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milan 2012

Home Tag milan 2012

Interview with designer cecilie manz. Milan 2012.

Jun 11, 2012



we meet danish designer cecilie manz at the friz hansen open house. this occasion is the introduction of ceclie’s new furniture series “minuscule” which she describes as a chair that could be used as a formal chair for informal meetings. a display deconstructs her concept and highlights the elements that comprise minuscule.

[ DesignApplause ] Cecile, please tell us about yourself, where you grew up and how you became a designer.
[ Cecilie Manz ] I grew up in the countryside where both my parents ( internationally renowned ceramicists Bodil and Richard Manz ) had a studio and workshop apart from our house. Their work was always present in our lives, therefore many hours were spent playing and helping out in the workshop. I felt that there were no expectations placed upon us. Maybe it’s because we just all went in the same direction. My brother became and architect and my sister a graphic designer.

[DA] Can you tell us about your work environment and how you do your work?
[CM] A duality plays a part in that I on one hand always try to minimize and simplify everything – and on the other just love objects. Collecting weird stuff anywhere I can find such things. The shops, the street, and I am attracted to their surface, color, their texture. Gift wrapping papers, postcards, books, cups, etc. And observing how they are made and constructed inspires me. You might say that my studio is both clean and a mess all at the same time. Drawing on paper and looking at cardboard models are important to me too, I’m quite old fashioned. But that’s my method; rather a quick model in 3D than a rendering that cheats you.


[DA] Do you have an over-riding design philosophy or is your solution tailored to each project?
[CM] Simplify’ is an important word, as well as ‘necessity’. Rather than creating something for no reason there needs to be a reason I can recognize in order to pursue something new.

[DA] What’s the inspiration behind the minuscule series?
[CM] The situations around a meeting: How are people meeting; how would they feel and sit comfortable and strong while sharing or negotiating.



[DA] Can you describe your chair and the reasoning behind the shape, the structure, the materials?
[CM] The chair is quite traditional in its typology: four legs, upholstery shell etc. But the details are important: the clash between the industrial manufactured plastic leg frame and traditional hand stitched upholstery; a leather piping: not round, but made in our own way with full grain leather; the shell is kept as thin as possible without losing its comfort. It’s designed to be used as a formal chair for informal meetings.

[DA] What’s your experience at Salone? How does 2012 compare with past years?
[CM] Everything is less extravagant than 4-5 years back – a huge improvement in quality!

[DA] Did you find anything especially inspiring at Salone this year?
[CM] The Japanese Creative exhibition. The Creative was developed after the 2011 earthquake and tsunami. The presented theme was ‘simple vision’ expressing Japan’s past generations in a contemporary visual interpretation through collaborations with Japanese designers and international designers as a means of getting individuals to rethink and redefine the role of design in our lives. It was brilliant.

[DA] minuscule is your second project with Fritz Hansen. Your first was the Essay table, a simple and classic execution.
[CM] We did the Essay table 2 years ago. It’s a solid wood table consisting of of two bases and a table top, without aprons, bars or other unnecessary elements. Yes, Essay seems timeless in it’s simplicity. The table possesses the sensibilities of my Nordic being and a Japanese influence.

[DA] What are ingredients in Japanese design that are inspiring?
[CM] I lived in Japan for a bit and return now and then. I always liked their aesthetics but I own a respectfulness of their culture and craftsmanship. Japan is a complex place where simplicity and the chaos of their big cities and sensitivity co-exists. Those ingredients move me.

[DA] You mention creating objects that can accompany you through all the different phases of your life and can be passed on. Are you interested in creating a more disposable object? I saw a cardboard thumb drive and there’s disposable phones. Are you interested in the disposable category or are there any such objects you like?
[CM] I haven’t experienced working in the disposable industry but would if I had the chance. This whole field of sustainability is a jungle and there’s a lot of hype and fake-sustainability. If done right, of course it’s interesting and the right choice. But a traditional ‘sustainability’ – to do quality in quality design that lasts is also a good choice. This is at least what we tried to do with minuscule.

