[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-wallanddeco-contemporary-wallpaper-collection-2024":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":348},{"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":343,"matched_pages":344,"match_count":345,"two_pages":346,"show_text":347},22087,"Contemporary Wallpaper Collection 2024","wallanddeco-contemporary-wallpaper-collection-2024","\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002F09\u002F9fed632d4b9ce86fc636d5a8bfe4a2-28e15e384b.pdf","Wall&deco",2370,"wall-deco","23.9 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],{"image":7,"text":15,"number":16},"",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.2.png","CONTEMPORARY WALLPAPER COLLECTION\nCWC\n2024\n",2,{"image":22,"text":23,"number":24},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.3.png","Subject\nImage pag.\nTechnical pag.\nADORE\n48\n138\nARBOLÉ\n96\n138\nARCANTICO\n50\n138\nBACK HOME\n52\n139\nCANTO NOVO\n8\n139\nCONCRETÉ\n10\n139\nCONTRAST\n12\n140\nDAYDREAM\n98\n140\nDELIGHT\n14\n140\nEDINBURGH\n54\n141\nFIRES\n57\n141\nGIARDINO UTOPICO\n58\n141\nGIVERNY\n61\n142\nIN MOVEMENT\n100\n142\nISAMU\n102\n142\nIT'S YOU\n70\n143\nKORAJU\n16\n143\nL’ARCHIVISTA\n22\n143\nLANHUA\n108\n144\nLE CARRÉ\n19\n144\nLIGHTSCAPE\n110\n144\nMACRÒ\n64\n145\nMAGMA\n66\n145\nMARIMBORA\n115\n145\nMOOD FOR LOVE\n68\n146\nMURMURE\n116\n146\n1.\nMEDITERRANEO\npag. 6\n2.\nMID CENTURY GLAM\npag. 47\n3.\nSUNDAY MOOD\npag. 94\nTECHNICAL \nINFORMATION \npag. 137\n2024 collection\nSubject\nImage pag.\nTechnical pag.\nMYSTERIA\n24\n146\nNAIADI\n27\n147\nNOT A TARTAN\n104\n147\nŌKU\n73\n147\nOMBRA LIEVE\n30\n148\nORIENTE\n75\n148\nOUTLINES\n33\n148\nPHASES\n76\n149\nPINETO\n36\n149\nPOETICO\n38\n149\nQUADRATURA\n79\n150\nSAVANNA GRACE\n83\n150\nSEIZĀ\n41\n150\nSERENO\n86\n151\nSHIFT\n118\n151\nSOUND OF SILENCE\n89\n151\nSTIGE\n42\n152\nTHE QUEST\n122\n152\nTILING\n90\n152\nTRASLUCIDO\n44\n153\nTURBOLENCE\n92\n153\nUKABO\n124\n153\nVELVET\n126\n154\nVENICE\n131\n154\nWALKING WITH THE MOON\n132\n154\nWARPING\n134\n155\n",3,{"image":26,"text":27,"number":28},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.4.png","d.ecodura™, il nuovo paradigma nella carta da parati.                                                                                   \nUna ridefinizione degli standard della carta da parati senza \ncompromessi tra Sostenibilità, Durata e Bellezza.\nIn un mondo in cui il compromesso sembra spesso inevitabile, d.ecodura™ è la \nprova della dedizione di Wall&decò all’eccellenza, con un’attenzione prioritaria \nal rispetto del pianeta - una carta da parati che non è solo un prodotto, ma un \nvero e proprio cambiamento di paradigma che incarna tre pilastri fondamentali: \ncoscienza ecologica, durata senza pari ed estetica senza tempo.\nInnovazione eco-sostenibile con BIOVYN™:\nd.ecodura™ è pioniere di un approccio sostenibile, sostituendo il vinile \nconvenzionale con BIOVYN™, un materiale innovativo che vanta una Carbon \nFootprint inferiore del 97,6% rispetto al normale PVC. \nBIOVYN™ è prodotto al 100% con etilene di origine biologica derivato da \nresidui di legno dell’industria forestale. \nPrestazioni e bellezza senza compromessi:\nNon lasciarti confondere dall’etichetta ecologica: d.ecodura™ offre le stesse \nelevate prestazioni della nostra carta da parati tradizionale, garantendo \naltrettanta resistenza ai graffi e mantenendo altrettanta lavabilità, spesso una \nrarità nei prodotti ecologici. Anche a livello estetico il valore rimane inalterato, \noffrendo la stessa preziosità di texture.\nUna svolta significativa verso la sostenibilità:\nd.ecodura™ non è solo un cambiamento, è un progresso. \nUtilizzando BIOVYN™ per lo strato superficiale, d.ecodura™ può vantare una \nCarbon Footprint inferiore di quasi il 50% rispetto al nostro supporto tradizionale. \nInoltre, si tratta di un traguardo importante: un vinile privo di plastiche vergini di \norigine fossile, in linea con il nostro impegno per un futuro più verde.\nUnirsi alla soluzione, non al Problema:\nd.ecodura™ conferma la nostra volontà di fare la differenza. \nÈ una dichiarazione dei nostri valori, in cui sostenibilità, durata ed estetica \ncoesistono armoniosamente.\nÈ il nostro impegno a essere parte della soluzione, non del problema.\nE tu da che parte vuoi stare?\nd.ecodura™, the new paradigm in wallpaper.                                                                                          \nRedefining wallpaper standards with uncompromising Sustainability, \nDurability, and Beauty.\nIn a world where compromise often seems inevitable, d.ecodura™ stands as \na proof of Wall&decò dedication to excellence while prioritizing the planet’s \nwelfare -  a wallpaper that is not just a product but a real paradigm shift that \nembodies three key pillars: ecological consciousness, unparalleled durability, \nand timeless aesthetics.\nEco-Conscious Innovation with BIOVYN™:\nd.ecodura™ pioneers a sustainable approach by replacing conventional vinyl \nwith BIOVYN™, a game-changing material that boasts an impressive 97.6% \nlower carbon footprint compared to regular PVC. \nBIOVYN™ is made 100% using bio-sourced ethylene derived from wood-\nbased residue from the forestry industry. \nPerformance and Beauty without Compromise:\nDon’t let the eco-friendly tag mislead you; d.ecodura™ matches the same \nhigh performance as our traditional wallpaper. Its durability stands firm \nagainst scratches, maintaining remarkable washability, often a rarity in \neco-products. Plus, it retains the same captivating beauty that defines our \nprevious substrate.\nA Significant Shift Towards Sustainability:\nd.ecodura™ isn’t just about change; it’s about progress. By utilizing BIOVYN™ \nfor the front material, d.ecodura™ proudly achieves almost 50% lower carbon \nfootprint compared to our original wallpaper substrate. \nMoreover, it’s a milestone achievement— a vinyl without any virgin fossil-\nbased plastics is present, aligning with our commitment to a greener future. \nJoining the Solution, Not the Problem:\nd.ecodura™ confirms our dedication to making a difference. \nIt’s a statement to our values, where sustainability, durability, and \naesthetics harmoniously coexist.\n It’s our pledge to be part of the solution, not part of the problem. \nAnd you: which side do you want to be on?\n",4,{"image":30,"text":31,"number":32},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.5.png","MEDITERRANEO\n2024 collection\n1.\n \n“Homo Faber” - l’uomo che fa - \nelemento centrale che permea ogni aspetto, \ndalle superfici alle decorazioni: l’importanza \ndel gesto e del lavoro artigianale nel \nprocesso creativo.\n \n“Homo Faber” - the man who makes - \na central element that permeates every aspect, \nfrom surfaces to decorations: the importance \nof gesture and craftsmanship in the creative \nprocess.\n",5,{"image":34,"text":35,"number":36},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.6.png","Christian Benini\nCANTO NOVO\nWDCN2401\n8\nMediterraneo\n9\n",6,{"image":38,"text":39,"number":40},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.7.png","10\nMediterraneo\nTommaso Spinzi\nCONCRETÉ\nWDCC2401\n11\n",7,{"image":42,"text":43,"number":44},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.8.png","12\nLudovica+Roberto Palomba\nCONTRAST\nWDCO2401\n13\n",8,{"image":46,"text":47,"number":48},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.9.png","Gupica\nDELIGHT\nWDDE2401\n14\nMediterraneo\n15\n",9,{"image":50,"text":51,"number":52},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.10.png","16\nMediterraneo\nAntonella Guidi\nKORAJU\nWDKO2401\n17\n",10,{"image":54,"text":55,"number":56},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.11.png","Giovanni Pesce\nLE CARRÉ\n WDLC2401\n18\nMediterraneo\n19\n",11,{"image":58,"text":59,"number":60},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.12.png","Un racconto corale di isole e coste del sud.\nA choral tale of southern islands and coastlines.\n20\nMediterraneo\n21\n",12,{"image":62,"text":63,"number":64},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.13.png","Mediterraneo\n22\nAntonio Marras\nL’ARCHIVISTA\n WDAC2401\n23\n",13,{"image":66,"text":67,"number":68},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.14.png","24\nMediterraneo\nEva Germani\nMYSTERIA\nWDMY2401\n25\n",14,{"image":70,"text":71,"number":72},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.15.png","Studio Salaris\nNAIADI\nWDNA2401\n26\nMediterraneo\n27\n",15,{"image":74,"text":75,"number":76},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.16.png","28\nMediterraneo\n29\n",16,{"image":78,"text":79,"number":80},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.17.png","30\nMediterraneo\nChristian Benini\nOMBRA LIEVE\nWDOL2401\n31\n",17,{"image":82,"text":83,"number":84},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.18.png","Ines Porrino\nOUTLINES\nWDOU2401\n32\nMediterraneo\n33\n",18,{"image":86,"text":87,"number":88},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.19.png","La terra riarsa dal sole e grigia avvolge tutte le superfici \ncon la sua presenza.