#: locale=en
## Tour
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### Title
tour.name = Wall&decò WeMU / Level 1 EN
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## Popup
### Body
htmlText_32051A3A_2FF3_345F_419B_6EF21F68EC11.html =
I once walked through a forest, a radiant forest, illuminated by the sun’s rays.
The meadow was no longer green: it was now shades of yellow, ochre, and light brown.
The leaves had fallen and lay draped over each other, leaving clear patches on the ground.
Inspiration for these graphics came to me when I gazed at that magnificent carpet of colour, a lawn populated by leaves freely drawing an infinite multitude of shapes.
For me nature is a great source of inspiration and sometimes I directly reproduce something that strikes me, other times I carry the feeling inside me, the emotion of what I saw and resolve to turn it into a drawing.
Ines Porrino
htmlText_334B734A_2FFF_143C_41B1_5FE3313FC154.html = Brutalist architecture, popular between the '50s and '70s, was the bearer of a bold and imposing movement that spread around the world with different social and political nuances expressed in a single recognizable architectural language, characterised by massive buildings, rough shapes and raw materials, exposed concrete above all, as the emblem of a certain constructive clarity in expressing the nature and expressive force of its structure.
For this wallpaper I was inspired by the simple shapes yet majestic proportions of manifold Brutalist buildings that have become veritable architectural icons over time. I then decided to combine them with Vienna straw, characterised by equidistant holes and a weave that generates a harmony which mitigates the harshness of concrete.
Giovanni Pesce
htmlText_34E3CC75_2FFF_2CD4_41C7_CE8B47C2B5EE.html = The flower is like a Kamon, the coat of arms of the Japanese Kuma family, rulers of the eponymous island. An unknown island. Imagine the surprise of the first Commodore and crew upon disembarking there by chance. Their first image was of a jagged coastline, a rock the colour of sage and copper, a soft shimmering sea, a girl standing against the horizon like a votive statue: a black Venus emerging from the foam of the waves like a true sea goddess. She was Kari, Balhi's beautiful twin sister, who asked the sea for more shells, black coral branches, castanets and pearls to adorn herself and create wonderful, regal headdresses, fabrics and decorations representing the essence of the fusion of sea, flowers and earth.
Antonio Marras
htmlText_4259CF55_3013_2CD4_41C2_E1045B01F11C.html = Like in a dream, an idyllic night landscape in the moonlight. A famous Japanese master once said: If you are by the river and if you feel the beauty of the river, if you can become one with the river, then you are acting intuitively with your Zen spirit, with your enlightened spirit.
Lorenzo de Grandis
htmlText_433ED4FD_3011_1DD4_41C2_19D2D1D37E87.html = The imperfect beauty of nature is transferred onto an abstract pattern, where delicate traces of a botanical pre-existence recount an irregular and poetic stratification.
Spontaneous hand-painted strokes reinterpret leaves and weaves, in a texture with a strong material accent.
The colour palette is enveloping and natural, evoking warm and cosy atmospheres.
Studiopepe
htmlText_4575F514_3011_3C54_41C3_49C89BB38925.html = The naturalism of clay surfaces comes to life, subjected to a geometric pattern that repeats the diagonal motif without interruption.
The primordial element is transformed into mouldable material and becomes an architectural pattern that plays with light and shadows in a dynamic, three-dimensional rhythm with a vaguely ethnic flavour.
Debonademeo
htmlText_90DE717C_F77F_2D62_41CB_E3BAAEECF9F2.html = A flower’s existence is laden with profound responsibility.
Its purpose is to bring cheer, fill the heart and to be a joy to the eye, beholding beauty and truth.
How can we not love a flower in a vase?
It is there to make our day beautiful, a paravent will shield it from all the storms of life, a paravent will shelter it.
Thank you for existing!
Antonio Marras
htmlText_9280FFEF_F775_157E_41E5_14A016D0AB84.html = The naturalism of clay surfaces comes to life, subjected to a geometric pattern that repeats the diagonal motif without interruption.
The primordial element is transformed into mouldable material and becomes an architectural pattern that plays with light and shadows in a dynamic, three-dimensional rhythm with a vaguely ethnic flavour.
Debonademeo
htmlText_9283FA02_F777_3EA1_41CD_71ACE3FFD3E4.html = Plays of complementary colours alternate with fullness and voids, evoking materials with a 50s feel.
A boiserie reminiscent of the graphics of linoleum, one of the main materials of product research in those years, alternates with 3D volumes capable of creating chiaroscuro effects that draw asymmetrical geometries and evoke the plastic cladding used in truck stops during the economic boom.
Wladimiro Bendandi
htmlText_9286CC17_F773_1AAF_41EB_705EAA268028.html = Terracotta is the material I wanted to use to create a new skyline of an imaginary city, investigating the effects of light on this material, highlighting variations of fulls and voids and relative colour nuances. The variations of the material reflect different processes: on the one hand the classic method is used (brick red); on the other the earth remains in its raw, unfired state, highlighting the natural colours of the clay.
Gio Tirotto
htmlText_928BE0EF_F77D_2B7F_41D2_A2E27152170F.html = The warmth of a summer day, the rarefied and filtered scorching sun reflecting on the walls of an imaginary and dreamlike house. A suggestion of reflections permeated by surrounding objects that refract on plastered walls, creating a harmonious composition of soft geometric shapes. An involuntary and almost accidental decorativism generated by light, crystallised in its moment of utmost expression in the Summertime paper.
Studio Salaris & Sans Nom Studio
htmlText_9296FFCA_F77D_75A6_41E5_B6A17EB6275A.html = Brutalist architecture, popular between the '50s and '70s, was the bearer of a bold and imposing movement that spread around the world with different social and political nuances expressed in a single recognizable architectural language, characterised by massive buildings, rough shapes and raw materials, exposed concrete above all, as the emblem of a certain constructive clarity in expressing the nature and expressive force of its structure.
For this wallpaper I was inspired by the simple shapes yet majestic proportions of manifold Brutalist buildings that have become veritable architectural icons over time. I then decided to combine them with Vienna straw, characterised by equidistant holes and a weave that generates a harmony which mitigates the harshness of concrete.
Giovanni Pesce
htmlText_92B83D25_F775_1AE2_41E8_4E8E5EECB11F.html = The dualism of essentiality and materiality are the two main concepts of the Intrecci project.
Intrecci is a composition of linear, parallel and vertical jute ropes, inspired by the traditional techniques of master weavers.
They are plays of interweaving and overlapping shadows that cover a concrete surface, generating continuous geometric compositions.
Federico Peri
htmlText_9342D97D_F777_3D62_41E5_A896B1DC267F.html = This wallpaper was inspired by our love of concrete. A pure, solid and rough material, perfect for creating minimal and sculptural shapes, reminiscent of 50s and 70s Brutalist aesthetics. After experimenting with various uses in our work, we decided to transfer the power of this material onto wallpaper, albeit in a more delicate, fluid and artistic version. Just like in a painting by Aurel, material laden brushstrokes prevail, creating an imperfect design, manifesting all its texture and depth. The original designs were handmade using cement resins, the same ones used in Aurel's works.
Draga&Aurel
htmlText_9345F9D3_F775_3DA6_41B0_409FF2E6B46C.html = Zen is a project characterised by material and natural references, elements that remind us of a hemisphere connected with nature.
It represents a view of the outside through full-height doors opening out onto an imaginary garden; the resulting effect is a trompe l'oeil that amplifies the perception and depth of the space inside a room, as if we were in a Japanese tea house.
Federico Peri
htmlText_934DEC26_F77F_1AEE_41CF_0C342FF45431.html = The inspiration comes from the world of nature and from the maple leaf in particular.
Its contours have been stylised to create a geometric pattern: the leaf, framed by the effect of wooden panelling, defines a rhythmic and alternating pattern.
The texture of the wood and that of the fabrics give shape to the leaf - their graphic difference creates a play of fullness and voids, flat and upholstered surfaces. A boiserie that rhythmically defines the interior, through a material and geometric balance created by the light or stained mahogany panels that dialogue with neutral or colourful fabrics.
Bertero Marzoli
htmlText_935FBE23_F77D_16E7_41ED_3CDB8EF8B945.html = The flower is like a Kamon, the coat of arms of the Japanese Kuma family, rulers of the eponymous island. An unknown island. Imagine the surprise of the first Commodore and crew upon disembarking there by chance. Their first image was of a jagged coastline, a rock the colour of sage and copper, a soft shimmering sea, a girl standing against the horizon like a votive statue: a black Venus emerging from the foam of the waves like a true sea goddess. She was Kari, Balhi's beautiful twin sister, who asked the sea for more shells, black coral branches, castanets and pearls to adorn herself and create wonderful, regal headdresses, fabrics and decorations representing the essence of the fusion of sea, flowers and earth.
Antonio Marras
htmlText_936B3AD6_F773_FFAE_41CD_F1D7946D65D0.html = Times change and relentlessly gallop onwards, but the need to find oneself in a simple, genuine and non-conformist environment where one can drink and converse in peace, leaving the world outside, remains intact. The simple straw seats of an old tavern have inspired a design that conveys the softness of the surface, multiplying the lines and the most classic of weaves, the segmented one. The result is wallpaper with an essential image and clean-cut lines, but with an important graphic sign that becomes a geometric decoration which enhances the textural richness of the surface, enriching it with volume.