[DA] What’s next?
[CM] A new lamp, some products and furniture.
[DA] Ok, we’ll be on the lookout for those as well as looking forward to seeing your sketches.











[ vitals ] Cecilie Manz was born in the Odsherred region of Denmark. As the child of parents occupied with art and design, designing always formed a natural part of her life. She chose design as her living when she began studying at the Danish School of Design in 1992. Her great interest for function and conceptualization took her further as an exchange student to Helsinki where she attended the Finnish University of Art and Design. In 1998, a year after she graduated from the Danish School of Design she started her own studio, Manz Lab, the centre of her work ever since.

[ cecilie manz ] [ b&o ][ fritz hansen ] [ holmegaard ] [ lightyears ] [ mooment ] [ muuto ]

Tokyobikes hit the streets of london. Milan 2012

May 15, 2012

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It’s been difficult for tokyobike fans not living in Japan to get ahold of one of the company’s well respected city bikes, but on May 17th their London shop will officially open. To celebrate Dezeen is giving away a single-speed tokyobike worth $840. To enter, just show up to the opening party in Shoreditch this Thursday night. The winner will get to ride home on the bike that evening, and five runners up with get Gropes leather handlebar grips worth $40 apiece.

If you’re unfamiliar with tokyobike, it’s a small, independent bicycle manufacturer founded in 2002 in Yanaka, a suburb of Tokyo. The name references the bike’s purpose. “In the same way the mountain bike was designed for the mountains, so tokyobike was designed for Tokyo.”

So what makes a bike suited to zipping around the streets of a congested city like Tokyo? “Smaller 650mm wheels and slim, compact, steel frames make the bikes easy to handle and light to ride. More about slow than fast, tokyobike is as much about discovering your city and enjoying the ride as it is about the destination.” It might not be best choice for a bike messenger, but it will do quite nicely for the rest of us.

Before setting up shop in London, tokyobikes hit the streets of Milan for Salone del Mobile – watch a cute video of design week goers biking to events.






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R18 ultra chair public beta. Milan 2012.

May 8, 2012

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R18 Ultra Chair Public Beta designed by Clemens Weisshaar and Reed Kram for Audi. For their groundbreaking new venture, the designers are developing a chair within a public testing environment at the Salone del Mobile Milan 2012 in collaboration with Audi’s Lightweight Design Centre using methods borrowed from the future of automotive manufacturing.

The R18 Ultra Chair consists of three main components: a carbon composite seat, a carbon-rubber composite back rest and aluminium alloy legs which can be compacted and transported in a lightweight flat-pack box.



The chair incorporates crowd-sourced data acquired through thousands of testing sessions using advanced industrial sensors whose data is processed by custom algorithms to adjust the final geometry and construction of the end product accordingly.



Visitors to the installation are invited to use the chair and view their unique physical impact on it displayed via a video wall inside the testing booth. Hundreds of industrial sensors integrated into the prototype capture every movement and simultaneously display it as a realtime false color force simulation, thus exposing and visualizing the flow of forces normally hidden from the human eye. The purpose of this live laboratory is to gather user data in order to optimize the final product and shed every gram of excess weight.

Every testing session will be documented as a personalized video and sent back to each visitor by email link to watch and share with friends. After the public beta phase, all crowd-sourced data will be fed into the chair’s design parameters and its production adapted as necessary. Above> Barbara is donating her body to science – well Audi really.



The installation took place in the courtyard of the 18th Century Palazzo Clerici, Milan from April 17 to 22, 2012 during the 51st Salone Internazionale del Mobile. The final product will be presented to the public in December 2012 at Design Miami. Above> r!8 photos and palazzo clerici by tom vack.

The chair’s namesake is the 24 Hours of Le Mans winning Audi R18 race car. Audi has dominated Le Mans with its cutting edge technology for the past decade and won 10 races since 2000. As part of the installation the Le Mans 2011 winning Audi R18 will be exhibited alongside the public beta testing lab. The carbon fibre monocoque chassis with an Audi TDI 3.7 litre V6 engine and total weight of only 900kg (1980 lbs) represents the ultimate in lightweight construction.