\nThe grey sun-baked earth envelops all surfaces with its \npresence.\n34\nMediterraneo\nLa luce abbacinante di luglio vista \nattraverso le lenti scure di un occhiale da \nsole, che rende i bianchi opachi e i colori \ndesaturati. \nThe dazzling light of July seen through the \ndark lenses of sunglasses dulls whites and \ndesaturates colours.\n35\n",19,{"image":90,"text":91,"number":92},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.20.png","36\nMediterraneo\nChristian Benini\nPINETO\nWDPI2401\n37\n",20,{"image":94,"text":95,"number":96},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.21.png","Giovanni Pesce\nPOETICO\nWDPO2401\n38\nMediterraneo\n39\n",21,{"image":98,"text":99,"number":100},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.22.png","Studio Salaris\nSEIZĀ\nWDSZ2401\n40\nMediterraneo\n41\n",22,{"image":102,"text":103,"number":104},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.23.png","42\nMediterraneo\nStudio Salaris\nSTIGE\nWDST2401\n43\n",23,{"image":106,"text":107,"number":108},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.24.png","Andrea Merendi\nTRASLUCIDO\nWDTR2401\n44\nMediterraneo\n45\n",24,{"image":110,"text":111,"number":112},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.25.png","MID CENTURY GLAM\n2024 collection\n2.\n \nL’eleganza Mid Century diventa \nsuper glamorous e ci porta in un viaggio \nimmaginario fra residenze esclusive a \nParigi, Londra, Los Angeles.\n \nMid Century elegance becomes \nultra-glam and takes us on an imaginary \njourney through exclusive residences in Paris, \nLondon and Los Angeles.\n",25,{"image":114,"text":115,"number":116},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.26.png","Mid Century Glam\n48\nLorenzo De Grandis\nADORE\nWDAD2401\n49\n",26,{"image":118,"text":119,"number":120},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.27.png","Christian Benini\nARCANTICO\nWDAR2401\n50\nMid Century Glam\n51\n",27,{"image":122,"text":123,"number":124},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.28.png","Eva Germani\nBACK HOME\nWDBH2401\n52\nMid Century Glam\n53\n",28,{"image":126,"text":127,"number":128},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.29.png","54\nMid Century Glam\nPaolo Badesco \nCostantino Affuso\nEDINBURGH\nWDED2401\n55\n",29,{"image":130,"text":131,"number":132},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.30.png","Serena Confalonieri                        \nFIRES\nWDFI2401\n56\nMid Century Glam\n57\n57\n",30,{"image":134,"text":135,"number":136},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.31.png","58\nMid Century Glam\nEva Germani\nGIARDINO UTOPICO\nWDGU2401\n59\n",31,{"image":138,"text":139,"number":140},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.32.png","Christian Benini\nGIVERNY\nWDGI2401\n60\nMid Century Glam\n61\n",32,{"image":142,"text":143,"number":144},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.33.png","An aura of refinement defines the space \nwith timeless elegance.\nUn’aura di raffinatezza definisce lo spazio \ncon un’eleganza senza tempo.\n62\nMid Century Glam\n63\n",33,{"image":146,"text":147,"number":148},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.34.png","Talva Design\nMACRÒ\nWDMC2401\nMid Century Glam\n64\n65\n",34,{"image":150,"text":151,"number":152},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.35.png","Mid Century Glam\n66\nLudovica+Roberto Palomba                     \nMAGMA\nWDMG2401\n67\n",35,{"image":154,"text":155,"number":156},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.36.png","Lorenzo De Grandis\nMOOD FOR LOVE\nWDML2401\nMid Century Glam\n68\n69\n",36,{"image":158,"text":159,"number":160},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.37.png","70\nMid Century Glam\nDeBonaDeMeo\nIT’S YOU\nWDIY2401\n71\n",37,{"image":162,"text":163,"number":164},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.38.png","Studio Salaris\nŌKU\nWDOK2401\n72\nMid Century Glam\n73\n",38,{"image":166,"text":167,"number":168},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.39.png","Federico Peri\nORIENTE\nWDOR2401\n74\nMid Century Glam\n75\n",39,{"image":170,"text":171,"number":172},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.40.png","76\nMid Century Glam\nMae Engelgeer\nPHASES\nWDPH2401\n77\n",40,{"image":174,"text":175,"number":176},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.41.png","Gupica\nQUADRATURA\nWDQU2401\n78\nMid Century Glam\n79\n",41,{"image":178,"text":179,"number":180},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.42.png","Un wallcovering che va pensato come un abito, parte di \nun insieme più complesso, ma in grado di contribuire in \nmodo unico alla caratterizzazione di un ambiente.  \nA wallcovering that should be thought of as a garment, part \nof a more complex whole, but able to contribute uniquely to \nthe characterisation of an environment.\n80\nMid Century Glam\nAdornment as a challenge, in a visual grammar that \nfavours stone, ceramic and wood cladding.\nIl decoro come sfida in una grammatica visiva che \npredilige rivestimenti in pietra, ceramica e legno.\n81\n",42,{"image":182,"text":183,"number":184},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.43.png","Talva Design\nSAVANNA GRACE\nWDSG2401\n82\nMid Century Glam\n83\n",43,{"image":186,"text":187,"number":188},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.44.png","84\nMid Century Glam\n85\n",44,{"image":190,"text":191,"number":192},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.45.png","86\nMid Century Glam\nLorenzo De Grandis\nSERENO\nWDSE2401\n87\n",45,{"image":194,"text":195,"number":196},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.46.png","Lorenzo De Grandis\nSOUND OF SILENCE\nWDSS2401\n88\nMid Century Glam\n89\n",46,{"image":198,"text":199,"number":200},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.47.png","90\nMid Century Glam\nFederico Peri\nTILING\nWDTI2401\n91\n",47,{"image":202,"text":203,"number":204},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.48.png","Paolo Badesco \nCostantino Affuso\nTURBOLENCE\nWDTU2401\n92\nMid Century Glam\n93\n",48,{"image":206,"text":207,"number":208},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.49.png","2024 collection\nSUNDAY MOOD\n3.\n \nUn gioco libero di forme e di colori.\n \nA free interplay of shapes and colours.\n",49,{"image":210,"text":211,"number":212},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.50.png","Antonella Guidi\nARBOLÉ\nWDAB2401\n96\nSunday Mood\n96\ncollection 2023 \u002F\u002F VIRTUAL AESTHETICS\n97\n",50,{"image":214,"text":215,"number":216},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.51.png","The Elusive Otter\nDAYDREAM\nWDDD2401\n98\nSunday Mood\n99\n",51,{"image":218,"text":219,"number":220},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.52.png","100\nSunday Mood\nLudovica+Roberto Palomba\nIN MOVEMENT\nWDIM2401\n101\n",52,{"image":222,"text":223,"number":224},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.53.png","Studiopepe\nISAMU\nWDIS2401\n102\nSunday Mood\n103\n",53,{"image":226,"text":227,"number":228},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.54.png","DeBonaDeMeo\nNOT A TARTAN\nWDNT2401\n104\nSunday Mood\n105\n",54,{"image":230,"text":231,"number":232},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.55.png","106\nSunday Mood\n107\n",55,{"image":234,"text":235,"number":236},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.56.png","Sunday Mood\n108\nAnna Vermiglia De Carlo\nLANHUA\nWDLA2401\n109\n",56,{"image":238,"text":239,"number":240},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.57.png","110\nSunday Mood\nDraga&Aurel\nLIGHTSCAPE\nWDLS2401\n111\n",57,{"image":242,"text":243,"number":244},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.58.png","La lezione di Gaudì diventa regola in una visione degli spazi e dei volumi \nrivoluzionata rispetto al modo tradizionale di pensare e di progettare.\n112\nSunday Mood\nGaudi’s lesson becomes the rule \nin a vision of spaces and volumes \nthat overturns the traditional way of \nthinking and designing.