[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-twils-canalgrande":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":69},{"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":64,"matched_pages":65,"match_count":66,"two_pages":67,"show_text":68},17654,"Canalgrande","twils-canalgrande","\u002Fmedia\u002Fimages\u002Fa4\u002F69789ed09c966f6a49d5d7b454c18f-28872c29b0.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002F54\u002F0626d96aa564450d4d81d7b0eb5544-28872bb483.pdf","Twils",1436,"twils","7.4 MB",[14,17,21,25,29,33,37,41,45,49,53,57,61],{"image":7,"text":15,"number":16},"Canalgrande\ndesign Matteo Ragni\ncon Tiziano Carnieletto\nUn progetto nato per \ncelebrare la leggerezza, \ndei pensieri come \ndei più bei sogni. Una \ntestiera lieve come una \npiuma, dalle linee tese \nche, agli occhi di Tiziano \nCarnieletto, rimandano \nalla sagoma del ferro di \nuna gondola, icona tanto \ncara a Twils sin dai suoi \nesordi più di 40 anni fa.\nMatteo Ragni,\n2024\n",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002Fa4\u002F69789ed09c966f6a49d5d7b454c18f-28872c29b0.2.png","Il Canal Grande dalle \nprossimità del ponte\ndi Rialto verso nord\nCanaletto, 1735\n",2,{"image":22,"text":23,"number":24},"\u002Fmedia\u002Fimages\u002Fa4\u002F69789ed09c966f6a49d5d7b454c18f-28872c29b0.3.png","Domitilla\nDardi\n \nDalla\n \nGondola\n \nal Canal\n \nGrande\n \nFrom the\n \nGondola\n \nto the Canal\n \nGrande\n \n“Non potevano essere né più scorre-\nvoli, né più ubbidienti, né più forti, né più leg-\ngiadre in ogni lor parte, appunto perché ogni \npezzo di legno aveva la sua figura proporzio-\nnata alla differente sua indole, ed era messo a \nluogo con ragione; che se si fosse fatto il fon-\ndo di carrubo e le coste d’abete, cioè il con-\ntrario, la gondola sarebbe una rovina”.\n \n“They could neither be smoother, nor \nmore obedient, nor stronger, nor more grace-\nful in all their parts, precisely because every \npiece of wood had its shape and size propor-\ntionate to its particular nature and was put in \nplace with reason; so that if the bottom had \nbeen made of carob and the sides of silver fir, \ni.e. the very opposite of its actual construction, \nthe gondola would have been a ruin.” \nAndrea Memmo\nElementi dell’architettura \nlodoliana o sia L’arte del \nfabbricare con solidità \nscientifica e con eleganza \nnon capricciosa, 1786.\n",3,{"image":26,"text":27,"number":28},"\u002Fmedia\u002Fimages\u002Fa4\u002F69789ed09c966f6a49d5d7b454c18f-28872c29b0.4.png","In principio fu la gondola\n \nUna grande gondola piena di \ncuscini imbottiti e colorati: questa im-\nmagine segna l’inizio dell’avventura dei \nfratelli Carnieletto nel mondo del tessile \ne dell’imbottito. È infatti il 1982 quando \ni giovanissimi Tiziano, Wilma, Luisella e \nSimone vengono catapultati in un setto-\nre con grandi potenzialità e, per sottoli-\nneare le loro radici territoriali, scelgono \nd’istinto quel simbolo globale che è la \ntipica imbarcazione veneziana, quasi a \ndire che sarà la solida tradizione a tra-\nghettarli verso una nuova impresa.\n \nNella loro famiglia scorre il vero \ngene dell’imprenditoria, quello della tra-\nsformazione: si ritrovano così a gestire \nun laboratorio che il padre aveva rileva-\nto proprio per stimolare i figli a confron-\ntarsi con un nuovo settore di cui intuiva \ngrandi opportunità, e terminati gli studi \nsi lanciano quindi in un mondo che all’e-\npoca era ancora tutto da innovare.