Gandiablasco 2016 catalogue by MUSEO

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21/01/16 11:46

CHAPTER II

THE STORY CONTINUES CHAPTER II

If you are looking for certainty donâ&#x20AC;&#x2122;t set out on this trip.

06.07

LA CASA GANDIABLASCO

CHAPTER II

If you are looking for certainty don't set out on this trip. First, we imagined it. Then we embarked on the journey without overly planning the details, as we didn't want to rule out any destination, however utopian it might seem. Now or never! No sooner had we reached this conclusion than all members of this mission took to sea with the merry, daredevil spirit of people who know they have a lot to gain, but also a lot to lose, even life itself! The journey hurled us into uncertainty and we ended up with more questions than answers. Stripped of our fear, we faced all kinds of perils. Was it worth risking our necks to tell the world about our cause? We thought no adventure was worth having or calling An Odyssey if it didn't involve risking getting lost, failing or sinking with everything we had. But whereabouts in the plot are we now? We found a clue in a paragraph in this chapter where you can read a note jotted down by the hero.

“The House is at the very top of your heart, but the path up there is riddled with traps”. This sentence is followed by another, also written on a parchment with pen and ink from a time when yesterday and today overlap. Exposure to the unrelenting sun of the Mediterranean islands hasn't faded the message: “Only a journey with complete creative freedom allows you to explore the unimagined forms of future habitat guiding us on the path back home to The House”.

BACK TO THE ISLANDS

08.09

LA CASA GANDIABLASCO

WE ARE AWARE THAT THIS JOURNEY IS CHANGING US, AND NOT ONLY BECAUSE WE SHARE A VISION, BUT ALSO BECAUSE WE ARE ALL THAT JOURNEY.

At that time in the morning, the breeze was a caress on the skin. But up there in the sky, the consequences were tragic for a pair of clouds moving along side by side. Their bright white cotton merged in an instant, only to then break up into thin strands and disappear without trace. It all happened in the blink of an eye. Time, in its own way, disintegrated too. We remained in the drifting boat, a few metres away from the rocks. The Awake Man stood and focused his gaze once again on The House at the top of the mountain. He uttered two sentences. The first was almost an inaudible murmur, “I've dreamt of this journey for so long...” His hands went to the knot at the back of the black handkerchief covering his head, which was coming undone. He painstakingly retied it, as if it were a ritual. Then he half-closed his eyes, maybe to check the strength of his state of mind, and said to himself, "I'm ready!" He bent down and rummaged in an unseen crack in a corner of the prow. He pulled out a small notebook and flicked through a few of the pages, pausing at some of them. I tried not to crane my neck to take a peek. From where I was standing I could just make out sketches, plans and notes in tiny writing with arrows coming out in all directions. He replaced the notebook in its hiding place and sank into a meditative state. "Are you planning on staying there for ever?" I demanded. "What are you waiting for, take me to The House!" There was no time to react. "Into the water!" he yelled, grabbing me. I was forced to hold my breath and swim down into the depths. I flapped about with one hand while my other hand tried in vain to free itself from his grasp. Getting back to the surface and taking a breath became a question of life or death. We went down about twenty metres and he pointed to a greenish triangular rock lying on its side on the sea bed. Thousands of little fish were swimming in and out of its countless holes. The Awake Man heaved it up and as we watched, a starfish with seven iridescent arms emerged. "Grab it before our lungs explode!" I read in his wild eyes. Desperation drove us upwards. We took in just enough air to carry on swimming in search of the less steep side of the mountain to make getting easier. An ancient pine tree came to our rescue - its roots stuck out of a headland and ran down to the shore in twisted shapes. Fate put it there for us to climb up like a set of steps. "If the starfish loses its shine before we reach the top it will all have been in vain." The Awake Man sped up. I saw the stubborn creases in his trousers. His feet no longer wore the old sandals... the fish must be delighted with their new toys! I looked up at the summit towering over us. What did he mean? I couldn't understand the sense or the use of this effort, the dubious benefit of risking your life for an everything that could end up being nothing. "Is that the famous House?" A half-derelict building dominated the mountain. I rubbed my eyes and looked again - "It's just a ruin!" "You're not looking properly". His words were as reproachful as they were condescending. But... what was looking properly supposed to mean? I stopped, I looked again. The intense sunlight flashed on the shapes at the top of the mountain. Reverberations of blues and yellows collided with white corners and walls, breaking up all the straight lines. Suddenly the whole thing became blurred. I hesitated. "Is that House real?" I asked. "Does it have a tangible form? Does it actually exist?" I had lagged behind while he strode up the mountain, despite going barefoot, a sign of freedom amongst ancient people. The soles of his feet must have been like rubber tread. Now I wanted to make sure he could hear me and I raised my voice from behind him, "Is it a real house, with actual forms? Or is it just an idea, your idea?" “Perceptions of reality change and forms evolve.” He slowed down and turning his head he said, "The House is at the very top of your heart. But the path up there is riddled with traps". A few translucent clouds moved across the sky as we continued to climb. To avoid an area of thorny scrub we took a path, but we abandoned it straight away as it led to a gully. But a few moments later we had a fright as we were passing by a lone yew tree... "Pribsty! You scared the life out of me! What are you doing up there?" The Awake Man raised his arms. "Has something happened to the team?" The girl's face was a picture of woe.

"Captain, it was horrible! A bad-tempered goddess has vented her rage on our team". Suddenly she realised her mistake, "Oh, I'm sorry, I know how much the Captain thing annoys you...". "Hmm... that's right" he frowned. "Let that be the last time!" The warning apparently hit a raw nerve in the young girl. "When others call you prince, master, patriarch, admiral or king it doesn't bother you...". Pribsty abruptly leapt down from the tree. The hem of her cream pleated tunic stayed caught on the branch. "It doesn't bother me... it brings me out in a rash!". He scratched his neck absent-mindedly. "Where are Kneuca, Grabfos, Pterina, Fristic, Drimpo and the rest of the team?" he asked worriedly. Pribsty's report on the incident at sea could be summed up like this. Loaded with the new collection, the schooner was making its way to the island in search of a quiet cove to set anchor, but then Kneuca had a fainting fit when she saw a pirate ship following them through her telescope. Fristic revived her while Grabfos fired blank rockets to chase the bandits away. Drimpo, Pterina and the rest of the crew held their positions firm. Pribsty assured them that she had fled in search of the boss to warn him of the grave danger (she also claimed she was too young to die). The Awake Man seemed disappointed. He said with sorrow and concern: "Such a carefully built collection, with so much love poured into the whole creation process, doesn't deserve such an ignominious fate as falling into the hands of pirates". He immediately ordered a retreat. The words "at the very top of your heart" then started to make sense. The House could wait, it wasn't in danger. But they had to be quick and prevent the loot from being robbed. Crying "saving my team comes first!" we found ourselves running breathlessly, now in the opposite direction, towards the sea. He had to make sure that the crew were safe and the collection was protected. I had no idea what they were up to. I wanted to know: "Are they jewels?" "Priceless!" he replied. Then he asked, "Why are your questions always so badly timed?" I didn't say a word. It was better to enjoy the bucolic spectacle of a herd of goats perched on a holm oak feasting on acorns than to answer a spiteful question. "They can be an abstraction or they can crystallize as shapes. But that's not important" he added. Now it was his question that was badly timed. "What's the question?" There were so many possibilities I didn't dare risk it. "Whatever", he replied. "They should all lead us to the essence, to the origin". "Of The House or of the ruin?" I asked. Pribsty looked at me curiously. "That's not important either" he said. "You have to think in terms of light, sea, time, space, movement. Prioritise what isn't incidental". Descending the mountain, despite the odd trip and slip, was more satisfying. We swapped the south facing slope for the west facing one, that way we wouldn't have to deal with so many brambles. Plus, the sea views spanned a more intense range of blues, made even stronger by the Sun's evening angle as it prepared to set. Sometimes, big rocks meant we had to jump. But we could talk without getting out of breath.

LA CASA GANDIABLASCO

Pribsty took advantage of the fact that she was running alongside him to get some information out of him. "What's the mystery of the ruin?" "A ruin used to be a house in another era or another civilisation. If there's one thing we can't do without, it's the past. It would be like denying time". "Why do you like them so much?" I asked. "Because they're full of meaning, beauty and order". "Ah", I agreed, but I was expecting something a bit less intangible, so I said, "Is that all?" "No, and do you know why? Because in a ruin all the arguments are yet to be rebuilt, they've been freed from utilitarian demands. But they've never lost their reason for existence, their truthfulness is bound to their roots, to the land they belong to. Ruins aren't mute stones, they're revealing poems". There were a few crucial issues yet to cover, like the whereabouts of the team, the anti-pirate strategy and the jewel collection. And one of them was particularly pressing in moments of extenuation like this one. If in Homer's Odyssey they ate and drank until they collapsed exhausted, why in ours did we have to collapse exhausted without eating a morsel or quenching our thirst? It didn't seem fair. "Did you hear what I heard?" The Awake Man stopped to take a careful 180ยบ look around him. Pribsty put her hand over her mouth but couldn't stifle a giggle, "Hehe!!" "I thought I heard a wild boar grunting, there are a lot around here and they're hungry! Is that what you thought was so funny eh Pribsty?" "It's my stomach!" I said. "And do you know why it's rumbling?" I was so hungry I ate his name... well, I left it as an acronym, "Do you know, AM?" Pribsty hurried up to me and I heard her whisper in my ear: "Don't worry, on board the ship I'll take you to the sausage and salt food store". "Chit-chat spoils a meaningful journey like this one" AM said. The last downhill stretch brought us a refreshing surprise - a spring gushing from a rock. We drank the crystal clear water in delight! The rest of the way involved stumbling over tree trunks and broken branches here and there. Instinctively, my hand went to my pocket and I pulled out the starfish. It was already a dull greyish colour. None of its seven arms was iridescent. I brought it up to my lips and kissed it, but it didn't react. "It's dead!" I exclaimed with a lump in my throat.

"It doesn't need a soppy kiss, it needs a powerful earth charge" AM said. Even though I didn't know whether that sea creature had possessed some sort of magical power in the distant past, I couldn't bring myself to get rid of it. The mountain was behind us. We were already in the sea. The three of us were swimming towards the ship when the Awake Man turned his head and spat water out of his mouth with a snort. He gave me an abrupt order. I understood perfectly that no was not an option. "Dive down to the bottom and place the starfish on top of the triangular rock. Count to seven and pick it up. We'll row from here until we find the schooner. I'm sure my team are all alive". I followed his instructions, then returned with the starfish and placed it in his hands. The little boat only had two oars so Pribsty and I rowed with one arm each. At that magnificent moment when the Sun is just about to touch the sea, the Awake Man pointed one of the starfish's arms towards the orangey rays and announced: "I shall save my friends' lives. Together we'll multiply the power of creativity to find the answer". "What's the question?" I said without expecting an answer. But he gave me one. "Can we give The House an infinite life?" Suddenly, a wind blew up and shot the boat across the water so fast that time hardly seemed to have passed. We reached the schooner and the Sun had still not touched the sea. "President, president!" shouted Kneuca from the deck. The commotion alerted everyone and they all came waving pieces of white cloth. It looked like a flock of bewildered seagulls flying in zigzags.

"You're alive! Thank goodness! How fantastic!" he said from the boat, fighting back tears. He jumped into the sea, swam to the schooner and gave them all hugs. Then he wanted to know, "Have the pirates made off with the loot?" "You can't imagine the hassle we've had over the last few days!" said Kneuca, waving her hands around excitedly. "We've had so many nasty surprises!" "We made a box with old planks of wood" explained Drimpo. "We wrote Toxic Waste on it in fluorescent orange and big letters. Whoever in their right minds would suspect that we put the collection in there?" Showing off her virtuoso skills of Gothic illustration, Pterina didn't waste the chance to impress the boss. She gave more details: "Underneath the sign I drew a terrifying skeleton, like a curse, with a notice saying whoever dares touch the box should get ready for a dose of plutonium!" But the most effective and dissuasive ruse, according to Grabfos, was his: "I threw a half rotten pallet into the water so it would serve as a flotation device for the box. And I tied this filthy looking bundle to the schooner with a piece of string". "And you want me to believe they didn't steal it. Right!" "What idiot would bother to steal something that's so available that it's obviously worthless?" reasoned Grabfos. The boss waited for a definitive explanation. Or at least one that would seem more logical. He couldn't quite see it. "In a box that fits into a pallet you can fit a maximum of two tables, three stools and five parasols. Where's the rest?" After a silence, it was Kneuca who dared to provide a new piece of information.

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12.13

LA CASA GANDIABLASCO "We've taken part of the collection to a new hiding place...". He skilfully changed the subject, "You can't imagine how frustrating it's been to call your mobile day after day without success". "President" intervened Fristic, using his diplomatic talents. "Throwing your mobile to the jellyfish is, to say the least, a bizarre poetic gesture". "Rotten pallet... terrifying skeleton... filthy bundle... Please, just answer me straight! Have we been robbed, yes or no?" "Of course we have. Just as we expected!" said Drimpo. We prepared an infallible decoy - in a corner of the ship we left a chest securely closed with padlocks, locks, bolts and chains. Impossible to open! And we put a sign on it saying Jewels from the Collection: Do Not Touch. We went for a walk to make sure they stole it. They fell into the trap: in the box there was nothing but a pile of stinky seaweed!". Pterina burst out laughing. "You didn't learn those dodgy tricks in The House" scolded the boss. "I hope this is nothing more than a joke And as a joke" - he shook his head - "it looks a bit crude to me". Suddenly, something happened that concentrated everybody's attention on the same sound - the whinny of a horse! On the rocky pier, only a few metres from the schooner, the animal stood still, with its eyes fixed on us all. Then, it shook its mane and trotted off with another whinny. We couldn't have agreed more, its strong body bore a striking resemblance to that of a certain stallion whose belly packed with soldiers was key to the attack on a legendary city. "Tell me what I'm thinking isn't true! That hiding place you were talking about wouldn't be...?" And bowing his head he exclaimed "Oh no, no!" "Of course not, prince. We'd never cause a bloodbath like that to protect the collection" said Kneuca. "We used our imagination". "I didn't doubt that for a moment! But you've got me on tenterhooks..." The Awake Man made the most of having the team all together to make a short speech making pleas and entreaties. He said: "Dear team, you'd make me happy if you would 1) Tell me the whereabouts of the collection. 2) Bring me up to date on the pirate attack. 3) Delete names like king, prince, patriarch, captain, admiral, etc. Ah! and that also goes for Awake Man and AM" he added. "How would you like us to address your graciousness then?" said Fristic with a neoRomance language that irritated everyone. "If you don't call me, I'll understand. And if you must call me, call me JAGB. JAGB! JAGB? JAGB?! JAGB!? There was a cacophony of guttural sounds as everyone got used to the new name, learned how to pronounce it and memorised it. They all formed a circle, sat down on deck, crossed their legs and took their shoes off, imitating the boss. "Now we'll clarify point 1" said JAGB. "There's not one hiding place but several" offered Drimpo, and with the wave of a hand he passed the buck to the person on his left. "They're safe places" said Pterina calmly. "Especially one!" "The others are mundane and won't cause suspicion either" said Grabfos. Kneuca was pensive, she seemed preoccupied with a more complicated matter, if that were possible. Looking serious, JAGB looked at her, as if saying, "I'm losing my patience!" It was up to her to clarify point 2. "They're a bunch of poor wretches, you only have to see their pirate uniforms, the dress code for the lobby they're working for". And she yelled towards the pier, "Hey, come here! JAGB wants to meet you!" The air of secrecy that surrounded the pirate operation was about to be lifted like the stage curtain in a theatre.