\n113\n",58,{"image":246,"text":247,"number":248},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.59.png","Simone Fanciullacci\nMARIMBORA\nWDMA2401\n114\nSunday Mood\n115\n",59,{"image":250,"text":251,"number":252},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.60.png","Sunday Mood\n116\nDraga&Aurel\nMURMURE\nWDMU2401\n117\n",60,{"image":254,"text":255,"number":256},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.61.png","Mae Engelgeer\nSHIFT\nWDSH2401\n118\nSunday Mood\n119\n",61,{"image":258,"text":259,"number":260},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.62.png","120\nSunday Mood\n121\n",62,{"image":262,"text":263,"number":264},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.63.png","The Elusive Otter\nTHE QUEST\nWDTQ2401\n122\nSunday Mood\n123\n",63,{"image":266,"text":267,"number":268},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.64.png","Sunday Mood\n124\nSilvia Stella Osella\nUKABO\nWDUK2401\n125\n",64,{"image":270,"text":271,"number":272},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.65.png","Francesca Zoboli                  \nVELVET\nWDVE2401\n126\nSunday Mood\n127\n",65,{"image":274,"text":275,"number":276},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.66.png","A cornerless world, where organic forms reign supreme.\n128\nSunday Mood\nUn mondo senza angoli, dove le forme organiche sono protagoniste assolute.\n129\n",66,{"image":278,"text":279,"number":280},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.67.png","Francesca Zoboli\nVENICE\nWDVN2401\n130\nSunday Mood\n131\n",67,{"image":282,"text":283,"number":284},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.68.png","132\nSunday Mood\nAlessandro Gottardo \n(aka Shout)                        \nWALKING WITH THE MOON\nWDWM2401\n133\n",68,{"image":286,"text":287,"number":288},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.69.png","Le Dictateur\nWARPING\nWDWA2401\n134\nSunday Mood\n135\n",69,{"image":290,"text":291,"number":292},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.70.png","CWC 2024\nTECHNICAL INFORMATION \n",70,{"image":294,"text":295,"number":296},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.71.png","Adore \u002F Lorenzo De Grandis\nWDAD2401\nWDAD2402\nArbolé \u002F Antonella Guidi\nWDAB2401\nWDAB2402\nArcantico \u002F Christian Benini\nWDAR2401\nWDAR2402\nLarghezza Rollo \u002F Roll Width: 47 cm \u002F 18,5\"  — Lunghezza Rollo \u002F Roll Length: Custom\n138\nSezione Tecnica - Technical Section\nCanto Novo \u002F Christian Benini\nWDCN2401\nWDCN2402\nConcreté \u002F Tommaso Spinzi\nWDCC2401\nWDCC2402\nBack home \u002F Eva Germani\nWDBH2401\nWDBH2402\nLarghezza Rollo \u002F Roll Width: 47 cm \u002F 18,5\"  — Lunghezza Rollo \u002F Roll Length: Custom\n139\n",71,{"image":298,"text":299,"number":300},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.72.png","Contrast \u002F Ludovica+Roberto Palomba\nWDCO2401\nWDCO2402\nDaydream \u002F The Elusive Otter\nWDDD2401\nWDDD2402\nDelight \u002F Gupica\nWDDE2401\nWDDE2402\nLarghezza Rollo \u002F Roll Width: 47 cm \u002F 18,5\"  — Lunghezza Rollo \u002F Roll Length: Custom\n140\nSezione Tecnica - Technical Section\nFires \u002F Serena Confalonieri\nWDFI2401\nWDFI2402\nGiardino utopico \u002F Eva Germani\nWDGU2401\nWDGU2402\nEdinburgh \u002F Paolo Badesco Costantino Affuso\nWDED2401\nWDED2402\nLarghezza Rollo \u002F Roll Width: 47 cm \u002F 18,5\"  — Lunghezza Rollo \u002F Roll Length: Custom\n141\n",72,{"image":302,"text":303,"number":304},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.73.png","Giverny \u002F Christian Benini\nIn movement \u002F Ludovica+Roberto Palomba\nWDIM2401\nWDIM2402\nWDGI2401\nWDGI2402\nIsamu \u002F Studiopepe\nWDIS2401\nWDIS2402\nLarghezza Rollo \u002F Roll Width: 47 cm \u002F 18,5\"  — Lunghezza Rollo \u002F Roll Length: Custom\n142\nSezione Tecnica - Technical Section\nIt's you \u002FDeBonaDeMeo\nKoraju \u002F Antonella Guidi\nWDKO2401\nWDKO2402\nL'archivista \u002F Antonio Marras\nWDAC2401\nWDAC2402\nWDIY2401\nWDIY2402\nLarghezza Rollo \u002F Roll Width: 47 cm \u002F 18,5\"  — Lunghezza Rollo \u002F Roll Length: Custom\n143\n",73,{"image":306,"text":307,"number":308},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.74.png","Lanhua\u002F Anna Vermiglia De Carlo\nWDLA2401\nWDLA2402\nLe carré \u002F Giovanni Pesce\nWDLC2401\nWDLC2402\nLightscape \u002F Draga&Aurel\nWDLS2401\nWDLS2402\nLarghezza Rollo \u002F Roll Width: 47 cm \u002F 18,5\"  — Lunghezza Rollo \u002F Roll Length: Custom\n144\nSezione Tecnica - Technical Section\nMagma \u002F Ludovica+Roberto Palomba\nWDMG2401\nWDMG2402\nMarimbora \u002F Simone Fanciullacci\nWDMA2401\nWDMA2402\nMacrò \u002F Talva Design\nWDMC2401\nWDMC2402\nLarghezza Rollo \u002F Roll Width: 47 cm \u002F 18,5\"  — Lunghezza Rollo \u002F Roll Length: Custom\n145\n",74,{"image":310,"text":311,"number":312},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.75.png","Murmure \u002F Draga&Aurel\nWDMU2401\nWDMU2402\nMysteria \u002F Eva Germani\nWDMY2401\nWDMY2402\nMood for love\u002F Lorenzo De Grandis\nWDML2401\nWDML2402\nLarghezza Rollo \u002F Roll Width: 47 cm \u002F 18,5\"  — Lunghezza Rollo \u002F Roll Length: Custom\n146\nSezione Tecnica - Technical Section\nNot a tartan \u002F DeBonaDeMeo\nWDNT2401\nWDNT2402\nŌku \u002F Studio Salaris\nWDOK2401\nWDOK2402\nNaiadi \u002F Studio Salaris\nWDNA2401\nWDNA2402\nLarghezza Rollo \u002F Roll Width: 47 cm \u002F 18,5\"  — Lunghezza Rollo \u002F Roll Length: Custom\n147\n",75,{"image":314,"text":315,"number":316},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.76.png","Oriente \u002F Federico Peri\nWDOR2401\nWDOR2402\nOutlines \u002F Ines Porrino\nWDOU2401\nWDOU2402\nOmbra lieve \u002F Christian Benini\nWDOL2401\nWDOL2402\nLarghezza Rollo \u002F Roll Width: 47 cm \u002F 18,5\"  — Lunghezza Rollo \u002F Roll Length: Custom\n148\nSezione Tecnica - Technical Section\nPhases \u002F Mae Engelgeer\nWDPH2401\nWDPH2402\nPineto \u002F Christian Benini\nWDPI2401\nWDPI2402\nPoetico \u002F Giovanni Pesce\nWDPO2401\nWDPO2402\nLarghezza Rollo \u002F Roll Width: 47 cm \u002F 18,5\"  — Lunghezza Rollo \u002F Roll Length: Custom\n149\n",76,{"image":318,"text":319,"number":320},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.77.png","Savanna Grace \u002F Talva Design\nWDSG2401\nWDSG2402\nSeizā \u002F Studio Salaris\nWDSZ2401\nWDSZ2402\nQuadratura \u002F Gupica\nWDQU2401\nWDQU2402\nLarghezza Rollo \u002F Roll Width: 47 cm \u002F 18,5\"  — Lunghezza Rollo \u002F Roll Length: Custom\n150\nSezione Tecnica - Technical Section\nSereno \u002F Lorenzo De Grandis\nWDSE2401\nWDSE2402\nShift \u002F Mae Engelgeer\nWDSH2401\nWDSH2402\nSound of Silence \u002F Lorenzo De Grandis\nWDSS2401\nWDSS2402\nLarghezza Rollo \u002F Roll Width: 47 cm \u002F 18,5\"  — Lunghezza Rollo \u002F Roll Length: Custom\n151\n",77,{"image":322,"text":323,"number":324},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.78.png","The quest \u002F The Elusive Otter\nWDTQ2401\nWDTQ2402\nTiling \u002F Federico Peri\nWDTI2401\nWDTI2402\nStige \u002F Studio Salaris\nWDST2401\nWDST2402\nLarghezza Rollo \u002F Roll Width: 47 cm \u002F 18,5\"  — Lunghezza Rollo \u002F Roll Length: Custom\n152\nSezione Tecnica - Technical Section\nTraslucido \u002F Andrea Merendi\nWDTR2401\nWDTR2402\nTurbolence \u002F Paolo Badesco Costantino Affuso\nWDTU2401\nWDTU2402\nUkabo \u002F Silvia Stella Osella\nWDUK2401\nWDUK2402\nLarghezza Rollo \u002F Roll Width: 47 cm \u002F 18,5\"  — Lunghezza Rollo \u002F Roll Length: Custom\n153\n",78,{"image":326,"text":327,"number":328},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.79.png","Venice \u002F Francesca Zoboli\nWDVN2401\nWDVN2402\nWalking with the moon \u002F Alessandro Gottardo (aka Shout)\nWDWM2401\nWDWM2402\nVelvet \u002F Francesca Zoboli\nWDVE2401\nWDVE2402\nLarghezza Rollo \u002F Roll Width: 47 cm \u002F 18,5\"  — Lunghezza Rollo \u002F Roll Length: Custom\n154\nSezione Tecnica - Technical Section\nWarping \u002F Le Dictateur\nWDWA2401\nWDWA2402\nLarghezza Rollo \u002F Roll Width: 47 cm \u002F 18,5\"  — Lunghezza Rollo \u002F Roll Length: Custom\n155\n",79,{"image":330,"text":331,"number":332},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.80.png","CHRISTIAN BENINI\nFotografo, fondatore e art director di Wall&decò \nChristian Benini inizia lacarriera come fotografo \nritrattista e si specializza poi nella fotografia di \nmoda e pubblicitaria. Le sue collaborazioni lo \nportano ad avvicinarsi alle agenzie di pubblicità \ne case di moda in Italia, Regno Unito e Stati Uniti. \nIl suo interesse si indirizza in modo sempre più \npreciso verso la fotografia d’arredamento. Ha \navuto così inizio un percorso di ricerca, tutt’ora \nin atto, che lo porta a creare Wall&decò, un \nprogetto che unisce fotografia e design in costante \nevoluzione. — Photographer, founder and art director \nof Wall&decò Christian Benini began his career as a \nportrait photographer and then went on to specialise \nin fashion and publicity photography. He has worked in \nclose conjunction with advertising agencies and fashion \nhouses in Italy, the United Kingdom and the USA. His \ninterest is increasingly more precisely focused on the \nphotography of interiors. Thus a path of research began \nwhich is still in progress and which resulted in his setting \nup Wall&decò, a project which combines photography \nand design in constant evolution.