries for vari-\nous international design competitions. His work is \noften featured in prestigious exhibitions worldwide \nand has been the subject of retrospectives in cities \nincluding London, New York and Beijing. His highly \nresearched, innovative projects have earned him an \nimpressive array of international awards for designs \nthat range from products, accessories and furniture \nto architecture, exhibition design and branding.\nphoto: Morgan Norman\n",12,{"image":60,"text":39,"number":61},"\u002Fmedia\u002Fimages\u002F27\u002F37d664887a33c4f5c4d678d7004279-28872c9eaf.13.png",13,{"image":63,"text":64,"number":65},"\u002Fmedia\u002Fimages\u002F27\u002F37d664887a33c4f5c4d678d7004279-28872c9eaf.14.png","77 cm\naltezza\naltezza seduta\naltezza bracciolo\nprofondità\nprofondità seduta\n77 cm\n43 cm\n67 cm\n94 cm\n65 cm\nheight\nseat height\narmrest height\ndepth\nseat depth\n94 cm\n266 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