Giovanni Pesce
htmlText_9370812D_F777_2AE3_41A8_78D5CDE5AC88.html = In 1889, the German philosopher Friedrich Nietzsche wrote: "All truly great thoughts are conceived while walking”. Just like the inspirations and suggestions that the 1970s ceramic cladding of the Leone d'oro hotel in Bari gave me as I brushed against it with an inquisitive hand. The desire to find out more and discover its author: Nino Caruso.
Artist, designer, ceramist and writer. His wide-ranging production reveals a particular attention to the themes of antiquity applied to modernity. Even in his early works, in the 1950s, which were considered primitive and Picasso-like, a study of tradition revisited emerges. It only took a moment to decide to give him the right contribution and dare to connote one of his works with the addition of a floral graphic that brings harmony to life.
Giovanni Pesce
htmlText_93EE8D7E_F77D_1561_41C2_8D5942601862.html = The two-dimensional material of the walls is transformed into an overlapping curtain that stages the encounter between monolithic forms and sinuous openings. The vision doubles off into dynamic connections between fulls and voids reminiscent of the architecture of Louis Kahn, projecting the gaze between rarefied atmospheres and diaphanous surfaces, like sensual memories.
Debonademeo
htmlText_93F81FBD_F775_35E2_41CD_3A29F71C731E.html = Primordial shapes
crafted by an artisan
who observes nature,
which gives her the gift of a string she weaves
to connect past and future,
to rejoice in the present.
Antonella Guidi
htmlText_93F9050C_F774_EAA1_41DB_3F0EEB8577DD.html = The imperfect beauty of nature is transferred onto an abstract pattern, where delicate traces of a botanical pre-existence recount an irregular and poetic stratification.
Spontaneous hand-painted strokes reinterpret leaves and weaves, in a texture with a strong material accent.
The colour palette is enveloping and natural, evoking warm and cosy atmospheres.
Studiopepe
htmlText_93FF73A6_F77C_EDE1_41EA_D51EBAA97DA5.html = I once walked through a forest, a radiant forest, illuminated by the sun’s rays.
The meadow was no longer green: it was now shades of yellow, ochre, and light brown.
The leaves had fallen and lay draped over each other, leaving clear patches on the ground.
Inspiration for these graphics came to me when I gazed at that magnificent carpet of colour, a lawn populated by leaves freely drawing an infinite multitude of shapes.
For me nature is a great source of inspiration and sometimes I directly reproduce something that strikes me, other times I carry the feeling inside me, the emotion of what I saw and resolve to turn it into a drawing.
Ines Porrino
htmlText_9537429F_F775_2FDF_41E5_CEFA88FE9D00.html = Like in a dream, an idyllic night landscape in the moonlight. A famous Japanese master once said: If you are by the river and if you feel the beauty of the river, if you can become one with the river, then you are acting intuitively with your Zen spirit, with your enlightened spirit.
Lorenzo de Grandis
htmlText_95CCD7DE_F76F_15A1_41BB_30AD8C252F4C.html = The imperfect beauty of nature is transferred onto an abstract pattern, where delicate traces of a botanical pre-existence recount an irregular and poetic stratification.
Spontaneous hand-painted strokes reinterpret leaves and weaves, in a texture with a strong material accent.
The colour palette is enveloping and natural, evoking warm and cosy atmospheres.
Studiopepe
htmlText_96BE5C8B_F76F_3BA7_41E2_09AD26AA9969.html = The naturalism of clay surfaces comes to life, subjected to a geometric pattern that repeats the diagonal motif without interruption.
The primordial element is transformed into mouldable material and becomes an architectural pattern that plays with light and shadows in a dynamic, three-dimensional rhythm with a vaguely ethnic flavour.
Debonademeo
htmlText_9E240C3D_F755_1AE2_41E0_FAD0A32775C4.html = Sometimes, upon a train’s arrival or departure, we are enchanted by the walls plastered with old, worn and torn posters that blend in with each other.
When the train moves off we are distracted, capturing glimpses of all but a few fragments and colours of those stratified walls, almost as if they were a watercolour smudge left on the wall, capable of transforming the overlapping layers of mundane posters into an abstract work of art.
Mimmo Rotella understood this very well - and it is precisely this world blurred by the movement of a departing train that is evoked by this graphic design, so disorderly yet harmonious at the same time.
Ludovica+Roberto Palomba
htmlText_9EC3E2C4_F757_2FA2_41E2_98C2749FF2CE.html = Paint is an abstract project, a graphic sign on the wall consisting of gestures and oversized brush strokes.
The apparently random and instinctive decoration presents itself as overlapped colours and tone-on-tone shades painted on a dark surface. Such juxtaposition frees the way for open and autonomous interpretation: at times it seems as if we are observing a group of flower petals, at others shoals of fish, leaving the observer with total freedom.
Federico Peri
htmlText_9EEC37D5_F755_15A3_41D6_56DC8275D55F.html = Plays of complementary colours alternate with fullness and voids, evoking materials with a 50s feel.
A boiserie reminiscent of the graphics of linoleum, one of the main materials of product research in those years, alternates with 3D volumes capable of creating chiaroscuro effects that draw asymmetrical geometries and evoke the plastic cladding used in truck stops during the economic boom.
Wladimiro Bendandi
htmlText_9EF0063C_F757_F6E2_41CA_75A102BF74EE.html = The library, amidst books, souvenirs, photographs, paintings and art, bears the soul of the person who inhabits a home, more than anywhere else. A selection of memories and affections, dedicated to preserving and exhibiting the tastes of its creator.
Cave Library creates independent spaces, niches in the plaster walls that contain all kinds of characteristic Raw&co objects, like the cabinets de curiosités of 17th century collectors. The single-tone plaster and terracotta blends with that of the objects, creating the illusion that they have always been a part of the wall.
"The artist's work is therefore nothing other than to chisel away the superfluous material and liberate the figure imprisoned in the marble". Michelangelo
Paolo Badesco-Costantino Affuso
htmlText_9F5C5B94_F757_1DA2_41EE_A26CA1FCFA6F.html = Zen is a project characterised by material and natural references, elements that remind us of a hemisphere connected with nature.
It represents a view of the outside through full-height doors opening out onto an imaginary garden; the resulting effect is a trompe l'oeil that amplifies the perception and depth of the space inside a room, as if we were in a Japanese tea house.
Federico Peri
htmlText_9F6048BC_F755_1BE1_41C0_33F030D2CC4B.html = A multitude of fragmented forms - destructured and casually reassembled in several layers - generate new imagery and graphic compositions. The Papercut collection is a material wall which, like a canvas, becomes a place of formal experimentation. Fragments of paper are deposited on the surface, multiplying the materiality of the wall itself, constituting experimental and conceptual research.
Studio Salaris & Sans Nom Studio
htmlText_9FA85FE8_F755_1561_41E3_E214090F578E.html = This wallpaper was inspired by our love of concrete. A pure, solid and rough material, perfect for creating minimal and sculptural shapes, reminiscent of 50s and 70s Brutalist aesthetics. After experimenting with various uses in our work, we decided to transfer the power of this material onto wallpaper, albeit in a more delicate, fluid and artistic version. Just like in a painting by Aurel, material laden brushstrokes prevail, creating an imperfect design, manifesting all its texture and depth. The original designs were handmade using cement resins, the same ones used in Aurel's works.
Draga&Aurel
htmlText_A27DFF10_F75F_36A2_41C5_69C9B4574AA8.html = Plays of complementary colours alternate with fullness and voids, evoking materials with a 50s feel.
A boiserie reminiscent of the graphics of linoleum, one of the main materials of product research in those years, alternates with 3D volumes capable of creating chiaroscuro effects that draw asymmetrical geometries and evoke the plastic cladding used in truck stops during the economic boom.
Wladimiro Bendandi
htmlText_A2F52DFF_F75D_155F_41C9_162904CC37D9.html = The trade winds blow north and south, never impetuous nor indiscrete. Like all winds, they cannot be seen nor mastered; rather, they can be felt as they move, devoid of all limits and boundaries, embodying the spirit of every true traveller.
Lorenzo de Grandis
htmlText_A37370EF_F75D_6B7F_41E0_071A3203709B.html = This wallpaper was inspired by our love of concrete. A pure, solid and rough material, perfect for creating minimal and sculptural shapes, reminiscent of 50s and 70s Brutalist aesthetics. After experimenting with various uses in our work, we decided to transfer the power of this material onto wallpaper, albeit in a more delicate, fluid and artistic version. Just like in a painting by Aurel, material laden brushstrokes prevail, creating an imperfect design, manifesting all its texture and depth. The original designs were handmade using cement resins, the same ones used in Aurel's works.
Draga&Aurel
htmlText_A3E6CFF7_F75D_156F_41DE_E87C9132C9D6.html = Overlock is a childhood memory: objects overlapped on photographic paper to create a black print;
here a black sewing thread and its shadow move freely on the surface, as if drawing flowers with a naïf flavour, recreating visible traces.
Christian Benini
htmlText_A3F8EA11_F753_3EA3_41ED_CA3BAEE321A1.html = Like in a dream, an idyllic night landscape in the moonlight. A famous Japanese master once said: If you are by the river and if you feel the beauty of the river, if you can become one with the river, then you are acting intuitively with your Zen spirit, with your enlightened spirit.
Lorenzo de Grandis
htmlText_A672F000_F75D_2AA2_41C3_1FA750F49EF0.html = The library, amidst books, souvenirs, photographs, paintings and art, bears the soul of the person who inhabits a home, more than anywhere else. A selection of memories and affections, dedicated to preserving and exhibiting the tastes of its creator.