\nALESSANDRO GOTTARDO (AKA SHOUT)) \nAlessandro Gottardo, conosciuto anche con lo \npseudonimo di Shout, vive e lavora a Milano. Tra le \nsue collaborazioni più importanti, The New York \nTimes, The Wall Street Journal, TIME, Penguin \nBooks, Volkswagen, Barclays, ENI, Nokia, United \nAirlines. Ha ricevuto diversi riconoscimenti \ninternazionali; tra il 2006 e il 2007 pubblica con \nla casa editrice 27_9 i volumi “Jetlag“ e “Jetlag \n2”, nel 2010 “Mono Shout”, una monografia \nsui primi 10 anni di attività e nel 2011 “DAZED”. \nAttraverso un’operazione di sottrazione, di sintesi \ndell’immagine, Shout rende le sue illustrazioni \npiccole opere concettuali in cui più che mostrare, \ncostruisce messaggi immediatamente percepibili. \n  — Alessandro Gottardo, also known by the name \nof Shout, he lives and works in Milan. Highlights of \nhis career include cooperating with The New York \nTimes, The Wall Street Journal, TIME, Penguin Books, \nVolkswagen, Barclays, ENI, Nokia, United Airlines. \nHe has received numerous international accolades: \nbetween 2006 and 2007, his publishing company 27_9 \nproduced the books “Jetlag“ and “Jetlag 2”, in 2010 \n“Mono Shout”, a monographic work on the first 10 years \nof business activity and in 2011 “DAZED”. By means \nof an operation of subtraction and image synthesis, \nShout makes his illustrations small conceptual works, \nin which, rather than showing, he builds up immediately \nperceptible messages.\nANDREA MERENDI\nAllestitore, stylist, fiorista, un po' artista, molto \ncreativo, di sicuro poetico. Da anni si occupa di \nvetrine e allestimenti decorativi per diverse aziende. \nLa sua passione sono i fiori. Professionista onnivoro, \ncresce ripesca le conoscenze floreali e crea dei \npersonali fiori di carta per un lavoro in Rinascente \na Milano. Da allora i suoi fiori sono finiti su riviste, in \nnegozi Showroom , come scenografie per eventi e \ncarte da parati. — Set designer, stylist, florist, a bit of \nan artist, very creative, certainly poetic.\nFor years he has been involved in shop windows and \ndecorative displays for various companies\nHer passion is flowers.\nAn omnivorous professional, he grew up rediscovering \nhis floral knowledge and creating personal paper \nflowers for a job at Rinascente in Milan.\nSince then his flowers have ended up in magazines, in \nshowrooms, as backdrops for events and wallpapers.\nANTONELLA GUIDI\nAntonella frequenta l’Istituto Statale d’arte per il \nMosaico di Ravenna. Dal 1983 partecipa a mostre \nsia personali che collettive e nel 1987, utilizzando \nmateriali riciclati a costo zero, inizia a produrre \naccessori per la moda, fondando una piccola \nazienda. La filosofia del riciclo sarà la tematica \nfondamentale del lavoro artistico che continuerà \nin parallelo all’attività nel campo della moda, e che \nha prodotto molte opere. Ha inoltre collaborato \ncon aziende tessili e ceramiche come disegnatrice \ndecorativa free lance e con case editrici come \nillustratrice di libri fantasy. — Antonella attends the \nMosaic State Art Institute in Ravenna. Since 1983, she \nhas been taking part in both solo and collective art \nshows and, in 1987, using recycled no-cost materials, \nshe began making fashion accessories, setting up a \nsmall company. The recycling philosophy pervades her \nentire artistic production which continues alongside her \nfashion industry activities and which has resulted in the \ncreation of numerous works. She has also collaborated \nwith textile and ceramic manufacturers as free-lance \ndecorative designer and with publishing companies as \nillustrator of fantasy books.\nANTONIO MARRAS\nAntonio Marras nasce ad Alghero, Sardegna. Terra \nche segna profondamente la sua cifra stilistica. Il \nsuo esordio nella moda avviene sotto il segno di \nuna fortunata casualità: nel 1987, infatti, è chiamato \nda una ditta romana a disegnare collezioni di prêt-\nà-porter, grazie alla sua competenza sviluppata \nsu un doppio binario. Quello culturale - Marras da \nsempre si interessa ad ogni forma di espressione \nartistico-creativa - e quello “tecnico”, sviluppato in \nbase alla conoscenza di materie e forme. Nel marzo \n1999, a Milano, la prima volta del suo prêt-à-porter \ne nel 2003 è invitato dal gruppo francese LVMH a \ndiventare direttore artistico della maison Kenzo \nsino al 2011. Con il suo headquarter a Milano, Marras \nfarà però una scelta importantissima, sentimentale \nma anche artistica: non rinuncerà a vivere dove è \ncresciuto, ad Alghero sempre tornando a cercare \ncreatività, ispirazione, materiale per il suo universo \nespressivo. — Antonio Marras was born in Alghero, on \nSardinia. The island has always deeply influenced his \naesthetic. His fashion debut was the result of a lucky \nchance. In 1987 a fashion house in Rome asked him to \ndesign a prêt-à-porter collection. Their invitation was \ndue to his dual baggage of skills: cultural – Marras has \nalways involved himself in every form of artistic\u002Fcreative \nexpression – and technical based on his know-how of \nmaterials and forms. He debuts with his prêt-à-porter \nin March 1999 in Milan and in 2003 LVMH, the French \nluxury goods group, invites him to be the artistic \ndirector of the Kenzo fashion house till 2011. With his \nheadquarters in Milan, Marras made a fundamental \nchoice, both sentimental and artistic: he will never give \nup living where he was born, to Alghero always returning \nin pursuit of creativity, inspiration and material for his \nexpressive universe.\nANNA VERMIGLIA DE CARLO\nNata a Milano, Anna è un’artista che alterna \ne mescola da sempre le sue molte attività \nsovrapponendo generi e tecniche. Le diverse forme \nespressive utilizzate le hanno permesso di creare \nnel tempo un particolare mondo distintivo. Le sue \nsculture tagliate in sottili lamiere d’ottone che \nluccicano e danzano nell’aria fanno parte di molte \ncollezioni private ed estere, così come i suoi quadri \ne disegni. Si è anche dedicata con successo a varie \nforme di design, dalle luci da tavolo alla grafica, \ndai film d’animazione al disegno per tessuti, fino ai \nvetri d’arte e la carta da parati. La costante ricerca \ne l’esperienza maturata in tante attività diverse, \nl’hanno anche portata a progettare una linea di \narredamento da giardino prodotta in Salento con \nartigiani locali. \nHa studiato presso il M.I.T. di Cambridge, USA, dove \nha sviluppato la sua formazione artistica presso il \nC.A.V.S. (Center for Advanced Visual Studies). Per \ndieci anni è stata disegnatrice, creativa e autrice de \n“L’Albero Azzurro”, programma televisivo di RAI1. I \nsuoi libri sono pubblicati dalle più importanti case \neditrici italiane come: Rizzoli, Bompiani, Electa, \nFabbri, Nuages, De Agostini, Emme.\nLe sue illustrazioni sono state regolarmente diffuse \ndalle maggiori testate giornalistiche: La Repubblica, \nLa Stampa, Abitare, Amica, Esquire, Il Messaggero, \nL’Europeo, Il Giornale della Musica, Spazio & \nSocietà. Il suo percorso artistico l’ha vista anche \ncoinvolta in diversi progetti architettonici con il \npadre, l’architetto Giancarlo De Carlo.\nVive tra Milano, il Salento e Berlino. Ha due figli: \nJessica e Leo Einaudi.\nBorn in Milan, Anna is an artist who has always \nalternated and blended all her many activities, \nsuperimposing genres and techniques. All these various \nexpressive forms have enabled her to create over time \nthe depiction of a particular distinctive world,. Her brass \nsheet metal sculptures that glitter and dance in the air, \nare held in many private and foreign collections, as well \nas her paintings and drawings. She also successfully \ndedicated herself to various forms of design, from table \nlamps to graphics, animation films, textiles, glass art and \nwall paper. Her constant research, in so many different \nundertakings, have also led her to design a garden \nfurniture line produced in Salento by local artisans.\nShe studied at M.I.T. of Cambridge, USA, where she \ndeveloped her artistic training at C.A.V.S. (Center for \nAdvanced Visual Studies). She worked as creator, \nauthor and creative designer of “L’Albero Azzurro”, a \nTV Show, on Italy’s main channel RAI1. Her books have \nbeen published by prominent Italian publishing houses \nsuch as: Rizzoli, Bompiani, Electa, Fabbri, Nuages, De \nAgostini, Emme. Her illustrations have been regularly \nfeatured in many Italian magazines and newspapers: \nLa Repubblica, La Stampa, Abitare, Amica, Esquire, Il \nMessaggero, L’Europeo, Il Giornale della Musica, Spazio \n& Società. She has been involved in several architectural \nprojects with her father, architect Giancarlo De Carlo. \nShe lives between Milan, Salento and Berlin. She has two \nchildren: Jessica and Leo Einaudi.