\nTrasformazioni\n \nIl laboratorio tessile produce in \norigine biancheria per la casa, soprattut-\nto cuscini da sedia. Al tempo si chiama-\nno “Veneta Cuscini”, nel logo troneggia \nil profilo del ferro di una gondola e il se-\ngno della trifora di Palazzo Ducale, pre-\nsente nella Visual Identity dei primi anni: \nun vero imprinting.\n \nCon il piglio tipico degli imprendi-\ntori, i Carnieletto sanno che nel momento \ndi successo di un prodotto è necessario \nguardare oltre, spingersi verso il nuovo, \nanche a costo di sconfinare oltre la pro-\npria comfort zone. Ed è così che capisco-\nno che il passo da compiere è quello che \ndal cuscino va al letto imbottito. Lavorano \ninizialmente per conto terzi e assistono \nalla crescita del settore, assimilando co-\nme e quanto la differenza la possa fare il \nprodotto giusto, ben pensato, progettato \nda un professionista e realizzato con cura \nartigianale e materiali eccellenti. Nascono \ni lettini singoli, quelli con la testata dalla \nlinea morbida, sempre con un occhio al-\nla praticità funzionale, e sarà subito suc-\ncesso: il settore dell’arredo li accoglie. \nIt all started with the gondola\n \nA large gondola full of colourful \npadded cushions: this image marks the \nbeginning of the Carnieletto family’s ad-\nventure into the world of textiles and up-\nholstery. Indeed, it was in 1982 that the \nyoung siblings, Tiziano, Wilma, Luisella \nand Simone, were catapulted into a sector \nthat offered great potential and, remain-\ning true to their roots, they instinctively \nchose the globally-renowned symbol of \nthe classic Venetian boat, almost as if to \nsay that it would be their bond with tra-\ndition that would lead them to success. \n \nA truly entrepreneurial gene, one \nguided by transformation, pervades the \nfamily’s DNA: they thus find themselves \nmanaging a workshop that their father \nhad acquired to encourage his children to \ntake on a new sector in which he sensed \ngreat opportunities awaited, and after fin-\nishing their studies they launched them-\nselves into a world that, at the time, was \ncrying out for genuine innovation.\nTransformations\n \nThe textile workshop original-\nly produced soft furnishings, particular-\nly chair cushions. At the time they were \ncalled “Veneta Cuscini”, the logo featured \nthe iron prow-head of a gondola and the \nsymbol of the Palazzo Ducale’s triforium, \nrepresenting their Visual Identity during \nthose early years: a genuine stamp of \nVenetian quality.\n \nWith their typical entrepreneuri-\nal flair, the Carnielettos know that when a \nproduct finds success it’s never the mo-\nment to rest on one’s laurels, it’s neces-\nsary to go beyond, to push towards the \nnew, even if it means going outside one’s \ncomfort zone. It was through this spirit \nthat they understood the need to transi-\ntion from the cushion to the upholstered \nbed. Initially operating on behalf of third \nparties, they witnessed the growth of the \nsector, assimilating knowledge of how \nand how much the perfect, well-con-\nceived product, designed by profession-\nals, crafted with care and made using \nquality materials, can make all the dif-\nPunta della Dogana\ne il Canal Grande\nripresi da Piazza San \nMarco.\nPunta della Dogana\nand the Canal Grande\nseen from Piazza San \nMarco.\n",4,{"image":30,"text":31,"number":32},"\u002Fmedia\u002Fimages\u002Fa4\u002F69789ed09c966f6a49d5d7b454c18f-28872c29b0.5.png"," \nCosì arriva il momento in cui, gra-\nzie alla capacità imprenditoriale e all’abi-\nlità produttiva dei fratelli, il confronto con \ni progettisti diviene logica conseguenza.  \n \nNei primi anni 2000 inizia la col-\nlaborazione con Silvia Prevedello, che di-\nviene l’art director dell’azienda, la quale \nè pronta ormai a chiamarsi Twils, con l’a-\ncronimo dei nomi dei fratelli e tutta la lo-\nro voglia di spingersi oltre quello che già \ngovernano brillantemente.\nDesigner a bordo\n \nI nuovi modelli si susseguono: al-\ncuni sono rivisitazioni di finiture tradizio-\nnali portate alla contemporaneità, come \nil classico capitonné; altri sono risposte \nad esigenze nuove, con innovazioni co-\nme le testate alte, quasi piccoli divisori in \nambienti open, che possono essere an-\nche attrezzate e unire più funzioni; sen-\nza dimenticare l’accento sulla vestibilità \ndelle strutture che, grazie all’ormai con-\nsolidata eccellenza nella gestione del ri-\nvestimento tessile, può davvero aprirsi a \ninfinite configurazioni di forme e colori. \n \nA partire dal 2016 iniziano colla-\nborazioni importanti con nomi di altret-\nference. And thus, their single beds were \nborn, adorned with softly shaped head-\nboards but always offering an element of \nfunctional practicality, and they were an \nimmediate success: the furniture sector \nwelcomed them with open arms. \n \nAnd so the moment arrived when, \nthanks to their insatiable entrepreneur-\nial spirit and production expertise, they \ndecided to take the logical next step to \ncollaborate with other designers.  \n \nIn the early 2000s, they started \nworking with Silvia Prevedello, who went \non to become the company’s art director, \na company that was soon to be known \nas Twils, an acronym formed from the \nnames of the four siblings and their de-\nsire to push beyond the incredible suc-\ncess they’d already achieved. \nDesigners on board\n \nThere then followed a succes-\nsion of new models: some were tradi-\ntional finishes reinterpreted to deliver a \ncontemporary look, such as the classic \nbutton tufting; others were designed to \nmeet a new need, with innovations such \nas high headboards effectively function-\ntanto rilievo: quelle con  Studio Palomba \nSerafini, con Meneghello e Paolelli, con \nMonica Graffeo, solo per citarne alcuni.\n \nNel 2020 Matteo Ragni diviene \nil nuovo art director e introduce non solo \nprodotti e designer, ma una linea di rin-\nnovata identità, che sottolinea da un la-\nto la qualità acquisita come punto fermo \nnel settore di cui Twils è ormai riferimen-\nto, dall’altro la capacità ad affrontare e \nvincere sfide complesse. Una di queste \nsi presenta prontamente quando viene \ncoinvolto Luca Nichetto, che porta l’a-\nzienda a lavorare con materiali ottenu-\nti da tecniche industriali inusuali per il \nmondo dell’imbottito, dimostrando che \nartigianalità e serie industriale possono \ne devono convivere in simbiotico van-\ntaggio. Al tempo stesso nel 2022 Ragni \nporta l’attenzione verso la riscoperta di \nun gioiello della produzione del maestro \nAchille Castiglioni, rieditando filologica-\nmente la poltrona letto Polet, dimostrando \ncome il buon progetto sia sempre attuale. \nE sancendo definitivamente l’affermazio-\nne di Twils anche nel settore Living, con \ni divani e gli imbottiti sia per il contesto \ndomestico che per il contract.\ning as small partitions for open spaces, \nand also equipped to perform a combi-\nnation of several other functions; and, of \ncourse, not forgetting the emphasis on \nadorning their bed frames with coordi-\nnated linen and soft furnishings which, \nthanks to the company’s extensive textile \nupholstery expertise, are able to open up \nan infinite range of form and colour con-\nfiguration possibilities. \n \nStarting in 2016, a number of oth-\ner major collaborations with renowned \nnames followed: with Studio Palomba \nSerafini, Meneghello and Paolelli, and \nMonica Graffeo, to name but a few.