[ palazzo clerici ] [ tom vack ] [ audi r18 tdi ultra ]

Authentic icons. Cassina in Milan 2012.

May 3, 2012

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the overall quality of creativity and presentations in milan was astounding. for example, there weren’t many companies we visited that did not create a classic icon. cassina interestingly built their 2012 theme around — “authentic by design.” in cassina’s words:

The gesture of the designer, their hand, a sketch, an idea. The authenticity of a project is an ever innovative process of thought, insight and research, which Cassina identifies and values starting from the original creative heart, combining its qualitative excellence with its consolidated workmanship experience.

Cassina deliberately seeks authenticity in every project. This perspective is the starting point for the 2012 collection: a series of projects that express a way of thinking and living authentic design, where each element is always substantive and consistent.



crated icons were in the windows and and key locations on the floor.



close to the showroom entrance the icons are displayed on a planked area.



each inspiring icon holds an inspiring story. if you’re wondering, i didn’t know three of the 11 icons. see how you do, the answers are below.


[ the authentic icons ] [ cassina ]
1) red and blue | gerrit thomas rietveld | 1973
2) maralunga | vico magistrati | 1973
3) LC4 | le corbusier & jeanneret perriand | 1965
4) hillhouse | charles rennie mackintosh | 1973
5) luisa | franco albini | 2008
6) petalo | charlotte periand | 2009
7) barrel | frank lloyd wright | 1986
8] LC2 | le corbusier & jeanneret perriand | 1965/2006
9) feltri | gaetano pesce | 1987
10) superleggera | gio ponti | 1957
11) wink – toshiyuki kita | 1980

Interview with designer cecilie manz at milan 2012. Preview.

May 1, 2012

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we meet danish designer cecilie manz at the friz hansen open house. this occasion is the introduction of ceclie’s new furniture series “minuscule” which she describes as a chair that could be used as a formal chair for informal meetings. a display deconstructs her concept and highlights the elements that comprise minuscule.




cecilie tells us that three stones she found on the beach inspired her concept. “i am fascinated by the variations that you can find in nature. the stones, all three are grey and seemingly identical. but they are all completely different shades of grey.”



cecilie’s interview and more examples of her work will soon be appearing in DesignApplause. [ cecilie manz ] [ fritz hansen ]

Lasvit liquidkristal by ross lovegrove. Milan 2012.

Apr 28, 2012

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Lasvit, the visionary Czech Republic glass manufacturer, unveiled Lasvit Liquidkristal by Ross Lovegrove at Milan’s Triennale Design Museum during Salone del Mobile. Liquidkristal, a new product offering from Lasvit’s Glass Architecture Division, was on view in an installation conceived for the Triennale’s Salone d’Onore.  The exhibition featured a pavilion comprised of three forms, each measuring 180 feet in diameter and 46 feet in length. Each wall surface was composed of 24 freestanding crystal panels, measuring a total of 860 feet.



Leon Jakimic, founder and CEO of Lasvit, says, “Lasvit Liquidkristal designed by Ross Lovegrove is a milestone in Lasvit´s product development. Lasvit LiquidKristal is our company’s bridge to the world of architecture, useful as a crystal partition or screen and as insulated glass units for exterior facades.”




Liquidkristal is the result of an innovative process that the designer defines as “high precision heat transfer.” Lovegrove worked with Lasvit for more than a year to create the mobile, changing surfaces, inspired by the fluid, organic forms found in nature. The company deployed its most advanced technology to produce the transparent, undulating crystal panels, which appear dynamic, changing, capable of transmuting their shapes in a futuristic kaleidoscope. Working with mathematical models, the behavior of glass was simulated under controlled thermo induction. This produced a highly informed line code, which serves as the blueprint for the production process, where highly precise temperature control imbues the glass surface with the beauty of optical effects seen in water. Working with Lovegrove, Lasvit’s research facilities, led by Tomá Kamenec, developed a special flexible mold system to capture this effect. The finished product is highly customizable, allowing large-scale pattern aggregations over multiple sheets. At the Triennale these panels formed a spatial experience where the ceiling is used for projections and reveals the digital beauty of natural observation. [ ross lovegrove ] [ lasvit ]

Best of milan 2012: park life, by jasper morrison for kettal.