\nDEBONADEMEO\nLuca DeBona e Dario DeMeo, architetto e designer, \nsi incontrano sul percorso tra Milano e il Veneto \ne iniziano una collaborazione che proprio dal \nviaggio attinge ispirazione per produrre segni \ne disegni di risposta alle esigenze dell’habitat \ncontemporaneo. Collaborano con prestigiose \naziende di arredo, illuminazione, decorazione \noccupandosi di direzione artistica, ideazione \ndi concept e sviluppo di prodotti. Una ricerca \nin micro e macro scala che rilegge e fonde vari \nCWC 2024\nDESIGNERS\nambiti: architettura, design, grafica e arte per \ncreare ambienti e oggetti innovativi, ma capaci \ndi raccontare storie e indurre emozioni. — Luca \nand Dario, architect and designer, meet on the road \nbetween Milan and the Italian Veneto region and \nbegin a collaboration that dRaws inspiration from the \ntrip, to produce marks and dRawings that respond to \nthe needs of the contemporary home interiors. They \ncollaborate with prestigious furnishing, lighting and \ndecor companies, looking after art direction, concept \nand product development. A research in micro and \nmacro scale that reviews and merges different spheres: \narchitecture, design, graphics and art, to create \ninnovative environments and objects, but able to tell \nstories and stir emotions.\nDRAGA&AUREL\nDi origine serba lei, tedesco lui – trovano nell’Italia \nil giusto terreno per la loro espressione artistica. \nDraga affina negli anni una sua tecnica di pittura \ndirettamente su tessuto che le permette di \ncreare una collezione dal design unico dove \ncolore, motivo e materia si incontrano in una \ncommistione armonica. Aurel K. sceglie di \nesaltare le potenzialità della resina ricorrendo \nad una forte espressività pittorica. L’intesa, oltre \nche di vita, nel 2007 diventa anche professionale: \nvivendo e sviluppando insieme la comune \npassione per l’arte contemporanea, l’affinità \nartistica cresce con loro conducendoli ad un \ncomune percorso di ricerca, di approfondimento \ne di confronto che li portano a collaborazioni con \nprestigiosi marchi internazionali quali Baxter \ne Anthropologie. — She is of Serbian origin while he \nis from Germany – they find in Italy the right soil for \ntheir artistic expression. Draga refined her painting \ntechnique directly on canvas during the years that \nallowed her creating a collection characterised by \na unique design where colour, pattern and matter \nmeet in a harmonic union. Aurel K. chooses to exalt \nthe potentials of resin, resorting to a strong pictorial \nexpression. The mutual understanding, in addition to \na personal level, became also professional in 2007: \nliving and developing together the common passion \nfor modern art, the artistic affinity grew with them, \nleading the couple to undertake a common research, \nstudy and sharing path that led them to cooperate \nwith the most prestigious international brands, like \nBaxter and Anthropologie.\nEVA GERMANI\nUna lunga formazione maturata nel mondo del \nrestauro l’ha portata a contatto diretto con le \nopere dei grandi maestri, dipinti ed affreschi dal \ngrande impatto e valore artistico ed architettonico. \nLa conoscenza dei materiali, delle tecniche \nesecutive, delle atmosfere di sapore antico sono \nconvogliate in uno stile rapido, privo di formalismi \naccademici a volte aggraziato, ma sempre \ncontraddistinto da un tratto di materica ruvidità. \nProiettata verso una decorazione dall’effetto \nscenografico si dedica, in collaborazione con \narchitetti e designer, alla creazione di spazi \ndomestici o commerciali caratterizzati da una forte \natmosfera retrò e dal gusto vagamente bohémien. \n— A long training period in the field of architectural \nconservation allowed her to gain direct contact with \nthe artworks of famous artists, paintings and frescos \nof great artist and architectural impact and value. Her \nknowledge of materials and execution techniques, \nwhich recall traditional settings, are conveyed through \na determined style, without academic formalisms, \nat times graceful, but always characterized by a \nruvid material trait. Projected towards scenographic \ndecoration, her works are carried out with architects \nand designers and consist in the creation of \nresidential and commercial spaces with strong retrò \natmospheres and slight bohemian tastes.\nFEDERICO PERI\nFederico Peri nasce nel 1983 a Montebelluna in \nprovincia di Treviso. Terminati gli studi universitari \na Milano presso la Facoltà di interior design \ndell’Istituto Europeo di Design, si trasferisce a \nParigi grazie ad una borsa di studio di residenza per \nartisti. In questo periodo, ricco di contaminazioni \ninternazionali e stimoli progettuali, inizia il proprio \npercorso professionale appassionandosi ai grandi \nmaestri e definendo il proprio interesse come \nsinergia tra storico e contemporaneo. Rientra a \nMilano per lavorare presso Vudafieri Saverino \nPartners fino al 2011, quando avvia il proprio studio \noccupandosi prevalentemente di progettazione \nd’interni e arredo.\nCollabora con aziende, marchi di moda, \nprofessionisti e privati concependo progetti che \nsiano strettamente connessi alle singole identità. \nNilufar, galleria internazionale con sede a Milano, \nrappresenta i suoi prodotti in edizione limitata, tra \ncui la collezione di lampade “Shapes” nominata nel \n2016 per il German Design Awards. Tra i candidati \ncome “miglior designer esordiente” al Salone \ndel mobile Milano awards 2017 con il prodotto \n“Galerie” disegnato per FontanaArte, viene anche \nnominato per il “rising talent awards” all’edizione \ndi Maison&Objet 2018.. — Federico Peri was born in \n1983 in Montebelluna in the province of Treviso. After \ngraduating in Interior Design from the European Institute \nof Design, he moved to Paris thanks to a residency \nscholarship for artists. During this period, brimming with \ninternational cross-contaminations and design stimuli, \nhe developed a professional interest and passion for \nthe great masters while also defining his own interest \nas the synergy of the historical and contemporary. He \nreturned to Milan to work at Vudafieri Saverino Partners \nuntil 2011, when he started his own firm, mainly focused \non interior and furniture design. He collaborates \nwith companies, fashion brands, professionals and \nindividuals, bringing to life projects that closely tie in \nwith individual identities. Nilufar, an international gallery \nbased in Milan, represents its limited-edition products, \nincluding the “Shapes” collection of lamps nominated in \n2016 for the German Design Awards. One of the “best \nnew designer” contestants at the 2017 Salone del Mobile \nMilano awards with the product “Galerie” designed for \nFontanaArte, he was also nominated for the “Rising \nTalent Awards” at Maison&Objet 2018.\nFRANCESCA ZOBOLI\nFrancesca, dopo essersi diplomata in pittura \nall’Accademia di Belle arti di Milano, nel 1990, fonda \nlo studio di decorazioni d’interni L’O di Giotto, che \nopera in Italia e all’estero. All’attività di interior \ndecorator affianca la ricerca pittorica, condotta \nin particolare sull’assemblaggio di materiali. Dal \nconnubio fra pittura e decorazione nasce lo stile dei \nsuoi lavori, connotato da un linguaggio originale che \nsi ispira a tessuti, tappezzerie, antiche tecniche di \nstampa, motivi etnici e tradizionali, pattern grafici, \nintonaci, texture naturali come legni, foglie, polveri, \nterre. Attenta e sensibile alle più recenti tendenze \ndella moda, del design, dell’arte e dell’architettura \ncontemporanea, Francesca Zoboli mira ad \narticolare e integrare organicamente il progetto \ndecorativo all’ambiente e allo spazio. Fra i suoi \nclienti, Fratelli Rossetti, Hotel De Russie , Kenzo, per \ncui nel 2006 ha progettato e realizzato interventi \ndi decorazione destinati al nuovo concept store \ndi Parigi (Art Director Antonio Marras). — After \ngraduating in Painting at the Academy of Fine Arts in \nMilan in 1990, Francesca founds l’O di Giotto – ann \nInterior Decoration Studio operating both in Italy \nand abroad. Alongside interior decorating, she also \nconducts pictorial research, especially as regards \nthe assembly of materials. Out of the combination \nof painting and decorating comes the style of her \nworks, distinguished by an original language inspired \nby fabrics, upholsteries, old printing methods, ethnic \nand traditional motifs, graphic patterns, plastering, \nnatural textures such as woods, leaves, powders, \nearths. Careful and sensitive to the most recent \nfashion, design, art and modern architecture trends, \nFrancesca Zoboli aims at organically articulating and \nintegrating decorative projects in environments and \nspaces. Among her customers Fratelli Rossetti and \nHotel De Russie; in 2006 she has partially designed and \ndecorated the new concept store in Paris for Kenzo (Art \nDirector Antonio Marras).