[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-cosentino-architecture-and-everything-else-04":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":408},{"id":4,"title":5,"slug":6,"image":7,"source":8,"brand_name":9,"brand":10,"brand_slug":11,"file_size":12,"pages":13,"pages_count":403,"matched_pages":404,"match_count":405,"two_pages":406,"show_text":407},24471,"Architecture & Everything Else 04","cosentino-architecture-and-everything-else-04","\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002F3e\u002Fe2cf5ab0b68d78ef623666eea73787-28f7756eb9.pdf","Cosentino",2482,"cosentino","82.3 MB",[14,17,21,25,29,33,37,41,45,48,52,56,59,63,66,70,73,77,81,85,89,93,97,101,105,109,113,117,121,125,129,133,137,141,145,149,153,157,161,165,169,173,177,181,185,189,193,197,201,205,209,213,217,221,225,229,233,237,240,244,248,252,256,260,264,268,272,276,279,283,287,291,295,299,303,307,311,315,319,323,327,331,335,339,342,346,350,354,358,362,366,370,374,378,382,386,390,394,398,401],{"image":7,"text":15,"number":16},"c \n04 \narchitecture &  \neverything else \n",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.2.png","",2,{"image":22,"text":23,"number":24},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.3.png","c\ncontents\n06\n30\n48\n58\n68\n84\n  Architecture\n 06 BAROZZI VEIGA IN POLAND, A MUSICAL ICEBERG  Mies Award 2015 \n \n El nuevo auditorio recibe el premio europeo de arquitectura más prestigioso. \n \n The new auditorium receives the most prestigious European architectural award.\n 16 THE PAVILIONS AT EXPO MILANO 2015  Feeding the Planet\n \n Casi cien pabellones conforman la última exposición universal en Italia.\n \n Almost one hundred pavilions make up the latest universal exhibition in Italy. \n \n Innovation\n 48 BAMBOO  Sustainability, resistance and natural beauty\n \n Un material resistente, versátil y reciclable para las construcciones del mañana.\n \n A resistant, versatile and recyclable material for the buildings of tomorrow.  \n  Arts\n 30 AUSTRALIAN ABSTRACTION: SALT MINE DESERTS  Emma Phillips\n \n La joven fotógrafa retrata los paisajes casi extraterrestres de las salinas australianas.\n \n The young photographer portrays the almost extraterrestrial landscapes of Australia’s salt mines.\n 40 LOCALS AND TOURISTS: MAPPING VIEWS  The perception of cities by Eric Fischer\n \n Más de diez ciudades del mundo representadas según las personas que las fotografían.\n \n More than ten cities around the world represented by the people that photograph them.\n  Travel\n 84 SYDNEY  Australia\n \n Lugares y paisajes extraordinarios de la ciudad más densa de Oceanía.\n \n Extraordinary places and landscapes of the densest city in Oceania. \n 94 COSENTINO CENTERS  Network\n \n Expansión y representación de la marca española por todo el mundo.\n \n Expansion and representation of the Spanish brand around the world. \n 96 ON SITE Taipei Performing Arts Center by OMA\n \n El nuevo centro en Taiwán destacará por las diversas formas de su volumen.\n \n The new center in Taiwan stands out for the varied shapes of its volume. \n \n Style\n 58 THE CURTAIN RISES  Diego Guerrero\n \n El reconocido chef español presenta su nuevo restaurante en Madrid.\n \n The renowned Spanish chef presents his new restaurant in Madrid. \n  Interview\n 68 FOSTER & GALIANO  In dialogue\n \n El instituto de Norman Foster en Madrid acoge la conversación entre los dos arquitectos.\n \n The conversation between the two architects takes place at the Norman Foster Institute in Madrid. \n",3,{"image":26,"text":27,"number":28},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.4.png","Depósito Legal: M-19942-2015\nISSN: 2341-3867 \nCubierta Cover\nHufton+Crow\u002FUKTI\nImpreso en España Printed in Spain\nEsta revista está elaborada con papel libre de cloro \nThis magazine is printed on chlorine-free paper\nDirector Director\nSantiago Alfonso Rodríguez\nEditado por Edited by\nCosentino \u002F Arquitectura Viva\nDiseño y producción editorial\n Graphic design and editing\nArquitectura Viva S.L.\nMaite Báguena, \nPablo Canga, \n Laura F. Suárez,  \nMiguel Fernández-Galiano,  \nCuca Flores,  \nLaura González,  \nAlicia Gutiérrez,  \nMiguel de la Ossa, \nJesús Pascual, \nMar Pérez-Ayala,  \nEduardo Prieto,  \nRaquel Vázquez, \n José Yuste\nTraducción Translations\nGina Cariño, Laura Mulas\nImpresión Printing\nArtes Gráficas Palermo S.L.\nEncuadernación Binding\nJosé Luis Sanz\n",4,{"image":30,"text":31,"number":32},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.5.png","L\na famiLia Martínez Cosentino ha te-\nnido siempre la vocación de superar \nlos desafíos más ambiciosos. A partir de \n2014, con la revista C, Cosentino se propu-\nso hacer una nueva contribución al ámbito \nde la arquitectura, en esta ocasión desde \nel campo de la comunicación, con la difu-\nsión de las mejores innovaciones, diseños \ny proyectos que contribuyen a hacer el \nmundo más sostenible y bello.\nT\nhe marTínez CosenTino family has al-\nways applied itself to meeting the most \nambitious challenges. From 2014, with C \nmagazine, Cosentino set out to contribute \nanew to the world of architecture but from \na different field, that of communications, \nthrough information on the best and lat-\nest innovations, designs, and projects that \nmake for a more sustainable and more \nbeautiful world. \n",5,{"image":34,"text":35,"number":36},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.6.png","© Hufton+Crow\u002FUKTI\n00_00_Sumario Portadillas onsite.indd   4\n18\u002F06\u002F2015   12:02:48\n",6,{"image":38,"text":39,"number":40},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.7.png","architecture\nBarozzi Veiga in Poland, a Musical Iceberg\nMies van der Rohe Award 2015\nThe Pavilions at Expo Milano 2015\nFeeding the Planet\n00_00_Sumario Portadillas onsite.indd   5\n18\u002F06\u002F2015   12:02:49\n",7,{"image":42,"text":43,"number":44},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.8.png","6 C 04\nLa ciudad de Szczecin fue alemana desde que en 1919 la región de \nPomerania quedó dividida entre Alemania y el nuevo Estado polaco \nhasta 1945. Como tal, sufrió intensos bombardeos aliados durante la II \nGuerra Mundial y perdió gran parte de su patrimonio urbano. La nueva \nSala Filarmónica recompone la esquina que ocupó la Konzerthaus \n—el antiguo auditorio— desde su construcción en 1884 hasta que fue \nalcanzado por una bomba. Facetada y topográfica, la cubierta recicla \nel predominio de la verticalidad del antiguo edificio y su geometría, \nevocando los tejados inclinados destruidos en aquel bombardeo, pero \nel conjunto actual se distancia del pasado vistiéndose con una única \nenvolvente de vidrio blanca, tersa y traslúcida. En el interior, la exis-\ntencia de un anillo perimetral que acoge todos los espacios de servicio \npermite definir un gran vacío donde gravita la sala sinfónica para \n1.000 espectadores, la sala de música de cámara para 200, un espacio \nmultifuncional para exposiciones y conferencias y un gran foyer. Las \ncirculaciones se resuelven con la creación de un paseo continuo que \nconecta funciones y niveles. Desde el punto de vista compositivo, la \npureza formal dominante se rompe por el estallido de expresividad \nque define la sala principal, en la que un motivo basado en la serie de \nFibonacci y cuya fragmentación aumenta con la distancia de la escena \nda forma a un espacio ornamentado que, con su recubrimiento de \npan de oro, recuerda la tradición clásica. El auditorio gana el premio \nal mejor edificio europeo (Mies van der Rohe) en 2015.\nThe city of Szczecin was German from 1919, when the region \nof Pomerania was divided between Germany and the new Polish \nstate, up to 1945. As such, it suffered heavy Allied bombings dur-\ning World War II, and lost much of its urban heritage. The new \nPhilharmonic Hall reconstructs the corner on which the Konzer-\nthaus was built in 1884, to serve as Szczecin’s main concert hall \nuntil it was reached by a bomb. The new building takes after its \npredecessor in the geometry of its roofs and the predominance of \nthe vertical form, but distances itself from the past by taking on \na luminous glassy skin. Inside, the existence of a perimeter ring \naccommodating all the service spaces made it possible to create a \nlarge void for a symphonic hall seating an audience of 1,000, a \nchamber music hall for 200, a multipurpose space for exhibitions \nand conferences, and a huge foyer. The circulations are resolved \nthrough the formation of a continuous promenade connecting \nfunctions and levels. From a compositional point of view, the \ndominant formal purity is broken by the explosion of expressivity \nthat defines the main hall, where a motif based on the Fibonacci \nsequence and whose fragmentation increases the distance from the \nstage gives shape to an ornamented space which, with its gold leaf \ncoating, recalls classical tradition. The auditorium has recently \nreceived the 2015 Mies van der Rohe European Union Award for \nContemporary Architecture. \nBarozzi Veiga in Poland,  \na Musical Iceberg\nMies van der Rohe Award 2015\nArchitecture\nBuilding\n1\nComo si fuese una \nesquirla de glaciar \nvarada en el corazón \nde la ciudad polaca de \nSzczecin, el edificio dota \nde carácter a un entorno \nmuy castigado por los \nbombardeos de la II \nGuerra Mundial.