Apr 25, 2012

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It took designer Jasper Morrison four and a half years to perfect his new line of outdoor furniture for Kettal. The stackable tables, chairs, a sofa and lounger were made especially lightweight to make moving them into winter storage as easy as possible. The collection was shown as part of Kettal’s display at Salone del Mobile in Milan, along with pieces by their other designers, like Patricia Urquila.

Apparently, it took Morrison almost five years to design the collection because he spent much of the time researching outdoor furniture products, analyzing standard codes and testing materials for durability. I like his clean, streamlined collection because it reminds me of the simple, well-made, modern patio furniture my grandparents had in their backyard. Like Park Life, those pieces were built to last. In fact, many of those pieces currently furnish the pool area at my cousin’s home. That kind of generational lifespan is one of Kettal’s biggest selling points – along with considered design, of course. Morrison took ergonomics seriously in his approach to make leisurely summer afternoons as comfortable as they ought to be.





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Best of milan: const lamp by thinkk studio.

Apr 24, 2012

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The CONST Lamp by Thailand-based Thinkk Studio first struck me with its odd mix of materials and shapes. An octagonal base is anchored only by the weight of a hunk of marble with a stepped-out, ridged design for holding pens and pencils. I’ll admit that at first I wasn’t sure what to make of it. I like that it incorporates elements of play – not just the call back to handmade wooden toys but the motion of adjusting the lamp feels a bit like playtime. And now, after coming back to it every day for the past few days, I have to say it really delights me. I love that it’s technically a marble lamp that’s the complete opposite of everything else a marble lamp has ever connoted. Moreover, it’s so different from every other desk lamp I’ve seen lately. It’s not sleek. In fact, it’s clunky, and this is probably the first time – for me, anyhow – that clunky isn’t a bad thing at all.

If you’re in Milan you can see it for yourself at At Spazio Rossana Orlandi. From the designers:

“The main idea behind the desk lamp CONST are three basic components; base, body and shade. Keeping in mind these simple elements and their role, The design playfully combines expression with function. The marble  base keeps the octagon-shaped wood body balanced and at the same time,  one can adjust the angle of the shade by rotating it. Reminiscent of playing  with block toys, CONST gives one the ability to have fun with functionality.”




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Flos 50 birthday press kit. Milan 2012.

Apr 24, 2012

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it’s safe to say the press kit without peer this year is flos’s 50th birthday effort. the innovative usb flash drive is also jam-packed with 50 years of information and images. the kit includes historical archives, over 250 images, info on a special ipad app named flos 50, love letters, and much more. happy birthday flos!



a graphic window display announces a retrospective of 50 years of flos history. this passageway leads to the “professional space” showroom and archive exhibition.



rather than a commerative book it was decided to create an ipad app, flos 50, an exclusive virtual tour of the fifty-year history of flos.



the flos 50 app design team. details at the bottom of this post.



there are two limited edition anniversary lamps for the occasion: above> “the light photon” limited edition
o-led table lamp designed by philippe starck; also the new “arco led” floor lamp, its best-known lamp by achille castiglioni.



within the press kit are images of 150 products. above> ‘luminator” by achille and pier giacomo castiglioni.



within the press kit are “love letters” from designers. above> achille castiglioni.

[ flos 50 app credits ]
project and art direction: ramak fazel
graphic design: neil donnely
flos 50 history: stefano casciani
product photography: piero fasanotto
illustrations: nico k. tucci
chief archivist: cicci pezzolo
development: mobile dream studio
additional support: flos historical archives
special thanks: piera pezzolo gandini