\nGIOVANNI PESCE\nDiplomato al Liceo Artistico di Bari con indirizzo \narchitettonico, Giovanni Pesce inizia la sua attività \nnel 1986 nell’ufficio tecnico di un’azienda di credito, \nper la progettazione delle sue filiali. Nel 1994 fonda, \nin collaborazione con altri professionisti, Signum, \nun gruppo di lavoro attivo nella realizzazione di \nspazi espositivi. Dal 1997 avvia un proprio studio \nche lo vede impegnato sia come interior designer \nche come designer di prodotto. — Giovanni began \nhis career in 1986 when he was asked to join the staff \nof the technical department of a major credit company \nfor the design of a large number of branches. In 1994 he \nfounded the Signum, a working group in collaboration \nwith other professionals, with whom he developed \nexhibition spaces. Since 1997 he started a studio \u002F \nlaboratory of ideas in which he is engaged, initially as an \ninterior designer, then more and more directed towards \nproduct design: clear and direct works with discrete \nshapes and materials and with a beauty intimately linked \nto their functionality.\nGUPICA\nDopo una laurea in letteratura Gunilla Zamboni \n(Gupica) matura una formazione nell’ambito della \npittura murale a Firenze e delle arti decorative in \nFrancia a Versailles, dove si diploma in Peintre en \nDécor. Si specializza in interior design allo IED di \nMilano. Lavora a contatto con le migliori maestranze \nitaliane e francesi, affinando i segreti e le tecniche \ndella pittura decorativa in Francia e lo studio \ndel design in Italia. Nel 2010 fonda Gupica, uno \nstudio creativo che realizza progetti servendosi \ndi un metodo multidisciplinare che coinvolge \narti decorative, design di interni e di prodotto, \nsperimentazione contemporanea e artigianalità. \nMettendo al servizio di clienti e aziende la propria \nvisione creativa. La cura per il dettaglio e un dialogo \ncostante tra contemporaneo e codici legati alla \ntradizione contraddistinguono i suoi progetti.  \n— Upon obtaining her degree in Literature, G unilla \nZamboni (Gupica) continued to study in Florence \nfocusing on the art of fresco and mural painting, \ncompleting her studies with a master degree in Peintre \nen Décor in Versailles, France. She later specialized in \ninterior design at IED in Milan. Gupica worked with Italian \nand French masters, honing the secrets and techniques \nof decorative painting in France and the study of design \nin Italy. In 2010 she founded Gupica, a creative studio \nthat develops projects through multi-disciplinary \nmethods such as: decorative arts, interior design, \nproduct design, traditional handcrafts and modern \ntechniques. She evolves projects for private clients \nand companies with her creative vision. Her attention \nto detail and the combination of contemporary and \ntraditional codes characterize her projects.\nINES PORRINO\nInes svolge l’attività dal 1975, inizialmente in \ncollaborazione con gli studi Arcoop, Arkite’ \nArchitetti Associati e Studio Piergiorgio Cazzaniga, \ndal 1997 diventa libero professionista e si occupa \ndi interior, allestimenti fieristici, eventi di design \ne negozi di arredamento. Ines Porrino si occupa \ndel concept della realizzazione del prodotto e del \ncatalogo per collezioni di pavimenti in pvc Limonta. \n",80,{"image":334,"text":335,"number":336},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.81.png","Dal 2010 ha iniziato una produzione delle lampade \nartigianali Filrouge. Ha collaborato con diverse \ntestate d’arredamento,tra le quali Interni, Spazio \nCasa, Lake Como lifestyle. — Ines has been in \nbusiness since 1975, initially in collaboration with studios \nsuch as Arcoop, Arkite Associated Architects and \nStudio Piergiorgio Cazzaniga. In 1997 she turn into a free \nlance consultant in the field of interior design, exhibition \nspaces, design events and furniture stores.\nInes Porrino develops the concept up to the product \nprototype and the catalogue for a floor collections in \nPVC for Limonta. Since 2010 he has begun a production \nof artisanal lamps FILROUGE. She has worked with \nseveral interior design magazines such as Interni, \nSpazioCasa, Lake Como Lifestyle.\nLE DICTATEUR\nFederico Pepe è nato nel 1976. Vive e lavora a \nMilano. È una figura unica nel panorama culturale \ne artistico italiano, dove si muove con agilità \ned estrema coerenza estetica tra varie forme \nartistiche. Pubblicità, Artista, Graphic Designer, \nVideo Maker. Direttore creativo dell’agenzia di \ncomunicazione multinazionale DLVBBDO. Nel 2006 \nfonda Le Dictatuer, progetto editoriale e spazio \nespositivo indipendente a Milano, per il quale è \nda oltre 10 anni direttore editoriale e artistico. Ha \nesposto le sue opere e i suoi progetti alla MOMA \nLibrary and Family Business di New York, alla TATE \nMODERN di Londra, al Palais de Tokyo di Parigi, \nalla Triennale di Milano e in molte altre gallerie \nprivate. Collabora negli anni con artisti famosi come \nMaurizio Cattelan, Pierpaolo Ferrari, Nico Vascellari, \nJacopo Benassi e designer come Patricia Urquiola \ncon cui ha firmato due collezioni (CREDENZA 2016, \nMISCREDENZA 2017). — Federico Pepe was born in \n1976. He lives and works in Milan. He is a unique figure \nin the cultural and artistic Italian landscape, where he \nmoves with agility and extreme aesthetic coherence \nbetween various artistic forms. Advertising, Artist, \nGraphic Designer, Video Maker. Executive creative \ndirector of the DLVBBDO Multinational Communication \nAgency. In 2006 he founded in Le Dictatuer, an editorial \nproject and an independent exhibition space based in \nMilan, for which he has been the editor of editorial and \nartistic plan for over 10 years. He exhibited his works \nand projects at MOMA Library and Family Business in \nNew York, at TATE MODERN in London, at the Palais \nde Tokyo in Paris, at the Trienniale of Milan and in many \nothers private galleries. Over the years he collaborated \nwith famous artists such as Maurizio Cattelan, Pierpaolo \nFerrari, Nico Vascellari, Jacopo Benassi and designers \nsuch as Patricia Urquiola with whom he has signed two \ncollections (CREDENZA 2016, MISCREDENZA 2017).\nLORENZO DE GRANDIS\nResponsabile creativo per importanti brand nel \ndesign di interni. Una continua ricerca di riferimenti \nche permette a Lorenzo De Grandis di progettare \ne sviluppare contenuti visivi ottenendo risultati \ndi grande forza comunicativa. Sensazioni, idee e \natmosfere si traducono  nei suoi progetti di graphic \ndesign, textile design e allestimenti. Uno studio \nmultidisciplinare con un’ambizione: catturare \nil ritmo e l’estetica del tempo. — Responsible of \nvisual communication for important interior design \ncompanies. Lorenzo De Grandis’s works inspires ideas \nand stories. Emotion driving to create atmosphere with \nshapes and functions, effective solutions and projects. \nTextiles, graphic design, interiors and further sensation. \nA multidisciplinary study with an ambition: to capture \nthe rhythm and the aesthetics of time. To see what \ninspires, what elevates, what activates.\nLUDOVICA+ROBERTO PALOMBA\nLudovica+Roberto Palomba, architetti, vivono \ne lavorano a Milano. Fondano nel 1994 Palomba \nSerafini Associati. Hanno ricevuto numerosi premi \ne riconoscimenti internazionali come il Compasso \nD’Oro, l’Elle Decoration International Design Award, \nil Red Dot, il Design Plus, il Good Design Award, il \nGerman Design Award. Progettano architetture ed \nesposizioni in tutto il mondo; collaborano e sono art \ndirector per alcuni dei marchi più affermati. \n“I nostri progetti di design e di architettura si basano \nsull’analisi del cambiamento dei comportamenti. Sia \ni primi schizzi che la stesura finale di ogni progetto \nsono passati al vaglio delle nostre due esigenze e \ndelle nostre due visioni, allo stesso tempo complici e \ndifferenti, quindi consensuali. Questa completezza è \nfrutto di un metodo, non di uno stilismo. Un metodo \nper coniugare gli opposti: creatività e funzione, \ninnovazione e longevità. Senza mai dimenticare \noriginalità e purezza delle forme… \nLa cifra del nostro lavoro - ricerca, sviluppo, \nprogetto, si riassumono così in una sola parola: \nEVIDENZA.” — Ludovica+Roberto Palomba are \narchitects who work and live in Milan. They founded \nPalomba Serafini Associati in 1994. They have \nreceived numerous international awards such as \nthe Compasso D’Oro, Elle Decoration International \nDesign Award, Red Dot, Design Plus, Good Design \nAward, German Design Award. Ludovica+Roberto \nPalomba plan architectures and design exhibitions \nworldwide. They work with and are art directors for \nsome of the most established brands. “Our creations, \nwhether they be pieces of design or architecture, \nare derived from observations of change in human \nbehavior. It is important to see these products outside \na fixed location or period – they do not reflect the \nlatest fad but are the result of rationality and pondered \ncraftsmanship. Our initial drafts are projections of \nour own needs. Our two visions are complementary \nand our design consensual. The challenge of our work \nis about merging function, innovation and longevity. \nWe seek to project courage and serenity through the \npurity and originality of our work…. And there it is, that \nis what characterizes our creations: research, often \nlengthy, difficult, exhilarating to achieve what in a word \ncan only be expressed as EVIDENCE.”