Cave Library creates independent spaces, niches in the plaster walls that contain all kinds of characteristic Raw&co objects, like the cabinets de curiosités of 17th century collectors. The single-tone plaster and terracotta blends with that of the objects, creating the illusion that they have always been a part of the wall.
"The artist's work is therefore nothing other than to chisel away the superfluous material and liberate the figure imprisoned in the marble". Michelangelo
Paolo Badesco-Costantino Affuso
htmlText_A972E71A_F76D_16A1_41A9_E30AC2091F09.html = A multitude of fragmented forms - destructured and casually reassembled in several layers - generate new imagery and graphic compositions. The Papercut collection is a material wall which, like a canvas, becomes a place of formal experimentation. Fragments of paper are deposited on the surface, multiplying the materiality of the wall itself, constituting experimental and conceptual research.
Studio Salaris & Sans Nom Studio
htmlText_A97CF840_F753_FAA1_41C3_6C07D8E34AD0.html = Like in a dream, an idyllic night landscape in the moonlight. A famous Japanese master once said: If you are by the river and if you feel the beauty of the river, if you can become one with the river, then you are acting intuitively with your Zen spirit, with your enlightened spirit.
Lorenzo de Grandis
htmlText_AAA1BD3F_F754_FADF_41CA_4282F0BC861A.html = The trade winds blow north and south, never impetuous nor indiscrete. Like all winds, they cannot be seen nor mastered; rather, they can be felt as they move, devoid of all limits and boundaries, embodying the spirit of every true traveller.
Lorenzo de Grandis
htmlText_AABAC8B7_F757_1BEF_41E8_B3C967337B9F.html = Ring after ring, a picture emerges as we examine the section of a trunk, telling the tree’s story.
Trees keep a diary of their life process and everything remains engraved, as though in writing, or a modern mandala. It is fascinating to note how the shape of the trunk is so familiar and iconic, how it is reminiscent of the stratification of stones like agate, the concentric effect of shells or stars.
Lorenzo de Grandis
htmlText_AB4DB538_F757_6AE2_41D4_7EEE56930FE0.html = The imperfect beauty of nature is transferred onto an abstract pattern, where delicate traces of a botanical pre-existence recount an irregular and poetic stratification.
Spontaneous hand-painted strokes reinterpret leaves and weaves, in a texture with a strong material accent.
The colour palette is enveloping and natural, evoking warm and cosy atmospheres.
Studiopepe
htmlText_ABED5DDB_F76C_F5A6_41C4_FB287DB3ABB1.html = Sometimes, upon a train’s arrival or departure, we are enchanted by the walls plastered with old, worn and torn posters that blend in with each other.
When the train moves off we are distracted, capturing glimpses of all but a few fragments and colours of those stratified walls, almost as if they were a watercolour smudge left on the wall, capable of transforming the overlapping layers of mundane posters into an abstract work of art.
Mimmo Rotella understood this very well - and it is precisely this world blurred by the movement of a departing train that is evoked by this graphic design, so disorderly yet harmonious at the same time.
Ludovica+Roberto Palomba
htmlText_ADBCCC3B_F755_3AE6_41DF_04F4E131401E.html = The search for silence of the mind generates
lines, meditated, organised and concentric images that transcend complexity and strive for the fulfilment
of tranquil simplicity.
Antonella Guidi
htmlText_AE4829FF_F755_7D5F_41E2_EF60243AAF4E.html = The naturalism of clay surfaces comes to life, subjected to a geometric pattern that repeats the diagonal motif without interruption.
The primordial element is transformed into mouldable material and becomes an architectural pattern that plays with light and shadows in a dynamic, three-dimensional rhythm with a vaguely ethnic flavour.
Debonademeo
htmlText_B106752A_F6AD_EAE1_41D6_0891B065C076.html = The imperfect beauty of nature is transferred onto an abstract pattern, where delicate traces of a botanical pre-existence recount an irregular and poetic stratification.
Spontaneous hand-painted strokes reinterpret leaves and weaves, in a texture with a strong material accent.
The colour palette is enveloping and natural, evoking warm and cosy atmospheres.
Studiopepe
htmlText_B25EC487_F6D5_2BAE_41E1_BFCCD36D36E5.html = I once walked through a forest, a radiant forest, illuminated by the sun’s rays.
The meadow was no longer green: it was now shades of yellow, ochre, and light brown.
The leaves had fallen and lay draped over each other, leaving clear patches on the ground.
Inspiration for these graphics came to me when I gazed at that magnificent carpet of colour, a lawn populated by leaves freely drawing an infinite multitude of shapes.
For me nature is a great source of inspiration and sometimes I directly reproduce something that strikes me, other times I carry the feeling inside me, the emotion of what I saw and resolve to turn it into a drawing.
Ines Porrino
htmlText_B29ED0D2_F6D5_EBA1_41BD_AD14F77C6D32.html = The two-dimensional material of the walls is transformed into an overlapping curtain that stages the encounter between monolithic forms and sinuous openings. The vision doubles off into dynamic connections between fulls and voids reminiscent of the architecture of Louis Kahn, projecting the gaze between rarefied atmospheres and diaphanous surfaces, like sensual memories.
Debonademeo
htmlText_B41FC5DB_F6EC_F5A7_41CF_E48958258880.html = The two-dimensional material of the walls is transformed into an overlapping curtain that stages the encounter between monolithic forms and sinuous openings. The vision doubles off into dynamic connections between fulls and voids reminiscent of the architecture of Louis Kahn, projecting the gaze between rarefied atmospheres and diaphanous surfaces, like sensual memories.
Debonademeo
htmlText_B4911C4D_F6D7_1AA3_41C7_15D502DD4765.html = The inspiration comes from the world of nature and from the maple leaf in particular.
Its contours have been stylised to create a geometric pattern: the leaf, framed by the effect of wooden panelling, defines a rhythmic and alternating pattern.
The texture of the wood and that of the fabrics give shape to the leaf - their graphic difference creates a play of fullness and voids, flat and upholstered surfaces. A boiserie that rhythmically defines the interior, through a material and geometric balance created by the light or stained mahogany panels that dialogue with neutral or colourful fabrics.
Bertero Marzoli
htmlText_B4DE5F54_F6D4_F6A1_41E7_0C51450D57DC.html = The flower is like a Kamon, the coat of arms of the Japanese Kuma family, rulers of the eponymous island. An unknown island. Imagine the surprise of the first Commodore and crew upon disembarking there by chance. Their first image was of a jagged coastline, a rock the colour of sage and copper, a soft shimmering sea, a girl standing against the horizon like a votive statue: a black Venus emerging from the foam of the waves like a true sea goddess. She was Kari, Balhi's beautiful twin sister, who asked the sea for more shells, black coral branches, castanets and pearls to adorn herself and create wonderful, regal headdresses, fabrics and decorations representing the essence of the fusion of sea, flowers and earth.
Antonio Marras
htmlText_B519C75B_F6D5_16A7_41DA_02CB415A2A5D.html = Terracotta is the material I wanted to use to create a new skyline of an imaginary city, investigating the effects of light on this material, highlighting variations of fulls and voids and relative colour nuances. The variations of the material reflect different processes: on the one hand the classic method is used (brick red); on the other the earth remains in its raw, unfired state, highlighting the natural colours of the clay.
Gio Tirotto
htmlText_B51A5BD3_F6D7_1DA6_41B8_F05161572E64.html = Primordial shapes
crafted by an artisan
who observes nature,
which gives her the gift of a string she weaves
to connect past and future,
to rejoice in the present.
Antonella Guidi
htmlText_B538EFC3_F6D5_15A7_41EB_53ED89286FC4.html = The dualism of essentiality and materiality are the two main concepts of the Intrecci project.
Intrecci is a composition of linear, parallel and vertical jute ropes, inspired by the traditional techniques of master weavers.
They are plays of interweaving and overlapping shadows that cover a concrete surface, generating continuous geometric compositions.
Federico Peri
htmlText_B566F4A6_F6D5_6BE1_41EA_88D0EE28323A.html = The naturalism of clay surfaces comes to life, subjected to a geometric pattern that repeats the diagonal motif without interruption.
The primordial element is transformed into mouldable material and becomes an architectural pattern that plays with light and shadows in a dynamic, three-dimensional rhythm with a vaguely ethnic flavour.
Debonademeo
htmlText_B58CC1D3_F6D5_6DA6_41C2_50A93D119D65.html = Brutalist architecture, popular between the '50s and '70s, was the bearer of a bold and imposing movement that spread around the world with different social and political nuances expressed in a single recognizable architectural language, characterised by massive buildings, rough shapes and raw materials, exposed concrete above all, as the emblem of a certain constructive clarity in expressing the nature and expressive force of its structure.
For this wallpaper I was inspired by the simple shapes yet majestic proportions of manifold Brutalist buildings that have become veritable architectural icons over time. I then decided to combine them with Vienna straw, characterised by equidistant holes and a weave that generates a harmony which mitigates the harshness of concrete.
Giovanni Pesce
htmlText_B59F7412_F6D7_2AA1_41AF_A4B3DFCA5FD6.html = A flower’s existence is laden with profound responsibility.
Its purpose is to bring cheer, fill the heart and to be a joy to the eye, beholding beauty and truth.
How can we not love a flower in a vase?
It is there to make our day beautiful, a paravent will shield it from all the storms of life, a paravent will shelter it.
Thank you for existing!