From behind the group of rocks appeared a troupe that ran as one towards the schooner. They introduced themselves. Mine Nafrinco. I'm Brolipta. They call me Krombuc. My friends call me Lerumbia. "But you can call us the piris" one of them said. "Otherwise it'll be a shambles". They told their story. They loathed their cheap fancy dress and makeup. They asked us to forgive them for the fright they'd given us. They hoodwinked the UPI (the Union of Pirates of Ideas) to chase the schooner, not to attack it but to join in with this creative journey. They disobeyed clear instructions to steal the collection, as their uncouth bosses had ordered. Now they were afraid of snuffing it - the threat was real and had gone viral on social media. "I think this story sucks!" declared JAGB looking at the piris. "JAGB, I'm afraid your refined instincts aren't going to like the enclave where we've left the collection for safe keeping" said Fristic in his usual roundabout flourish way. "The nec... nec... nec...", Pterina, despite her usual boldness, was getting stuck. Drimpo went up to JAGB, bent down and whispered a secret in his ear. JAGB leapt to his feet and put his head in his hands. "Tell me I'm dreaming! That this isn't happening! The entire collection... oh no!... buried in a necropolis?!" "Not all of it", Grabfos tried to calm him down. "The other part is in mundane places". And he added "But they're safe places, like I told you. Very safe. As safe as the houses of normal people who live in not so normal houses.â&#x20AC;? JAGB didn't seem to have heard the frivolous comment someone made. He must have been excavating with hammer and chisel in his mind's eye. He was gazing at a nearby hill where there was a necropolis with the biggest store of Punic, Phoenician and Carthaginian remains on the islands. "Which people and which houses?" asked JAGB. His attention remained fixed on the hill. Although that didn't stop him saying to the piris "Would you mind making yourselves scarce while I discuss confidential matters with my team?" They disappeared. "JAGB, listen" said Kneuca, "why aren't you being a bit nicer to the piris? They helped us protect our collection from the leaders of the pirates of ideas. They've even put their lives in danger". "If it wasn't for their muscles of steel" explained Pterina, "we wouldn't have been able to lug everything to the nec... nec... that thing". "And what about the houses where you've hidden the rest of the collection?" asked JAGB. "Isn't it time you told me about that?" "Ummm..." Pterina waved her hand vaguely in all directions. Then she veered off onto the subject of design, "I remember what you told us one day about good design, the sort that takes potential into account". "Yes" agreed JAGB. "I'm all for a design concept that leaves each person

free to create, discover, invent, develop and give life to their own environment. A design that opens up The House to all possible ways forward and all ways of inhabiting it - that's my commitment!" An intense smell of saltpetre pervaded the air. The team listened attentively and some looked at the sea. Others were lying back with their heads on their arms, and could only see an utterly blue sky. Others listened half hidden. JAGB had a hunch - he craned his neck and found the piris hanging on to the stern gangway. They had taken off their costumes and wore just t-shirts and shorts. "Will you let us carry on listening to you?" they asked. "It's a deal if you take me to the hiding place houses". "It's a waste of time!" the piris argued. "Why bother if we can show you the photos your team took?" they assured him. "Seeing them is like being there yourself". "It's not the same" said JAGB. "Nothing is ever the same". "Can you see what's happening to your collection in those houses? And what's happening to the houses where people are living with your collection?" they asked him. But he stayed silent while he looked at the pictures. The team had gone into a huddle at one end of the schooner. Their thoughts must have been in turmoil because from time to time someone chewed their little finger or scratched their ear nervously. Kneuca was spokesperson. She said to JAGB, "We wanted them to look after the collection for just a few days, until all this fuss had blown over. But they liked it so much that they took it from us. They said they wanted to keep it for ever. So..." "So... what?" asked JAGB. There was a tense, unbearable silence... which was broken by the piris. "All those people forced your team to sell the collection to them. That's the pure truth!" The Sun, which should have sunk into the sea hours ago, still hadn't grazed the horizon at this time of the night. Nobody noticed that the Awake Man (as we knew him) had put his hand in his pocket to stroke his starfish. "And what have you done with the money?" "I can't tell you, we want to give you a surprise JAGB!"

NOTE_ All the photos taken of items from the collection in the hiding place houses have been included in this travel journal you are now holding.

Chapter II

Chapter I

_Day 1.

_Day 2.

_Day 3.

_Day 4.

_Day 5.

El Plantío. Valencia. Goleta. Mar Mediterráneo. Can Rieró. Ibiza. Cala Saona. Ibiza. Playa d’es Cavallet. Ibiza.

Technical information

Ca 8x8. Formentera. Ca Marià Castelló. Formentera. Ca Amalia. Formentera. Ses Illetes. Formentera. 10.7. Playa Migjorn. Formentera.

_Day 6.

Ca Na Xemena. Ibiza.

_Day 7.

Casa de Sert. Ibiza.

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185

El Plantío. Valencia.

_Day 1

CHAPTER II

But the true travelers are they who depart For departing’s sake; with hearts light as balloons, They never swerve from their destinies, Saying continuously, without knowing why: “Let us go on!” Fragment from Invitation to the Voyage by Charles Baudelaire.

Chapter II _Day 1.

Mallarmé repeats, less beautifully, what Homer said; “tout aboutit en un livre,” everything ends up in a book. Fragment of Seven Nights. Jorge Luis Borges.

Your health, my queen, through all your days to come— until old age and death, that visit all mankind, pay you a visit too. Now I am on my way, but you, may you take joy in this house of yours, in your children, your people, in Alcinous the king! The Odyssey, Canto XIII.

BLAU.

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Chapter II _Day 1.

ULYSSES. It were no match, your nail against his horn. May I, sweet lady, beg a kiss of you? CRESSIDA. You may. ULYSSES. I do desire it. CRESSIDA. Why, beg, then. William Shakespeare. Troilus and Criseyde. Act IV. Scene V.

BLAU.

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Chapter II _Day 1.

Perhaps there was no single Homer; perhaps there were many Greeks whom we conceal under the name of Homer. The traditions are unanimous in showing us a blind poet, yet Homerâ&#x20AC;&#x2122;s poetry is visual, often splendidly visual... Fragment of Seven Nights. Jorge Luis Borges.

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Chapter II _Day 1.

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In Joyce's 20th Century novel, the author also depicts life as a journey, in imitation of Homer. But Joyceâ&#x20AC;&#x2122;s Ulysses is different and his activities parallel in some way the adventures of Homer's Ulysses. Ulysses.Order and Myth. T.S. Eliot.

BLAU.

Chapter II _Day 1.

Rejoice, blessed Leto, for you bare glorious children, the lord Apollo and Artemis who delights in arrows; her in Ortygia, and him in rocky Delos, as you rested against the great mass of the Cynthian hill hard by a palm-tree by the streams of Inopus. Homeric Hymn to Apollo.

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ULYSSES - I do not strain at the position,-- It is familiar,--but at the authorâ&#x20AC;&#x2122;s drift; Who, in his circumstance, expressly proves That no man is the lord of any thing, Though in and of him there be much consisting, Till he communicate his parts to others: William Shakespeare. Troilus and Criseyde. Act III, Scene III.

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BLAU.

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“Happy Odysseus!” Agamemnon’s ghost cried out. “Son of old Laertes— mastermind—what a fine, faithful wife you won! What good sense resided in your Penelope— how well Icarius’ daughter remembered you, Odysseus, the man she married once! The fame of her great virtue will never die. The Odyssey Homer. Canto XXIV. Second invocation to the dead.

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I am Odysseus, son of Laertes, known to the world for every kind of craftâ&#x20AC;&#x201D;my fame has reached the skies. Sunny Ithaca is my home. Atop her stands our seamark, Mount Neritonâ&#x20AC;&#x2122;s leafy ridges shimmering in the wind. The Odyssey Homer. Canto IX.

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... ALL THE WHILE OUR TRIM SHIP WAS SPEEDING TOWARD THE SIRENS’ ISLAND, DRIVEN ON BY THE BRISK WIND. BUT THEN—THE WIND FELL IN AN INSTANT, ALL GLAZED TO A DEAD CALM … A MYSTERIOUS POWER HUSHED THE HEAVING SWELLS. The Odyssey Homer. Canto XII.

_Day 2

CHAPTER II

Goleta. Mediterranean Sea. 38º 40' 30' N 1º 12' 47' E

Chapter II _Day 2.

Hail to you, lord! Freely bestow on me substance that cheers the heart. And now that I have begun with you, I will celebrate the race of mortal men half-divine whose deeds the Muses have showed to mankind. Homerâ&#x20AC;&#x2122;s Hymn to the Sun.

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Then in turn Zeus who gathers the clouds made answer: â&#x20AC;&#x2DC;My child, what sort of word escaped your teethâ&#x20AC;&#x2122;s barrier? How could I forget Odysseus the godlike, he who is beyond all other men in mind, and who beyond others has given sacrifice to the gods, who hold wide heaven? The Odyssey Homer. First rhapsody.

356. ARAM. SAIL.

Chapter II _Day 2.

But Zeus’s daughter Athena countered him at once. The rest of the winds she stopped right in their tracks, commanding them all to hush now, go to sleep. All but the boisterous North—she whipped him up and the goddess beat the breakers flat before Odysseus,dear to Zeus, so he could reach the Phaeacians,mingle with men who love their long oars and escape his death at last. The Odyssey Homer. Canto V. Odysseus’ raft.

ARAM. SAIL.

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There lies the port; the vessel puffs her sail: There gloom the dark, broad seas. My mariners, Souls that have toil'd, and wrought, and thought with me. That ever with a frolic welcome took The thunder and the sunshine, and opposed Free hearts, free foreheads... Fragment of the poem Ulysses by Alfred Lord Tennyson.

Chapter II _Day 2.

And then went down to the ship, Set keel to breakers, forth on the godly seas, and We set up mast and sail on that swart ship, Bore sheep aboard her, and our bodies also Heavy with weeping, and winds from sternward Bore us out onward with bellying canvas, Circeâ&#x20AC;&#x2122;s this craft, the trim-coifed goddess. Fragment of The Cantos. Ezra Pound.

356. ARAM. SAIL.

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Chapter II _Day 2.

MEDITERRANEAN SEA He turned his face over a shoulder, rere regardant. Moving through the air high spars of a threemaster, her sails brailed up on the crosstrees, homing, upstream, silently moving, a silent ship. Ulysses. James Joyce.

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_Day 3

CHAPTER II

CAN RIERÓ. Ibiza.

“Come, Pontonous! Mix the wine in the bowl, pour rounds to all our banqueters in the house, so we, with a prayer to mighty Zeus the Father, can sail our new friend home to native land.” The Odyssey. Canto XIII.

Chapter II _Day 3.

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Chapter II _Day 3.

Happy is the man whom you delight to honour! He has all things abundantly: his fruitful land is laden with corn, his pastures are covered with cattle, and his house is filled with good things. Such men rule orderly in their cities of fair women: great riches and wealth follow them: their sons exult with ever-fresh delight, and their daughters in flower-laden bands play and skip merrily over the soft flowers of the field. Homeric Hymn to Earth The Mother of All.

LA SIESTA.

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Chapter II _Day 3.

ULYSSES My prophecy is but half his journey yet; For yonder walls, that pertly front your town, Yond towers, whose wanton tops do buss the clouds, Must kiss their own feet. William Shakespeare. Troilus and Cressida. Act Four Scene V.

TEXTILE. FLAT. BASIC. TITUNA. LA SIESTA. TOUAREG. ARAM.

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I was not afraid. The melon he had he held against my face. Smiled: creamfruit smell. That was the rule, said. In. Come. Red carpet spread. You will see who. Ulysses. James Joyce.

TEXTILE. FLAT. CLACK!. BIG. BASIC. TITUNA. LA SIESTA.

Chapter II _Day 3.

Perhaps The Odyssey is the myth of all voyages? Perhaps for Ulysses-Homer the distinction between truth and falsehood did not exit; he simply recounted the same experience now in the language of reality, we undertake, big or small, is still an Odyssey. The Odysseys Within The Odyssey. Italo Calvino.

DOZEQUINZE. sonora mini.

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Chapter II _Day 3.

I PRITHEE, CLEAR-VOICED MUSE, DAUGHTER OF MIGHTY ZEUS, SING OF THE MOTHER OF ALL GODS AND MEN. SHE IS WELL-PLEASED WITH THE SOUND OF RATTLES AND OF TIMBRELS, WITH THE VOICE OF FLUTES AND THE OUTCRY OF WOLVES AND BRIGHT-EYED LIONS, WITH ECHOING HILLS AND WOODED COOMBES.

Homeric Hymn to the Mother of the Gods.

TITUNA.

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Chapter II _Day 3.

ULYSSES The amity that wisdom knits not, folly may easily untie. Here comes Patroclus. NESTOR No Achilles with him. ULYSSES The elephant hath joints, but none for courtesy: his legs are legs for necessity, not for flexure.

William Shakespeare. Troilus and Cressida. Act II. Scene III.

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Cala Saona

FORMENTERA

_Day 4

CHAPTER II

... sees the copper pennies of bubbles rising from the empty eye-pockets of green buccaneers, the parrot fish floating from the frayed shoulders of pirates, sea horses drawing gowned ladies in their liquid promenade across the moss-green meadows of the sea.

Fragment from the poem Omeros. Derek Walcott.

Chapter II _Day 4.

He had come nearer the edge of the sea and wet sand slapped his boots. The new air greeted him, harping in wild nerves, wind of wild air of seeds of brightness. Ulysses. James Joyce. PICNIC. ARAM. LA SIESTA.

‘What island is this?’ he asked. Athene laughed and caressed Odysseus’s cheek: ‘A wonderful liar you are, indeed!’ she said. ‘But for knowing the truth I might easily have been deceived. What surprises me, though, is that you did not penetrate my disguise. I am Athene; the Phaeacians landed you here at my instructions’. Fragment of Odysseus’s return. Robert Graves.

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Chapter II _Day 4.

But at night I would wander away, away, I would fling on each side my low-flowing locks, And lightly vault from the throne and play With the mermen in and out of the rocks; We would run to and fro, and hide and seek, On the broad sea-wolds in the crimson shells, Whose silvery spikes are nighest the sea. Fragment from The Mermaid. Alfred Tennyson.

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Chapter II _Day 4.

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The lights begin to twinkle from the rocks: The long day wanes: the slow moon climbs: the deep Moans round with many voices. Fragment of Ulysses, poem by Alfred Lord Tennyson.

DAYBED.

Chapter II _Day 4.

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‘Brothers,’ I said, ‘Dangers uncounted and of every kind Fit to make other sailors die of dread You have come through, and you have reached the west, And now our senses fade, their vigil ends: They ask to do the easy thing, and rest. But in the brief time that remains, my friends, Would you deny yourselves experience Of that unpeopled world we’ll find if we Follow the sun out into the immense Unknown? Remember now your pedigree. You were not born to live as brutes. The Divine Comedy. Dante Alighieri. Canto XIII.

Chapter II _Day 4.

We’d scarcely put that island astern when suddenly I saw smoke and heavy breakers, heard their booming thunder. The men were terrified—oarblades flew from their grip, clattering down to splash in the vessel’s wash. She lay there, dead in the water … no hands to tug the blades that drove her on. The Odyssey Homer. Canto XII.

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Playa d’es Cavallet. Ibiza.

_Day 5

CHAPTER II

O, won’t we have a merry time, Drinking whisky, beer and wine! On coronation, Coronation day! O, won’t we have a merry time On coronation day! Ulysses. James Joyce.

Chapter II _Day 5.

DOCKS.

Perverse mankind! whose wills, created free, Charge all their woes on absolute degree; All to the dooming gods their guilt translate, And follies are miscallâ&#x20AC;&#x2122;d the crimes of fate. The Odyssey Homer. Canto I: The assembly of gods.

Always keep Ithaca in your mind. To arrive there is your ultimate goal. But do not hurry the voyage at all. It is better to let it last for many years; and to anchor at the island when you are old, rich with all you have gained on the way, not expecting that Ithaca will offer you riches. Fragment from the poem Ithaca. Constantine Kavafis.

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Chapter II _Day 5.