\nMAE ENGELGEER\nIl design tessile è sempre stato al centro del lavoro \ndella designer olandese, sin dai tempi del liceo \nagli studi all’Amsterdam Fashion Institute e al \nSandberg Instituut. Da quando ha aperto il suo \nstudio nel 2013, ha coltivato la sua curiosità per \nl’artigianalità, sperimentando vecchie tecniche \ndi produzione tessile per affinarle e portarle a uno \nstadio più avanzato. Il lavoro di Mae Engelgeer \nabbraccia sottili palette di colori, motivi ed elementi \nlineari. Composizioni complesse si fondono con \nla perfezione per stabilire l’armonia. Esplorazioni \ncreative sul contrasto di materiali e texture danno \nforma a opere che sono lussuose nella loro tattilità \ne dimensionalità. Oltre a sviluppare le proprie \ncollezioni, Mae Engelgeer collabora con marchi di \ntutto il mondo per progetti che vanno dai prodotti \ntessili e dal design di mobili alle esplorazioni dei \nmateriali e alla direzione artistica\u002Fcolore, fino \nalle installazioni su larga scala e alle opere d’arte \npubbliche. “Il mio lavoro è guidato dall’intuizione \ne dal desiderio di creare. Mentre mi considero una \nsognatrice nella creazione di nuove atmosfere, \nsono in grado di tradurre rapidamente queste \nidee in opere tangibili utilizzando le giuste texture, \nmateriali e colori. Quando mi viene chiesta la mia \nvisione nelle collaborazioni, sento un certo senso di \nlibertà nell’esplorare una moltitudine di possibilità”. \n— Textile design has always been at the heart of Dutch \ndesigner Mae Engelgeer’s work, from her high school \ndays to her studies at the Amsterdam Fashion Institute \nand Sandberg Instituut. Since opening her own studio \nin 2013, she has nurtured her curiosity for the craft, \nexperimenting within the existing boundaries of textile \nproduction to elevate old techniques to modernity. \nMae Engelgeer’s work embraces subtle color palettes, \npatterns and linear elements. Complex compositions \nmerge with perfection to establish harmony. Creative \nexplorations into the material and texture contrasts \nresult in works that are luxurious in their tactility and \ndimensionality. In addition to developing her own \ncollections, Mae Engelgeer also works with brands \naround the world on projects ranging from textile \nproducts and furniture design to material explorations \nand art\u002Fcolor direction, large-scale installations and \npublic artworks. “My work is driven by intuition and the \ndesire to create. While I consider myself to be a dreamer \nin the creation of new atmospheres, I am able to quickly \ntranslate those ideas into tangible works using the right \ntextures, materials and colors. When asked for my vision \nin collaborations, I feel a certain sense of freedom to \nexplore a multitude of possibilities.” \nPAOLO BADESCO \nCOSTANTINO AFFUSO\nUn progetto dell’interior designer Paolo Badesco \nche dal 2005 presenta al pubblico milanese, \nattraverso il suo primo negozio di corso Magenta \n96, un repertorio di suggestioni dal sapore nord \neuropeo: arredi e complementi vintage volutamente \nnon restaurati, abbinati a una selezione di oggetti \ncontemporanei frutto di una ricerca tra Europa \ne Stati Uniti. Nel 2011 con l’architetto Costantino \nAffuso, già senior architect dello Studio Paolo \nBadesco interior design, il progetto si amplia \nacquisendo una nuova location in via Palermo 1, nel \ncuore del Brera Design District. Le inedite proposte \ne gli allestimenti arditi hanno fatto guadagnare \na Raw l’attenzione della stampa internazionale \ne di un pubblico sempre più sensibile alle nuove \ntendenze. — A project of the interior designer Paolo \nBadesco, who since 2005 presents to the public in \nMilan, through its first store in Corso Magenta 96, a \nrepertoire of suggestions with a northern European \nflavor: vintage furniture and accessories deliberately not \nrestored, combined with a selection of contemporary \nworks resulting from a selection between Europe and \nthe United States. In 2011, with the architect Constantino \nAffuso, formerly senior architect at the Paolo Badesco \ninterior design studio, the project expanded by \nacquiring a new location in Via Palermo 1, in the heart \nof Brera Design District. The new proposals and daring \ninstallations have earned Raw to the attention of the \ninternational press and of an increasingly sensitive \npublic to new trends.\nSERENA CONFALONIERI\nDopo una laurea specialistica in Interior Design \nconseguita a pieni voti presso il Politecnico di \nMilano, Serena ha lavorato in diversi studi di \narchitettura e design, a Milano, Barcellona e \nBerlino. Ora dirige il suo studio a Milano, lavorando \nsu progetti che spaziano dall’interior alla grafica \nfino al textile design collaborando con importanti \naziende di design sia in Italia che all’estero. — After \na Master Degree in Interior Design at Politecnico \ndi Milano, Serena worked in many architecture and \ndesign practices, moving from Milano to Barcelona \nand Berlin. Now she runs her own studio in Milano, \nworking on interior, graphic and textile design projects \nand collaborates with important companies in Italy \nand abroad. She has also collaborated with textile \nand ceramic manufacturers as free-lance decorative \ndesigner and with publishing companies as illustrator of \nfantasy books.\nSILVIA STELLA OSELLA\nè una designer e consulente creativa.\nSi è formata in Arti Visive all’Istituto Europeo di \nDesign, per poi specializzarsi in Textile Design al \nCentral Saint Martins College of Arts & Design \ndi Londra. Ha co-fondato una delle prime startup \ndi moda sostenibile europee, dalla produzione \ninteramente tracciabile, disegnando una capsule \ncollection esclusiva per il gruppo YOOX \u002F Net-\na-Porter. Dopo aver lavorato in alcune tra le \npiù importanti aziende tessili europee, apre il \nsuo studio a Milano nel 2015, dove si occupa di \nconsulenza alle aziende rispetto a ricerca e sviluppo \nprodotto, con un particolare focus su analisi delle \ntendenze, sostenibilità ed innovazione. Da sempre \nappassionata dell’intersezione tra Moda e Design \ned Antropologia e Sociologia e di sostenibilità \nnella moda, crede fortemente in un approccio \nconsapevole al design e alla progettazione, e oggi \nlavora sia con grossi gruppi internazionali che come \nmentor di startup innovative.\nÈ docente presso la Domus Academy di Milano. — \nSilvia Stella Osella is a designer and creative consultant.\nShe graduated in Visual Arts from the European \nInstitute of Design, and then specialized in Textile \nDesign at Central Saint Martins College of Arts & \nDesign in London. She co-founded one of the first \nEuropean sustainable fashion startups with fully \ntraceable production, designing an exclusive capsule \ncollection for the YOOX \u002F Net-a-Porter group. After \nworking in some of the most important European \ntextile companies, she opened her own studio in Milan \nin 2015, where she deals with consulting to companies \nwith respect to research and product development, \nfocusing on trend analysis, sustainability and innovation. \nAlways passionate about the intersection of Fashion \nand Design and Anthropology and Sociology and \nabout sustainability in fashion, she strongly believes in \na conscious approach to design and design, and today \nworks both with large international groups and as a \nmentor to innovative startups. She is a professor at the \nDomus Academy in Milan.