Antonio Marras
htmlText_B5B0A303_F6D5_2EA7_41CE_8A1A3682D63D.html = Times change and relentlessly gallop onwards, but the need to find oneself in a simple, genuine and non-conformist environment where one can drink and converse in peace, leaving the world outside, remains intact. The simple straw seats of an old tavern have inspired a design that conveys the softness of the surface, multiplying the lines and the most classic of weaves, the segmented one. The result is wallpaper with an essential image and clean-cut lines, but with an important graphic sign that becomes a geometric decoration which enhances the textural richness of the surface, enriching it with volume.
Giovanni Pesce
htmlText_B5F14D4C_F6D5_1AA1_41BF_DDD3F9E16AE4.html = The warmth of a summer day, the rarefied and filtered scorching sun reflecting on the walls of an imaginary and dreamlike house. A suggestion of reflections permeated by surrounding objects that refract on plastered walls, creating a harmonious composition of soft geometric shapes. An involuntary and almost accidental decorativism generated by light, crystallised in its moment of utmost expression in the Summertime paper.
Studio Salaris & Sans Nom Studio
htmlText_B5F5FEA2_F6D7_37E6_41C6_907D8AA0FA67.html = Zen is a project characterised by material and natural references, elements that remind us of a hemisphere connected with nature.
It represents a view of the outside through full-height doors opening out onto an imaginary garden; the resulting effect is a trompe l'oeil that amplifies the perception and depth of the space inside a room, as if we were in a Japanese tea house.
Federico Peri
htmlText_B87FD5BE_F753_15E1_4194_8E8D667DC312.html = I once walked through a forest, a radiant forest, illuminated by the sun’s rays.
The meadow was no longer green: it was now shades of yellow, ochre, and light brown.
The leaves had fallen and lay draped over each other, leaving clear patches on the ground.
Inspiration for these graphics came to me when I gazed at that magnificent carpet of colour, a lawn populated by leaves freely drawing an infinite multitude of shapes.
For me nature is a great source of inspiration and sometimes I directly reproduce something that strikes me, other times I carry the feeling inside me, the emotion of what I saw and resolve to turn it into a drawing.
Ines Porrino
htmlText_B99D778F_F757_15BF_41D6_E3D798A4C3BF.html = Brutalist architecture, popular between the '50s and '70s, was the bearer of a bold and imposing movement that spread around the world with different social and political nuances expressed in a single recognizable architectural language, characterised by massive buildings, rough shapes and raw materials, exposed concrete above all, as the emblem of a certain constructive clarity in expressing the nature and expressive force of its structure.
For this wallpaper I was inspired by the simple shapes yet majestic proportions of manifold Brutalist buildings that have become veritable architectural icons over time. I then decided to combine them with Vienna straw, characterised by equidistant holes and a weave that generates a harmony which mitigates the harshness of concrete.
Giovanni Pesce
htmlText_B9B99592_F753_75A6_41E1_71D01EA2C821.html = Paint is an abstract project, a graphic sign on the wall consisting of gestures and oversized brush strokes.
The apparently random and instinctive decoration presents itself as overlapped colours and tone-on-tone shades painted on a dark surface. Such juxtaposition frees the way for open and autonomous interpretation: at times it seems as if we are observing a group of flower petals, at others shoals of fish, leaving the observer with total freedom.
Federico Peri
htmlText_BAB12066_F755_2B61_41EE_92CF94190336.html = The flower is like a Kamon, the coat of arms of the Japanese Kuma family, rulers of the eponymous island. An unknown island. Imagine the surprise of the first Commodore and crew upon disembarking there by chance. Their first image was of a jagged coastline, a rock the colour of sage and copper, a soft shimmering sea, a girl standing against the horizon like a votive statue: a black Venus emerging from the foam of the waves like a true sea goddess. She was Kari, Balhi's beautiful twin sister, who asked the sea for more shells, black coral branches, castanets and pearls to adorn herself and create wonderful, regal headdresses, fabrics and decorations representing the essence of the fusion of sea, flowers and earth.
Antonio Marras
htmlText_BCB90D00_F757_1AA2_41E1_445CBF1B5606.html = Brutalist architecture, popular between the '50s and '70s, was the bearer of a bold and imposing movement that spread around the world with different social and political nuances expressed in a single recognizable architectural language, characterised by massive buildings, rough shapes and raw materials, exposed concrete above all, as the emblem of a certain constructive clarity in expressing the nature and expressive force of its structure.
For this wallpaper I was inspired by the simple shapes yet majestic proportions of manifold Brutalist buildings that have become veritable architectural icons over time. I then decided to combine them with Vienna straw, characterised by equidistant holes and a weave that generates a harmony which mitigates the harshness of concrete.
Giovanni Pesce
htmlText_BED47D59_F6AD_1AA3_41E7_8059EF495330.html = Paint is an abstract project, a graphic sign on the wall consisting of gestures and oversized brush strokes.
The apparently random and instinctive decoration presents itself as overlapped colours and tone-on-tone shades painted on a dark surface. Such juxtaposition frees the way for open and autonomous interpretation: at times it seems as if we are observing a group of flower petals, at others shoals of fish, leaving the observer with total freedom.
Federico Peri
htmlText_BFD3D420_F755_6AE3_41E3_641919DE8473.html = The flower is like a Kamon, the coat of arms of the Japanese Kuma family, rulers of the eponymous island. An unknown island. Imagine the surprise of the first Commodore and crew upon disembarking there by chance. Their first image was of a jagged coastline, a rock the colour of sage and copper, a soft shimmering sea, a girl standing against the horizon like a votive statue: a black Venus emerging from the foam of the waves like a true sea goddess. She was Kari, Balhi's beautiful twin sister, who asked the sea for more shells, black coral branches, castanets and pearls to adorn herself and create wonderful, regal headdresses, fabrics and decorations representing the essence of the fusion of sea, flowers and earth.
Antonio Marras
htmlText_C060B877_F6D3_1B6F_41EA_FB159CA6D650.html = The dualism of essentiality and materiality are the two main concepts of the Intrecci project.
Intrecci is a composition of linear, parallel and vertical jute ropes, inspired by the traditional techniques of master weavers.
They are plays of interweaving and overlapping shadows that cover a concrete surface, generating continuous geometric compositions.
Federico Peri
htmlText_C1E5FE56_F6D5_76AE_41CA_9D76EA5B7B5F.html = Primordial shapes
crafted by an artisan
who observes nature,
which gives her the gift of a string she weaves
to connect past and future,
to rejoice in the present.
Antonella Guidi
htmlText_C4B69C0E_F6DD_7ABE_41BD_35053EA62388.html = Terracotta is the material I wanted to use to create a new skyline of an imaginary city, investigating the effects of light on this material, highlighting variations of fulls and voids and relative colour nuances. The variations of the material reflect different processes: on the one hand the classic method is used (brick red); on the other the earth remains in its raw, unfired state, highlighting the natural colours of the clay.
Gio Tirotto
htmlText_C6FAD79D_F6D7_15A3_41E8_C0D0652BBAED.html = Times change and relentlessly gallop onwards, but the need to find oneself in a simple, genuine and non-conformist environment where one can drink and converse in peace, leaving the world outside, remains intact. The simple straw seats of an old tavern have inspired a design that conveys the softness of the surface, multiplying the lines and the most classic of weaves, the segmented one. The result is wallpaper with an essential image and clean-cut lines, but with an important graphic sign that becomes a geometric decoration which enhances the textural richness of the surface, enriching it with volume.
Giovanni Pesce
htmlText_C8F83453_F6F3_2AA7_41C3_42EACC754104.html = The inspiration comes from the world of nature and from the maple leaf in particular.
Its contours have been stylised to create a geometric pattern: the leaf, framed by the effect of wooden panelling, defines a rhythmic and alternating pattern.
The texture of the wood and that of the fabrics give shape to the leaf - their graphic difference creates a play of fullness and voids, flat and upholstered surfaces. A boiserie that rhythmically defines the interior, through a material and geometric balance created by the light or stained mahogany panels that dialogue with neutral or colourful fabrics.
Bertero Marzoli
htmlText_C933D771_F6F3_3563_41B6_37B5B595345A.html = The warmth of a summer day, the rarefied and filtered scorching sun reflecting on the walls of an imaginary and dreamlike house. A suggestion of reflections permeated by surrounding objects that refract on plastered walls, creating a harmonious composition of soft geometric shapes. An involuntary and almost accidental decorativism generated by light, crystallised in its moment of utmost expression in the Summertime paper.
Studio Salaris & Sans Nom Studio
htmlText_CD18601D_F6F5_2AA3_41E5_3343EC4084F8.html = Zen is a project characterised by material and natural references, elements that remind us of a hemisphere connected with nature.
It represents a view of the outside through full-height doors opening out onto an imaginary garden; the resulting effect is a trompe l'oeil that amplifies the perception and depth of the space inside a room, as if we were in a Japanese tea house.
Federico Peri
htmlText_CD6E105D_F6F3_EAA3_41D1_223247EAD376.html = A flower’s existence is laden with profound responsibility.
Its purpose is to bring cheer, fill the heart and to be a joy to the eye, beholding beauty and truth.
How can we not love a flower in a vase?
It is there to make our day beautiful, a paravent will shield it from all the storms of life, a paravent will shelter it.
Thank you for existing!
Antonio Marras
htmlText_D16258C4_E24A_0900_41DE_C4C391B06B34.html = A multitude of fragmented forms - destructured and casually reassembled in several layers - generate new imagery and graphic compositions. The Papercut collection is a material wall which, like a canvas, becomes a place of formal experimentation. Fragments of paper are deposited on the surface, multiplying the materiality of the wall itself, constituting experimental and conceptual research.