That the summer mornings are many, when, with such pleasure, with such joy you will enter ports seen for the first time; stop at Phoenician markets, and purchase fine merchandise, mother-of-pearl and coral, amber and ebony, and sensual perfumes of all kinds... Fragment from the poem Ithaca. Constantine Kavafis. DOCKS. BALI. SAHARA. FEZ.

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Chapter II _Day 5.

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Chapter II _Day 5.

... FOR ALREADY HE DIVINED A TEMPLE (ALREADY IT ENCIRCLED HIM) A MURMUR OF GLORY AND HEXAMETERS, A MURMUR OF MEN DEFENDING A TEMPLE THE GODS WILL NOT SAVE, AND OF BLACK VESSELS SEARCHING THE SEA FOR A BELOVED ISLE, THE MURMUR OF THE ODYSSEYS AND ILIADS IT WAS HIS DESTINY TO SING AND LEAVE ECHOING CONCAVELY IN THE MEMORY OF MAN. Fragment of The Maker. Jorge Luis Borges.

The crown of life, I’d say. There’s nothing better than when deep joy holds sway throughout the realm and banqueters up and down the palace sit in ranks, enthralled to hear the bard, and before them all, the tables heaped with bread and meats, and drawing wine from a mixing-bowl the steward makes his rounds and keeps the winecups flowing. The Odyssey Canto IX. Stories to Alcinous Cyclops.

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Chapter II _Day 5.

BE MINDFUL, GODDESS! OF THY PROMISE MADE;MUST SAD ULYSSES EVER BE DELAY’D? AROUND THEIR LORD MY SAD COMPANIONS MOURN, EACH BREAST BEATS HOMEWARD, ANXIOUS TO RETURN: IF BUT A MOMENT PARTED FROM THY EYES, THEIR TEARS FLOW ROUND ME, AND MY HEART COMPLIES.

The Odyssey Homer. Canto X.

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THE STORY BEGAN HERE... CHAPTER I

And Adventure of this calibre is more than just an adventure.

Ca 8x8.

Formentera

_Day 1

CHAPTER I

Listen to me, my comrades, brothers in hardship. All ways of dying are hateful to us poor mortals, true, but to die of hunger, starve to death— that’s the worst of all. The Odyssey. Canto XII.

Chapter I _Day 1.

And when they’d had their fill of food and drink the lustrous one took up a new approach. “so then, royal son of laertes, odysseus, man of exploits, still eager to leave at once and hurry back to your own home, your beloved native land? good luck to you, even so. farewell!” The Odyssey Canto V. The cave of Calypso.

DOCKS. BASIC. NA XEMENA.

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Chapter I _Day 1.

O, WELL: SHE KNOWS HOW TO MIND HERSELF. BUT IF NOT? NO, NOTHING HAS HAPPENED. OF COURSE IT MIGHT. WAIT IN ANY CASE TILL IT DOES. A WILD PIECE OF GOODS. HER SLIM LEGS RUNNING UP THE STAIRCASE. DESTINY. RIPENING NOW. VAIN: VERY. Ulysses. James Joyce. DOCKS. SONORA. TOUAREG. FEZ. DAYBED LAMAS FIJAS.

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Chapter I _Day 1.

CAP DE BARBARIA In Formentera, 120 m. above sea level. Night will fall and the ritual will be fulfilled: the lighthouse at La Mola will decode the voyagerâ&#x20AC;&#x2122;s mystery with its flickering gleam from the cliff top.

Homer composed the Odyssey; given infinite time, with infinite circumstances and changes, it is impossible that the Odyssey should not be composed at least once. No one is someone; a single immortal man is all men. Fragment from The Immortal. The Aleph, Jorge Luis Borges.

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If I read the Odyssey I read Homer’s text, but I cannot forget all that the adventures of Ulysses have come to mean in the course of the centuries, and I cannot help wondering if these meanings were implicit in the text, or whether they are incrustations or distortions or expansions.

The Odysseys Within The Odyssey. Italo Calvino.

_Day 2

CHAPTER I

Ca Maria Castelló. Formentera.

Chapter I _Day 2.

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Chapter I _Day 2.

JIAN.

Suppose I spoke to her. What about? Bad plan however if you don’t know how to end the conversation. Ask them a question they ask you another. Good idea if you’re stuck. Gain time. But then you’re in a cart. Ulysses. James Joyce.

ARAM. TRENZAS. GAN.

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Chapter I _Day 2.

Echoes of the other Odysseys survive in Hellenistic friezes, on Cycladic funerary urns, and in pre-Ptolemaic papyrus excavated from the desiccated rubbish mounds of Oxyrhynchus; this last contains forty-four concise variations on Odysseusâ&#x20AC;&#x2122;s story that omit stock epic formulae in favour of honing a single trope or image down to an extreme of clarity. The Lost Books of the Odyssey. Zachary Mason.

JIAN. SONORA. ARAM. ENSOMBRA. TOUAREG.

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Chapter I _Day 2.

SALER.

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Chapter I _Day 2.

'NA BLANCA D'EN MESTRE' Veteran fig tree on Formentera: 1 century, 352 m2, and the story goes on...

Sometimes we were sleeping in the fields and forests, wrapped in a mantle and lying on a bed of dry leaves. Before managing to get to sleep I used to contemplate the stars shining through the treesâ&#x20AC;&#x2122; tops and asked myself what were they? Had they been put there by the gods so that sailors could find their way home? Odysseus. The Oath. Valerio Massimo Manfredi.

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Chapter I _Day 2.

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San Francesc Seafaring town, capital of Formentera.

Chapter I _Day 2.

The song of the Sirens could pierce through everything, and the longing of those they seduced would have broken far stronger bonds than chains and masts. But Ulysses did not think of that, although he had probably heard of it. He trusted absolutely to his handful of wax and his fathom of chain, and in innocent elation over his little stratagem sailed out to meet the Sirens. Fragment from The Silence of the Sirens, by Franz Kafka.

356. CLIP. LIPSTICK. BASIC. AIR. SAHARA PICNIC. FEZ. CHILL. FAROL. TOUAREG. CLACK!

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On damp leaves, the laughter of birdsong. Ca Amalia. Formentera.

_Day 3

CHAPTER I

Woodshadows floated silently by through the morning peace from the stairhead seaward where he gazed. Inshore and farther out the mirror of water whitened, spurned by lightshod hurrying feet. White breast of the dim sea. Ulysses. James Joyce.

Chapter I _Day 3.

FLAT.

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Chapter I _Day 3.

We accept reality so readilyâ&#x20AC;&#x201D;perhaps because we sense that nothing is real. I asked Argos how much of the Odyssey he knew. He found using Greek difficult; I had to repeat the question. Very little, he replied. Less than the meagerest rhapsode. It has been eleven hundred years since last I wrote it. Fragment from The Immortal. The Aleph, Jorge Luis Borges.

FLAT.

120.121

Chapter I _Day 3.

¡ALÓ! BONJOUR. Welcome as the flowers in May. Under its leaf he watched through peacocktwittering lashes the southing sun. I am caught in this burning scene. Pan’s hour, the faunal noon. Among gumheavy serpentplants, milkoozing fruits, where on the tawny waters leaves lie wide. Pain is far. Ulysses. James Joyce.

FLAT. FEZ.

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Chapter I _Day 3.

124.125

AND ULYSSES SAID, “Nausicaa, daughter of great Alcinous, may Jove the mighty husband of Juno, grant that I may reach my home; so shall I bless you as my guardian angel all my days, for it was you who saved me.” FLAT. TOUAREG.

PICNIC. FAROL.

Canto VIII. Ulysses presentation to the Phaeacians.

Chapter I _Day 3.

FLAT. ENSOMBRA.

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Chapter I _Day 3.

128.129

Chapter I _Day 3.

A point, live dog, grew into sight running across the sweep of sand. Lord, is he going to attack me? Respect his liberty. You will not be master of others or their slave. I have my stick. Sit tight. From farther away, walking shoreward across from the crested tide, figures, two. The two maries. They have tucked it safe mong the bulrushes. Peekaboo. I see you. No, the dog. He is running back to them. Who? Ulysses, James Joyce.

FLAT. FEZ. PIRĂ MIDE. ESFERAS. SAHARA.

130.131

Chapter I _Day 3.

A maid servant then brought me water in a beautiful golden ewer and poured it into a silver basin for me to wash my hands, and she drew a clean table beside me; an upper servant brought me bread and offered me many things of what there was in the house. The Odyssey. Canto IV.

FLAT

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Chapter I _Day 3.

134.135

Chapter I _Day 3.

cala 'ES RAM' The best-kept secret on Formentera. Waiting for dawn and learning to fish for peace. Filling your gaze and your heart and seeing into paradise.

I am afraid some great wave will lift me off my legs and dash me against the rocks as I leave the water- which would give me a sorry landing. If, on the other hand, I swim further in search of some shelving beach or harbour, a hurricane may carry me out to sea again sorely against my will, or heaven may send some great monster of the deep to attack me; for Amphitrite breeds many such, and I know that Neptune is very angry with me. The Odyssey Canto V. Ulysse sÂ´ raft. FAROL. PICNIC. FLAT.

136.137

We pass through the obvious and glimpse another route. Ses Illetes. Formentera.

_Day 4

CHAPTER I

Chapter I _Day 4.

There is a good harbour where no cables are wanted, nor yet anchors, nor need a ship be moored, but all one has to do is to beach oneâ&#x20AC;&#x2122;s vessel and stay there till the wind becomes fair for putting out to sea again. The Odyssey Canto IX. Cicones and lotophaguses.

140.141

Chapter I _Day 4.

Ses salines

Protected natural park and species declared World Heritage Site by UNESCO.

ABOVE, WETLANDS, PINE FORESTS, ROSEMARY, FLAMINGOS, DUCKS AND A SALTY TASTE IN THE AIR. BELOW, ON THE TRANSPARENT SEABED, THE UNCEASING DANCE OF POSIDONIA OCEANICA.

JIAN.

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Chapter I _Day 4.

Fighting out from the breakers pounding toward the coast, out of danger he swam on, scanning the land, trying to find a seabeach shelving against the waves, a sheltered cove. Canto V. Odysseusâ&#x20AC;&#x2122; raft.

CLIP.

144.145

Chapter I _Day 4.

Next, where the Sirens dwells, you plough the seas; their song is death, and makes destruction please. Unblest the man, whom music wins to stay nigh the cursed shore and listen to the lay. No more that wretch shall view the joys of life his blooming offspring, or his beauteous wife! Canto XII. The mermaids. Scylla and Charybdis, the Cattle of the Sun.

STACK SYSTEM CHAIR.

146.147

10.7 Playa Migjorn Formentera

_Day 5

CHAPTER I

As long as corn and wine held out the men did not touch the cattle when they were hungry; when, however, they had eaten all there was in the ship, they were forced to go further afield, with hook and line, catching birds, and taking whatever they could lay their hands on; for they were starving. The Odyssey. Canto XII.

Chapter I _Day 5.

If only the two of us had food and mellow wine to last us long, here in your shelter now, for us to sup on, undisturbed, while others take the work of the world in hand, I could easily spend all year and never reach the endof my endless story, all the heartbreaking trials I struggled through. The gods willed it soâ&#x20AC;Ś Canto XIV, Conversation between Odysseus and Eumaeus.

150.151

Chapter I _Day 5.

152.153

Chapter I _Day 5.

And now, a short repast prepared, they fed Till the keen rage of craving hunger fled: Then to repose withdrawn, apart they lay, And in soft sleep forgot the cares of day. Canto XVI. Telemachus recognises Ulysses.

SALER// PICNIC// BASIC

SALER. SONORA MINI. BASIC. ENSOMBRA.

154.155

Chapter I _Day 5.

Their souls met in a last lingering glance and the eyes that reached her heart, full of a strange shining, hung enraptured on her sweet flowerlike face. She half smiled at him wanly, a sweet forgiving smile, a smile that verged on tears, and then they parted. Ulysses, James Joyce.

356. LIPSTICK. CLIP. PICNIC. CLACK! SONORA. FEZ. SALER. BRASERO. ENSOMBRA.

156.157

Chapter I _Day 5.

[…] first I gave him the bit of seedcake out of my mouth and it was leapyear like now yes 16 years ago my God after that long kiss I near lost my breath yes he said I was a flower of the mountain yes so we are flowers all a womans body yes that was one true thing he said in his life and the sun shines for you today yes... Ulysses, James Joyce.

LIPSTICK.

158.159

Chapter I _Day 5.

Ancient sea, watery depths floating on your skin.

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Ca Na Xemena. Ibiza.

_Day 6

CHAPTER I

... and they all live with their dear father and mother, feasting and enjoying every conceivable kind of luxury. All day long the atmosphere of the house is loaded with the savour of roasting meats till it groans again, yard and all. The Odyssey. Canto X.

Chapter I _Day 6.

And I saw Sisyphus too, bound to his own torture, grappling his monstrous boulder with both arms working, heaving, hands struggling, legs driving, he kept on thrusting the rock uphill toward the brink, but just as it teetered, set to topple overâ&#x20AC;&#x201D;time and again the immense weight of the thing would wheel it back and the ruthless boulder would bound and tumble down to the plain againâ&#x20AC;&#x201D; so once again he would heave, would struggle to thrust it up, sweat drenching his body, dust swirling above his head. The Odyssey. Canto XI.

NA XEMENA. TOUAREG. SONORA MINI.

164.165

Chapter I _Day 6.

AS YOU SET OUT FOR ITHAKA HOPE THE VOYAGE IS A LONG ONE, FULL OF ADVENTURE, FULL OF DISCOVERY. LAISTRYGONIANS AND CYCLOPS, ANGRY POSEIDON—DON’T BE AFRAID OF THEM: YOU’LL NEVER FIND THINGS LIKE THAT ON YOUR WAY AS LONG AS YOU KEEP YOUR THOUGHTS RAISED HIGH, AS LONG AS A RARE EXCITEMENT STIRS YOUR SPIRIT AND YOUR BODY. Fragment of the poem Ithaca, Constantino Kavafis.

NA XEMENA.

NA XEMENA. BASIC.

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Chapter I _Day 6.

168.169

Encouraging, all the way, but all the while plotting the princeâ&#x20AC;&#x2122;s murder in his mind â&#x20AC;Ś The queen, going up to her lofty well-lit room, fell to weeping for Odysseus, her beloved husband, till watchful Athena sealed her eyes with welcome sleep. Canto XVI. Telemachus recognises Ulysses. DOZEQUINZE. SAHARA.

Chapter I _Day 6.

NA XEMENA. ARAM. KNITTED STOOL. KILIM. GAN.

...but when the sun went down and it came on dark, we camped down upon the beach, and next morning I called a council. “’Stay here, my brave fellows,’ said I, ‘all the rest of you, while I go with my ship and exploit these people myself: I want to see if they are uncivilized savages, or a hospitable and humane race.’ Canto IX. Stories to Alcinous Cyclops.

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_Day 7

CHAPTER I

Building the map, exploring the meaning, making the voyage.

Casa de Sert. Formentera.

Chapter I _Day 7.

FLAT. FLAT TEXTIL. ARAM. FEZ.

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Chapter I _Day 7.

176.177

When I departed from Circe, who concealed me near Gaeta more than a year before Aeneas so had named the place, nor fondness for my son, nor pious reverence for my aged father, nor evâ&#x20AC;&#x2122;n the bounden love which should have cheered Penelope, could overcome within me the eagerness I had to gain experience both of the world, and of the vice and worth of men. The Divine Comedy, Dante Alighieri. Canto XXVI, Eighth Circle, Eighth Pouch.

FLAT. FLAT TEXTIL. ARAM. FEZ. LLAR.

Chapter I _Day 7.

FLAT TEXTIL. FEZ. ARAM.

When young Dawn with her rose-red fingers shone once more I called a muster quickly, informing all the crew, ‘Listen to me, my comrades, brothers in hardship, we can’t tell east from west, the dawn from the dusk, nor where the sun that lights our lives goes under earth nor where it rises. We must think of a plan at once, some cunning stroke. I doubt there’s one still left. Canto X. About Aeolus, the Laestrygonians and Circe.