\nLike a glacier splinter \ntrapped in the heart \nof the Polish city of \nSzczecin, the building \ngives character to an  \narea that was much \ndestroyed by bombings \nof the Allied air forces \nduring World War II.\n",8,{"image":46,"text":19,"number":47},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.9.png",9,{"image":49,"text":50,"number":51},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.10.png","8 C 04\n",10,{"image":53,"text":54,"number":55},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.11.png","C 04 9\n",11,{"image":57,"text":19,"number":58},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.12.png",12,{"image":60,"text":61,"number":62},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.13.png","C 04 11\nUn gran vestíbulo con \nespacios en triple altura \ny definido por un blanco \nabstracto e inmaculado \nfranquea el paso a las \ndos salas (sinfónica y de \ncámara) cuyos acabados \ncálidos contrastan con  \nlos del vestíbulo.\nA triple-height entrance \nhall characterized by an \nabstract immaculate white \nleads to two auditoriums \n(for symphonic concerts \nand for chamber music), \nthe warm finishes of \nwhich strike a contrast \nwith the foyer’s.\n",13,{"image":64,"text":19,"number":65},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.14.png",14,{"image":67,"text":68,"number":69},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.15.png","C 04 13\nCompletamente revestido \nen pan de oro, el interior \ndel auditorio se modula \nsiguiendo la conocida \nsecuencia del matemático \nFibonacci, aumentando \nla fragmentación según \nel observador se aleja \nde la escena. \nCompletely coated in  \ngold leaf, the auditorium’s \ninterior is modulated \nfollowing Fibonacci’s \nfamous sequence, by \nwhich fragmentation \nincreases as observers \ndistance themselves  \nfrom the stage. \n",15,{"image":71,"text":19,"number":72},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.16.png",16,{"image":74,"text":75,"number":76},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.17.png","C 04 15\nArquitectos Architects:  \nFabrizio Barozzi, Alberto Veiga\nEquipo de diseño Design Team:  \nP. Jansen, A. Samsel, M. Grzadziel, P. Jossen, C. Lucena,  \nI. Mayor, C. Porta, R. Sousa \u002F Studio A4, Jacek Lenart \n(arquitecto local local architect)\nConsultores Consultants:  \nBOMA, FORT POLSKA (estructuras structures); GLA \nEngineering, ELSECO, ANOCHE Iluminación Arquitectónica \n(instalaciones installations); Higini Arau (acústica acoustics); \nFerrés Arquitectos y Consultores (fachada facade)\nFotos Photos\nHufton + Crow (pp. 7, 9, 11, 14-15); Simon Menges (pp. 8, 10, 12)\n",17,{"image":78,"text":79,"number":80},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.18.png","16 C 04\nEl mundo produce hoy más alimentos de los que consume, pero 800 \nmillones de personas pasan hambre. Estas cifras, y por supuesto el \nhecho de que la gastronomía es una de las fortalezas de la cultura y \nla economía de Italia, explican que la exposición universal que acoge \ndesde el pasado 1 de mayo Milán tenga como lema ‘Alimentando el \nplaneta’. Pero, más allá del compromiso ético implicado por el tema \nescogido, la Expo es también un espectáculo festivo y amable donde \ncasi un centenar de pabellones compiten por seducir con sus arqui-\ntecturas y sus contenidos, aunque, de hecho, muy pocos se ocupan \nde los dilemas agrícolas y energéticos suscitados por el desafío de \nalimentar a una humanidad en explosión demográfica, y la mayoría \nprefiere presentar los productos nacionales y la cocina regional. Sea \ncomo fuere, el recinto de la Expo, de unas 110 hectáreas y situado a \n16 kilómetros del centro de la ciudad, está estos días abarrotado de \nun público que visita uno tras otro los 55 flamantes pabellones nacio-\nnales (entre ellos el de España de b720), y 41 temáticos, organizados \nde acuerdo a un esquema poco convencional concebido por Herzog \n& de Meuron y que, a diferencia del de otros eventos análogos, está \nregido por el sentido común: en lugar de las incómodas e insoste-\nnibles organizaciones dispersas típicas de estos eventos, la muestra \nsigue un esquema inspirado en la ciudad mediterránea, denso y de \nescala humana, cuyo argumento principal son dos calles cubiertas que \nhacen las veces de cardus y decumanus de un campamento romano.\nToday the world produces more food than it consumes, and yet 800 \nmillion people go hungry. Figures of this nature, and of course the \nfact that gastronomy is one of the strongholds of the culture and \neconomy of Italy, explain the ‘Feeding the Planet’ theme of the \nUniversal Exposition that opened in Milan on 1 May. But beyond \nthe ethical commitment the chosen motto involves, the Expo is also \na festive and friendly spectacle where almost one hundred pavilions \nvie to lure visitors with their architecture and their contents, though \nin fact only a few tackle the agricultural and energy dilemmas posed \nby the challenge of feeding a growing human population, and most \nof them have preferred to present national products and regional \ncuisine. Nevertheless the Expo enclave – an area of 110 hectares \nsituated approximately 16 kilometers from the city center – has since \nopening day been brimming with people visiting, one after the other, \nthe 55 brand new national pavilions (including Spain’s, designed \nand built by b720 Arquitectos) and 41 thematic ones, organized in \naccordance with a non-conventional scheme by Herzog & de Meu-\nron and that, unlike in other analogous exhibitions, is governed by \nplain common sense: the uncomfortable and unsustainable dispersed \narrangements usual in events of this kind give way to a layout in-\nspired in the Mediterranean city of density and human scale, with \ntwo covered streets serving as axes, in the manner of the cardus and \ndecumanus of Roman military camps.\nThe pavilions at \nExpo Milano 2015\nFeeding the Planet\nArchitecture\nExpo\n1\n«Alimentando el \nplaneta» es el lema de \nla exposición universal \nque se celebra en Milán \nhasta octubre de 2015: \nuna feria arquitectónica \ncompuesta por 55 \npabellones nacionales y \n41 temáticos.\n“Feeding the Planet” \nis the motto of the \nuniversal exposition \nopen through 31  \nOctober in Milan:  \nan architectural fair \ngraced by 55 national \npavilions and 41  \nthematic ones \n",18,{"image":82,"text":83,"number":84},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.19.png","C 04 17\n",19,{"image":86,"text":87,"number":88},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.20.png","18 C 04\nObra del estudio b720, \nliderado por Fermín \nVázquez, el pabellón de \nEspaña emula un galpón \ntradicional de doble crujía. \nEl suelo de la planta baja, \nrealizado en Dekton de \nCosentino, reproduce el \ngenoma del tomate. \nDesigned by b720, led \nby Fermín Vázquez, the \nSpanish Pavilion evokes  \na traditional two-bay \nshed. The ground level \nflooring reproduces \nthe tomato genome \nsequencing using \nConsentino’s Dekton.  \n© Roland Halbe\nb720 Fermín Vázquez Arquitectos, Pabellón de España Spanish Pavilion  © Roland Halbe\nSecuencia del genoma del tomate (foto: cortesía de AC\u002FE) Sequence of the tomato genome (photo: cortesy of AC\u002FE)\n",20,{"image":90,"text":91,"number":92},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.21.png","C 04 19\n",21,{"image":94,"text":95,"number":96},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.22.png","20 C 04\nEl pabellón de Japón \n(abajo) construye sus \nmuros con una malla \ntridimensional de piezas \nde madera de pequeña \nescuadría, mientras el de \nBrasil (derecha) emplea \nuna malla textil para \ncrear un suelo elevado.