Studio Salaris & Sans Nom Studio
htmlText_D2EDCCFE_F55D_7B5E_41BF_A9F8D424141D.html = Like in a dream, an idyllic night landscape in the moonlight. A famous Japanese master once said: If you are by the river and if you feel the beauty of the river, if you can become one with the river, then you are acting intuitively with your Zen spirit, with your enlightened spirit.
Lorenzo de Grandis
htmlText_D342F87A_F553_1B61_419C_BE13DB893548.html = The trade winds blow north and south, never impetuous nor indiscrete. Like all winds, they cannot be seen nor mastered; rather, they can be felt as they move, devoid of all limits and boundaries, embodying the spirit of every true traveller.
Lorenzo de Grandis
htmlText_D89F9701_F6AD_F6A2_41CE_04B8305B77AF.html = I once walked through a forest, a radiant forest, illuminated by the sun’s rays.
The meadow was no longer green: it was now shades of yellow, ochre, and light brown.
The leaves had fallen and lay draped over each other, leaving clear patches on the ground.
Inspiration for these graphics came to me when I gazed at that magnificent carpet of colour, a lawn populated by leaves freely drawing an infinite multitude of shapes.
For me nature is a great source of inspiration and sometimes I directly reproduce something that strikes me, other times I carry the feeling inside me, the emotion of what I saw and resolve to turn it into a drawing.
Ines Porrino
htmlText_DB4FE08F_F6B5_2BBF_41A4_8C7DED81FA2C.html = Brutalist architecture, popular between the '50s and '70s, was the bearer of a bold and imposing movement that spread around the world with different social and political nuances expressed in a single recognizable architectural language, characterised by massive buildings, rough shapes and raw materials, exposed concrete above all, as the emblem of a certain constructive clarity in expressing the nature and expressive force of its structure.
For this wallpaper I was inspired by the simple shapes yet majestic proportions of manifold Brutalist buildings that have become veritable architectural icons over time. I then decided to combine them with Vienna straw, characterised by equidistant holes and a weave that generates a harmony which mitigates the harshness of concrete.
Giovanni Pesce
htmlText_DFAA8EF9_F6AF_1763_41C9_8AE9A93F5F38.html = The flower is like a Kamon, the coat of arms of the Japanese Kuma family, rulers of the eponymous island. An unknown island. Imagine the surprise of the first Commodore and crew upon disembarking there by chance. Their first image was of a jagged coastline, a rock the colour of sage and copper, a soft shimmering sea, a girl standing against the horizon like a votive statue: a black Venus emerging from the foam of the waves like a true sea goddess. She was Kari, Balhi's beautiful twin sister, who asked the sea for more shells, black coral branches, castanets and pearls to adorn herself and create wonderful, regal headdresses, fabrics and decorations representing the essence of the fusion of sea, flowers and earth.
Antonio Marras
htmlText_E0837FE2_F367_6D0D_41DB_128F38858EC7.html = A multitude of fragmented forms - destructured and casually reassembled in several layers - generate new imagery and graphic compositions. The Papercut collection is a material wall which, like a canvas, becomes a place of formal experimentation. Fragments of paper are deposited on the surface, multiplying the materiality of the wall itself, constituting experimental and conceptual research.
Studio Salaris & Sans Nom Studio
htmlText_E0CCE807_F575_1AAE_41C6_CE32A405691E.html = This wallpaper was inspired by our love of concrete. A pure, solid and rough material, perfect for creating minimal and sculptural shapes, reminiscent of 50s and 70s Brutalist aesthetics. After experimenting with various uses in our work, we decided to transfer the power of this material onto wallpaper, albeit in a more delicate, fluid and artistic version. Just like in a painting by Aurel, material laden brushstrokes prevail, creating an imperfect design, manifesting all its texture and depth. The original designs were handmade using cement resins, the same ones used in Aurel's works.
Draga&Aurel
htmlText_E0F6081E_F360_B335_41DA_7AF949E1D07A.html = Like in a dream, an idyllic night landscape in the moonlight. A famous Japanese master once said: If you are by the river and if you feel the beauty of the river, if you can become one with the river, then you are acting intuitively with your Zen spirit, with your enlightened spirit.
Lorenzo de Grandis
htmlText_E1119543_F574_EAA7_41C6_0DF90F0B5D07.html = Overlock is a childhood memory: objects overlapped on photographic paper to create a black print;
here a black sewing thread and its shadow move freely on the surface, as if drawing flowers with a naïf flavour, recreating visible traces.
Christian Benini
htmlText_E1434BCB_F56D_1DA7_41E0_69863D2A816D.html = The library, amidst books, souvenirs, photographs, paintings and art, bears the soul of the person who inhabits a home, more than anywhere else. A selection of memories and affections, dedicated to preserving and exhibiting the tastes of its creator.
Cave Library creates independent spaces, niches in the plaster walls that contain all kinds of characteristic Raw&co objects, like the cabinets de curiosités of 17th century collectors. The single-tone plaster and terracotta blends with that of the objects, creating the illusion that they have always been a part of the wall.
"The artist's work is therefore nothing other than to chisel away the superfluous material and liberate the figure imprisoned in the marble". Michelangelo
Paolo Badesco-Costantino Affuso
htmlText_E16C1A25_F360_B717_41C6_688C4DC0405F.html = The trade winds blow north and south, never impetuous nor indiscrete. Like all winds, they cannot be seen nor mastered; rather, they can be felt as they move, devoid of all limits and boundaries, embodying the spirit of every true traveller.
Lorenzo de Grandis
htmlText_E177E5E4_F3A0_41F7_41DA_2B22A5CCC3CE.html = Ring after ring, a picture emerges as we examine the section of a trunk, telling the tree’s story.
Trees keep a diary of their life process and everything remains engraved, as though in writing, or a modern mandala. It is fascinating to note how the shape of the trunk is so familiar and iconic, how it is reminiscent of the stratification of stones like agate, the concentric effect of shells or stars.
Lorenzo de Grandis
htmlText_E2D41B7A_F260_42D3_41D0_D16AE620DEA8.html = Sometimes, upon a train’s arrival or departure, we are enchanted by the walls plastered with old, worn and torn posters that blend in with each other.
When the train moves off we are distracted, capturing glimpses of all but a few fragments and colours of those stratified walls, almost as if they were a watercolour smudge left on the wall, capable of transforming the overlapping layers of mundane posters into an abstract work of art.
Mimmo Rotella understood this very well - and it is precisely this world blurred by the movement of a departing train that is evoked by this graphic design, so disorderly yet harmonious at the same time.
Ludovica+Roberto Palomba
htmlText_E2FA4D58_F390_7ED9_41E5_2841E8032934.html = The search for silence of the mind generates
lines, meditated, organised and concentric images that transcend complexity and strive for the fulfilment
of tranquil simplicity.
Antonella Guidi
htmlText_E407C0E4_F3BF_E7E9_41E1_8BDA5113ECA5.html = The search for silence of the mind generates
lines, meditated, organised and concentric images that transcend complexity and strive for the fulfilment
of tranquil simplicity.
Antonella Guidi
htmlText_E42EF068_F3A0_B31C_41D6_40FED2166FB2.html = Sometimes, upon a train’s arrival or departure, we are enchanted by the walls plastered with old, worn and torn posters that blend in with each other.
When the train moves off we are distracted, capturing glimpses of all but a few fragments and colours of those stratified walls, almost as if they were a watercolour smudge left on the wall, capable of transforming the overlapping layers of mundane posters into an abstract work of art.
Mimmo Rotella understood this very well - and it is precisely this world blurred by the movement of a departing train that is evoked by this graphic design, so disorderly yet harmonious at the same time.
Ludovica+Roberto Palomba
htmlText_E482200B_F3B0_A63F_41C2_532CE44577AC.html = Ring after ring, a picture emerges as we examine the section of a trunk, telling the tree’s story.
Trees keep a diary of their life process and everything remains engraved, as though in writing, or a modern mandala. It is fascinating to note how the shape of the trunk is so familiar and iconic, how it is reminiscent of the stratification of stones like agate, the concentric effect of shells or stars.
Lorenzo de Grandis
htmlText_E4C4460D_F3A1_9F17_41B0_8F6DE73D4E9F.html = A multitude of fragmented forms - destructured and casually reassembled in several layers - generate new imagery and graphic compositions. The Papercut collection is a material wall which, like a canvas, becomes a place of formal experimentation. Fragments of paper are deposited on the surface, multiplying the materiality of the wall itself, constituting experimental and conceptual research.
Studio Salaris & Sans Nom Studio
htmlText_E4D4B470_F360_F30C_41D7_FB2954218E30.html = Paint is an abstract project, a graphic sign on the wall consisting of gestures and oversized brush strokes.
The apparently random and instinctive decoration presents itself as overlapped colours and tone-on-tone shades painted on a dark surface. Such juxtaposition frees the way for open and autonomous interpretation: at times it seems as if we are observing a group of flower petals, at others shoals of fish, leaving the observer with total freedom.
Federico Peri
htmlText_E5291446_F3B7_AE29_41D5_1FC40759DA6F.html = Overlock is a childhood memory: objects overlapped on photographic paper to create a black print;
here a black sewing thread and its shadow move freely on the surface, as if drawing flowers with a naïf flavour, recreating visible traces.
Christian Benini
htmlText_E6229E48_F360_AF1D_41D2_A4227EC59C9F.html = A multitude of fragmented forms - destructured and casually reassembled in several layers - generate new imagery and graphic compositions. The Papercut collection is a material wall which, like a canvas, becomes a place of formal experimentation. Fragments of paper are deposited on the surface, multiplying the materiality of the wall itself, constituting experimental and conceptual research.