\n \nIn 2020, Matteo Ragni became \nthe company’s new art director who in-\ntroduced, as well as additional products \nand designers, a line with a renewed iden-\ntity which, on the one hand emphasises \nthe quality for which Twils is now con-\nsidered a benchmark brand within the \nsector, and on the other hand underlines \nthe ability to tackle and overcome com-\nplex challenges. One of these occurred \nnaturally through a collaboration with \nLuca Nichetto, resulting in the compa-\nny working with materials obtained from \nindustrial techniques considered unu-\nsual for the upholstered furniture world, \ndemonstrating that craftsmanship and \nindustrial manufacturing can and must \ncoexist to generate symbiotic benefits. \nSimultaneously, in 2022, Ragni brought \nAchille Castiglioni’s masterpiece back in-\nto the spotlight with a conscientious new \nedition of the iconic Polet armchair-bed, \ndemonstrating that good design never \ngoes out of fashion. He also helped con-\nfirm Twils’ prominence in the Living sec-\ntor, with sofas and upholstered furniture \nsuitable for both the domestic and hos-\npitality environments.\nTiziano, Vilma, \nLuisella, Simone \nCarnieletto.\nUn dettaglio della\nlavorazione capitonné, \ntestimone del\nsaper fare di Twils.\nA detail of the\ncapitonné workmanship, \nan example\nof Twils know-how.\nPolet, un progetto\ndi Achille Castiglioni \ndel 1992, nella sua\nriedizione curata da \nTwils nel 2022.\nThe re-edition of Polet, \na project designed\nby Achille Castiglioni in \n1992, curated by Twils \nin 2022.\n",5,{"image":34,"text":35,"number":36},"\u002Fmedia\u002Fimages\u002Fa4\u002F69789ed09c966f6a49d5d7b454c18f-28872c29b0.6.png","Canalgrande\n \nOgni cosa al suo posto, ogni \nforma per la sua funzione, ogni compo-\nnente col suo materiale: la gondola ve-\nneziana è stata celebrata dalla storia \ncome esempio di funzionalismo ed effi-\ncienza progettuale, andando ben oltre la \nsua immagine vernacolare. Se non fos-\nse un esempio straordinario d’ingegneria \ndella mobilità, sarebbe impossibile ve-\ndere un’imbarcazione guidata da un sin-\ngolo rematore andare dritta nonostante \nla propulsione asimmetrica. Il segreto è \nquindi tutto nell’unione tra chi la gover-\nna e il suo design: una metafora emble-\nmatica di quanto avviene in azienda. \n \nIl letto Canalgrande, firmato da \nRagni e Tiziano Carnieletto, è davvero la \nchiusura del cerchio, la coincidenza di \nalpha e omega di una storia, il segmen-\nto che unisce tutti i puntini e fa emerge-\nre la figura finale. Quello che affiora è un \nmodello antico ma innovativo, che co-\nniuga molte prestazioni grazie alla te-\nstata “abitabile” e “attrezzata”, tramite \nun sistema che integra mensole, ripia-\nni e imbottitura. Ma è anche l’immagine \npiù ampia di un’azienda che ha saputo \nda sempre non fermarsi, scorrere legge-\nra e fluida verso nuovi traguardi, accet-\ntando la sfida del cambiamento, il quale \n- mai come oggi - è una delle poche cer-\ntezze del nostro tempo.\nDomitilla Dardi, aprile 2024\nCanalgrande\n \nEverything in its place, every \nform has its function, every component \nwith its material: the Venetian gondola \nhas been celebrated throughout history \nas an example of ultimate functionalism \nand design efficiency, reaching far be-\nyond its vernacular image. If it were not \nan extraordinary example of transport \nengineering, it would be impossible for \na boat that’s propelled asymmetrically \nby a single person to travel in a straight \nline. The secret is therefore all in the