\nThe walls of the Japan \nPavilion (below) are \nconstructed with a three-\ndimensional wood grid \nwith no metal joints, \nwhile that of Brazil \n(right) uses a textile mesh \nto create a raised floor on \nwhich visitors can walk. \n",22,{"image":98,"text":99,"number":100},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.23.png","C 04 21\nStudio Arthur Casas \u002F Atelier Marko Brajovic, Pabellón de Brasil Brazilian Pavilion  © Raphael Azevedo França\nAtsushi Kitagawara, Pabellón de Japón Japanese Pavilion © Saverio Lombardi Vallauri\n",23,{"image":102,"text":103,"number":104},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.24.png","22 C 04\n",24,{"image":106,"text":107,"number":108},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.25.png","C 04 23\nMiles de piezas metálicas \natornilladas dan forma al \npabellón de Reino Unido \n(izquierda) y envuelven  \nuna burbuja rodeada por \nuna constelación de luces.  \nEl pabellón de Italia recrea \nun bosque petrificado con \npaneles de cemento blanco.\nThousands of bolted \nmetal parts shape \nthe United Kingdom \nPavilion (left) and wrap \na bubble surrounded by \na constellation of lights. \nThe Italian Pavilion \nrecreates a stone forest \nwith white cement panels.\nWolfgang Buttress, Pabellón de Reino Unido UK Pavilion © Hufton + Crow \u002F UKTI\nNemesi Studio, Pabellón de Italia Italian Pavilion © Mario e Pietro Carrieri by Italcementi\n© Mario e Pietro Carrieri by Italcementi\n",25,{"image":110,"text":111,"number":112},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.26.png","24 C 04\nPor su origen orgánico y \nsu facilidad de montaje \nen seco, la madera es uno \nde los materiales más \nempleados en la Expo. \nLos pabellones de Chile, \nPolonia, China o Francia, \nentre otros, ilustran su \ngran versatilidad.\nFor its organic origin  \nand the possibility of \nusing dry assembly \nmethods, wood is one \nthe most widely used \nmaterials at the Expo. \nThe pavilions of Chile, \nPoland, China or France \nshow its great versatility. \nXTU \u002F Legendre y Desmazières, Pabellón de Francia French Pavilion © XTU \u002F Andrea Bosio\nCristián Undurraga, Pabellón de Chile Chilean Pavilion © Cristián Undurraga\n2PM, Pabellón de Polonia Poland’s Pavilion \nHerzog & de Meuron, Pabellón Slow Food Slow Food Pavilion © Roland Halbe\nTsinghua University \u002F link-arc, Pabellón China Chinese Pavilion © Sergio Grazia\n",26,{"image":114,"text":115,"number":116},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.27.png","C 04 25\n",27,{"image":118,"text":119,"number":120},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.28.png","26 C 04\n",28,{"image":122,"text":123,"number":124},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.29.png","C 04 27\nUna serie de costillas \ncerámicas ondulantes \natraviesan en longitudinal \nel pabellón de los \nEmiratos Árabes Unidos, \ncreando un recinto ocre \nde recorridos sombreados  \nque evoca los áridos  \npaisajes de Oriente Medio.\nA series of undulating \nceramic ribs cut through \nthe pavilion of the  \nUnited Arab Emirates, \ncreating an ocher-toned \ndynamic space with \nshaded paths that evokes  \nthe arid landscapes  \nof the Middle East. \nFoster + Partners, Pabellón de Emiratos Árabes Unidos UAE Pavilion © Filippo Poli\nFoster + Partners, Pabellón de Emiratos Árabes Unidos UAE Pavilion © Filippo Poli\n",29,{"image":126,"text":127,"number":128},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.30.png","© Eric Fischer\n",30,{"image":130,"text":131,"number":132},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.31.png","arts\nAustralian Abstraction: Salt Mine Deserts\nA minimalistic exploration by Emma Phillips\nLocals and Tourists: Mapping Views \nThe perception of cities by Eric Fischer\n© Eric Fischer\n",31,{"image":134,"text":135,"number":136},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.32.png","30 C 04\nAustralian Abstraction:\nSalt Mine Deserts  \nA minimalistic exploration  \nby Emma Phillips\nArts\nPhoto\n2\nThe images of Australian salt mines  \nby young Melbourne photographer  \nEmma Phillips are surprising for their \nsimplicity bordering on abstraction.  \nThe huge mountains of bright, white salt \nconceal a landscape that is both human \nand alien, and that can only be placed \nin context by the structures or artificial \nmachines that give them a graspable \nscale and a location on the map. The \nblue skies provide the backdrop for this \ndazzling natural space and make it more \nunderstandable. With these photographs \nPhillips wants to evoke the harsh \nlandscapes of Australia’s interior. \nEmma Phillips was born  \nin Sorrento (Italy), in \n1989. In 2010 she \ngraduated in Photography \nfrom RMIT University in \nMelbourne, and moved \nto New York a year later, \nwhere she worked with \nAnnie Leibovitz.\nLas imágenes de las salinas australianas \nde la joven fotógrafa de Melbourne Emma \nPhillips sorprenden por una sencillez que \nroza la abstracción. Las enormes cordilleras \nde sal brillante y blanca ocultan un paisaje \ntan humano como extraterrestre que sólo \nse contextualiza con las construcciones o \nmáquinas artificiales que, paradójicamente, \nnaturalizan las fotografías y les otorgan \nuna escala y una localización. Los cielos \nazul celeste, casi infantiles, enmarcan \nesta inesperada naturaleza y la hacen más \nincomprensible. Con estas fotografías, \nPhillips quiere evocar los inhóspitos paisajes \ncaracterísticos del interior de Australia. \nEmma Phillips nace en \n1989 en Sorrento (Italia), \npero estudia en el RMIT \nde Melbourne, donde se \ngradúa en fotografía en \n2010. Un año después se \ntraslada a Nueva York, \ndonde se forma bajo la \ntutela de Annie Leibovitz.\n",32,{"image":138,"text":139,"number":140},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.33.png","C 04 31\n",33,{"image":142,"text":143,"number":144},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.34.png","32 C 04\n",34,{"image":146,"text":147,"number":148},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.35.png","C 04 33\nThe photographs are \ncollected in a book titled \nSalt, first published \nby Emma Phillips in \nAustralia. The work,  \nof 40 pages and a 37 x \n26 centimeter format, \nnow reaches Europe \nthrough Idea Books.\nLas fotografías se recogen \nen un libro titulado Salt, \npublicado originalmente \nen Australia por la propia \nEmma Phillips. Con 40 \npáginas y un formato de \n37 x 26 cm, la obra llega \nahora a Europa de la \nmano de Idea Books. \n",35,{"image":150,"text":151,"number":152},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.36.png","34 C 04\n",36,{"image":154,"text":155,"number":156},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.37.png","C 04 35\n",37,{"image":158,"text":159,"number":160},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.38.png","36 C 04\n",38,{"image":162,"text":163,"number":164},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.39.png","C 04 37\n",39,{"image":166,"text":167,"number":168},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.40.png","38 C 04\n",40,{"image":170,"text":171,"number":172},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.41.png","C 04 39\n",41,{"image":174,"text":175,"number":176},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.42.png","40 C 04\nLocals and Tourists: \nMapping Views \nThe perception of cities  \nby Eric Fischer\nArts\nData\n2\nEl trabajo del norteamericano Eric Fischer \nanaliza la estructura de las ciudades \nutilizando como referencia las fotografías \nrealizadas en distintos espacios públicos.  \nCon un sistema de colores el artista describe \nla diferencia de funcionamiento de las urbes \nen función de quién las documenta: los \npuntos azules representan las instantáneas \ntomadas por residentes (o personas que \ndurante más de un mes han etiquetado \nimágenes en un mismo lugar), los rojos \ncorresponden a las tomadas por turistas \n(menos de un mes de estancia) y, por \núltimo, los amarillos representan aquellas \ncuyo autor no se ha podido identificar.\nAmerican photographer Eric Fischer \nanalyzes the structure of cities based \non urban data and photographs taken \nin public spaces, and which are later \ngeotagged on the Internet. With a color \ncode the artist describes how these \ncities function differently depending on \nthe observer: blue dots on the map are \nphotographs taken by locals (or people \nwho have tagged images in one same \nplace for over a month), red dots are \nphotographs tagged by tourists (stays  \nof under a month), and, lastly, yellow \nones represent those that cannot be \nclearly identified.  \nLos mapas revelan el \nuso del espacio público \nen diferentes ciudades, \nregistrando, a través del \nproyecto OpenStreetMap, \nimágenes geoetiquetadas \npor fotógrafos locales \n(azul), turistas (rojo),  \no desconocido (amarillo).\nEric Fischer’s maps \nillustrate how public \nspace is used in different \ncities, showing, through \nthe OpenStreetMap \nproject, photographs \ngeolabeled by locals \n(blue), tourists (red) or \nundefined (yellow).