Queen Penelope, daughter of Icarius, take as many presents as you please from any one who will give them to you; it is not well to refuse a present; but we will not go about our business nor stir from where we are, till you have married the best man among us whoever he may be. The Odyssey. Canto XVIII, Fight between Odysseus and Irus.

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Chapter I _Day 7.

And she, once she’d had her fill of grief and weeping, turned again to her guest with this reply: “Now, stranger, I think I’ll test you, just to see if there in your house, with all his friends-in-arms, you actually entertained my husband as you say. Come, tell me what sort of clothing he wore, what cut of man was he? What of the men who followed in his train?” Canto XIX. Odysseus talks with Penelope. TROPEZ. SAHARA. ARAM. TITUNA.

Come, my friends. This is not too late to seek a newer world. Push off, and sitting well in order smite the sounding furrows; for my purpose holds To sail beyond the sunset, and the baths Of all the western stars, until I die. Fragment of “Ulysses”, poem by Alfred Lord Tennyson.

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Chapter I _Day 7.

TITUNA. TROPEZ. KILIM COLLECTION. GAN.

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TECHNICAL SECTION

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TECHNICAL SECTION Made of powder coated aluminum and powder coated micro-perforated aluminum sheet. Polyurethane foam rubber covered with water-repellent fabric. Removable fabric cover. NOTE: No customized sizes in this collection.

FURNITURE BLAU. FRAN SILVESTRE

*new

TUMBONA BLAU//CHAISELONGUE

42 17”

mesa tumbona BLAU//side table

60 24”

MESA BAJA BLAU//COFFEE TABLE

40 16”

60 24"

31 12”

32 13”

22 9”

Reclining backrest 130º - 150º - 165º

70 28”

196 77”

MESITA BLAU//SIDE TABLE

90 36”

40 16”

91 36”

90 36”

120 48”

31 12” 90 36”

SILLÓN BLAU//LOUNGE CHAIR

SOFÁ BLAU//SOFA

37 55 70 15” 22” 28”

82 32”

90 36”

82 32”

sofá MODULAR 1 BLAU//SECTIONAL SOFA

37 15”

SOFÁ MODULAR 2 BLAU//SECTIONAL SOFA

37 15”

Left arm

Right arm

SOFÁ MODULAR 3 BLAU//SECTIONAL SOFA

48 19”

56 22”

BUTACA CON BRAZOS BLAU//ARMCHAIR

37 70 15” 28”

Left arm

SOFÁ MODULAR 4 BLAU//SECTIONAL SOFA

56 22”

BUTACA BLAU//CHAIR

55 70 22” 28”

90 36”

158 62”

180 72”

82 32”

56 22”

55 70 22” 28”

42 63 82 17” 25” 32”

42 82 17” 32”

180 72”

Right arm

69 27”

90 36”

SILLA CON BRAZOS BLAU//CHAIR

SILLA BLAU//DINNING CHAIR

37 55 70 15” 22” 28”

150 59”

37 15”

68 27"

69 27”

BUTACA SINGULAR BLAU//LOUNGE CHAIR

54 21”

82 32”

90 36”

37 15”

82 32”

180 72”

32 13”

70 28” 128 50”

75 29"

43 17”

63 25”

70 28”

68 27"

REPOSAPIÉS BLAU//OTTOMAN

21 8” 37 70 15” 28”

31 12”

60 24”

76 30"

180 72”

188.189

TECHNICAL SECTION

FURNITURE BLAU. FRAN SILVESTRE

COMPOSITION EXAMPLES

*new

MESA ALTA BLAU//DINING TABLE

ÁRBOL BLAU//OUTDOOR TREE LAMP

90 36”

150 59”

135 53”

250 98” 160 63”

75 29” 73 29”

73 29”

90 36”

COMPOSITION 2

COMPOSITION 3

270x82 cm 106”x32”

180x158 cm 71”x62”

270x158 cm 106”x62”

Sectional sofa 1 left Sectional sofa 3 3 pillows 10"x24"

Sectional sofa 2 left Sectional sofa 2 right 2 pillows 10"x24"

Sectional sofa 2 left Sectional sofa 1 right 3 pillows 10"x24"

Frame: white lacquered Fabric: Náutica Silvertex Ice 3 Pillows: Náutica Silvertex Plata

Frame: white lacquered Fabric: Water Vogue Steel 2 Pillows: Water Vogue Curry

Frame: white lacquered Fabric: Water Vogue Denim 3 Pillows: Water Vogue Water

73 29”

73 29” 90 36”

COMPOSITION 1

210 83”

90 36”

árbol XS1

árbol M1

270 106”

COMPOSITION 4

320 126”

320 126” 238 94”

árbol L1

184 72”

árbol L2

COMPOSITION 5

COMPOSITION 6

360x82 cm 142”x32”

360x158 cm 142”x62”

Sectional sofa 1 left Sectional sofa 1 right 4 pillows 10"x24"

Sectional sofa 1 left Sectional sofa 3 Sectional sofa 2 right 4 pillows 10"x24"

Sectional sofa 2 left Sectional sofa 4 Sectional sofa 2 right 4 pillows 10"x24"

Frame: sand lacquered Fabric: Soft Solids Mink Brown 4 Pillows: Soft Panama Tangerine

Frame: bronze lacquered Fabric: Náutica Silvertex Sandstone 4 Pillows: Náutica Silvertex Shiitake

COMPOSITION 8

COMPOSITION 9

Frame: sand lacquered Fabric: Soft Dolce Piedra 4 Pillows: Soft Dolce Piedra

Blau Tree lamp also available in anodized finish

COMPOSITION 7

COLLECTIONS COLOR SAMPLE

Frame: White

Frame: Sand

Frame: Bronze

Frame: Anthracite

450x158 cm 177”x62”

450x82 cm 177”x32”

720x82 cm 283”x32”

Sectional sofa 2 left Sectional sofa 4 Sectional sofa 1 right 5 pillows 10"x24"

Sectional sofa 1 left Sectional sofa 3 Sectional sofa 1 right 5 pillows 10"x24"

Sectional sofa 1 left Sectional sofa 4 Sectional sofa 4 Sectional sofa 1 right 8 pillows 10"x24"

Frame: bronze lacquered Fabric: Water Closed Blanco 5 Pillows: Water Closed Tierra

Frame: anthracite lacquered Fabric: Soft Solids Lead Chiné 5 Pillows: Soft Solids Blue Storm

Frame: anthracite lacquered Fabric: Náutica Silvertex Jet 8 Pillows: Náutica Silvertex Plata

190.191

TECHNICAL SECTION

FURNITURE

Made of powder coated aluminum, Solid Surface plate (tables) and polyethylene (chaiselongue). 100% recyclable. Polyurethane foam rubber covered with water-repellent fabric. Removable fabric cover. NOTE: No customized sizes in this collection.

JIAN. NERI&HU TUMBONA JIAN//CHAISELONGUE

SILLÓN JIAN//LOUNGE CHAIR

PUF JIAN//OTTOMAN 40 16”

35 14” 200 80”

78 31”

Left tray

Right tray

Reclining backrest 128º - 139º - 153º

SOFÁ HOODED JIAN//SOFA

90 36”

MESA BAJA JIAN//SIDE TABLE

71 28”

94 37” 86 34”

34 13”

40 16” 90 36”

86 34”

90 36”

60 24”

180 72”

SOFÁ jian//SOFA

40 16”

71 28”

pillow. 12"x24" / 30x60 cm 90 36”

40 190 16” 75”

90 36”

180 72”

pillow. 14"x28" / 35x70 cm

COLLECTIONS COLOR SAMPLE

CUSHION: seat + back + armrest

180 72”

frame Frame: White

SOFÁ MODULAR 1 JIAN//SECTIONAL SOFA

40 16”

90 36”

71 28”

40 16” 86 34”

40 16” Left arm

176 69”

SOFÁ MODULAR 3 JIAN//SECTIONAL SOFA

90 36”

SOFÁ MODULAR 2 JIAN//SECTIONAL SOFA

Right arm

176 69”

71 28”

90 36”

Left arm

SOFÁ MODULAR 4 JIAN//SECTIONAL SOFA

40 16”

71 28” 90 36”

172 67”

71 28”

Right arm

Frame: Sand

Frame: Bronze

Frame: Anthracite

192.193

TECHNICAL SECTION

FURNITURE

JIAN. NERI&HU

docks. romero vallejo

COMPOSITION EXAMPLES COMPOSITION 1

COMPOSITION 2

COMPOSITION 3

MÓdulOS//MODULES

24 10”

176X176 cm 69”x69”

262X90 cm 103”x36”

348X90 cm 137”x36”

Sectional sofa 2 right Ottoman 1 pillow 12"x24" 1 pillow 14"x28"

Frame: white lacquered Fabric: Soft Solids Natural 1 Pillow: Soft Natté Frosty Chiné 1 Pillow: Soft Solids Aruba

Frame: white lacquered Fabric: Water Sling Sand 1 Pillow: Water Sling Sand 1 Pillow: Water Sling Cocoa

Sectional sofa 1 left Sectional sofa 3 Ottoman 2 pillows 12"x24" 3 pillows 14"x28"

COMPOSITION 4

COMPOSITION 5

98 39”

66 26”

MOdulE 1

130 51”

Module 3

Made of silver aluminum or powder coated. NOTE: No customized sizes in this collection.

Frame: white lacquered Fabric: Water Sling Charcoal 3 Pillows: Water Sling Silver 2 Pillows: Water Sling Snowy COMPOSITION 6

180x176 cm 72”x69”

344x262 cm 135”x103”

438x176 cm 172”x69”

Sectional sofa 2 left Sectional sofa 2 right 2 pillows 12"x24" 2 pillows 14"x28"

Ottoman Sectional sofa 1 right Sectional sofa 4 Ottoman 2 pillows 12"x24" 4 pillows 14"x28"

Sectional sofa 1 left Sectional sofa 4 Sectional sofa 2 right 3 pillows 12"x24" 5 pillows 14"x28"

Frame: sand lacquered Fabric: Water Sling Sand 4 Pillows: Water Sling Cocoa 2 Pillows: Water Sling Charcoal

66 26”

Module 2

colchonetas//CUSHIONS 11 4”

11 4”

Frame: sand lacquered Fabric: Water Sling Taupe 2 Pillows: Water Sling Snowy 2 Pillows: Water Sling Taupe

24 10”

66 26”

SEAT

66 26”

72 28”

SEAT

11 4”

11 4” 90 36” SEAT

72 28”

90 36” SEAT

90 36”

24 10”

66 26”

BACKREST

COMPOSITION 9

434x262 cm 171”x103”

352x352 cm 138”x138”

438x266 cm 172”x105”

Ottoman Sectional sofa 2 left Sectional sofa 4 Sectional sofa 1 right 3 pillows 12"x24" 5 pillows 14"x28"

Sectional sofa 1 left Sectional sofa 1 right Sectional sofa 3 Sectional sofa 1 right 4 pillows 12"x24" 7 pillows 14"x28"

Sectional sofa 1 left Sectional sofa 1 left Sectional sofa 3 Sectional sofa 1 right 4 pillows 12"x24" 7 pillows 14"x28"

Frame: bronze lacquered Fabric: Náutica Gemini Blanco 5 Pillows: Náutica Gemini Bronce 3 Pillows: Náutica Gemini Blanco

Frame: bronze lacquered Fabric: Water Sling Cocoa 7 Pillows: Water Sling Cocoa 4 Pillows: Water Sling Sand

Frame: bronze lacquered Fabric: Soft Solids Mink brown 7 Pillows: Soft Natté Carbon beige 4 Pillows: Soft Natté Frosty chiné

COMPOSITION 10

COMPOSITION 11

206”x105”

Sectional sofa 1 left

Sectional sofa 4

Sectional sofa 1 left

Sectional sofa 4

Sectional sofa 1 right

4 pillows 12"x24"

Sectional sofa 1 right

8 pillows 14"x28"

5 pillows 12"x24"

Frame: anthracite lacquered

10 pillows 14"x28"

Fabric: Soft Solids Shingles

Frame: anthracite lacquered

8 Pillows: Soft Solids Charcoal

Fabric: Soft Duo Antracita

4 Pillows: Soft Solids Natural

10 Pillows: Soft Duo Blanco 5 Pillows: Soft Duo Antracita

BACKREST

26 10”

90 36”

ARMREST

corner connecting piece

Connecting piece for modules, manufactured in stainless steel and powder coated. Two pieces for each of the connecting sides is recommended. Please indicate the number and type of pieces in your order.

COLLECTIONS COLOR SAMPLE

524x266 cm

72 28”

Polyurethane foam rubber covered with water-repellent fabric. Removable fabric cover.

SINGLE CONNECTING PIECE COMPOSITION 8

274”x36”

24 10”

Frame: sand lacquered Fabric: Soft Duo Gris oscuro 5 Pillows: Soft Duo Arena 3 Pillows: Soft Duo Gris oscuro

COMPOSITION 7

696x90 cm

19 8”

40 16”

Frame: Silver

Frame: White

Frame: Sand

Frame: Bronze

Frame: Anthracite

194.195

TECHNICAL SECTION

FURNITURE DOCKS. ROMERO VALLEJO COMPOSITION EXAMPLES

module 1

BACKREST

SEAT

ARMREST

SEAT

BACKREST

98X98X24h cm 39”X39”X10"h

72x24x40h cm 28”X10”X16"h

72x66x11h cm 28”X26”X4"h

90x26x19h cm 36”X10”X8"h

90x90x11h cm 36”X36”X4"h

90x72x11h cm 36”X28”X4"h

66x66x11h cm 26”x26”x4"h

66x24x40h cm 26”x10”x16"h

COMPOSITION 1

COMPOSITION 2

COMPOSITION 3

COMPOSITION 4

98X98X64h cm / 39”X39”X25"h

98X98X35h cm / 39”X39”X14"h

1 module 1 1 seat 28”X26”X4"h 1 backrest 28”X10”X16"h

1 module 1 1 seat 28”X26”X4"h 1 backrest 28”X10”X16"h 1 armrest 36”X10”X8"h

1 module 1 1 seat 36”X36”X4"h

COMPOSITION 5

COMPOSITION 6

COMPOSITION 7

COMPOSITION 8

196X98X64h cm / 77”X39”X25"h

2 module 1 2 seat 28”X26”X4"h 2 backrest 28”X10”X16"h 1 armrest 36”X10”X8"h

2 module 1 2 seat 28”X26”X4"h 2 backrest 28”X10”X16"h 2 armrest 36”X10”X8"h

2 single connecting pieces

COMPOSITION 12

COMPOSITION 13

2 module 1 2 seat 28”X26”X4"h 2 backrest 28”X10”X16"h 2 armrest 36”X10”X8"h

COMPOSITION 14

196X98X35h cm / 77”X39”X14"h

196X98X64h cm / 77”X39”X25"h

2 module 1 2 seat 36”X36”X4"h

2 module 1 1 seat 28”X26”X4"h 1 backrest 28”X10”X16"h 1 armrest 36”X10”X8"h 1 seat 36”X36”X4"h

2 single connecting pieces

COMPOSITION 10

COMPOSITION 9

COMPOSITION 11

196X98X64h cm / 77”X39”X25"h

2 module 1 1 seat 28”X26”X4"h 1 backrest 28”X10”X16"h 1 armrest 36”X10”X8"h 1 seat 36”X28”X4"h

2 module 1 1 seat 28”X26”X4"h 1 backrest 28”X10”X16"h 1 seat 36”X28”X4"h 2 single connecting pieces

2 corner connecting pieces

COMPOSITION 16

COMPOSITION 15

COMPOSITION 17

196X196X64h cm / 77”X77”X25"h

294X98X64h cm / 116”X39”X25"h

3 module 1 3 seat 28”X26”X4"h 3 backrest 28”X10”X16"h 1 armrest 36”X10”X8"h

3 module 1 3 seat 28”X26”X4"h 3 backrest 28”X10”X16"h 2 armrest 36”X10”X8"h

4 single connecting pieces

294X98X64h cm / 116”X39”X25"h 196X196X64h cm / 77”X77”X25"h 3 module 1 3 seat 28”X26”X4"h 2 backrest 28”X10”X16"h 2 armrest 36”X10”X8"h 2 single connecting pieces 2 corner connecting pieces