Studio Salaris & Sans Nom Studio
htmlText_E7006E14_F390_9A29_41E5_BB04F2389A4C.html = The library, amidst books, souvenirs, photographs, paintings and art, bears the soul of the person who inhabits a home, more than anywhere else. A selection of memories and affections, dedicated to preserving and exhibiting the tastes of its creator.
Cave Library creates independent spaces, niches in the plaster walls that contain all kinds of characteristic Raw&co objects, like the cabinets de curiosités of 17th century collectors. The single-tone plaster and terracotta blends with that of the objects, creating the illusion that they have always been a part of the wall.
"The artist's work is therefore nothing other than to chisel away the superfluous material and liberate the figure imprisoned in the marble". Michelangelo
Paolo Badesco-Costantino Affuso
htmlText_E71CB9C8_F360_951D_41EE_21C50E52CC45.html = Like in a dream, an idyllic night landscape in the moonlight. A famous Japanese master once said: If you are by the river and if you feel the beauty of the river, if you can become one with the river, then you are acting intuitively with your Zen spirit, with your enlightened spirit.
Lorenzo de Grandis
htmlText_E7214E29_F363_6F1F_41C7_C3B50DF23A39.html = The imperfect surface gives the nod to Wabi-Sabi, reinterpreting it with a designer twist, thanks to the combination of material and cold furniture with defined shapes.
On the one hand, botanical, organic inspiration - on the other, a focus on layered textures - in both cases, green and earthy colours become the element of comfort, combining with woods, fabrics and straw to create cosy environments and introspective atmospheres.
htmlText_E7370396_F360_9535_41B2_1797EA19DD08.html = Sometimes, upon a train’s arrival or departure, we are enchanted by the walls plastered with old, worn and torn posters that blend in with each other.
When the train moves off we are distracted, capturing glimpses of all but a few fragments and colours of those stratified walls, almost as if they were a watercolour smudge left on the wall, capable of transforming the overlapping layers of mundane posters into an abstract work of art.
Mimmo Rotella understood this very well - and it is precisely this world blurred by the movement of a departing train that is evoked by this graphic design, so disorderly yet harmonious at the same time.
Ludovica+Roberto Palomba
htmlText_E77832F2_F360_B70D_41E9_F40175D126A3.html = The trade winds blow north and south, never impetuous nor indiscrete. Like all winds, they cannot be seen nor mastered; rather, they can be felt as they move, devoid of all limits and boundaries, embodying the spirit of every true traveller.
Lorenzo de Grandis
htmlText_E79A3729_F360_9D1C_41EB_F4E1DC6ECFD7.html = Sometimes, upon a train’s arrival or departure, we are enchanted by the walls plastered with old, worn and torn posters that blend in with each other.
When the train moves off we are distracted, capturing glimpses of all but a few fragments and colours of those stratified walls, almost as if they were a watercolour smudge left on the wall, capable of transforming the overlapping layers of mundane posters into an abstract work of art.
Mimmo Rotella understood this very well - and it is precisely this world blurred by the movement of a departing train that is evoked by this graphic design, so disorderly yet harmonious at the same time.
Ludovica+Roberto Palomba
htmlText_EA8F9338_F3AF_757C_41AB_02B065387A15.html = The trade winds blow north and south, never impetuous nor indiscrete. Like all winds, they cannot be seen nor mastered; rather, they can be felt as they move, devoid of all limits and boundaries, embodying the spirit of every true traveller.
Lorenzo de Grandis
htmlText_EAABD290_F3A1_970D_41B6_A156F72959AB.html = Like in a dream, an idyllic night landscape in the moonlight. A famous Japanese master once said: If you are by the river and if you feel the beauty of the river, if you can become one with the river, then you are acting intuitively with your Zen spirit, with your enlightened spirit.
Lorenzo de Grandis
htmlText_EB18EAE5_F56D_3F62_41EE_74301D526B68.html = Plays of complementary colours alternate with fullness and voids, evoking materials with a 50s feel.
A boiserie reminiscent of the graphics of linoleum, one of the main materials of product research in those years, alternates with 3D volumes capable of creating chiaroscuro effects that draw asymmetrical geometries and evoke the plastic cladding used in truck stops during the economic boom.
Wladimiro Bendandi
htmlText_EB2179DE_F5B4_FDA1_41E4_9825D5E7E2AA.html = In 1889, the German philosopher Friedrich Nietzsche wrote: "All truly great thoughts are conceived while walking”. Just like the inspirations and suggestions that the 1970s ceramic cladding of the Leone d'oro hotel in Bari gave me as I brushed against it with an inquisitive hand. The desire to find out more and discover its author: Nino Caruso.
Artist, designer, ceramist and writer. His wide-ranging production reveals a particular attention to the themes of antiquity applied to modernity. Even in his early works, in the 1950s, which were considered primitive and Picasso-like, a study of tradition revisited emerges. It only took a moment to decide to give him the right contribution and dare to connote one of his works with the addition of a floral graphic that brings harmony to life.
Giovanni Pesce
htmlText_EB9BABA5_F56F_3DE3_41E2_31DDB17054EF.html = This wallpaper was inspired by our love of concrete. A pure, solid and rough material, perfect for creating minimal and sculptural shapes, reminiscent of 50s and 70s Brutalist aesthetics. After experimenting with various uses in our work, we decided to transfer the power of this material onto wallpaper, albeit in a more delicate, fluid and artistic version. Just like in a painting by Aurel, material laden brushstrokes prevail, creating an imperfect design, manifesting all its texture and depth. The original designs were handmade using cement resins, the same ones used in Aurel's works.
Draga&Aurel
htmlText_EC0A9E57_F553_16AF_41D5_7B32A5180C99.html = The library, amidst books, souvenirs, photographs, paintings and art, bears the soul of the person who inhabits a home, more than anywhere else. A selection of memories and affections, dedicated to preserving and exhibiting the tastes of its creator.
Cave Library creates independent spaces, niches in the plaster walls that contain all kinds of characteristic Raw&co objects, like the cabinets de curiosités of 17th century collectors. The single-tone plaster and terracotta blends with that of the objects, creating the illusion that they have always been a part of the wall.
"The artist's work is therefore nothing other than to chisel away the superfluous material and liberate the figure imprisoned in the marble". Michelangelo
Paolo Badesco-Costantino Affuso
htmlText_ED23D938_F56D_1AE1_41EB_E872E83E695A.html = In 1889, the German philosopher Friedrich Nietzsche wrote: "All truly great thoughts are conceived while walking”. Just like the inspirations and suggestions that the 1970s ceramic cladding of the Leone d'oro hotel in Bari gave me as I brushed against it with an inquisitive hand. The desire to find out more and discover its author: Nino Caruso.
Artist, designer, ceramist and writer. His wide-ranging production reveals a particular attention to the themes of antiquity applied to modernity. Even in his early works, in the 1950s, which were considered primitive and Picasso-like, a study of tradition revisited emerges. It only took a moment to decide to give him the right contribution and dare to connote one of his works with the addition of a floral graphic that brings harmony to life.
Giovanni Pesce
htmlText_ED3D9CAE_F577_1BE1_41CA_0C50FD2BB7D4.html = Plays of complementary colours alternate with fullness and voids, evoking materials with a 50s feel.
A boiserie reminiscent of the graphics of linoleum, one of the main materials of product research in those years, alternates with 3D volumes capable of creating chiaroscuro effects that draw asymmetrical geometries and evoke the plastic cladding used in truck stops during the economic boom.
Wladimiro Bendandi
htmlText_EF0495D6_F553_15AE_41C0_3AD9DDD3EC28.html = This wallpaper was inspired by our love of concrete. A pure, solid and rough material, perfect for creating minimal and sculptural shapes, reminiscent of 50s and 70s Brutalist aesthetics. After experimenting with various uses in our work, we decided to transfer the power of this material onto wallpaper, albeit in a more delicate, fluid and artistic version. Just like in a painting by Aurel, material laden brushstrokes prevail, creating an imperfect design, manifesting all its texture and depth. The original designs were handmade using cement resins, the same ones used in Aurel's works.
Draga&Aurel
htmlText_EFD315B7_F553_35EF_41DF_4D1D08690306.html = Plays of complementary colours alternate with fullness and voids, evoking materials with a 50s feel.
A boiserie reminiscent of the graphics of linoleum, one of the main materials of product research in those years, alternates with 3D volumes capable of creating chiaroscuro effects that draw asymmetrical geometries and evoke the plastic cladding used in truck stops during the economic boom.
Wladimiro Bendandi
htmlText_F0802CF5_E16E_0B6F_41D6_C92A514B6BA3.html = The imperfect surface gives the nod to Wabi-Sabi, reinterpreting it with a designer twist, thanks to the combination of material and cold furniture with defined shapes.
On the one hand, botanical, organic inspiration - on the other, a focus on layered textures - in both cases, green and earthy colours become the element of comfort, combining with woods, fabrics and straw to create cosy environments and introspective atmospheres.
htmlText_F81C91AD_F554_EDE3_41E3_7295CCCFCD05.html = Paint is an abstract project, a graphic sign on the wall consisting of gestures and oversized brush strokes.
The apparently random and instinctive decoration presents itself as overlapped colours and tone-on-tone shades painted on a dark surface. Such juxtaposition frees the way for open and autonomous interpretation: at times it seems as if we are observing a group of flower petals, at others shoals of fish, leaving the observer with total freedom.