[ flos timeline ]
1962 – Flos is founded in Merano, 28 September. First board meeting appoints advisors Achille Castiglioni, Arturo Eisenkeil, Sergio Biliotti, Dino Gavina and Cesare Cassina
1964 – Sergio Gandini joins board of directors and is elected Chairman
1964 – company moves offices and factory to Nave (near Brescia)
1968 – Milan Corso Monforte 9 store opens. Design by Achille and Pier Giacomo Castiglioni
1970 – first Flos catalogue published. Graphic design by Max Huber
1971 – Rome Via del Babuino 85 showroom opens
1971 – first European subsidiary starts operations in Germany
1972 – Turin Galleria Subalpina store opens. Design by Achille Castiglioni
1974 – acquisition of Arteluce, a lighting company established in 1939 by Gino Sarfatti
1975 – Flos is a first time exhibitor in the lighting section at Milan’s Salone del Mobile. Stand designed by Achille Castiglioni
1976 – factory moves from Nave to Bovezzo (Brescia)
1979 – Parentesi lamp by Achille Castiglioni and Pio Manzù awarded Compasso d’Oro
1980 – new Milan Corso Monforte 7 offices open. Design by Achille Castiglioni, floor design by Max Huber
1988 – collaboration with Philippe Starck begins
1994 – Drop lamp by Marc Sadler awarded Compasso d’Oro
1995 – Flos receives Compasso d’Oro lifetime achievement award
1996 – Piero Gandini, Sergio’s son, becomes Managing Director of Flos SpA
1996 – Light Contract division set up, to develop turnkey projects

[ edited official press release ]
Milan, 18 April 2012 – On the occasion of Salone del Mobile 2012, Piero Gandini, Chairman and Managing Director of international lighting leader FLOS SpA, gets the celebrations under way to mark the company’s fiftieth anniversary, with a special event in Milan and the launch of a remarkable iPad application. Looking ahead to its next fifty years, Flos also announces some important novelties on the technology front with an exclusive agreement to use revolutionary bio-polymers, and the production of a special Limited Edition O-LED lamp.

Established in Merano on 28 September 1962 by far-sighted visionaries Dino Gavina, Arturo Eiseinkeil and Cesare Cassina, in 1964 Flos – which in Latin means ‘flower’ – moved to the Brescia area under the guidance of Sergio Gandini, the ‘illuminated’ entrepreneur who drew on the creative skills of an image committee formed of legendary talents such as Achille and Pier Giacomo Castiglioni, and Tobia Scarpa. So began a remarkable story of passion and devotion to hard work, research and innovation. But first and foremost there has always been, at the centre of the Flos story, deep respect for values like talent, art and culture, all of which can now been looked at in more detail with the help of the Flos Historical Archive, curated by Piera Pezzolo Gandini, Sergio’s wife, Piero’s mother and the worthy winner of a Compasso d’Oro in 2011 for her remarkable career. With the help of a team of professionals and friends, for the last six years Piera Pezzolo has undertaken meticulous research, restoration and classification work to bring together prototypes, designs, original drawings, packaging, graphics, advertising, photographs, film clips, books, catalogues, awards and appearances at trade fairs, exhibitions and museums. The archive takes various forms: multimedia, paper and collections of products and objects.

[ the flos 50 app ] Driven by the desire to grant the public access to this treasure trove of information assembled by his mother, Piero Gandini engaged Ramak Fazel, a photographer and artist of Persian origin, for the creative direction of a tool that could convey not only the sensory appeal of these historical objects, but also the emotions and passions they recalled.

The various “chapters” about the history of the company – more than 40 in all – are represented graphically in the app as archive binders. The first one users encounter is an in-depth social and cultural analysis edited by writer, journalist and historian Stefano Casciani, which covers the period from the years immediately preceding the foundation of the company to the present day. Nineteen binders are devoted to the designers who have worked with the company: Barber & Osgerby, Ronan and Erwan Bouroullec, Achille and Pier Giacomo Castiglioni, Antonio Citterio, Paul Cocksedge, Tim Derhaag, Rodolfo Dordoni, Thierry Dreyfus, Ron Gilad, Konstantin Grcic, Johanna Grawunder, Joris Laarman, Piero Lissoni, Jasper Morrison, Marc Newson, Tobia Scarpa, Philippe Starck, Patricia Urquiola and Marcel Wanders. They each sent Flos a very personal ‘love letter’, which is presented to users in the form of the original document, expressing emotions, memories, gratitude and best wishes for the past fifty years and those to come.