COMPOSITION 19

COMPOSITION 20

COMPOSITION 21

392X98X64h cm / 154”X39”X25"h

4 module 1 4 seat 28”X26”X4"h 4 backrest 28”X10”X16"h 1 armrest 36”X10”X8"h

4 module 1 4 seat 28”X26”X4"h 4 backrest 28”X10”X16"h 2 armrest 36”X10”X8"h

6 single connecting pieces

COMPOSITION 28

COMPOSITION 29

4 module 1 4 seat 28”X26”X4"h 4 backrest 28”X10”X16"h 4 armrest 36”X10”X8"h

COMPOSITION 22

4 module 1 4 seat 36”X36”X4"h 4 single connecting pieces

COMPOSITION 31

2 single connecting pieces 2 corner connecting pieces

196X196X64h cm / 77”X77”X25"h 3 module 1 2 seat 28”X26”X4"h 2 backrest 28”X10”X16"h 1 backrest 26”X10”X16"h 1 seat 26”X26”X4"h 2 single connecting pieces 2 corner connecting pieces

4 single connecting pieces

COMPOSITION 30

3 module 1 2 seat 28”X26”X4"h 2 backrest 28”X10”X16"h 1 armrest 36”X10”X8"h 1 seat 36”X28”X4"h

3 module 1 2 seat 28”X26”X4"h 2 backrest 28”X10”X16"h 1 armrest 36”X10”X8"h 1 seat 36”X36”X4"h

196X196X35h cm / 77”X77”X14"h

392X98X64h cm / 154”X39”X25"h

294X98X64h cm / 116”X39”X25"h

3 module 1 2 seat 28”X26”X4"h 2 backrest 28”X10”X16"h 2 armrest 36”X10”X8"h 1 seat 36”X28”X4"h

COMPOSITION 18

COMPOSITION 23

COMPOSITION 24

COMPOSITION 25

COMPOSITION 26

294X196X64h cm / 116”X77”X25"h

196X196X64h cm / 77”X77”X25"h

294X196X64h cm / 116”X77”X25"h

4 module 1 2 seat 28”X26”X4"h 2 backrest 28”X10”X16"h 2 armrest 36”X10”X8"h 2 seat 36”X36”X4"h

4 module 1 3 seat 28”X26”X4"h 3 backrest 28”X10”X16"h 2 armrest 36”X10”X8"h 1 seat 36”X36”X4"h

4 module 1 2 seat 28”X26”X4"h 2 backrest 28”X10”X16"h 2 seat 36”X28”X4"h

4 module 1 3 seat 28”X26”X4"h 3 backrest 28”X10”X16"h 2 armrest 36”X10”X8"h 1 seat 36”X28”X4"h

4 single connecting pieces

4 single connecting pieces 2 piezas unión esquina

196X196X64h cm / 77”X77”X25"h

COMPOSITION 32

COMPOSITION 33

4 single connecting pieces

COMPOSITION 27

196X294X64h cm / 77”X116”X25"h 4 module 1 3 seat 28”X26”X4"h 3 backrest 28”X10”X16"h 2 armrest 36”X10”X8"h 1 backrest 26”X10”X16"h 1 seat 26”X26”X4"h

4 single connecting pieces 2 corner connecting pieces

COMPOSITION 34

COMPOSITION 35

COMPOSITION 36

490X294X64h cm / 192”X116”X25"h

490X392X64h cm / 192”X154”X25"h

9 module 1 6 seat 28”X26”X4"h 6 backrest 28”X10”X16"h 1 seat 36”X36”X4"h 2 seat 36”X28”X4"h

10 module 1 5 seat 28”X26”X4"h 5 backrest 28”X10”X16"h 2 armrest 36”X10”X8"h 3 seat 36”X36”X4"h 2 seat 36”X28”X4"h

392X490X64h cm / 154”X192”X25"h

294X196X64h cm / 116”X77”X25"h

294X294X64h cm / 116”X116”X25"h

490X98X64h cm / 193”X39”X25"h

392X392X64h cm / 154”X154”X25"h

686X392X64h cm / 270”X154”X25"h

5 module 1 6 seat 28”X26”X4"h 6 backrest 28”X10”X16"h 1 armrest 36”X10”X8"h

8 module 1 7 seat 28”X26”X4"h 7 backrest 28”X10”X16"h 2 armrest 36”X10”X8"h

11 module 1 9 seat 28”X26”X4"h 9 backrest 28”X10”X16"h

294X196X35h cm / 116”X77”X14"h

10 single connecting pieces 2 corner connecting pieces

14 single connecting pieces 2 corner connecting pieces

8 single connecting pieces

6 module 1 6 seat 36”X36”X4"h

5 module 1 3 seat 28”X26”X4"h 3 backrest 28”X10”X16"h 1 armrest 36”X10”X8"h 2 seat 36”X36”X4"h 6 single connecting pieces 2 corner connecting pieces

5 module 1 4 seat 28”X26”X4"h 4 backrest 28”X10”X16"h 1 armrest 36”X10”X8"h 1 seat 36”X36”X4"h 6 single connecting pieces

12 single connecting pieces

12 single connecting pieces 4 corner connecting pieces

9 module 1 7 seat 28”X26”X4"h 7 backrest 28”X10”X16"h 3 armrest 36”X10”X8"h 2 backrest 26”X10”X16"h 2 seat 26”X26”X4"h 10 single connecting pieces 4 corner connecting pieces

196.197

TECHNICAL SECTION

FURNITURE

Made of powder coated aluminum and porcelain plate. Polyurethane foam rubber covered with water-repellent fabric. Removable fabric cover.

TROPEZ. STEFAN DIEZ

NOTE: No customized sizes in this collection.

CAMA RECLINABLE TROPEZ//cama.bed

CAMA TROPEZ//BED

35 14”

180 72”

chaiselongue TROPEZ//SOFA

35 14”

91 36”

Right arm

35 14”

77 30”

91 36”

SOFÁ MODULAR 3 TROPEZ//SECTIONAL SOFA

35 14”

Left arm

Right arm

90 36”

45 18”

180 72”

40 16”

90 36”

180 72”

MESA ALTA TROPEZ//DINING TABLE

45 18”

Right arm

66 74 26” 29”

40 16”

90 36”

COLLECTIONS COLOR SAMPLE

77 30” Frame: White

91 36”

32 13”

TABURETE TROPEZ//STOOL

40 16”

190 75”

77 30”

90 36”

77 30” Left arm

SOFÁ MODULAR 2 TROPEZ//SECTIONAL SOFA

190 75”

90 36”

BANCO TROPEZ//BENCH

32 13”

SOFÁ MODULAR 1 TROPEZ//SECTIONAL SOFA

110 43”

80 31”

180 72”

77 30”

200 79”

91 36”

35 14”

77 30”

MESA BAJA TROPEZ//SIDE TABLE

35 14”

Left arm

35 14”

91 36”

SOFÁ TROPEZ//SOFA

SILLÓN TROPEZ//LOUNGE CHAIR

91 36”

Reclining backrest. Backrest positions. 103º - 120º - 137º - 161º

80 31”

77 30”

190 75”

35 14”

80 31”

180 72”

PUF MODULAR TROPEZ//OTTOMAN

SOFÁ MODULAR 4 TROPEZ//SECTIONAL SOFA

Frame: Sand

Frame: Bronze

Frame: Anthracite

Frame: Black

180 72”

198.199

TECHNICAL SECTION

FURNITURE

TROPEZ. STEFAN DIEZ

stack SYSTEM CHAIR. borja garcía

*new

COMPOSITION EXAMPLES MODEL 1//DINING CHAIR

COMPOSITION 1

COMPOSITION 2

MODEL 2//DINING CHAIR

COMPOSITION 3

47 78 18” 31”

47 78 18” 31” 54 21” 280x91 cm 110”x36”

281x190 cm 111”x75”

182x190 cm 72”x75”

Sectional sofa 1 left Ottoman 1 pillow 14"x24" 1 pillow 18"x18"

Sectional sofa 1 left Sectional sofa 2 right 2 pillows 14"x24" 2 pillows 18"x18"

Sectional sofa 2 left Sectional sofa 2 right 2 pillows 14"x24" 2 pillows 18"x18"

Frame: white lacquered Fabric: Soft Solids Natural 1 Pillow: Soft Solids Shingles 1 Pillow: Soft Solids Natural

Frame: white lacquered Fabric: Soft Solids Natural 2 Pillows: Soft Natté Carbon Beige 2 Pillows: Soft Natté Dark Taupe

Frame: sand lacquered Fabric: Water Sling Sand 2 Pillows: Water Sling Charcoal 2 Pillows: Water Vogue Water

COMPOSITION 4

COMPOSITION 5

COMPOSITION 6

47 64 18” 25”

461x190 cm 181”x75”

470x281 cm 185”x111”

Sectional sofa 2 left Sectional sofa 4 Ottoman 2 pillows 14"x24" 2 pillows 18"x18"

Sectional sofa 1 left Sectional sofa 4 Sectional sofa 2 right 3 pillows 14"x24" 3 pillows 18"x18"

Sectional sofa 1 left Sectional sofa 1 left Sectional sofa 3 Sectional sofa 1 right 4 pillows 14"x24" 4 pillows 18"x18"

Frame: sand lacquered Fabric: Water Vogue Denim 2 Pillows: Water Sling Taupe 2 Pillows: Water Sling Snowy

Frame: bronze lacquered Fabric: Soft Duo Marrón 3 Pillows: Soft Duo Negro 3 Pillows: Soft Solids Aruba

COMPOSITION 8

78 31”

42 17”

MODEL 6//DINING CHAIR

MODEL 5//DINING CHAIR

50 20” COMPOSITION 7

53 21”

Stackable

47 18”

Stackable

47 18”

78 31”

51 20”

Frame: bronze lacquered Fabric: Náutica Gemini Arena 4 Pillows: Náutica Gemini Negro 4 Pillows: Náutica Gemini Blanco

50 20”

MODEL 4//DINING CHAIR

MODEL 3//DINING CHAIR

53 21”

361x190 cm 142”x75”

55 22”

Stackable

50 20”

78 31”

47 18”

42 17”

47 19”

COMPOSITION 9

78 31”

42 17”

M1-M2: Made of powder coated galvanized steel and stiff polyurethane. M3-M4-M5-M6: Made of powder coated aluminum and stiff polyurethane.

461x380 cm 181”x150”

560x281 cm 220”x111”

740x91 cm 291”x36”

Sectional sofa 1 left Sectional sofa 1 right Sectional sofa 4 Sectional sofa 1 right 4 pillows 14"x24" 4 pillows 18"x18"

Sectional sofa 1 left Sectional sofa 1 left Sectional sofa 4 Sectional sofa 1 right Sectional sofa 1 right 5 pillows 14"x24" 5 pillows 18"x18"

Sectional sofa 1 left Sectional sofa 4 Sectional sofa 4 Sectional sofa 1 right 4 pillows 14"x24" 4 pillows 18"x18"

Frame: anthracite lacquered Fabric: Soft Solids Natural 4 Pillows: Soft Duo Piedra 4 Pillows: Soft Duo Antracita

Frame: black lacquered Fabric: Soft Solids Shingles 5 Pillows: Soft Natté Dark Taupe 5 Pillows: Soft Solids Carbon

Frame: black lacquered Fabric: Soft Duo Negro 4 Pillows: Soft Duo Gris claro 4 Pillows: Soft Duo Gris oscuro

COLLECTIONS COLOR SAMPLE

Frame: White

Frame: Sand

Frame: Bronze

Frame: Anthracite

Frame: Coral

Frame: Turquoise

Frame: Pistachio

Seat: White

Seat: Sand

Seat: Bronze

Seat: Anthracite

Seat: Coral

Seat: Turquoise

Seat: Pistachio

Please ask our Technical Department for special color combinations.

200.201

TECHNICAL SECTION

FURNITURE FLAT. MARIO RUIZ Made of powder coated aluminum and 100% recyclable polyethylene. Polyurethane foam rubber covered with water-repellent fabric. Removable fabric cover. NOTE: No customized sizes in this collection.

TUMBONA CON BRAZOS FLAT//CHAISELONGUE WITH ARMS

TUMBONA FLAT//CHAISELONGUE

200 80”

70 28”

Flat chaiselongue

24 10”

33 13”

24 10” 70 28”

Reclining backrest 122º - 135º - 150º

33 13”

70 28”

200 80”

Flat chaiselongue with arms

Flat high chaiselongue

MESA TUMBONA FLAT//SIDE TABLE

43 17”

91 36”

Flat high chaiselongue with arms

70 28”

40 16”

70 28”

SOFÁ MODULAR 3 FLAT//SECTIONAL SOFA

91 36”

40 16”

100 40”

200 80”

Flat chill bed

140 56”

Flat double chill bed

SILLÓN FLAT//LOUNGE CHAIR

43 17”

200 80”

Flat chill bed with wheels

140 56”

SOFÁ flat//SOFA

43 17” 180 72”

90 36”

91 36”

180 72”

Right arm

68 27”

180 72”

SOFÁ MODULAR 6 FLAT//SECTIONAL SOFA

68 27”

43 17” 107 42”

91 36”

90 36”

68 27”

107 42”

MESA AUXILIAR FLAT//SIDE TABLE

43 17”

68 27” 90 36”

91 36”

Left arm

SOFÁ MODULAR 4 FLAT//SECTIONAL SOFA

91 36”

PUF MODULAR FLAT//OTTOMAN

43 17”

180 72”

43 17”

90 36”

Reclining backrest 122º - 135º - 150º

Flat double chill bed with wheels

68 27”

91 36”

68 27”

40 16”

100 40”

200 80”

Right arm

68 27”

SOFÁ MODULAR 5 FLAT//SECTIONAL SOFA

40 16” Reclining backrest 122º - 135º - 150º

43 17” Left arm

43 17”

CAMA CHILL FLAT con ruedas//BED

40 16”

68 27”

180 72”

62 24”

Ø175 Ø69”

CAMA CHILL FLAT//BED

SOFÁ MODULAR 2 FLAT//SECTIONAL SOFA

Reclining backrest 122º - 135º - 150º

70 28”

24 10”

70 28”

200 80”

SOFÁ MODULAR 1 FLAT//SECTIONAL SOFA

48 19”

cama CHILL redonda FLAT//BED *NEW

24 10” 35 14”

200 80”

40 16”

*NEW

51 20” 28 11”

53 21”

*NEW

202.203

TECHNICAL SECTION

FURNITURE FLAT. MARIO RUIZ MESA BAJA FLAT//SIDE TABLE

SILLA FLAT//DINING CHAIR

MECEDORA flat//ROCKING CHAIR

MESA ALTA circular FLAT//DINING TABLE

30 12”

42 17” 45 17”

37 93 15” 37” 75 30”

56 22”

64 25”

65 80 25” 32”

45 80 17” 32” 56 22”

54 21”

Flat dining armchair

42 17”

54 21”

74 29”

70 28”

Ø90 Ø36”

30 12”

90 36”

120 48”

38 15” 67 26”

80 32”

70 28”

160 63”

90 36”

BANCO FLAT//BENCH

42 17” 30 30 12” 12”

30 30 12” 12”

Flat low stool

75 29”

75 30”

67 73 26” 29”

73 29” 90 36”

90 36”

41 16”

Flat high stool

90 36”

40 16”

34 13”

90 36”

40 16”

150 59”

40 16”

50 20”

105 42”

105 42” 70 28”

70 28”

210 84”

70 28”

180 72”

67 73 26” 29”

122 48”

122 48” 90 36”

270 108”

40 16”

90 36”

180 72”

210 84”

40 16”

270 108”

COLLECTIONS COLOR SAMPLE

30 12” Ø90 Ø36”