un-\nion between its design and those who \nnavigate it: an emblematic metaphor for \nTwils’ way of working. \n \nThe Canalgrande bed, designed \nby Ragni and Tiziano Carnieletto, rep-\nresents the closing of a circle, the al-\npha and omega of a story, the piece that \njoins all the dots to reveal the final fig-\nure. The result is a unison between the \nancient and the innovative, a model that \ncombines a plethora of functions thanks \nto its headboard that’s both “habitable” \nand “equipped”, with a system that brings \nshelves, racks and upholstery together \ninto one furniture piece. But it’s also the \nbroader image of a company that never \nrests on its laurels, but always glides ef-\nfortlessly and fluidly towards new goals, \naccepting the challenge of change, which \n- more now than ever - is one of the few \ncertainties of our time.\nDomitilla Dardi, April 2024\n",6,{"image":38,"text":39,"number":40},"\u002Fmedia\u002Fimages\u002Fa4\u002F69789ed09c966f6a49d5d7b454c18f-28872c29b0.7.png","Canalgrande è un progetto nato dalla \nconversazione fra un imprenditore e \nun designer, un’idea che si riflette nel-\nla memoria di due soggetti che hanno \nuno sguardo diverso puntato a un unico \norizzonte, quello del prodotto intelligente, \nben fatto, bello.\n \nÈ il buon design nella sua espres-\nsione più naturale, nel solco di un modus \noperandi che ha fatto del made in Italy \nun paradigma collaborativo che porta \nall’eccellenza. \nCanalgrande stemmed from a conver-\nsation between an entrepreneur and \na designer. The idea is reflected in the \nmemories of two figures who have differ-\nent perspectives but both focus on the \nsame goal: an intelligent, well-made and \nattractive product.\n \nFeaturing good design in its most \nnatural form, behind it is the classic “Made \nin Italy” approach that has become the \nepitome of collaboration-based excel-\nlence.\n",7,{"image":42,"text":43,"number":44},"\u002Fmedia\u002Fimages\u002Fa4\u002F69789ed09c966f6a49d5d7b454c18f-28872c29b0.8.png","altezza\naltezza giroletto\naltezza piedi\nlarghezza testiera\nlarghezza pediera\nprofondità\n104\n15\n17\n271\n192\n229\nheight\nbed frame height\nlegs height\nheadboard length\nfootboard length\ndepth\n229\n271\n104\ncm\n",8,{"image":46,"text":47,"number":48},"\u002Fmedia\u002Fimages\u002Fa4\u002F69789ed09c966f6a49d5d7b454c18f-28872c29b0.9.png","Il dialogo fra progetto e industria è sem-\npre affascinante. In questo caso parte \nda una (buona) idea: agire sulla testiera, \npiù precisamente sul retro della testiera, \nper darle una funzione più ampia, ricon-\nducendo una parte usualmente negletta \ndell’oggetto letto a una visione originale, \nradicalmente alternativa.\n \nNon un letto da appoggiare al \nmuro, ma un mobile da collocare al cen-\ntro dello spazio, da circumnavigare per \nusarne ogni parte. Intorno al letto c’è un \nmondo simbolico, che ha bisogno di og-\ngetti significativi, libri, luci. Canalgrande \nè uno scrigno di tesori personali e intimi.\nIt is always fascinating to see how the \ndesign and industrial worlds interact. In \nthis case, it all began with an (excellent) \nidea: to give the headboard – and more \nspecifically the back of the headboard \n– a broader role to play, thus presenting \na totally original vision of a normally ne-\nglected part of the bed.\n \nInstead of pushing it up against \na wall, this item of furniture should be \nput in the middle of the room and walked \naround so every part of it can be used. \nMeaningful items such as books and \nlights play a key role in the symbolic \nworld around every bed.