\nSIMONE FANCIULLACCI\nNato e cresciuto in Liguria, dopo la laurea \nconseguita nel 2007 presso il Politecnico di \nMilano, fonda lo studio 4P1B con il quale ottiene \nnumerose pubblicazioni e riconoscimenti tra i \nquali l’IF Design Award, il Good Design Award \ne una menzione d’onore alla XXIII edizione del \nCompasso d’Oro. Nel 2017, conclusa l’esperienza \ndello studio, inizia a firmare con il proprio nome i \nprogetti che sviluppa. Tra i principali clienti Nilufar \nGallery, Secondome, De Vecchi Milano 1935, \nWall&decò, Martinelli Luce, Lago, Chairs&More. \nSimone Fanciullacci è anche titolare e art director \ndel marchio Edizione Limitata con il quale sviluppa \ne commercializza progetti prodotti in piccole serie \nandando a riscoprire materiali, tecniche e artigiani \nsul territorio italiano. — Simone Fanciullacci was born \nand raised in Liguria and after graduating in 2007 from \nthe Polytechnic University of Milan, he founds the 4P1B \nStudio obtaining numerous publications and awards, \nincluding the IF Design Award, the Good Design Award \nand an honourable mention at the 23rd edition of the \nCompasso d’Oro. In 2017, having completed the studio’s \nexperience, he begins to sign the projects he develops \nunder his own name. Among his main clients are Nilufar \nGallery, Secondome, De Vecchi Milano 1935, Wall&decò, \nMartinelli Luce, Lago, Chairs&More.\nSimone Fanciullacci is also the owner and art director \nof Edizione Limitata brand with which he develops and \nmarkets projects produced in small series, rediscovering \nmaterials, techniques and craftsmen in Italy.\nSTUDIOPEPE\nStudiopepe è uno studio di design fondato a Milano \nnel 2006 da Arianna Lelli Mami e Chiara Di Pinto. \nLo studio si occupa di creative consultancy in tutte \nle sue forme. La filosofia dello studio si basa su \nun approccio concettuale inedito e trae forza da \nun vasto background iconografico e visionario, \ngenerando risultati di unicità. L’attenzione per i \ndettagli e l’emozione che possono generare nelle \npersone, così come l’uso del colore, a volte ardito, \ne il mix inedito ma armonico tra i materiali scelti \nsono fondamentali nei progetti dello studio. Altro \nelemento di forza è la multidisciplinarità, il saper \nfar dialogare all’interno di uno stesso progetto \nambiti diversi come il design, la moda e l’arte. — \nStudiopepe is a design studio founded in Milan in 2006 \nby Arianna Lelli Mami and Chiara Di Pinto. The studio \nfocuses on creative consultancy (interiors, product \ndesign, editorial, set-design, color consultancy…). The \nstudio’s philosophy takes a strong visionary approach \nthanks to an iconographic background that generates \nunique results. The attention for details and emotions \nthat can be generated in people, as well as the use of \ncolor, sometimes daring, and the unusual but harmonius \nrelationship between materials are fundamental in each \nproject of the studio. Studiopepe also takes advantage \nof multidisciplinarity, knowing how to create a dialogue \nwithin different areas such as design, fashion and art.\nSTUDIO SALARIS\nAlessandra Salaris dopo studi classici divisa dalla \npassione tra la medicina e l’architettura sceglie \nla via piu’ creativa, studia quindi a Londra e al \nPolitecnico di Miano dove si Laurea. Appassionata \ndi arredamento, interior, design, fotografia, viaggi , \nsalute e food  trova il modo migliore per coniugare \ni suoi hobby e  trasformarli in lavoro, fonda quindi \nil suo studio di consulenza creativa, a Milano, nel \ncuore di Brera. I suoi viaggi sono rivolti alla ricerca \ndel bello che puo’ trovarsi anche in piccoli oggetti \nche caratterizzano il luogo, le persone, la cultura  e \nla storia del paese visitato; pezzi che sicuramente un \ngiorno verranno fotografato nei suoi set fotografici. \n— Alessandra Salaris was born in Milan. She topped \nher classical education with the study of interior design \nin London and Milan, where she attended IED and \ngraduated from Politecnico di Milano. She later earned \na Masters degree in Marketing and Communication \nto better understand the challenges of the business \nshe faces everyday. As of today, she has worked \ninternationally. In the past decade she has collaborated \nwith the top magazines and companies of the industry. \nHer ambition has always been that of delivering a \ncustomized support to help her clients achieve an \naesthetic expression of their brands. Her mission is \nto give a personal and recognizable contribution that \nenhances the clients’ story and core values.\nTALVA DESIGN\nTal Waldman (Talva Design) è un’artista, designer \ne architetto con base a Parigi.  Completa i suoi \nstudi di arte e architettura lavorando per studi \ninternazionali, da Jean Nouvel, Christian de \nPortzamparc a Jean Paul Viguier. Lo studio Talva \nDesign a Parigi è una sintesi tra design e arte \ncapace di offrire soluzioni d’interni, accessori per \nla casa e di arredo. — Tal Waldman (Talva Design) \nis an artist, designer and architect based in Paris. He \ncompleted his art and architecture studies working for \ninternational firms, from Jean Nouvel to Christian de \nPortzamparc and Jean Paul Viguier. The Talva Design \nstudio in Paris is a synthesis between design and art \ncapable of providing interior design solutions and home \nand furnishing accessories.\nTHE ELUSIVE OTTER\nLe raffinate illustrazioni di Raffaella Audiffredi, \nideatrice del progetto, puntano una lente \nd’ingrandimento sul mondo animale creando tavole \nsu cui s’innesta una dimensione letteraria a firma \ndello scrittore Matteo Sartori. La collaborazione \ncon Wall&decò arricchisce di fascino il viaggio \ndella “lontra timida” e sposa l’esperienza artistica \ndi The Elusive Otter a una nuova realtà applicativa. \nRaffaella Audiffredi: Architetto, laureata al \nPolitecnico di Milano, dopo aver lavorato in Italia e \nall’estero, nel 2010 apre il suo studio a Milano. Nel \n2013 crea il progetto The Elusive Otter. Matteo \nSartori: Laureato in Scienze politiche all’Università \nStatale di Milano, dal 2002 al 2012 lavora per il \ncinema e la pubblicità. È autore di tre romanzi. — \nThe refined illustrations of Raffaella Audiffredi, author \nof the project, zoom in details on the animal world, \ncreating canvases on which a literary dimension signed \nby writer Matteo Sartori is triggered. The collaboration \nwith Wall&decò enriches the journey of the ‘’elusive \notter’’ with charm and combines the artistic experience \nof The Elusive Otter to a new application field. Raffaella \nAudiffredi: Architect, graduated at the Polytechnic \nUniversity of Milan, opened her studio in Milan in 2010, \nafter working in Italy and abroad. She conceived The \nElusive Otter project in 2013. Matteo Sartori: Graduated \nin political sciences at the State University of Milan, he \nworked in the cinema and advertising field from 2002 to \n2012. He is the author of three novels.\nTOMMASO SPINZI\nTommaso Spinzi, fondatore di Spinzi Design, è un \ndesigner creativo e un consulente specializzato \nnella decorazione di interni e nella progettazione di \narredo.\nHa lavorato in Svizzera, in Australia e a New York. \nQuesto mix di influenze internazionali ha forgiato il \nsuo approccio al design.\n“Ogni progetto è unico e concepito su misura per \nil cliente, che ci impegniamo a rappresentare in \nogni dettaglio, nell’obiettivo di ricrearne il lifestyle \nattraverso un design di qualità. Questo processo \npuò includere arte, stile, arredamento, styling, \nabbinamento dei colori e design a 360°.”\nOltre a essere un collezionista di arredi, automobili \ne moto italiane Mid-Century, Tommaso progetta \npezzi in edizione limitata per gallerie e clienti.\nL’obiettivo di Tommaso è di ispirare, stimolare \ne, infine, creare ambienti ricchi di significato. \n— Tommaso Spinzi, founder of Spinzi Design, is a \ncreative designer and consultant specialised in interior \ndecoration and furniture design.\nHe has worked in Switzerland, Australia and New York. \nThis mix of international influences has shaped his \napproach to design.\nEach project is unique and tailor-made for the client, \nwhom we strive to represent in every detail, focusing \non creating lifestyles through good design. This may \ninclude art, style, furniture, layout, colour schemes and \nthe overall design fit.\nAs well as being a collector of mid-century Italian \nfurniture, cars and motorbikes, Tommaso designs \nlimited edition pieces for galleries and clients.\nTommaso’s goal is to inspire, stimulate and finally create \nmeaningful environments. \n",81,{"image":338,"text":339,"number":340},"\u002Fmedia\u002Fimages\u002F61\u002F6f42068dee5f7bf4c50e9e41b883f2-28e15f97ce.82.png","wallanddeco.com\nvia Santerno 18 - Cervia (Ravenna) - Italy\ntel +39.0544.918012\ninfo@wallanddeco.com\nShowroom Milano\nvia Solera Mantegazza 7\n© all rights reserved  Wall&decò® 2024\nThe color reproduction of the graphic images contained in \nthis catalog is indicative of the actual color rendering on \nthe printed wall covering.\ncatalogue graphic design \nD+ studio  [d-plus.it]\ncatalogue print\nPazzini Stampatore Editore s.r.l.\nphotoshooting \nart direction\nLorenzo De Grandis\nphoto\nMarina Denisova 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