30 12” Ø120 Ø48”

171 67”

171 67” 40 16”

42 17” Ø42 Ø17”

73 29” 40 16”

90 36”

42 17”

MESA BAJA circular FLAT//SIDE TABLE

105 42”

Ø175 Ø69”

150 59”

42 17”

MESA BAR FLAT//BAR TABLE

Ø125 Ø50”

73 29”

Flat high stool with backrest

40 16”

67 26”

42 17”

87 34”

73 29”

ESTANTERÍA FLAT//Shelving system

67 73 26” 29”

TABURETE FLAT//STOOL

67 26”

180 72”

MESA ALTA FLAT//DINING TABLE

38 15”

68 27”

73 29”

Flat dining chair

MESA Butaca flat//COFFEE TABLE

38 57 70 15” 22” 28”

67 26”

90 36”

30 12” 90 36”

butaca flat//LOUNGE CHAIR

90 36”

Frame: White

Frame: Sand

Frame: Bronze

Frame: Anthracite

Polyethylene: White

Polyethylene: Sand

Polyethylene: Bronze

Polyethylene: Anthracite

90 36”

40 16”

180 72”

73 29”

204.205

TECHNICAL SECTION

FURNITURE

FLAT. MARIO RUIZ

FLAT TEXTIL. MARIO RUIZ

COMPOSITION EXAMPLES TUMBONA FLAT TEXTIL//CHAISELONGUE COMPOSITION 1

COMPOSITION 2

TUMBONA CON BRAZOS FLAT TEXTIL//CHAISELONGUE *new

COMPOSITION 3

33 13”

24 10”

180x181 cm 72”x72”

270x91 cm 106”x36”

271x180 cm 106”x72”

Sectional sofa 4 Ottoman 4 pillows 18"x18"

Sectional sofa 1 left Ottoman 4 pillows 18"x18"

Sectional sofa 2 left Sectional sofa 1 right 6 pillows 18"x18"

Frame: white lacquered Fabric: Náutica Gemini Blanco 2 Pillows: Náutica Gemini Arena 2 Pillows: Náutica Gemini Blanco

Frame: white lacquered Fabric: Soft Solids Shingles 4 Pillows: Soft Solids Shingles

Frame: white lacquered Fabric: Soft Dolce Marrón 2 3 Pillows: Soft Dolce Verde 3 Pillows: Soft Dolce Piedra

COMPOSITION 4

COMPOSITION 5

COMPOSITION 6

200 80”

70 28”

200 80”

Flat Textil chaiselongue

24 10” Reclining backrest 122º - 135º - 150º

70 28”

200 80”

270x91 cm 106”x36”

362x180 cm 142”x72”

Sectional sofa 2 left Sectional sofa 2 right 4 pillows 18"x18"

Sectional sofa 3 Sectional sofa 4 6 pillows 18"x18"

Sectional sofa 2 left Sectional sofa 4 Sectional sofa 2 right 8 pillows 18"x18"

Frame: sand lacquered Fabric: Water Sling Sand 2 Pillows: Water Sling Sand 2 Pillows: Water Sling Snowy

Frame: sand lacquered Fabric: Soft Solids Taupe chiné 4 Pillows: Soft Solids Taupe chiné 2 Pillows: Soft Panama Tangerine

COMPOSITION 7

COMPOSITION 8

38 15”

64 25”

74 29”

43 17”

65 25”

80 32”

43 17”

56 22”

54 21”

Flat Textil chair 361x180 cm 142”x72”

451x270 cm 177”x106”

540x91 cm 213”x36”

Sectional sofa 1 left Sectional sofa 3 Sectional sofa 2 right 8 pillows 18"x18"

Sectional sofa 1 left Sectional sofa 4 Sectional sofa 2 right Ottoman 10 pillows 18"x18"

Sectional sofa 1 left Sectional sofa 4 Sectional sofa 1 right 12 pillows 18"x18"

COMPOSITION 10

Frame: bronze lacquered Fabric: Water Sling Cocoa 6 Pillows: Water Sling Cocoa 4 Pillows: Water Closed Tierra COMPOSITION 11

42 17”

56 22”

Flat Textil chair without arms

574x287 cm 226”x113”

Sectional sofa 1 left Sectional sofa 4 Sectional sofa 5 Sectional sofa 4 Sectional sofa 2 right 16 pillows 18"x18"

Sectional sofa 4 Sectional sofa 6 Sectional sofa 4 Sectional sofa 1 right 15 pillows 18"x18"

Sectional sofa 1 left Sectional sofa 6 Sectional sofa 4 Sectional sofa 4 Sectional sofa 6 Sectional sofa 1 right 22 pillows 18"x18" Frame: anthracite lacquered Fabric: Soft Solids Carbon 12 Pillows: Soft Solids Blue storm 10 Pillows: Soft Solids Carbon

40 16”

Flat Textil stool with backrest

Made of powder coated aluminum and Batyline fabric. NOTE: No customized sizes in this collection.

COMPOSITION 12

467x287 cm 184x113”

Frame: anthracite lacquered Fabric: Water Closed Madeira 8 Pillows: Water Closed Blanco 7 Pillows: Water Closed Madeira

70 28”

75 89 29” 35”

Frame: bronze lacquered Fabric: Soft Solids Charcoal 12 Pillows: Soft Solids Charcoal

722x180 cm 284”x72”

Reclining backrest 122º - 135º - 150º

68 27”

80 32”

COLLECTIONS COLOR SAMPLE

Frame: anthracite lacquered Fabric: Náutica Silvertex Plata 8 Pillows: Náutica Silvertex Titanium 8 Pillows: Náutica Silvertex Carbon

57 22”

Frame: sand lacquered Fabric: Soft Duo Marrón 6 Pillows: Soft Duo Marrón 2 Pillows: Soft Duo Piedra COMPOSITION 9

70 28”

Flat Textil high chaiselongue with arms

taburete FLAT TEXTIL//STOOL WITH BACKREST

SILLA FLAT TEXTIL//DINING CHAIR

54 21”

Frame: bronze lacquered Fabric: Náutica Silvertex Ice 8 Pillows: Náutica Silvertex Ice

200 80”

48 19”

BUTACA FLAT TEXTIL//LOUNGE CHAIR

37 93 15” 37”

182x180 cm 72”x72”

33 13”

70 28”

Flat Textil chaiselongue with arms

Flat Textil high chaiselongue

MECEDORA FLAT TEXTIL//ROCKING CHAIR

75 30”

40 16”

Frame: White

Frame: Sand

Frame: Bronze

Frame: Anthracite

Fabric: White

Fabric: Sand

Fabric: Bronze

Fabric: Anthracite

*new

206.207

TECHNICAL SECTION

FURNITURE

Made of silver or powder coated aluminum and 100% recyclable polyethylene. Polyurethane foam rubber covered with water-repellent fabric. Removable fabric cover.

NA XEMENA. RAMÓN ESTEVE TUMBONA NA XEMENA//CHAISELONGUE

33 13”

21 8”

21 8” 185 74”

60 24”

185 74”

Na Xemena chaiselongue

SOFÁ MODULAR 1 NA XEMENA//SECTIONAL SOFA

TUMBONA ES CAVALLET//CHAISELONGUE

33 13”

43 17”

71 28” Left arm.

Reclining backrest 130º - 140º - 165º - 180º

60 24”

200 80”

70 28”

200 80”

Reclining backrest 129º - 144º - 150º- 168º - 180º

90 36”

71 28”

Right arm

180 72”

90 36”

180 72”

Left arm

Es Cavallet chaiselongue with wheels

Es Cavallet chaiselongue

Na Xemena chaiselongue with tray

70 28”

SOFÁ MODULAR 2 NA XEMENA//SECTIONAL SOFA

Tray. 24”x16”x0,4”h

33 13”

200 80”

Reclining backrest 129° - 144° -150° - 168° - 180°

SILLÓN NA XEMENA//LOUNGE CHAIR

90 36”

71 28” 60 24”

60 24”

90 36”

43 17”

71 28”

90 36”

280 110”

70 28”

90 36”

Na Xemena XL sofa

43 17”

189 76”

43 17”

71 28”

90 36”

43 17”

71 28”

SOFÁ MODULAR 4 NA XEMENA//SECTIONAL SOFA

43 17” 80 32”

SOFÁ XL 1 NA XEMENA//SECTIONAL SOFA

43 17”

170 67”

180 72”

71 28”

90 36”

71 28”

PUF MODULAR NA XEMENA//OTTOMAN

SOFÁ MODULAR 6 NA XEMENA//SECTIONAL SOFA

SOFÁ CUADRADO NA XEMENA//SOFA

43 17”

Na Xemena sofa

60 24”

43 17”

90 36”

210 84”

60 24”

PUF NA XEMENa//OTTOMAN

SOFÁ NA XEMENA//SOFA

90 36”

60 24”

43 17”

21 8”

140 56”

43 17”

SOFÁ MODULAR 3 NA XEMENA//SECTIONAL SOFA

MESA PADA BAJA TUMBONA//TABLE

TUMBONA ES CAVALLET DOBLE//CHAISELONGUE

90 36”

SOFÁ XL 2 NA XEMENA//SECTIONAL SOFA

71 28”

43 17”

Left arm

Right arm

170 67”

160 63”

71 28”

Right arm

208.209

TECHNICAL SECTION

FURNITURE NA XEMENA. RAMÓN ESTEVE MESA AUXILIAR NA XEMENA//SIDE TABLE

SILLA SALADA/ BUTACA CONTA//CHAIR. ARMCHAIR

59 24” 42 17”

43 17”

42 17”

48 19”

77 31”

43 17”

40 16”

50 20”

Salada chair

BANCO YONDAL//BENCH

TABURETE TAGOMAgo/ES CANÀ/ /STOOL

43 17”

82 32”

65 26”

73 29”

30 30 12” 12”

58 23”

48 19”

30 30 12” 12”

Tagomago stool

Conta armchair

33 13”

42 17”

60 24”

90 36”

60 24”

90 36”

120 48”

33 13” 90 36”

120 48”

150 59”

90 36”

180 72”

90 36”

70 28”

50 20”

180 72”

210 84”

90 36”

COLLECTIONS COLOR SAMPLE

76 30”

Frame: Silver

Frame: White

Frame: Sand

Frame: Bronze

Frame: Anthracite

Polyethylene: White

Polyethylene: Sand

Polyethylene: Bronze

Polyethylene: Anthracite

240 96”

66 26”

76 30”

NOTE

90 36”

300 118”

- Na Xemena lounge chair. - Na Xemena sofa. - Na Xemena ottoman. - Na Xemena XL sofa. - Sectional sofa 1, 2, 3, 4, 6. - Modular Ottoman. - Square Sofa. - XL sofa 1, 2.

Example

With polyethylene

Without polyethylene

240 96”

43 17”

48 19”

180 72”

76 30”

270 108”

300 118”

270 108”

66 76 26” 30”

120 48”

48 19”

43 17”

48 19”

Available without polyethylene. Please ask our Technical Department. Minimum order 6 pieces. 90 36”

210 84”

Please ask our Technical Department for special color combinations for polyethylene and fabrics.

76 30”

66 26”

70 28”

76 30”

68 27”

90 36”

68 27”

50 20”

180 72”

43 17”

150 59”

76 30”

150 59”

33 13”

90 36”

50 20”

48 19”

105 42”

68 27”

120 48”

68 27”

48 19”

43 17”

76 30”

120 48”

76 30”

33 13”

90 36”

68 27”

120 48”

68 27”

76 30”

90 36”

120 48”

43 17”

150 59”

MESA BAR NA XEMENA//BAR TABLE

90 36”

33 13”

33 13” 90 36”

68 27”

48 19”

43 17”

MESA PADA ALTA//DINING TABLE

43 17”

90 36”

Es Canà stool

48 19”

MESA PADA BAJA//SIDE TABLE

43 17”

300 118”

210.211

TECHNICAL SECTION

FURNITURE NA XEMENA. RAMÓN ESTEVE COMPOSITION EXAMPLES

COMPOSITION 1

COMPOSITION EXAMPLES SOFÁ XL

COMPOSITION 2

COMPOSITION 3

COMPOSITION 1

COMPOSITION 2

COMPOSITION 3

180x170 cm 72”x67”

270x90 cm 106”x36”

360x90 cm 142”x36”

340x170 cm 134”x67”

340x330 cm 136”x132”

500x170 cm 197”x68”

Sectional sofa 2 right Ottoman

Sectional sofa 1 left Sectional sofa 3 Ottoman

Sofá XL 1 left Sofá XL 1 right

Sofá XL 1 left Sofá XL 1 right Sofá XL 2

Sofá XL 1 left Sofá XL 2 Sofá XL 1 right

Frame: white lacquered Fabric: Náutica Gemini Blanco

Frame: white lacquered Fabric: Water Closed Tierra

Frame: silver Tela: / Fabric: Náutica Silvertex Storm

Frame: silver Fabric: Soft Duo Negro

COMPOSITION 4

COMPOSITION 5

Frame: white lacquered Fabric: Soft Solids Blue storm

COMPOSITION 6

180x180 cm 72”x72”

360x180 cm 142”x72”

360x270 cm 142”x106”

Sectional sofa 2 left Sectional sofa 2 right

Sectional sofa 2 left Sectional sofa 3 Sectional sofa 1 right

Sectional sofa 2 left Sectional sofa 4 Ottoman

Frame: sand lacquered Fabric: Water Sling Taupe

Frame: sand lacquered Fabric: Náutica Silvertex Meteor

Frame: sand lacquered Fabric: Soft Duo Piedra

COMPOSITION 7

COMPOSITION 8

COMPOSITION 9

450X270 cm 177”x106”

450x270 cm 177”x106”

720x90 cm 284”x36”

Ottoman Sectional sofa 2 left Sectional sofa 4 Sectional sofa 1 right

Sectional sofa 1 left Sectional sofa 1 left Sectional sofa 3 Sectional sofa 1 right

Sectional sofa 1 left Sectional sofa 4 Sectional sofa 4 Sectional sofa 1 right

Frame: bronze lacquered Fabric: Soft Natté Heather beige

Frame: bronze lacquered Fabric: Soft Panama Tangerine

Frame: bronze lacquered Fabric: Water Vogue Nickel

COMPOSITION 10

COMPOSITION 11

450x360 cm 177”x142”

540x270 cm 213”x106”

Sectional sofa 1 left Sectional sofa 1 right Sectional sofa 4 Sectional sofa 1 right

Sectional sofa 1 left Sectional sofa 1 left Sectional sofa 4 Sectional sofa 1 right Sectional sofa 1 right

Frame: anthracite lacquered Fabric: Soft Solids Shingles

Frame: anthracite lacquered Fabric: Water Sling Taupe

Frame: silver Fabric: Soft Panama Artic

COMPOSITION 4

COMPOSITION 5

COMPOSITION 6

500x500 cm 200”x200”

850x170 cm 335”x68”

500x500 cm 200”x200”

Sofá XL 1 left Sofá XL 2 Sofá XL 1 right Sofá XL 2 Sofá XL 1 right

Sofá XL 1 left Sofá XL 2 Sofá XL 2 Sofá XL 2 Sofá XL 1 right

Frame: silver Fabric: Náutica Silvertex Ice

Frame: silver Fabric: Soft Solids Taupe chiné

Sofá XL 1 left Sofá XL 2 Sofá XL 1 left Sofá XL 2 Sofá XL 1 right Sofá XL 2 Sofá XL 1 right Frame: silver Fabric: Water Sling Charcoal

// 212.213 213.213

TECHNICAL SECTION

FURNITURE

Made of silver aluminum or powder coated aluminum and 100% recyclable polyethylene. Polyurethane foam rubber with water-repellent plastic cover. Removable fabric cover. NOTE: No customized sizes in this collection.