Developed by Mobile Dream Studio in Paris, the application has an innovative interface featuring dynamic images, animations, original video content and surprising interactions. From a 360 degree panoramic view of the archive room – the actual historical archive located in Piera Pezzolo Gandini’s family home in Brescia – users can open two doors to enter the secret, intimate worlds of two key figures in the company’s formation and development: Achille Castiglioni, the designer of more iconic lamps in the Flos catalogue than anyone else and a beacon for the company until his death in 2002, and Philippe Starck, who began working with Flos in 1988, introducing revolutionary concepts to the Italian industrial design. These two legendary figures are celebrated by two specially made videos. The first, by Andrea Caccia, documents a very intimate visit to Achille Castiglioni’s studio in Piazza Castello, Milan. It’s a poetic and nostalgic film, but one which also conjures up the joy and vitality that Castiglioni conveyed naturally by the way he lived. In the second, produced by Urubu Film, Starck and Piero Gandini tour Paris at dawn on a motorcycle, revealing the depth of their mutual esteem and friendship, and talking about light, which for both of them, at an unconscious level, symbolises life.

Other sections in the app include a touching tribute by Piero Gandini to his father Sergio, who continues to be the company’s spiritual guide even after his death in 1999; the graphical history of the Flos logo, from the original design by Heinz Waibl to subsequent versions by Max Huber, Pino Tovaglia and Bruno Le Moult; the Corso Monforte store window in Milan, an impactful brand’s communication machine, with past displays designed by Achille Castiglioni and subsequently by other great collaborators, including Italo Lupi and Bruno Le Moult. Here can be also seen the covers of all the company’s catalogues over the years; financial information and interesting facts and figures from the company’s fifty-year history; and Flos showrooms and single-brand stores throughout the world – represented by a Glo-ball lamp. Also documented here is the lucky encounter with Federico Martinez and Spanish company Antares, leading to the creation of Flos Architectural Lighting.

[ three themes for the future ]
New Tasks – The first task that Flos intends to accomplish is to introduce increasingly environment-friendly industrial production techniques. An important agreement with bio-on to reissue lamps manufactured until now in plastic material, like Miss Sissi by Philippe Starck or Piani by brothers Ronan and Erwan Bouroullec, using the new PHAs bio-polymer, which is 100% naturally biodegradable in water, makes Flos very proud to bring a total revolution in the relationship between mass production and environment.
New Technologies – The perfection of O-LED (Organic Light Emitting Diode) technology, a carbon and hydrogen source formed of ultra-thin sheets which are 100% recyclable like glass, opens up amazing possibilities for transforming light in new ways. Flos sets an example with the Light Photon lamp by Philippe Starck, which is being produced for the company’s anniversary celebrations in a limited edition of 500.
New Talents – Our real future is vested in the next generation, which will produce the new talents of tomorrow. Now more than ever, learning the lessons taught by its past, Flos undertakes to support and encourage the most promising young designers.

Available for download free of charge from the App Store starting late in April, FLOS 50 will establish an ongoing conversation with its public through frequent, original updates, news items, materials, games and entertainment ideas. [ flos ] [ o-led ] [ bio-on ]

Best of milan 2012: ray by claesson koivisto rune.

Apr 18, 2012

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Stockholm-based studio Claesson Koivisto Rune have an impressive showing at Milan Design Week, with over twenty projects being exhibited at thirteen different booths, but out of all their impressive work that includes furniture as well as architecture, I like Ray, the LED pendant lights made for the Dutch retailer NgispeN.

Named after the rays of a sun in a child’s drawing, the shade is laser-cut from thin metal that can be bent or adjusted into a variety of angles. Clustered tightly together, the light will focus strongly on one point, but open up the rays and you get a softer effect. The lights look great clustered together in one color as well as in multiple shades (I smell a restaurant interior…) or alone. Even though this takes its inspiration from children’s drawings, I could really use something bright and cheerful in my grown up apartment. Let’s hope NgispeN makes them available to the public soon.

You can see the light at NgispeN’s booth as well as the Temporary Museum for New Design in Superstudio Piu. [ claesson koivisto rune ]



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