\n",9,{"image":50,"text":51,"number":52},"\u002Fmedia\u002Fimages\u002Fa4\u002F69789ed09c966f6a49d5d7b454c18f-28872c29b0.10.png","communication\ndirector:\nVilma Carnieletto\nart direction:\nMatteo Ragni\nphoto:\nMax Rommel\ngraphic design:\nabout studio\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: \nDomitilla Dardi\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 alimenta \nuna rete di fornitori locali e si fa alimentare da lo-\nro, in un circuito virtuoso potenzialmente infinito. \nCircolare 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 ultima \nbattuta, mettendo a prova la propria sartorialità \nper una manifattura pregiata e gusto per i tessuti \ndi 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.    \nUn progetto nato per celebrare la legge-\nrezza, dei pensieri come dei sogni. Una \ntestiera lieve come una piuma, dalle li-\nnee tese che, negli occhi di Tiziano, ri-\nmandano alla sagoma del ferro di una \ngondola, icona tanto cara a Twils sin dai \nsuoi esordi più di 40 anni fa. \n \nCosì il progetto ha preso una \nnuova via e un nuovo significato: da sem-\nplice letto a testimone silente di un per-\ncorso aziendale, ricco di tradizione e \ncontinua sperimentazione.\n \nUna nuova storia da racconta-\nre, nel fluire del dibattito tra designer e \nimprenditore\u002Fdesigner, dove la testiera \nintegra comodini in legno dalle forme ae-\nree, dove la piuma diventa gondola per \ncullarci e traghettarci lievemente tra le \nbraccia di Morfeo.\nThe design celebrates the lightness of \ncarefree thoughts and dreams. The head-\nboard is as light as a feather, with a taut \nshape that reminds Tiziano of the met-\nal outline of a gondola, an iconic image \nthat Twils has cherished since it launched \nmore than 40 years ago.\n \nThis has led the design down \na new path and given it fresh meaning: \nmore than just a simple bed, it now qui-\netly bears witness to the wealth of tradi-\ntions and endless experimentation during \nthe company’s journey.\n \nIt tells a new story, as the debate \nbetween designer and entrepreneur\u002Fde-\nsigner unfolds. Airy wooden bedside ta-\nbles are built into the headboard and a \nfeather becomes a gondola, getting cra-\ndling us as we drift off to sleep.\nMatteo Ragni, 2024\n",10,{"image":54,"text":55,"number":56},"\u002Fmedia\u002Fimages\u002Fa4\u002F69789ed09c966f6a49d5d7b454c18f-28872c29b0.11.png","",11,{"image":58,"text":59,"number":60},"\u002Fmedia\u002Fimages\u002Fa4\u002F69789ed09c966f6a49d5d7b454c18f-28872c29b0.12.png","L’ingresso\ndel Canal Grande\nCanaletto, 1730\n",12,{"image":62,"text":63,"number":64},"\u002Fmedia\u002Fimages\u002Fa4\u002F69789ed09c966f6a49d5d7b454c18f-28872c29b0.13.png","Canalgrande\ntwils.it\ndesign Matteo Ragni\nwith Tiziano Carnieletto\nA design that celebrates \nthe lightness of carefree \nthoughts and wonderful \ndreams. A headboard\nas light as a feather, with \na taut shape that reminds \nTwils founder Tiziano \nCarnieletto of the metal \noutline of a gondola,\nan iconic image that Twils \nhas cherished since\nit launched more than 40 \nyears ago.\nMatteo Ragni,\n2024\n",13,[],0,false,true,{"success":68,"data":70,"meta":290,"count":291,"next":292,"previous":293,"results":330,"brand_chips":391},[71,84,97,110,120,133,146,156,166,176,186,199,209,219,228,238,251,261,271,281],{"id":72,"title":73,"slug":74,"image":75,"source":76,"brand_name":77,"brand":78,"brand_slug":79,"file_size":80,"pages":81,"pages_count":82,"matched_pages":83,"match_count":66,"two_pages":67,"show_text":68},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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