\n",42,{"image":178,"text":179,"number":180},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.43.png","C 04 41\n",43,{"image":182,"text":183,"number":184},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.44.png","42 C 04\n",44,{"image":186,"text":187,"number":188},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.45.png","C 04 43\nMadrid\nSan Francisco (izquierda  left), Barcelona (arriba  top)\nBerlin\nParis\n",45,{"image":190,"text":191,"number":192},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.46.png","44 C 04\nThe goal of computer \nprograms that collect  \nand process data \nmassively (BIG DATA)  \nis to transform the \ncurrent view of the \nplanet thanks to the huge \namount of information \nthey manage.\nLos sistemas informáticos \nque recopilan y procesan \ndatos de forma masiva \n(BIG DATA) aspiran a \ntransformar la concepción \nactual del planeta  \ngracias a la ingente \ncantidad de información \nque gestionan.\nBeijing\nTaipei (arriba  up), Chicago (derecha  right)\nTokyo\nHong Kong\n",46,{"image":194,"text":195,"number":196},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.47.png","C 04 45\n",47,{"image":198,"text":199,"number":200},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.48.png","© Satoshi Asakawa\n",48,{"image":202,"text":203,"number":204},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.49.png","innovation\nBamboo\nSustainability, resistance and natural beauty\n© Satoshi Asakawa\n",49,{"image":206,"text":207,"number":208},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.50.png","48 C 04\nInnovation\nMaterial\n3\nBamboo\nSustainability, resistance and natural beauty\nLas recientes propuestas del equipo formado por el arquitecto Paul Ru-\nnaghan (del estudio Farrells) y el ingeniero Jim Fleming (de la oficina \ninternacional Buro Happold) para construir rascacielos de bambú de \n360 metros de altura sugieren nuevas y atractivas aplicaciones de un \nmaterial tradicional que, de un modo optimista, suele definirse como \nel ‘acero verde’. Sin embargo, incentivando de un modo simplista \nla demanda de este material se corre el riesgo de causar un impacto \nnegativo tanto en el clima y los ecosistemas como en las sociedades \nde los países productores, en Asia y otros lugares. \nPromocionado con audacia —pero de manera cuestionable— como \nel material de construcción respetuoso por excelencia con el medio \nambiente, el bambú no ha dejado de ganar popularidad como sustituto \nde la madera. Su versatilidad se ejemplifica en muchísimas aplicacio-\nnes, que van desde la fabricación de papel, el combustible o la ropa \nhasta el mobiliario, el embalaje o las medicinas. Se estima que más de \n1.000 millones de personas viven en casas tradicionales de bambú, y \neste material se emplea en muchos componentes constructivos, como \nlos andamios, las cubiertas, los forjados, las particiones interiores y \nexteriores o las carpinterías. La retórica contemporánea sobre las cre-\ndenciales medioambientales del bambú prefiere, con todo, centrarse \nen la velocidad de crecimiento de este material.\nEl resultado es que, desde finales de los noventa, se ha incrementado \nla fabricación de productos derivados del bambú, como paneles indus-\nTim Coleridge\nRecently launched conceptual designs for 360-meter-tall bamboo sky-\nscrapers from a team of Paul Runaghan (architect at Farrells, London) \nand Jim Fleming (of the multinational engineering office Buro Happold) \noffer an exciting new use of a traditional material hailed as a ‘green \nsteel.’ However, a simplistic rush for bamboo risks causing wider \nthreats to ecologies, societies and the climate in Asia and beyond. \nBoldly but questionably touted as an uber-environmentally-consci-\nentious building material, bamboo’s popularity as a wood and fibre \nsubstitute has been increasing. Its versatility is exemplified in myriad \napplications including papermaking, fuel, clothing, furniture, and \nmedicines. It is estimated that over one billion people live in traditional \nbamboo houses, and bamboo is utilised in many building components \nfrom scaffolding, roofing, flooring, exterior walls and partitions to \ndoors and window frames. However, contemporary rhetoric supporting \nthe environmental credentials of bamboo is unquestioningly focused \non its speed of growth.\nInitiatives and policy changes since the late 1990s led to increased \nproduction of bamboo products like medium-density fibreboard and \nmany others. Production of bamboo flooring, in particular, increased \nsignificantly after the USGBC’s ‘environmentally preferable materials’ \ndesignation of bamboo and other rapidly renewable materials in 2002, \ngiving eligibility for credits under the LEED programme. Architects Vo \nTrong Nghia and Simón Vélez and design collective Penda and others \nVo Trong Nghia Architects, Restaurante  Restaurant, Son La (Vietnam)  © Hiroyuki Oki\nPT Bamboo Pure, Green School, Bali (Indonesia) © PT Bamboo Pure\n",50,{"image":210,"text":211,"number":212},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.51.png","C 04 49\n",51,{"image":214,"text":215,"number":216},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.52.png","50 C 04\ntrializados de fibras y de densidad media, y muchos otros componentes \nconstructivos. Es el caso, por ejemplo, de los suelos, cuya producción \nha aumentado de manera muy significativa desde que en 2002 el \nUS Green Building Council incluyese el bambú entre los ‘materiales \npreferibles desde el punto de vista medioambiental’, potenciando su \nuso mediante la asignación de créditos en la certificación LEED. Así, \narquitectos como Vo Trong Nghia, Simón Vélez o el colectivo Penda \nhan sido pioneros en usar el bambú en nuevas soluciones estructurales.\nSu resistencia intrínseca ha propiciado que el bambú se considere \ncomo un supermaterial ecológico, como evidencia la propuesta arriba \nmencionada de Farrells y Buro Happold de construir ‘bio-rascacielos’. \nMichael Green, en su The Case for Tall Wood Buildings, defiende que \nla madera y, en particular, las soluciones laminadas, pueden ser una \nalternativa viable al acero y el hormigón como materiales estructu-\nrales de edificios grandes. Es cierto que ya existen muchos edificios \naltos de madera, como la Pagoda Tianning de Changzhou (China), \ncon más de 150 metros de altura, o la Torre de la radio en Gliwice \n(Polonia), con casi 120 metros, pero el planteamiento de Farrells y \nBuro Happold significa un salto respecto a los actuales edificios de \nmadera de tamaño medio, como la Torre Murray Grove, en Londres, \ncon nueve plantas. \nCon todo, estudios recientes ponen en duda las credenciales \nsostenibles del bambú, demostrando que sus beneficios dependen \nde un alto coste medioambiental. Estos estudios niegan la premisa \nde que los materiales de rápido crecimiento sean necesariamente \nmás respetuosos con el medioambiente que los de crecimiento lento, \ny hacen hincapié en la degradación de los bosques naturales y la \nsobreexplotación de los cultivos salvajes que el uso del bambú im-\nplica, lo que supone una reducción de la biodiversidad, la merma \nde la sostenibilidad de la explotación a largo plazo, la emergencia \nde riesgos sociales y medioambientales, y el florecimiento de mo-\nnocultivos de gran tamaño con un impacto creciente debido a los \nfertilizantes y pesticidas. De las aproximadamente 1.250 variantes \nde bambú, sólo una de ellas, el Moso, supone más del 80 % de las \nplantaciones de ese cultivo en China, que en 2007 eran aproxima-\ndamente unos 5 millones de hectáreas. A estos efectos negativos \ncontribuyen también las certificaciones medioambientales, cuyo \ncoste dificulta el acceso al mercado por parte de los pequeños \nagricultores, que son, por otro lado, la mayoría de los productores \nde este material.\nPor ello, es necesaria una aproximación ecológica más amplia, \nque permita dar un empleo más adecuado al bambú y a otros ma-\nteriales de origen biológico. Si se extrae y se emplea de manera \napropiada, el bambú puede ser un material que puede producir \nmuchos beneficios: combate la erosión del suelo; reduce la sobreex-\nplotación de los bosques tropicales; potencia la economía de las \nclases sociales más desfavorecidas; y es capaz de fijar el CO2 de la \natmósfera en los elementos constructivos de un edificio, un aspecto \nfundamental a la hora de combatir con urgencia el cambio climático. \nPor su parte, el desarrollo de sistemas afines en su planteamiento \norgánico al bambú, especialmente los sistemas de madera indus-\ntrializada patentados en Alemania y los países escandinavos, están \nayudando a poner en cuestión el uso ‘automático’ del acero y el \nhormigón en los edificios grandes, y han dado pie asimismo a nue-\nvas posibilidades arquitectónicas. A fortalecer esta perspectiva han \ncontribuido ejemplos como el sistema Ty Unnos, de Coed Cymru, \ncon sus vigas laminadas de madera local, o el edificio para el Cen-\ntro de visitantes Coed-y-Brenin, de Architype. Los biomateriales \npueden emplearse además como componentes de fachadas que \npueden ‘respirar’, y con prestaciones excepcionales de aislamiento \nhigrotérmico, como ocurre con los composites de cal y cáñamo \nempleados en el Centro de Tecnologías Alternativas del campus \nTim Coleridge es \narquitecto y profesor \ninvitado en el Centre for \nAlternative Technology \nen Powys (Reino Unido).