SALER. JOSÉ A. GANDÍA-BLASCO TUMBONA SALER//CHAISELONGUE

35 14”

18 7” 200 80”

200 80”

70 28”

Saler chaiselongue

70 28”

18 7” Reclining backrest 127º - 134º - 152º - 162º

18 7”

70 28”

37 14”

185 73”

70 28”

37 14”

68 27”

70 28”

PUF SILLÓN SALER//OTTOMAN

70 28”

58 23”

SOFÁ MODULAR 1 saler//SECTIONAL SOFA

38 15”

86 34”

128 50”

MESA BAJA SALER//SIDE TABLE

32 13” 60 24”

90 36”

188 74”

91 36”

32 13”

60 24”

34 14”

SOFÁ MODULAR 2 SALER//SECTIONAL SOFA

SILLA SALER//DINING CHAIR

180 72”

32 13”

MESA AUXILIAR SALER//SIDE TABLE

Saler triple lounge chair

90 36”

180 72”

38 15”

73 29”

38 15”

Right arm

90 36”

51 20”

70 28”

Left arm

90 36”

70 28”

Saler double lounge chair

37 14”

180 72”

90 36”

38 15”

70 28”

PUF MODULAR SALER//OTTOMAN

73 29”

Saler simple lounge chair

90 36”

70 28”

SILLÓN SALER//LOUNGE CHAIR

38 15”

60 24”

38 15”

Saler high chaiselongue

SOFÁ SALER//SOFA

90 36”

34 14”

SOFÁ MODULAR 4 SALER//SECTIONAL SOFA

SOFÁ MODULAR 3 saler//SECTIONAL SOFA

MESA TUMBONA SALER//TABLE

34 14”

70 28”

46 18”

Left arm

Right arm

55 22”

57 22”

Saler chair

55 22”

160 63”

91 36”

MESA MEDIANA SALER//DINING TABLE

46 18”

70 28” 55 22”

57 22”

Saler high chair

63 25”

54 21”

82 32” 70 28”

70 28”

32 13”

60 24”

160 63”

214.215

TECHNICAL SECTION

FURNITURE

COMPOSITION EXAMPLES

SALER. JOSÉ A. GANDÍA-BLASCO BANCO SALER//BENCH

MESA ALTA SALER//DINING TABLE

66 26” 91 36”

66 26”

72 28” 91 36”

91 36”

66 26”

91 36”

72 28”

47 19”

66 26”

72 28”

91 36”

160 63”

80 32”

47 19”

72 28”

47 19”

42 17”

150 59”

47 19”

64 72 25” 28”

91 36”

110 44”

42 17”

195 77”

COMPOSITION 2

COMPOSITION 3

180x170 cm 72”x67”

270x90 cm 106”x36”

360x90 cm 142”x36”

Sectional sofa 2 right Ottoman 3 pillows 20"x20"

Sectional sofa 1 left Sectional sofa 3 Ottoman 7 pillows 20"x20"

Frame: silver Fabric: Soft Dolce Crudo 3 Pillows: Soft Dolce Crudo

Frame: white lacquered Fabric: Water Closed Madeira 2 Pillows: Water Closed Madeira 1 Pillow: Water Vogue Topaz

COMPOSITION 4

COMPOSITION 5

COMPOSITION 6

180x180 cm 72”x72”

360x270 cm 142”x106”

450x270 cm 177”x106”

Sectional sofa 2 left Sectional sofa 2 right 6 pillows 20"x20"

Ottoman Sectional sofa 1 right Sectional sofa 4 Ottoman 9 pillows 20"x20"

Sectional sofa 1 left Sectional sofa 4 Sectional sofa 2 right Ottoman 12 pillows 20"x20"

Frame: sand lacquered Fabric: Soft Natté Carbon Beige 4 Pillows: Soft Natté Carbon Beige 5 Pillows: Soft Natté Heather Beige

Frame: sand lacquered Fabric: Soft Dolce Marrón 3 6 Pillows: Soft Dolce Marrón 3 6 Pillows: Soft Dolce Piedra

COMPOSITION 7

COMPOSITION 8

COMPOSITION 9

450x270 cm 177”x106”

360x360 cm 142”x142”

450x270 cm 177”x106”

Ottoman Sectional sofa 2 left Sectional sofa 4 Sectional sofa 1 right 12 pillows 20"x20"

Sectional sofa 1 left Sectional sofa 3 Sectional sofa 1 left Sectional sofa 1 right 19 pillows 20"x20"

Sectional sofa 1 left Sectional sofa 1 left Sectional sofa 3 Sectional sofa 1 right 17 pillows 20"x20"

Frame: bronze lacquered Fabric: Náutica Silvertex Sandstone 12 Pillows: Náutica Silvertex Sanstone

Frame: bronze lacquered Fabric: Soft Duo Piedra 15 Pillows: Soft Duo Piedra 4 Pillows: Soft Dolce Verde

Frame: bronze lacquered Fabric: Water Vogue Topaz 17 Pillows: Water Vogue Topaz

COMPOSITION 10

COMPOSITION 11

720x90 cm 284”x36”

540x270 cm 213”x106”

Sectional sofa 1 left Sectional sofa 4 Sectional sofa 4 Sectional sofa 1 right 18 pillows 20"x20"

Sectional sofa 1 left Sectional sofa 1 left Sectional sofa 4 Sectional sofa 1 right Sectional sofa 1 right 24 pillows 20"x20"

42 17”

125 49”

COMPOSITION 1

180 72”

42 17”

230 90”

47 19”

210 84”

Frame: sand lacquered Fabric: Soft Solids Natural 4 Pillows: Soft Solids Natural 2 Pillows: Soft Panama Citron

MESA BAR SALER//BAR TABLE

TABURETE SALER//STOOL

42 17” 34 14”

Frame: white lacquered Fabric: Náutica Silvertex Jet 5 Pillows: Náutica Silvertex Jet 2 Pillows: Náutica Silvertex Storm

34 14”

Saler low stool

105 42”

72 28” 57 22”

34 14”

57 22”

Saler high stool

105 42”

COLLECTIONS COLOR SAMPLE

Frame: Silver

Frame: White

Frame: Sand

Frame: Bronze

Frame: Anthracite

Polyethylene: White

Polyethylene: Sand

Polyethylene: Bronze

Polyethylene: Anthracite

Frame: anthracite lacquered Fabric: Soft Panama Acqua 5 Pillows: Soft Natté Gray chiné 13 Pillows: Soft Panama Acqua

Frame: anthracite lacquered Fabric: Soft Solids Carbon 18 Pillows: Soft Solids Carbon 6 Pillows: Soft Panama Tangerine

216.217

TECHNICAL SECTION

FURNITURE

TEXTILE. ANA LLOBET

tituna. MARIANA lerma MECEDORA TITUNA//ROCKING CHAIR

35 14”

38 74 15” 29” 73 29”

67 26”

65 25”

butaca/silla textile//LOUNGE CHAIR. chair

mecedora textile//ROCKING CHAIR

BUTACA TITUNA//LOUNGE CHAIR

33 13”

72 28” 85 33”

65 25”

44 17”

37 15”

89 35” 65 26”

70 28”

73 29”

47 18”

70 28”

53 21”

Textile lounge chair

silla tituna//DINING CHAIR

47 19” 56 22”

BANCO TITUNA//BENCH

53 21”

50 20”

37 15”

90 36”

48 19”

Textile coffee table

puf tituna//OTTOMAN

96 37”

Textile chair

47 18”

48 19”

90 36”

Textile double coffee table

MESA tituna//SIDE TABLE taburete con respaldo textile// STOOL

taburete textile// STOOL 38 15” 72 28”

60 24”

banco textile//BENCH

mesa baja textile//COFFEE TABLE

47 18”

76 30”

77 30”

38 15”

38 15” 72 28”

66 26”

60 24”

72 28”

140 55”

47 18”

74 29”

30 30 12” 12”

30 12”

Textile low stool

30 12”

74 29” 39 15”

91 36”

42 17”

Textile high stool

Made of powder coated galvanized steel round tubes, phenolic plate and high tenacity polyester rope. NOTE: No customized sizes in this collection. Made of 100% recyclable polyethylene and powder coated galvanized steel. The braided rope is high tenacity polyester. NOTE: No customized sizes in this collection.

COLLECTIONS COLOR SAMPLE

BRAIDED ROPE COLORS

COLLECTIONS COLOR SAMPLE

Frame: White

Frame: Sand

Frame: Bronze

Frame: Anthracite

Rope: White

Rope: Sand

Rope: Gray

Rope: White

Rope: Sand

Rope: Brown

Rope: Gray

Rope: Black

White

Frame: White

Frame: Sand

Frame: Bronze

Polyethylene: White

Polyethylene: Sand

Polyethylene: Bronze

Sand

Gray

Burgundy

Green

Blue

Navy

Brown

Black

218.219

TECHNICAL SECTION

FURNITURE DOZEQUINZE. FRANCESCO SILLITTI MECEDORA DOZEQUINZE//ROCKING CHAIR

43 17”

61 24”

BUTACA DOZEQUINZE//LOUNGE CHAIR

37 15”

86 34”

68 27”

84 33”

69 27”

MESA DOZEQUINZE//COFFEE TABLE

77 30”

71 28”

SILLA DOZEQUINZE//DINING CHAIR

34 13” 64 25”

55 22”

46 18”

92 36”

60 24”

87 34”

62 25”

Made of powder coated stainless steel round tubes. Laminated glass table top. Elastic webbing made of polypropylene fibers and synthetic rubber. NOTE: No customized sizes in this collection.

COLLECTIONS COLOR SAMPLE

Frame: White

Frame: Sand

Frame: Bronze

Frame: Anthracite

Frame: Black

Webbing: White

Webbing: Sand

Webbing: Tobacco

Webbing: Anthracite

Webbing: Tobacco

220.221

TECHNICAL SECTION

plastic big. stefan diez

19 7”

58 23”

65 26”

82 32”

74 29”

57 22” 70 28”

Clip lounge chair

58 23”

36 14”

19 7”

55 22”

200 80”

55 22”

Clip table

17 7”

80 32”

chaiselongue 356

32 13”

COLLECTIONS COLOR SAMPLE

80 32”

White

Sand

Warm gray

Sand

80 32”

60 24”

macetero SAHARA//PLANTER

stool 356

80 32”

Ø43 Ø17”

43 17”

Ø60 Ø24”

Sahara 1

Ø80 Ø32”

Sahara 2

43 17”

30 12” Ø100 Ø40”

Sahara 3

43 17”

Sahara 4

100 40”

Sahara 5

Planter made of rotating molded 100% recyclable polyethylene. Available in a shiny powder coated finish. Inner lighting is with fluorescent bulbs.

32 13”

80 32”

105 42”

43 17”

32 13” 40 40 16” 16”

side table 356

lounge chair 356 White

sahara. pablo gironés

TUMBONA. MESA. BUTACA. TABURETE 356// CHAISELONGUE. SIDE TABLE. LOUNGE CHAIR. COFFEE TABLE. STOOL

butaca y mesa CLIP//LOUNGE CHAIR. SIDE TABLE

BUTACA BIG//DINING ARMCHAIR

45 18”

356. josé a. gandía-blasco. pablo gironés

CLIP. JOSÉ A. GANDÍA-BLASCO

80 32”

coffee table stool 356

COLLECTIONS COLOR SAMPLE

Bronze

Warm gray

Bronze

AIR. HÉCTOR SERRANO

Made of rotation molded 100% recyclable polyethylene.

White

COLLECTIONS COLOR SAMPLE

LACQUERED

Sand

Warm gray

Bronze

LIPSTICK. josé a. gandía-blasco butaca y mesa LIPSTICK//LOUNGE CHAIR. COFFEE TABLE

TABURETE AIR//STOOL

White

Sand

Warm gray

White

Black

Chocolate

Titanium

Aluminum

Bronze 77 31”

40 16” 26 32 10” 12”

30 12”

Air low stool

Air high stool

32 13”

40 16”

32 13”

67 26”

Ø65 Ø26”

CAPACITIES

Ø65 Ø26”

Lipstick lounge chair

Lipstick table

BASIC. ODOSDESIGN silla BASIC//DINING CHAIR COLLECTIONS COLOR SAMPLE

Sahara 1.

Sahara 2.

Sahara 3.

Sahara 4.

Sahara 5.

12 L.

60 L.

75 L.

90 L.

45 L.

PLANTER INNER LIGHTED

COLLECTIONS COLOR SAMPLE

White 45 18” White

Sand

Warm gray

Bronze

Black

White

Sand

Warm gray

76 30”

Bronze 50 20”

47 19”

Stackable dining chair, monoblock, made of gas assisted injection-molded polypropylene with glass fibre. Products made of rotating molded 100% recyclable polyethylene.

USA Sahara 1, Sahara 2, Sahara 3 and Sahara 4. Max.1x20W - Casquillo. Cap. E-26. 110V 60Hz. Sahara 5. Max.2x20W - Casquillo. Cap. E-26. 110V 60Hz.

USA

222.223

TECHNICAL SECTION

ACCESSORIES outdoor RUGS. DICKSON

la siesta. *new Alberto Martínez. HÉctor Serrano. Raky Martínez.

*new

DICKSON WOVEN VINYL//rug

saIL OUTDOOR. HÉCTOR sERRANO

*new

puf sail//Outdoor pouf

la siesta//jug

120 48”

100 40”

35 14” Ø10 Ø4”

BASES

Variation

Perspective

Dune

Carbon

Sand

Sea foam

Stone

Titan

Deep graphite

Bindings

COLLECTIONS COLOR SAMPLE

Be easy Sahara tan

Be easy Dark robusto

Be easy Phantom grey

Be easy Moon shadow

Be easy Storm black

Natté Carbon beige

Natté Dark taupe

Natté Charcoal chiné

Natté Sooty

White

Custom rugs. Maximum width 200 cm. Maximum lenght 400 cm. Manufactured in vinyl fabric on a high-spec base layer with acrylic or vinyl fabric bindings.

110 43”

bean bag Sail

A terracota vessel for water, combining the look of the plastic bottle with the advantages of a traditional botijo. The vessel is handmade in the traditional Spanish way. Thermo-powder coated finish. 1,2 liters capacity. *Because they are made entirely by hand, all these items are unique.

Natural

Bronze

Light gray

Anthracite

Turquoise

Cobalt blue

35 14”

75 30”

square ottoman Sail

Manufactured in outdoor fabric and filled with polystyrene pearls coated with hydophobic fabric. Removable upholstery. Available in all the fabrics in the collection. NOTE: No customized sizes in this collection.

224.225

TECHNICAL SECTION

ACCESSORIES ARAM. NENDO

eNSOMBRA. ODOSDESIGN

Arumi. ENMANUEL GARDIN

MESA ARAM//COFFEE TABLE

mesa arumi//SIDE TABLE

33 13” Ø71 Ø28”

50 20”

Ø61 Ø24”

low coffee table Aram

50 20”

Arumi table 1

high coffee table Aram

30 12”

20 8”

SOMBRILLA BALI//UMBRELLA

SOMBRILLA ENSOMBRA//UMBRELLA. CONCRETE BASE

30 12”

41 16”

bali. ODOSDESIGN

50 20”

30 12”

Arumi table 2

50 20”

Arumi table 3

10 4”

212 83”

Made of powder coated aluminum.

Ø180 Ø72”

Ensombra

260 102”

Ø60 Ø24”

concrete base

open

6 2”

307 121”

230 90” 75 29”

closed

75 29”

concrete base

COLLECTIONS COLOR SAMPLE

TABURETE ARAM//STOOL

Folding umbrella with base made of galvanized, powder coated steel, pole made of powder coated stainless steel and strips made of phenolic plate. 25 11”

43 17”

Ø41 Ø16”

White

Sand

Bronze

Folding umbrella with a thermo-powder coated galvanized steel base, thermo-powder coated aluminum profile and highly UV-resistant plastic fabric. Operated by crank-handle.

Anthracite

Ø36 Ø14”

low stool Aram

high stool Aram COLLECTIONS COLOR SAMPLE

COLLECTIONS COLOR SAMPLE

Made of powder coated stainless steel wire. Handmade. *Because they are made entirely by hand, all these items are unique.