Federico Peri
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window_46081D17_47DB_BDE8_41B5_E3EB3CAFBB13.title = Zen
window_460856CE_47DB_8C7B_41C7_15E3A3083319.title = Zen
window_46089E4A_47DC_BC78_418A_E2F1C4975CE0.title = Zen
window_4608E913_47DC_85E8_41AC_5FD1FD6D9EC9.title = Zen
window_46094C4E_47DD_9C7B_41CE_44807A1A1FA6.title = Paravento
window_460A30F3_47DF_8428_41AD_E03461B9A939.title = Paravento
window_460A859F_47DC_8C18_41C6_CA266FE5722F.title = Paravento
window_460B1735_47DD_8C28_41B3_B6A56491AE1F.title = Maple
window_460B6E57_47DD_9C69_41B7_F0E3C482BEFA.title = Maple
window_460BBE6E_47DC_FC38_41A4_8D7302272799.title = Maple
window_460C5DFE_47DB_BC1B_41CC_8BD1B7F233CF.title = Summertime
window_460CA7D9_47D4_8C19_41B0_CFF820BF139E.title = Summertime
window_460CF085_47D4_84E8_41CB_C91EED773856.title = Summertime
window_460D539E_47D5_8418_41D0_0800E323E4D6.title = Ensemble
window_460DBC84_47D4_FCE8_41CE_CAD6A65462E6.title = Ensemble
window_460E0AE5_47D7_8429_4192_0B8A7E648816.title = Ensemble
window_73BB36F5_31C4_AF27_41C3_0509AC072F70.title = My Signature
window_75E75BBB_31C4_E523_41BD_04838D7E4098.title = Tameshigiri
window_7CF58C49_31CF_A36F_41B1_4D381B4AB4C0.title = Paje
window_7F0DAF5A_31CC_7D6D_41C8_C290385E52FC.title = Ethnos
window_E144BBCB_F56D_1DA7_418A_5A795938C8C1.title = Cave Library
## Hotspot
### Tooltip
HotspotPanoramaOverlayArea_320F0A3A_2FF3_345F_41C6_ED19A103D0AE.toolTip = Leaf
HotspotPanoramaOverlayArea_3351734A_2FFF_143C_41BB_4D3DD004FCDC.toolTip = Kha
HotspotPanoramaOverlayArea_34EB9C74_2FFF_2CD4_41B0_3B716884D239.toolTip = Kuma
HotspotPanoramaOverlayArea_42505F55_3013_2CD4_41AE_7AB53980EA28.toolTip = Moon River
HotspotPanoramaOverlayArea_4328E4FC_3011_1DD4_41C1_3A52719B3059.toolTip = Paje
HotspotPanoramaOverlayArea_456E7513_3011_3C2C_41C5_ABBB19408596.toolTip = Ethnos
HotspotPanoramaOverlayArea_90C7D177_F77F_2D6F_41BE_F5E181F450E4.toolTip = Paravento
HotspotPanoramaOverlayArea_92889C16_F773_1AA1_41DA_4A958596DC0D.toolTip = Terracotta
HotspotPanoramaOverlayArea_92892A02_F777_3EA1_418C_75768A0E9B02.toolTip = Tameshigiri
HotspotPanoramaOverlayArea_928E8FEF_F775_157E_4184_E523172B4B6E.toolTip = Ethnos
HotspotPanoramaOverlayArea_9298AFC9_F77D_75A2_41E8_7EA9B368D947.toolTip = Kha
HotspotPanoramaOverlayArea_929D6AD5_F773_FFA2_41D9_B4C1EE8E7C24.toolTip = Terra Mia
HotspotPanoramaOverlayArea_92A6AD25_F775_1AE2_41AA_DC7505DEB927.toolTip = Intrecci
HotspotPanoramaOverlayArea_92BDD0EE_F77D_2B61_41D1_D51869F286AC.toolTip = Summertime
HotspotPanoramaOverlayArea_93414E1E_F77D_16A1_41ED_685259153F68.toolTip = Kuma
HotspotPanoramaOverlayArea_934B097D_F777_3D62_41C1_33B1D1D2B554.toolTip = My Signature
HotspotPanoramaOverlayArea_934CA9D3_F775_3DA6_41EB_2EF0DAEFC8E5.toolTip = Zen
HotspotPanoramaOverlayArea_93733C25_F77F_1AE2_41E4_BEB10CEA3F2A.toolTip = Maple
HotspotPanoramaOverlayArea_9379F12D_F777_2AE3_41E6_B53FAE4D2773.toolTip = Caruso
HotspotPanoramaOverlayArea_93EEED7E_F77D_1561_41E1_D4C3FD3765C6.toolTip = Ensemble
HotspotPanoramaOverlayArea_93F82FBD_F775_35E2_41D6_03EC0D7096E7.toolTip = Presente
HotspotPanoramaOverlayArea_93FEE50B_F774_EAA7_41EC_B81E7D24535A.toolTip = Paje
HotspotPanoramaOverlayArea_93FF53A6_F77C_EDE1_41D1_B792BB75F026.toolTip = Leaf
HotspotPanoramaOverlayArea_952EA29E_F775_2FA1_41DE_7892C4FB2C54.toolTip = Moon River
HotspotPanoramaOverlayArea_95CD07DE_F76F_15A1_41E7_3042E7D4ABF2.toolTip = Paje
HotspotPanoramaOverlayArea_96B42C70_F76F_3B61_41CC_B07F7891063F.toolTip = Ethnos
HotspotPanoramaOverlayArea_9E09B63B_F757_F6E6_41CD_56B01515F924.toolTip = Cave Library
HotspotPanoramaOverlayArea_9E325C3C_F755_1AE2_41E8_DEC833B2D84E.toolTip = Affiche
HotspotPanoramaOverlayArea_9ED8B2C3_F757_2FA6_41E9_72C845B10D3E.toolTip = Paint
HotspotPanoramaOverlayArea_9EFA87D4_F755_15A1_41D1_95BE6B23A1CA.toolTip = Tameshigiri
HotspotPanoramaOverlayArea_9F5C7B94_F757_1DA2_41D0_76BBE0910729.toolTip = Zen
HotspotPanoramaOverlayArea_9F6068BC_F755_1BE1_41DB_6B9E585B7688.toolTip = Papercut
HotspotPanoramaOverlayArea_9FA0EFE7_F755_156E_41E5_1A4CAC4C8136.toolTip = My Signature
HotspotPanoramaOverlayArea_A27D6F0F_F75F_36BE_41D5_25F257F96324.toolTip = Tameshigiri
HotspotPanoramaOverlayArea_A2FC7DFE_F75D_1561_41AA_BF1186AE4230.toolTip = Gli Alisei
HotspotPanoramaOverlayArea_A373A0EF_F75D_6B7F_41EE_7BF5F11BF24A.toolTip = My Signature
HotspotPanoramaOverlayArea_A3C15A11_F753_3EA3_41CC_E068E6716C7F.toolTip = Moon River
HotspotPanoramaOverlayArea_A3E6AFF7_F75D_156F_41E7_7E923BADD450.toolTip = Overlock
HotspotPanoramaOverlayArea_A678FFFF_F75D_355E_41DB_0A4AAE439173.toolTip = Cave Library
HotspotPanoramaOverlayArea_A969B719_F76D_16A3_41C6_8F0A9230EDAC.toolTip = Papercut
HotspotPanoramaOverlayArea_A97CC83F_F753_FADF_41EE_419F2ACD024F.toolTip = Moon River
HotspotPanoramaOverlayArea_AAA15D3F_F754_FADF_41E9_E169BCE51191.toolTip = Gli Alisei
HotspotPanoramaOverlayArea_AABB08B7_F757_1BEF_41DB_3CA780CDACD6.toolTip = Tree of Life
HotspotPanoramaOverlayArea_AB4DF538_F757_6AE2_41EB_FEA977D9D961.toolTip = Paje
HotspotPanoramaOverlayArea_ABE38DDA_F76C_F5A6_41CC_BA43E5457939.toolTip = Affiche
HotspotPanoramaOverlayArea_ADBF3C1F_F755_3ADE_41C1_9ADFF4D47F89.toolTip = Quiete
HotspotPanoramaOverlayArea_AE5759FF_F755_7D5F_41E9_0567B4160E05.toolTip = Ethnos
HotspotPanoramaOverlayArea_B106252A_F6AD_EAE1_41EB_9AF4B91E46C2.toolTip = Paje
HotspotPanoramaOverlayArea_B25EE487_F6D5_2BAE_41D3_3DDE9946DC51.toolTip = Leaf
HotspotPanoramaOverlayArea_B29EB0D2_F6D5_EBA1_41EC_945046BD7FE2.toolTip = Ensemble
HotspotPanoramaOverlayArea_B41F95DA_F6EC_F5A1_41E1_A71646EFE103.toolTip = Ensemble
HotspotPanoramaOverlayArea_B49F0C4D_F6D7_1AA3_41EA_42569DE7FF9F.toolTip = Maple
HotspotPanoramaOverlayArea_B4C6BFC3_F6D5_15A7_41E6_11D86E5376F4.toolTip = Intrecci
HotspotPanoramaOverlayArea_B4E46F51_F6D4_F6A3_41BD_83A7D4B838F6.toolTip = Kuma
HotspotPanoramaOverlayArea_B5232BD0_F6D7_1DA2_41CC_7F7CEF6846B4.toolTip = Presente
HotspotPanoramaOverlayArea_B527975A_F6D5_16A1_41E3_1F11A11FA0DE.toolTip = Terracotta