\nTim Coleridge is an RIBA \nChartered Architect and \na Senior Lecturer at The \nCentre for Alternative \nTechnology in Powys.\nAnna Heringer, METI Rural School, Rudrapur (Bangladesh)  © Kurt Hoerbst\nVo Trong Nghia Architects, Bamboo Wing Cafe, Vinhphuc (Vietnam)  © Hiroyuki Oki\n",52,{"image":218,"text":219,"number":220},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.53.png","C 04 51\nhave pioneered experimentation with new structural forms in bamboo \nto critical acclaim. \nIts inherent strength has led bamboo to be touted as an ecological \nsuper-material with Farrells and Buro Happold’s proposal joining \nother conceptual bio-skyscraper designs. In The Case for Tall Wood \nBuildings, Michael Green advocates wood and specifically mass timber \nto challenge steel and concrete as the essential structural materials of \nlarge buildings. Many tall wooden structures already exist, including \nthe 505-foot Tianning Pagoda in Changzhou, China and Poland’s 387-\nfoot Gliwice Radio Tower; but the Farrells and Buro Happold concepts \nrepresent a significant step change from current medium-rise struc-\ntural timber buildings such as London’s 98-foot Murray Grove Tower.\nHowever, recent research discredits bamboo’s sustainability cre-\ndentials, demonstrating that its acknowledged benefits have come at \na high environmental cost. It debunks the idea that rapidly renew-\nable materials were inherently environmentally superior to slower \ngrowing ones and highlights the degradation of natural forests and \nover-exploitation from wild harvesting; biodiversity loss; resilience \nloss in bamboo resources; increased social and environmental risks; \nand impacts of large-scale monoculture agriculture, including wide-\nspread use of fertilisers and pesticides. From approximately 1,250 \nbamboo types, a single species, Moso, makes up more than 80 per \ncent of China’s bamboo growing area, 5 million hectares in 2007. \nCertification schemes provide internationally recognised accreditation \nof the provenance of timber and non-timber forest products including \nbamboo; however, certification of intensively managed, large-scale, \nmonoculture plantations has in itself been drawn into question, with \nits costs creating a market barrier for smallholders, who comprise the \nmajority of bamboo growers. \nA more holistic ecological approach provides good reason to focus on \nthe appropriate use of bamboo and other bio-based building materials. \nIf sourced and used appropriately, bamboo is a great resource, provid-\ning many benefits; research has shown how it can aid prevention of \nsoil erosion, reducing overexploitation of tropical forests and economi-\ncally assisting impoverished people. The climatic change dictates the \nurgency with which adaptation is required for future sustainability, \nincluding measures to reduce the concentration of carbon dioxide in \nthe atmosphere, and bamboo, timber and other bio-based building \nmaterials can all sequester carbon, locking it up for the life of the \nbuilding component. \nMass timber systems such as cross-laminated timber (CLT) and \n‘Brettstapel,’ pioneered in Germany and Scandinavian countries, are \nhelping to re-evaluate the ‘automatic’ use of steel and concrete in large \nbuildings, creating new structural possibilities and architectural forms. \nOther initiatives, such as Coed Cymru’s ‘Ty Unnos’ system and re-\nsearch into dowelled plank structures imbue lower-grade locally avail-\n",53,{"image":222,"text":223,"number":224},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.54.png","52 C 04\nde Machynlleth. De este último ejemplo, donde un material vivo y \nligero se funde con otro masivo e inerte, se deriva una conclusión \nimportante: los requerimientos de almacenamiento, sean térmicos \no de CO2, apuntan a un aumento de la masa, y sugieren una esté-\ntica que no se basa en lo ligero, y que reta a la lógica ‘ecotécnica’ \ny minimalista ejemplificada por la obra de autores como Michael \nHopkins o Nicholas Grimshaw, dejando paso a una nueva tectónica \nque trabaja con las cualidades inherentes de los materiales en lugar \nde manipularlos para imponerles una forma predeterminada.\nEsto tiene consecuencias en cuanto al uso de la energía, espe-\ncialmente en las construcciones de gran altura, como las señaladas \nmás arriba. Es cierto que la energía embebida en los materiales \ny procesos constructivos es importante, pero no lo es menos la \nenergía de mantenimiento que demanda un edificio a lo largo de \nsu vida útil. Los estudios demuestran que, en un edificio tipo, el \ntotal de energía de mantenimiento podría superar a la energía de \nconstrucción en sólo cinco años; en un edificio sostenible, la cifra \npodría estar rondando los veinte años. \nTodo esto evidencia la importancia de estar bien informados, \nespecialmente en la edificación que se pretende sostenible. Todo \nello nos conduce a preguntarnos si la propuesta de Farrell y Buro \nHappold de convertir el bambú en un material para la construcción \nen altura es viable o irresponsable. Los arquitectos se enamoran \ncon facilidad de los nuevos materiales y sistemas estructurales, \npero esta fascinación no debe distraernos del hecho fundamental de \nque en un buen proyecto la forma sigue a la función y que —dado \nque la demanda de edificios con bajo impacto medioambiental \nconstituye hoy una de las funciones más importantes— las formas \ndeben también derivarse de datos rigurosos, de evidencias firmes.\nable timbers with added value as structural building materials. Other \nbio-based materials can be employed in building envelopes, providing \nbreathable construction and exceptional insulative and hygrothermal \nperformance, such as a hemp-lime composite used in the Centre for \nAlternative Technology’s campus in Machynlleth. The logical extrapo-\nlation of enhanced sequestration is that structures should be scaled up \nto maximise their mass and storage capacity, leading to a new aesthetic \nin which less is not more. This indicates a fresh architectural expres-\nsion that directly challenges the high-tech minimal ‘eco-technical’ \nlogic exemplified by practices such as Hopkins and Grimshaw, a new \ntectonic that works with the inherent qualities of the material rather \nthan squeezing it to fit a predetermined form.\nBut, while increased scale improves sequestration, it poses greater \nchallenges for overall energy use, especially for high-rise buildings. \nWhile energy embodied in materials and construction activities is im-\nportant, operational energy demand still dominates over a building’s \nlifetime energy use. Studies show that, in a typical building, total in-use \nenergy could surpass embodied energy after as little as five years. Even \nin a low-energy design, it will potentially dominate after twenty years. \nAll of this emphasises the importance of research and evidence \ninforming practice, especially for buildings making grand claims about \nenvironmental performance. ‘Farrells Focus’ brings this conversation \nto the fore, leading us to ask, is ‘raising’ the profile of bamboo as a \nbuilding material for high-rise useful or irresponsible? Architects easily \nbecome enamoured of a new material or structural system, but this \nfascination must not distract us from the need to also recognise that in \ngood design form follows function, and, given that low environmental \nimpact is now one of the most important functions, the forms must \nbe derived from firm evidence. \nFeldman y Quiñones, Centro infantil en Villa Rica (Colombia) © Iván Darío Quiñones Sánchez\n",54,{"image":226,"text":227,"number":228},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.55.png","C 04 53\nConsiderado como el \n‘acero verde’, el bambú \ncombina una altísima \nresistencia mecánica \ncon una adecuada \ndurabilidad en climas \nhúmedos, además de \nser un material versátil, \nsostenible y reciclable.  \nPraised as a sort of \n‘green steel,’ bamboo \ncombines high \nmechanical resistance \nwith an adequate \ndurability in humid \nclimates, aside from being \na versatile, sustainable, \nand recyclable material. \nPT Bamboo Pure, Green School, Bali (Indonesia) © PT Bamboo Pure\nPT Bamboo Pure, Green School, Bali (Indonesia) © Iwan Baan\nWei Sun \u002F HWCD, Courtyard with Bamboo Cane Lattice, Yangzhou (China)  © T+E\n",55,{"image":230,"text":231,"number":232},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.56.png","54 C 04\nVo Trong Nghia Architects, Wind and Water Bar, Binhduong (Vietnam)\nWei Sun \u002F HWCD, Bamboo Courtyard with Bamboo Cane Lattice, Yangzhou (China)  © T+E\nVo Trong Nghia Architects, Affordable Local Bamboo 3D Structure, Kontum (Vietnam)  © Hiroyuki Oki\n",56,{"image":234,"text":235,"number":236},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.57.png","C 04 55\n",57,{"image":238,"text":19,"number":239},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.58.png",58,{"image":241,"text":242,"number":243},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.59.png","The Curtain Rises\nDiego Guerrero\nstyle\n",59,{"image":245,"text":246,"number":247},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.60.png","58 C 04\nStyle\nFood\n4\nTHE \nCURTAIN\nRISES\nDiego Guerrero\nDSTAgE no tiene letreros fuera: el nuevo \nrestaurante de Diego Guerrero se presenta \nanónimo a la calle Regueros, en el centro \nde Madrid. Al entrar, todo es teatral: una \nescenografía de ladrillo visto y estructura \ndesnuda —la reforma es producto del talento \ncreativo del propio Guerrero aplicado a la ar-\nquitectura— acoge primero un bar que hace \nde antesala y recibe al espectador; a conti-\nnuación, un comedor que se convierte en \npatio de butacas y se orienta a la cocina (que \nes el escenario); y, por último, el backstage \nen el piso inferior, un laboratorio donde se \nensayan los platos que protagonizarán en el \nfuturo esta obra gastronómica.  \nDSTAgE has no signs outside: Diego \nGuerrero’s new restaurant stands \nanonymously on Regueros street, in \nthe center of Madrid. Upon entering, \neverything is theatrical: an exposed \nbrick setting and bare structure – the \nrefurbishment project is the product of \nGuerrero’s own creative talent applied \nto architecture – leads from a bar-\nanteroom that welcomes spectators; next, \nthe dining room is like a theater’s stalls, \nfacing the kitchen that is the stage; and, \nlastly, the backstage on the floor below, \nwhich is a laboratory where the future \ndishes of this cuisine of art are rehearsed.\n",60,{"image":249,"text":250,"number":251},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.61.png","C 04 59\n",61,{"image":253,"text":254,"number":255},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.62.png","60 C 04\nAfter working at \nrestaurant El Club \nAllard, chef Diego \nGuerrero (Vitoria, 1975) \nhas won a Michelin  \nstar for his new casual \nhaute cuisine project, \nDSTAgE, just eight \nmonths after opening. \nPhotos: Miguel Fernández-Galiano \nTras su paso por El Club \nAllard, el cocinero Diego \nGuerrero (Vitoria, 1975), \nconsigue una estrella \nMichelin para su nuevo \nproyecto de alta cocina \ninformal, DSTAgE, en \napenas ocho meses de \nfuncionamiento.\n",62,{"image":257,"text":258,"number":259},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.63.png","C 04 61\n",63,{"image":261,"text":262,"number":263},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.64.png","62 C 04\n",64,{"image":265,"text":266,"number":267},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.65.png","C 04 63\nFruto de la colaboración \nde DSTAgE con Cosentino, \ntanto las encimeras del \nrestaurante (izquierda), \ncomo las del laboratorio \n(arriba), donde se \ninvestigan y desarrollan \nlos diferentes platos del \nmenú, son de Dekton. \nDSTAgE and Cosentino \nhave collaborated \nin the project, using \nDekton surfaces on both \nthe worktops in the \nrestaurant (left) and in \nthe laboratory (top) where \nthe different dishes on the \nmenu are developed. \n",65,{"image":269,"text":270,"number":271},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.66.png","64 C 04\nLa cocina forma parte \nde la sala y, aunque \nconceptualmente sea \nel escenario de este \nmontaje, gracias a \nlos talleres, cursos y \npresentaciones todo el \npúblico está invitado a \nactuar: a cocinar.\nThe kitchen is part of the \nmain room and, though \nconceptually it functions \nas the stage in this \ntheatrical space, thanks \nto the workshops, courses \nand presentations the \nwhole audience is invited \nto perform: to cook. \n",66,{"image":273,"text":274,"number":275},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.67.png","C 04 65\n",67,{"image":277,"text":19,"number":278},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.68.png",68,{"image":280,"text":281,"number":282},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.69.png","interview\nFoster & Galiano \n in dialogue \n",69,{"image":284,"text":285,"number":286},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.70.png","68 C 04\nInterview\nConversation\n5\nFoster  \n& Galiano  \nin dialogue\nEl arquitecto británico \nconversa con el director de \nArquitectura Viva en Madrid\nA conversation between the \nBritish architect and the director \nof Arquitectura Viva in Madrid\n",70,{"image":288,"text":289,"number":290},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.71.png","C 04 69\n",71,{"image":292,"text":293,"number":294},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.72.png","70 C 04\nLuis Fernández-Galiano (LFG): Todo el \nmundo sabe de tu amor por el vuelo, pero \nme pregunto cómo ha influido en tu arqui-\ntectura. Cuando cumpliste 75 años, hiciste \nrecuento de todos los modelos de avión que \nhabías pilotado, y eran, exactamente, 75…\nNorman Foster (NF): Fue una de esas \nindagaciones que resultan extraordinarias. \nCogí todos mis libros de registro, en los que \nhe ido anotando cada uno de mis vuelos y \ncada tipo de aparato, y descubrí que había \npilotado 75 modelos de avión: ultraligeros, \nmonoplanos acrobáticos, biplanos antiguos, \ncazas militares y jets privados. Resulta inte-\nresante constatar que los pilotos profesiona-\nles rara vez traspasan las fronteras entre un \ntipo de avión y otro. Si el piloto de un avión \nligero tuviera que aterrizar sin motor en el \ncampo, habría que alertar con llamadas de \nmayday a los servicios de emergencia. Sin \nembargo, para un piloto de planeador se \ntrata de algo normal cuando se queda sin \nfuerza de sustentación en un vuelo de larga \ndistancia. De igual manera, por norma gene-\nral, los mundos del ala fija y del helicóptero \nestán bastante separados desde el momento \nen que las destrezas que exigen son dife-\nrentes, aunque el entorno de vuelo sea el \nmismo. He tenido la suerte de poder disfrutar \nde experiencias de vuelo transversales, y \nde haber podido volar en muchos tipos de \n«Ahora me doy cuenta  \nde que en la arquitectura, \ncomo en la aviación,  \nhe traspasado las fronteras \nconvencionales»\naviones, desde Spitfires hasta planeadores de \ncompetición. Se me ocurre que hay paralelos \nen mi actitud hacia la arquitectura. Seme-\njanzas en el sentido de que, sea por interés \no pasión, muchos arquitectos e ingenieros, \ncomo los pilotos, tienden a especializarse \nen sus campos. Ahora me doy cuenta de \nque en la arquitectura, como en la aviación, \nhe traspasado las fronteras convencionales. \nComo diseñador me emocionan igualmente \nlos retos de la gran arquitectura pública y \nque me lleva a explorar experiencias diver-\nsas, sea la aviación, el ciclismo o el esquí de \nfondo, y mi fascinación por el maratón —la \ncompetición de maratón de esquí de fondo, \nel maratón ciclista con los colegas—, quizá \nse reflejan en mis edificios, que también \nconcibo como experiencias maratonianas. El \nrecorrido del Yacht Club de Mónaco fue de \ndoce años, y lo mismo cabe decir del Carré \nd’Art en Nimes. ¿Cómo dirigir un equipo \npara mantenerlo fresco a lo largo de un pe-\nriodo de tiempo tan largo y sin perder por \nel camino el argumento del proyecto? Con \nalgunos proyectos tienes que mantenerte \nconcentrado y agudo, marcándote el ritmo \ndurante un periodo largo de tiempo, como \nen el maratón. Por supuesto, puede ocurrir lo \ncontrario, como en esos megaproyectos que \nse levantan sorprendentemente rápido, como \nel aeropuerto de Pekín, que es el más grande \ndel mundo y que construyeron 50.000 per-\nsonas en sólo cinco años, o el aeropuerto de \nHong Kong, que implicó mover montañas y \nganar tierra al océano. Pero, por cada uno de \nestos episodios heroicos, hay un conjunto de \nproyectos honrosos que son más pequeños, \nque no son objeto de titulares, pero que son \nigualmente importantes. En este sentido, me \nviene a la memoria la tradición anónima de \nla arquitectura. Bernard Rudofsky la reivin-\ndicó en su libro Arquitectura sin arquitec-\nPhotos: Miguel Fernández-Galiano \nla construcción de bajo coste para un sector \namplio de la población. Las infraestructuras \nme inspiran también en la misma medida \nque los edificios o incluso el mobiliario. Así \nque, para mí, el vuelo y el diseño son, ambos, \nquehaceres universales.   \nLFG: Que pilotar sea tan importante para \nti significa quizá que abordas cada disciplina \ncon un sentimiento que es a la vez de des-\ncubrimiento y de riesgo...\nNF: Sí, pienso que la misma curiosidad \nAl cumplir 80 años en \njunio, Norman Foster \nconversa con Luis \nFernández-Galiano y \nrepasa las claves de su \ncarrera profesional en \nla sede de su fundación \nen Madrid, en la calle \nMonte Esquinza.\nTurning 80 in June, \nNorman Foster reviews \nthe sources and \nhighlights of his career \nin a dialogue with Luis \nFernández-Galiano \nheld at his foundation \nin Madrid’s Monte \nEsquinza street.\n",72,{"image":296,"text":297,"number":298},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.73.png","C 04 71\nLuis Fernández-Galiano (LFG): Everybody \nknows you love flying, but I wonder how it \nhas inspired your architecture. When you \nturned 75, you recollected how many differ-\nent models of aircraft you had piloted, and \nthey happened to be exactly 75... \nNorman Foster (NF): It was one of those \nextraordinary explorations. I got all my log \nbooks, in which I’d noted every flight in \neach type of flying machine, and discovered \nI had piloted 75 different craft – micro-\nlights, aerobatic monoplanes, vintage bi-\nplanes, military fighters and business jets. \nIt is interesting that professional pilots rarely \ncross the boundaries between these differ-\nent flying machines. If the pilot of a light \naircraft has to make a landing without an \nengine into a remote field, then an emergency \nwould be declared with calls of “mayday” to \nalert the emergency services. However, for a \nglider pilot that would be a normal procedure \nwhen running out of lift on a long-distance \ncross-country flight. Similarly, the worlds of \nfixed wing and helicopters are normally quite \nseparate as the skills are different, even if \nthe flight environment is the same. I have \nbeen very fortunate to enjoy an extraordi-\nnary cross-section of aviation experiences, \nto have been able to fly so many types from \nspitfires to racing sailplanes. It crosses my \nsame way as buildings or even furniture. So \nfor me, flight and design are both universal \nactivities.\nLFG: Your piloting being so important to \nyou means perhaps that you enter every field \nwith a sense of discovery and a sense of risk...\nNF: Yes, I think that the same curiosity \nthat drives me to explore different experi-\nences, whether aviation, cycling, or cross-\ncountry skiing, and my fascination with the \nmarathon – the cross-country skiing mara-\nthon as a race, the marathon bike ride with \ncolleagues – is perhaps mirrored in building \nprojects, which also assume marathon-like \nexperiences. A building such as the Monaco \nYacht Club was a 12-year haul, and the same \nwas true for the Carré d’Art in Nîmes. How do \nyou lead a team and keep fresh over that long \na period, so you don’t lose the design plot \nalong the way? With some projects, you have \nto keep focused and sharp, pacing yourself \nover a long period of time, just like in a mara-\nthon race. Of course you can also have the \npolar opposite, in those megaprojects which \nmind that there are parallels in my attitude \nto architecture. Similarities in the sense that \neither by virtue of interest or passion, most \narchitects and engineers, like pilots, tend \nto specialise in their chosen fields. I realise \nnow that in design as well as in aviation, \nI have crossed conventional boundaries. As \na designer I am just as excited by the chal-\nlenges of high architecture for civic events \nas by low-cost construction for a mass audi-\nence. Infrastructure also inspires me in the \n«I realise now that in  \ndesign as well as in \naviation, I have crossed \nconventional boundaries»\n",73,{"image":300,"text":301,"number":302},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.74.png","72 C 04\n",74,{"image":304,"text":305,"number":306},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.75.png","C 04 73\ncan happen surprisingly fast, like Beijing \nAirport. It’s the biggest in the world and was \nrealised by 50,000 people in five years. Or \nHong Kong Airport, which involved moving \nmountains and creating land from the ocean. \nBut for every one of these epic journeys, there \nis an honourable series of projects which are \nsmaller – do not command the headlines – \nbut are equally important. I am reminded \nof the anonymous tradition in architecture. \nBernard Rudofsky draws attention to this in \nhis book Architecture Without Architects, \nwhich accompanied the New York Museum \nof Modern Art exhibition of the same name \nin the 1960s.  It illustrated the so-called ver-\nnacular stream of buildings which in a past \nbefore the age of cheap energy were elegant \nand ingenious responses to local climates. \nThese ranged from benign Mediterranean \nregions to the extremes of desert heat and the \nintense cold of polar and Alpine locations. \nThe resulting structures were formed from \nthe materials at hand and were always in \nharmony with the landscape. We cannot at-\ntribute names to the authors of this vast body \nof indigenous work which spans continents \nand is not considered as architecture in the \nconventional sense by most writers on the \nsubject. However, for me, even as a student, \nit has been an important and inspirational \nmainstream. For example, our zero-carbon, \nzero-waste project of Masdar would not have \nbeen feasible without applying the timeless \nlessons learnt from traditional desert build-\ning which go back several hundred years. \nSuch works as our school system for Sierra \nLeone and the winery for Château Margaux \nare appropriately local in their response and \nthis back-to-basics approach. Perhaps it is \nin the nature of the media to be moved, as I \nbelieve we all are, by the biggest, the longest, \nthe tallest – we are all stirred by the epic di-\nmension, that’s human nature. But it should \nnot cloud us to the importance of buildings \nwhich are smaller in scale.\nLFG: But projects like Trafalgar Square \nhave also commanded attention and they’re \nvery silent.\nNF: Yes. I am often asked which of our \nbuildings in London are the most important. \nAlmost as a reflex, I say Trafalgar Square and \nthe Millennium Bridge, because in terms of \ntheir importance to the community – whether \nlocals or visitors – and on the capital city, \nI think they have had far more social im-\npact than any single building. That is not to \nunderestimate the importance of the British \nMuseum or many of our other built projects, \nbut it is about the greater significance of the \ninfrastructure of public space, routes and \nconnections. When I move in this city of \nMadrid over the next 24 hours, the lasting \nimpression will be of its public spaces. Of \ncourse I will have a recall of this building as \nwell as my apartment. But the big picture will \nbe the infrastructure of Madrid: its spaces, \nroutes and connections, the journey from the \nairport, the walk to the restaurant...\nLFG: You once said that you had been \nmuch influenced by buildings, but not as \nmuch as by libraries.