White

Warm gray

Bronze

Black

Blue

Red

Frame: Silver

Frame: White

Frame: Sand

Fabric: Aluminum

Fabric: White

Fabric: Sand

Frame: Bronze

Frame: Anthracite

Fabric: Bronze

Fabric: Anthracite

COLLECTIONS COLOR SAMPLE

White

Coral

Sand

Pistachio

75 29”

Bronze

Turquoise

Green

Yellow

Anthracite

226.227

TECHNICAL SECTION

ACCESSORIES CLACK!. JOSÉ A. GANDÍA-BLASCO

PICNIC. JOSÉ A. GANDÍA-BLASCO

SONORA//SONORA MINI. PABLO GIRONÉS SONORA//PLANTER

SILLA CLACK!//DINING CHAIR

HAMACA PICNIC//DECKCHAIR

SONORA MINI//PLANTER

40 40 16” 16”

75 30” 104 41”

64 25”

Reclining backrest 105º - 120º - 130º

45 18”

60 24”

Sonora 1

50 66 88 20” 26” 35”

60 24”

78 31”

Sonora 2

20 8”

78 31”

Sonora 3

30 10 12” 4”

Sonora Mini 1

Sonora Mini 2

Planter made of powder coated aluminum.

40 16”

Folding dining chair made of silver or powder coated aluminum and plastic fabric. NOTE: No customized sizes in this collection.

100 40”

40 40 16” 16”

Sonora 4

Sonora 5

Planter made of powder coated aluminum, which include recessed castors.

COLLECTIONS COLOR SAMPLE

Frame: Silver

Monocolor: White

Monocolor: Sand

Fabric: White

Frame: Silver

Monocolor: White

Monocolor: Sand White

Fabric: White

Sand

Bronze

Anthracite

Coral

Turquoise

Pistachio

CAPACITIES

Monocolor: Bronze

Monocolor: Anthracite

Monocolor: Coral

Monocolor: Bronze

Monocolor: Anthracite

Monocolor: Coral

Sonora 1. 35 L.

Monocolor: Turquoise

Monocolor: Pistachio

Monocolor: Turquoise

Monocolor: Pistachio

Sonora 2. 48 L.

Sonora 3. 135 L.

Sonora 4. 90 L.

Sonora 5. 70 L.

10 4”

20 8”

15 15 6” 6”

55 22” 40 16”

Deckchair made of silver aluminum and plastic fabric. 3 positions. Lock to fix adjusting positions. NOTE: No customized sizes in this collection.

40 16”

30 12”

40 16”

Sonora mini 1. 4,5 L.

Sonora mini 2. 6 L.

Sonora mini 3. 10 L.

35 14”

30 12”

Sonora Mini 3

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TECHNICAL SECTION

ACCESSORIES CUBOS-PIRÁMIDE. JOSÉ A. GANDÍA-BLASCO esferas. pablo gironés CUBOS-pirámide//OUTDOOR ELECTRIC LAMP

45 18”

181 72” 30 30 12” 12”

45 18”

Cubos

Touareg 1 candle 15x15x15h cm 6”x6”x6”h

FAROL//OUTDOOR LANTERN

15 6”

40 16”

30 12” 146 58”

FAROL FEZ//OUTDOOR LANTERN

FAROL TOUAREG//OUTDOOR LANTERN

30 12”

FAROLES. JOSÉ A. GANDÍA-BLASCO

FEZ. JOSÉ A. GANDÍA-BLASCO

TOUAREG. SANDRA FIGUEROLA

15 6”

40 16”

30 12” 30 12”

60 24”

30 12”

40 16”

Touareg 2

Fez 1

Fez 2

Fez 3

candle 15x15x15h cm 6”x6”x6”h

candle 5x5x5h cm 2”x2”x2”h

candle 15x15x15h cm 6”x6”x6”h

20 20 8” 8”

40 16”

30 12”

20 8” 30 12”

30 12”

40 16”

Farol cuadrado candle 15x15x15h cm 6”x6”x6”h

candle 9x9x10h cm 4”x4”x4”h

candle 15x15x15h cm 6”x6”x6”h

Pirámide

Cubos - Pirámide USA Max. 2x55W - Cap 2G11 . 120V 60Hz. IP65.

40 16”

Candle box made of powder coated aluminum. 1 candle included. 20 20 8” 8”

50 20”

candle 8x8x20h cm 3”x3”x8”h

Fez 4

COLLECTIONS COLOR SAMPLE

20 20 8” 8”

candle 8x8x20h cm 3”x3”x8”h

Farol vertical

20 20 8” 8”

USA

60 24”

50 20”

candle 8x8x20h cm 3”x3”x8”h

White

Sand

Bronze

Anthracite

30 30 12” 12”

Candle box made of powder coated aluminum. Candles included.

40 16”

15 6”

60 24”

Farol horizontal

Farol gigante candle 11x11x45h cm 4”x4”x18”h

15 6”

100 40”

esferas//OUTDOOR ELECTRIC LAMP

candle 5x5x5h cm 2”x2”x2”h

candle 11x11x45h cm 4”x4”x18”h

101 40” Ø40 Ø16”

COLLECTIONS COLOR SAMPLE

Esferas USA Max. 6x15W - Cap E-26 . 110V 60Hz. IP65.

Coral

Turquoise

Outdoor lantern made of silver aluminum and transparent or colored methacrylate.

Pistachio

COLLECTIONS COLOR SAMPLE

USA

White

Sand

Bronze

Outdoor portable bulbs made of rotating molded 100% recyclable polyethylene. Wire lenght 12". Lighting with fluorescent bulbs.

Anthracite

Clear

Coral

Turquoise

Pistachio

White

Orange

230.231

TECHNICAL SECTION

ACCESSORIES

OUTDOOR SPACES

llar. borja garcía

brasero. JOSÉ A. GANDÍA-BLASCO

LLAR//burner

cHILL. JOSÉ A. GANDÍA-BLASCO

Daybed / DAYBED LAMAS FIJAS. JOSÉ A. GANDÍA-BLASCO daybed//DAYBED

CAMA CHILL CON RESPALDO//RECLINING BED

BRASERO//firepit

24 10”

20 8”

40 16”

60 24”

95 37” 40 16”

20 8”

Llar 1

60 24”

20 8”

Llar 2

95 37”

Ø50 Ø20”

200 80”

14,5 6”

12 5” Ø90 Ø36”

100 40”

200 80”

40" Chill bed

60 24”

200 80”

140 56” 200 80”

56" Chill bed

Llar 3

200 80”

reclining Daybed

200 80”

elevated reclining Daybed

24 10”

Outdoor burner made of powder coated steel. Denatured alcohol recommended for use.

60 24”

Made of stainless steel. We recommended using denatured alcohol because it has a clean and clear flame and it does not produce residues nor smoke when burning. Max. capacity recommended 3/4 gallon. See Technical Specifications.

200 80”

Reclining backrest 132º - 138º - 150º - 180º

200 80”

80" Chill bed

Reclining backrest 120º - 135º - 140º - 160º - 180º

200 80”

elevated reclining Daybed without canopy

COLLECTIONS COLOR SAMPLE

Made of silver or powder coated aluminum. Reclining backrest. Polyurethane foam rubber covered with water-repellent fabric. Removable cushiontress cover. See available colors.

White

Sand

Bronze

Anthracite

PUF CHILL//OTTOMAN

24 10” 50 20” Coral

Turquoise

Pistachio

Made of silver aluminum or thermo-powder coated aluminum. Reclining backrest. Polyurethane foam rubber covered with water-repellent fabric. Removable fabric cover. Includes floor fixing. See available colors.

100 40”

20" Chill ottoman

37 14”

24 10” 100 40”

150 59”

40" Chill ottoman

150 59”

59" Chill ottoman

daybed LAMAS FIJAS//daybed with aluminum slats

Made of silver or powder coated aluminum. Reclining backrest. Polyurethane foam rubber covered with water-repellent fabric. Removable cushiontress cover. See available colors.

60 24”

200 80” 200 80”

MESA CHILL//SIDE TABLE 14 6”

14 6” 50 20”

100 40”

20" Chill side table

100 40”

40" Chill side table

Made of silver or powder coated aluminum and polyethylene. See available colors.

200 80”

reclining Daybed with aluminum slats

200 80”

elevated reclining Daybed with aluminum slats

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TECHNICAL SECTION

ACCESSORIES

MANTEL PVC//TABLECLOTH

COLLECTIONS COLOR SAMPLE

Frame: Silver

Frame: White

Frame: Sand

Frame: Bronze

Frame: Anthracite

Fabric: White

Fabric: Sand

Fabric: Bronze

Fabric: Anthracite

COMPOSITION EXAMPLES

COMPOSITION 1

COMPOSITION 2

COMPOSITION 3

300x200 cm 118”x79”

400x200 cm 157”x79”

600x230 cm 236”x90”

2 Chill bed 40"x80" 1 Chill side table 20"x40"

2 Chill bed 40"x80" 2 Chill side table 40"x40"

4 Chill bed 40"x80" 2 Chill side table 40"x40"

Frame: silver Fabric: white Náutica

Frame: white lacquered Fabric: Sunbrella Solids Shingles

Frame: sand lacquered Fabric: Sunbrella Sling Taupe

TOALLA//TOWEL

mantel 90 Blau / Flat / Na Xemena 122x120 cm 48”x48”

mantel 160 Saler 123x190 cm 48”x75”

mantel 240 Na Xemena 122x270 cm 48”x106”

mantel 91 Saler 123x121 cm 48”x48”

mantel 180 Na Xemena 122x210 cm 48”x84”

mantel 270 Blau / Flat / Na Xemena 122x300 cm 48”x118”

mantel 120 Na Xemena 122x150 cm 48”x60”

mantel 195 Saler 123x225 cm 48”x89”

mantel 300 Na Xemena 122x330 cm 48”x130”

mantel 125 Saler 123x155 cm 48”x61”

mantel 210 Blau / Flat / Na Xemena 122x240 cm 48”x96”

mantel Merendero 107x150 cm 42”x60”

mantel 150 Blau / Flat / Na Xemena 122x180 cm 48”x72”

mantel 230 Saler 123x259 cm 48”x102”

towel 200x100 cm 80”x40”h

COLORs

100% 2-ply combed cotton. 550 gr/m².

White

30º

Taupe

KIT DE LIMPIEZA//CLEANING KIT

PVC tablecloth.

PASSIONCLEAN

COMPOSITION 4

1000 ml 500x400 cm 197”x157” 4 Chill bed 40"x80" 2 Chill side table 40"x40" Frame: bronze lacquered Fabric: Sunbrella Sling Cocoa

This kit allows our customers to clean properly all our products and it keeps them as new for a long time. 6 unit pack.

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TECHNICAL SECTION

QUALITY CERTIFICATION

general sales conditions

All GANDIABLASCO products undergo rigorous quality tests in each of the stages of the production process, thus guaranteeing that all products comply with the high quality levels demanded by our customers. Do not hesitate to ask us if you have any questions about the authenticity or origin of any product before buying it.

ORDERS

T. +34 96 291 13 20 quality@gandiablasco.com

Purchase orders must be placed via e-mail or fax. No handwritten orders will be accepted. All purchase orders must include the name of the customer or a numerical reference number. After receiving a quote or acknowledgement from GANDIABLASCO USA Inc., please revise each line and the product description, pricing, references, sales conditions and terms. If you have not received your quote or acknowledgement after 5 days of submitting your purchase order, please contact us for more information. No changes or alterations on purchase orders will be accepted after 15 days from receipt of the acknowledgement. All custom orders will require payment in full prior to confirmation, and will be nonrefundable after payment has been processed, in case of cancellation.

METHODS OF PAYMENT According to the previously established commercial conditions. Any delay or anomaly in payment will result in the retention of the outstanding orders. Any financial or legal costs that may arise from the non-compliance with the agreed terms will be born by the buyer. The placement of an order implies the acceptance of these general conditions.

COMPLAINTS Damages occurred during transportation must be reported within 24 hours after unloading the goods. The complaint must be accompanied by the orderâ&#x20AC;&#x2122;s invoice number and the delivery note signed at destination, clearly indicating the external, visible damages of the boxes. If possible, attach a photo of the packaging at unloading. GANDIABLASCO does not accept any transportation claims received after 24 hours from delivery. Any complaint due to manufacturing defects must be sent indicating the corresponding invoice number, a written description of the defects or damages, and a photo of the damaged items via e-mail. GANDIABLASCO will not accept any claims submitted without all the required details. GANDIABLASCO offers a 2-year warranty on all items. This warranty covers material and manufacturing defects. GANDIABLASCO does not accept any responsibility for defects derived from the wrong use or mishandling of the products, and only accepts returns due to manufacturing defects.

When designing products, GANDIABLASCO considers their life cycle to ensure that once they complete their useful life they cause the least possible environmental impact. Consequently, most pieces are manufactured using recyclable or reusable materials (aluminum, polyethylene,â&#x20AC;Ś).

ALU

The colors of the products shown in this catalogue can be slightly different to the real ones due to the paper printing process.

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TECHNICAL SECTION

BIBLIOGRAPHY.

TEXTS.

Homer. The Odyssey. Translation in verse, Fernando Gutiérrez. Clásicos Universales Planeta (Planeta Universal Classics), 1980.

Matilde M. Oriola

The Odyssey by Homer. Literal version in Greek, Luis Segalá y Estalella, 1927. Clásicos, Juventud (Youth Classics), 2005. Homer. The Odyssey. Translated by Robert Fagles, 1996.

SPECIAL THANKS.

Homer. The Odyssey. Translated by Samuel Butler. Orange Stree Press Classics, 1998.

Ulysses. James Joyce. Planet PDF. Debenu PDF Free Library.

Our grateful thanks to everyone who made this exciting new project happen. Thanks to the whole team for their unwavering enthusiasm, thanks to the people of the Islands for making us feel at home and to the sun for being there for us each day.

Odysseus: The Oath Valerio Massimo Manfredi Translation by José Ramón Monreal. Editorial Debolsillo, 2014.

Speacial thanks:

The Aleph, Jorge Luis Borges. Alianza Editorial, 1996.

Cerámica Nuwe

Collected Ficciones of Jorge Luis Borges. Translated by Andrew Hurley, 1998. Allen Lane, The Penguin Group.

Can Horse

The Mirror of the Sea. Memories and impressions. Joseph Conrad. Translated by Javier Marías. Editorial Reino de Redonda, 2005.

Marià Castelló

The Odyssey of Homer. Translated by Alexander Pope, 1726. The Electronic Classic Series. Jim Manis, Editor. Pennsylvania State University. Ulysses, James Joyce. Translated by J. M. Valverde. Tusquets Editores.

Classic British Literature: The Works of Joseph Conrad. Quench Editions. B&R Samizdat Express.

Fran Silvestre arquitectos

Hotel Cala Saona

Constantino P. Kavafis. Canonic poems (1895 – 1915). Translated by José María Alvarez. Poem “Ulises”, Alfred Lord Tennyson. Translated by Juan Rodolfo Wilcock. “Ulysses”, by Lord Tennyson. Translated by Randolph D. Pope.

DESIGN AND PAGE LAYOUT. www.odosdesign.com

The Divine Comedy, Dante Alighieri. Translated by Bartolomé Mitre, 1891. Félix Lajourne Editor.

ART DIRECTION. www.odosdesign.com

The Divine Comedy of Dante Alighieri. Inferno XXVI. The Eighth Cercle. Bolgia 8. Courtnety Langdom. Cambridge Harvard University Press, 1918. Bestiary, Franz Kafka. Editorial Anagrama, 1990.

PHOTOGRAPHS. ángelsegurafoto< odosdesign

The Silence of the Sirens. The Great Wall of China: Stories and Reflections. Franz Kafka. Schocken Books, N.Y. 1946.

PRINTED IN SPAIN. La Imprenta Comunicación Gráfica S.L.

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TECHNICAL SECTION

GANDIA BLASCO S.A. www.gandiablasco.com

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