HotspotPanoramaOverlayArea_B56B54A2_F6D5_6BE1_41D3_BB650BE55C5D.toolTip = Ethnos
HotspotPanoramaOverlayArea_B58C21D3_F6D5_6DA6_41D3_35FDBF81AE11.toolTip = Kha
HotspotPanoramaOverlayArea_B5A4C412_F6D7_2AA1_41EB_B4A397FC7A82.toolTip = Paravento
HotspotPanoramaOverlayArea_B5BE1303_F6D5_2EA7_41ED_349E024E816E.toolTip = Terra Mia
HotspotPanoramaOverlayArea_B5F16D4B_F6D5_1AA7_41E0_110426EF983F.toolTip = Summertime
HotspotPanoramaOverlayArea_B5F51EA2_F6D7_37E6_41CF_AAADD3AEC9F7.toolTip = Zen
HotspotPanoramaOverlayArea_B849C5BD_F753_15E3_41EC_B373B575B80D.toolTip = Leaf
HotspotPanoramaOverlayArea_B99DD78E_F757_15A1_41B4_2F145F23CAE3.toolTip = Kha
HotspotPanoramaOverlayArea_B9B2C591_F753_75A2_41D8_AB5B1A54B7F8.toolTip = Paint
HotspotPanoramaOverlayArea_BA887066_F755_2B61_41E9_C7C1113E7999.toolTip = Kuma
HotspotPanoramaOverlayArea_BCB7BD00_F757_1AA2_41E2_E201ED89FAF1.toolTip = Kha
HotspotPanoramaOverlayArea_BE2E6D58_F6AD_1AA1_41ED_FB864E5AEC78.toolTip = Paint
HotspotPanoramaOverlayArea_BF29E420_F755_6AE2_41E6_07CFC2535903.toolTip = Kuma
HotspotPanoramaOverlayArea_C0609877_F6D3_1B6F_41E0_849D595E4BBC.toolTip = Intrecci
HotspotPanoramaOverlayArea_C1E5DE56_F6D5_76AE_41E8_F8B6AACDCB4B.toolTip = Presente
HotspotPanoramaOverlayArea_C4BC2C0D_F6DD_7AA2_41EC_E8003218EA77.toolTip = Terracotta
HotspotPanoramaOverlayArea_C6F31796_F6D7_15A1_41E0_945BAC96F965.toolTip = Terra Mia
HotspotPanoramaOverlayArea_C8F88453_F6F3_2AA7_41E9_75990161DDA7.toolTip = Maple
HotspotPanoramaOverlayArea_C9130013_E24A_3900_41DA_4B621EE950B2.toolTip = Papercut
HotspotPanoramaOverlayArea_C93CB76C_F6F3_3561_41E7_A4115AF25A54.toolTip = Summertime
HotspotPanoramaOverlayArea_CD18101D_F6F5_2AA3_41E1_78F357A34104.toolTip = Zen
HotspotPanoramaOverlayArea_CD6EF05D_F6F3_EAA3_41EB_AE9F61710D20.toolTip = Paravento
HotspotPanoramaOverlayArea_D2F45CFE_F55D_7B5E_41BF_BECCF7888DAB.toolTip = Moon River
HotspotPanoramaOverlayArea_D35B487A_F553_1B61_41E7_37DD8D236264.toolTip = Gli Alisei
HotspotPanoramaOverlayArea_D891A701_F6AD_F6A2_41DF_C22C7F2443CD.toolTip = Leaf
HotspotPanoramaOverlayArea_DB4F108F_F6B5_2BBF_41ED_F77063638A44.toolTip = Kha
HotspotPanoramaOverlayArea_DFAA5EF9_F6AF_1763_41D8_0281D0723323.toolTip = Kuma
HotspotPanoramaOverlayArea_E0968FE1_F367_6D0F_41E7_5F93EE58557A.toolTip = Papercut
HotspotPanoramaOverlayArea_E0C43805_F575_1AA2_41D8_917B63FB3D24.toolTip = My Signature
HotspotPanoramaOverlayArea_E0FC081C_F360_B335_41DB_4AD57A797F81.toolTip = Moon River
HotspotPanoramaOverlayArea_E10FD542_F574_EAA1_41D6_DC091CC867B8.toolTip = Overlock
HotspotPanoramaOverlayArea_E1642A24_F360_B715_41C1_18DE0C1DD250.toolTip = Gli Alisei
HotspotPanoramaOverlayArea_E177C5E3_F3A0_41F1_41D5_C02B20ACE9C7.toolTip = Tree of Life
HotspotPanoramaOverlayArea_E17ADBCA_F56D_1DA1_41E2_34D92C9BE352.toolTip = Cave Library
HotspotPanoramaOverlayArea_E2F29D58_F390_7ED9_41DC_8A075430A4AC.toolTip = Quiete
HotspotPanoramaOverlayArea_E418C067_F3A0_B314_41E4_0ABA8C4FAA3E.toolTip = Affiche
HotspotPanoramaOverlayArea_E43140E3_F3BF_E7EF_41C6_6482984C7034.toolTip = Quiete
HotspotPanoramaOverlayArea_E4B2660C_F3A1_9F15_41E5_27FB1353614D.toolTip = Papercut
HotspotPanoramaOverlayArea_E4BCA00A_F3B0_A639_41BD_F70A69A9B87A.toolTip = Tree of Life
HotspotPanoramaOverlayArea_E4D47470_F360_F30C_41EC_1CE3EDFB8645.toolTip = Paint
HotspotPanoramaOverlayArea_E5293446_F3B7_AE29_41DD_65BD9E862E99.toolTip = Overlock
HotspotPanoramaOverlayArea_E62D6E47_F360_AF13_41EC_1899A70464AF.toolTip = Papercut
HotspotPanoramaOverlayArea_E7001E0F_F390_9A37_41E5_2BCBE04DFADA.toolTip = Cave Library
HotspotPanoramaOverlayArea_E71559C7_F360_9513_41D0_BAC3B86A4CB1.toolTip = Moon River
HotspotPanoramaOverlayArea_E7495390_F360_950D_41E8_0F1EBCB6933C.toolTip = Affiche
HotspotPanoramaOverlayArea_E77202F1_F360_B70E_41D6_8711C6BA8F2A.toolTip = Gli Alisei
HotspotPanoramaOverlayArea_E7A02728_F360_9D1D_41E8_5217BDCBEF18.toolTip = Affiche
HotspotPanoramaOverlayArea_EA91F28F_F3A1_9713_41E8_C802BC1098D9.toolTip = Moon River
HotspotPanoramaOverlayArea_EB125AE5_F56D_3F63_41ED_D4201D45BB7C.toolTip = Tameshigiri
HotspotPanoramaOverlayArea_EB22F9DE_F5B4_FDA1_41D0_2108D20AFB49.toolTip = Caruso
HotspotPanoramaOverlayArea_EB79A337_F3AF_7574_41DB_E0EEFD7EFF67.toolTip = Gli Alisei
HotspotPanoramaOverlayArea_EB911BA4_F56F_3DE1_41DC_E63EF7E29926.toolTip = My Signature
HotspotPanoramaOverlayArea_EC040E54_F553_16A1_41EC_2A9BD24412A4.toolTip = Cave Library
HotspotPanoramaOverlayArea_ED2A8CA8_F577_1BE1_41D1_01BC4554A88C.toolTip = Tameshigiri
HotspotPanoramaOverlayArea_ED35C938_F56D_1AE1_41E2_297FC09796B9.toolTip = Caruso
HotspotPanoramaOverlayArea_EF0EA5D6_F553_15AE_41E0_8702CEB15AEE.toolTip = My Signature
HotspotPanoramaOverlayArea_EFDCF5B6_F553_35E1_41D7_AEB212AA9FE5.toolTip = Tameshigiri
HotspotPanoramaOverlayArea_F86A11AD_F554_EDE3_41E4_A008971DB336.toolTip = Paint
HotspotPanoramaOverlayArea_FDE11297_F260_C251_41DF_3A75FADB922C.toolTip = Affiche
## Action
### URL
LinkBehaviour_18B850C6_017A_6A9C_4172_8562767B46F8.source = ../wemu3-0-en/index.htm
LinkBehaviour_1DC34BB1_2552_148F_41BC_0455A06C5A4C.source = ../wemu3-s-en/index.htm
LinkBehaviour_1DC3BBB2_2552_148D_41A8_EC68772054FC.source = ../wemu3-3-en/index.htm
LinkBehaviour_1DC3FBB3_2552_14F3_41BB_314F8ACB9B37.source = ../wemu3-2-en/index.htm
LinkBehaviour_1DC42BB4_2552_14F5_41C1_DBA4439BDD43.source = ../wemu3-1-en/index.htm
LinkBehaviour_821255B4_E3CA_FB00_41E4_49FD623E69D3.source = ../wemu3-s-en/index.htm
LinkBehaviour_B4CB8822_2224_0C60_41BD_F6E6D16E01F7.source = ../wemu3-1-en/index.htm
LinkBehaviour_B4CB9822_2224_0C60_41B1_D9BFF9743054.source = ../wemu3-2-en/index.htm
LinkBehaviour_B4CBA822_2224_0C60_41B3_704710EC4084.source = ../wemu3-3-en/index.htm
LinkBehaviour_B99799E6_E3DA_0B00_41B4_801B5809BFE5.source = ../wemu3-s-en/index.htm
LinkBehaviour_BCC40760_E3C6_0700_41E3_A106C771AF1D.source = ../wemu3-s-en/index.htm
LinkBehaviour_BF28319C_2224_7C20_41B5_430A3089B95C.source = ../wemu3-s-en/index.htm