\nNF: Books have been one of the most \npowerful influences in my life. I would say \nthat without books and access to a public \nlibrary, we wouldn’t be having this conver-\nsation today. I might have ended up as an \noffice clerk or a manual worker somewhere \nin the north of England, certainly not an \narchitect. There are all kinds of interesting \nlinks between the past and present. At the \ntime that we won the competition for the New \n",75,{"image":308,"text":309,"number":310},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.76.png","74 C 04\ntos, que en los años 1960 hizo las veces de \ncatálogo para la exposición homónima en \nel MoMA, donde dio cuenta de los edificios \nllamados vernáculos, que antes de la época \nde la energía barata habían dado respuestas \nelegantes e ingeniosas a los climas loca-\nles. Estos iban desde las benignas regiones \nmediterráneas hasta los extremos del calor \ndel desierto o del intenso frío de las zonas \npolares o alpinas. Los edificios resultantes \nestaban construidos con los materiales dis-\nponibles y siempre mantenían la armonía \ncon el paisaje. No se pueden atribuir autores \na este inmenso conjunto de obras vernáculas \nque abarca todos los continentes, y que no \nse considera arquitectura en el sentido tradi-\ncional del término por la mayor parte de los \nque escriben sobre el asunto. Sin embargo, \npara mí, incluso cuando era estudiante, han \nsido unos modelos importantes e inspirado-\nres. Por ejemplo, nuestro proyecto de ‘cero \nemisiones’ y ‘cero residuos’ en Masdar no \nhubiera sido factible sin la aplicación de las \nlecciones intemporales que aprendimos de \nlas construcciones tradicionales del desierto, \nque se remontan a varios siglos atrás. Obras \ncomo nuestro sistema de escuelas en Sierra \nLeona o la bodega para Château Margaux \nson adecuadamente locales en su respuesta \ny en su modo de volver a lo esencial. Quizá \nestá en la naturaleza de los medios de co-\nmunicación —como creo que está en la de \ntodos nosotros— el dejarnos llevar por lo \nmás grande, lo más largo y lo más alto, y \nconmovernos por la dimensión épica de las \ncosas. Pero esto no debe restar importancia \na los edificios más pequeños.  \nLFG: Sin embargo, proyectos como Tra-\nfalgar Square han merecido atención públi-\nca, pero son muy silenciosos.\nNF: Sí, a menudo me preguntan cuáles \nde mis edificios en Londres son más im-\nportantes. Casi de manera refleja, digo que \nTrafalgar Square y el Millenium Bridge pues, \ndebido a su importancia para la comunidad \n—sea para los locales o los visitantes— y para \nLondres, creo que han tenido mucho más \nimpacto social que cualquier edificio. Esto \nno significa subestimar el British Museum o \nmuchos otros de nuestros proyectos, pero se-\nñala la importancia de la infraestructura del \nespacio público, de las rutas y las conexio-\nnes. Cuando me mueva por Madrid en las \npróximas veinticuatro horas, la impresión \nmás duradera que me llevaré será la de sus \nespacios públicos. Por supuesto, me acordaré \nde este edificio y de mi apartamento. Pero \nel panorama general será el de las infraes-\ntructuras de Madrid: sus espacios, rutas y \nconexiones, el trayecto desde el aeropuerto, \nel paseo a pie hasta el restaurante...\nLFG: Una vez afirmaste que te habían in-\nfluido muchos edificios, pero ninguno tanto \ncomo las bibliotecas.\nNF: Los libros han sido también una de \nlas influencias más poderosas en mi vida. \nDiría incluso que, sin libros y sin el acce-\nso a una biblioteca pública, no estaríamos \nconversando hoy. Podría haber terminado \ncomo un oficinista o un obrero en algún \nlugar del norte de Inglaterra; desde luego, no \ncomo arquitecto. Hay todo tipo de vínculos \n",76,{"image":312,"text":313,"number":314},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.77.png","C 04 75\nYork Public Library, I decided to revisit the \nlocal library of my past, in an obscure corner \nof an industrial suburb of Manchester, and \ndiscovered in the foundation stone that it was \nmade possible by the same benefactor who \nfunded the New York Public Library system. \nAs a youth in Manchester I discovered on \nthose library shelves books like Towards a \nNew Architecture, by Le Corbusier. I was \ninspired by the juxtaposition of the Caproni \nhydroplane and the Acropolis. In that sense \nCorbusier is a kindred spirit, not just because \nof such beautiful buildings as the chapel at \nRonchamp or his Unité in Marseille, but \nalso for his fascination with the romance of \nflight and machines. The way he would draw \nparallels between these flying machines and \narchitecture fired my imagination as a young \nman. As you and I move around the spaces \nin this Foundation and look at models and \ndrawings of projects as well as objects, I can \nstart to make visual connections between \nflight and our architecture, even if it is in-\ndirect and subconscious. The furniture that \nI worked on at the time of the lunar landing \nmodule touches the ground as lightly, almost \nseeming to hover over it. \nLFG: And the result is expressed through \ndrawings. Drawing, for you, is very impor-\ntant, even as a way of thinking. \nA: I sketch for different purposes. There \nis the personal dialogue to explore an idea \non paper which might exist in my head or \nsurfaces through an intellectual exchange \nwith others. Often I am drawing at the \nsame time as talking – this can even be in \na presentation or a conference. I might also \nsketch my response to a design proposition \nby colleagues. Other times I might be creating \ndiagrams which communicate the generators \nbehind a design – a kind of validation. The \npencil or pen, like a computer, is a tool. My \nobsession with sketching is in no way to deny \nthe parallel importance of the computer. But \nlike the pencil it is a tool, albeit wonderfully \nsophisticated, and so far only as good as the \nperson operating it. Thinking about it more, \nthe sketches annotated with notes combine \nthe best of both words and images, and I use \nthis format constantly.\nLFG: So for you, drawing is almost like \nbreathing.\nNF: For as long as I can remember I have \nbeen sketching, since I was a child, and it \nis one of the reasons why I wanted to be-\ncome an architect. I was willing to pay for \nthe privilege to study, to work to be able to \npay the fees and sustain myself. For me, the \npractice of architecture is still pure luxury. \nThe downside is that with the larger entity \nof an international studio come all the other \nthings that have to be done. But I still get \npure joy out of designing. \nLFG: Now I know that you do not want to \ndiscuss legacy, that you would rather leave \nthat to historians, but since your first project \nin Manchester, you have kept all your draw-\nings and models, so somehow you do see that \nthere is a whole body of work that may have \nsubstance and importance for the future. \nNF: This body of work, which is organic \nand expanding, embraces many parallel \nthemes. One of these is the nobility of making \nthings – pride in construction, and not just \nbuildings.  This tradition is not a fashionable \n",77,{"image":316,"text":317,"number":318},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.78.png","76 C 04\ninteresantes entre el pasado y el presente. \nEn la época en que ganamos el concurso \npara la Biblioteca pública de Nueva York, \ndecidí volver a visitar la biblioteca local de \nmi juventud, en un oscuro rincón de un su-\nburbio industrial de Manchester, y descubrí \nen una placa conmemorativa que el edificio \nhabía sido posible gracias al mismo mecenas \nque había fundado el sistema de bibliotecas \npúblicas de Nueva York. Cuando era joven \nen Manchester descubrí en las estanterías \nde aquella biblioteca libros como Hacia una \narquitectura, de Le Corbusier. Me inspiró la \ncontraposición entre el hidroavión Caproni \ny la Acrópolis. En este sentido, Le Corbusier \nes como un alma gemela para mí, no sólo \npor edificios tan hermosos como la capilla \nen Ronchamp o la Unité de Marsella, sino \ntambién por su fascinación por el vuelo y \nlas máquinas. La manera en que trazaba \nparalelismos entre esas máquinas voladoras \ny la arquitectura disparó mi imaginación \ncuando era joven. Mientras paseamos por \nlos espacios de esta fundación y miramos \nlas maquetas y los dibujos de proyectos y \nedificios, puedo empezar a hacer conexiones \nvisuales entre el vuelo y la arquitectura, \naunque sean indirectas e inconscientes. Por \nejemplo, el mobiliario en el que trabajé du-\nrante la época del diseño de nuestro módulo \nlunar toca el terreno con tal ligereza que \nparece flotar sobre él. \nLFG: Y este resultado a veces se expresa a \ntravés de dibujos. Para ti, dibujar es muy im-\nportante; es incluso una manera de pensar. \nNF: Dibujo con propósitos diferentes. \nEstá el diálogo personal para explorar en \nel papel una idea que existe en mi cabeza a \ntravés de un intercambio con los demás. A \nmenudo, dibujo al mismo tiempo que hablo, \ncomo en una presentación o conferencia. \nTambién dibujo para dar alternativas a las \npropuestas de diseño de mis colegas. Otras \nveces, lo hago con diagramas que comu-\nnican las ideas generadoras del proyecto, \nen una suerte de validación del mismo. El \nlápiz o la pluma, como el ordenador, son \nherramientas. Mi obsesión con el dibujo no \nniega en ningún caso la importancia que, \nen paralelo, tiene el ordenador. Pero, como \nel lápiz, el ordenador es una herramienta \n(aunque maravillosamente sofisticada) que \nes buena sólo en la medida en que lo sea la \npersona que trabaja con ella. Luego están \nlos croquis con anotaciones, que combinan \nlo mejor de las imágenes y las palabras, un \nformato al que recurro constantemente. \nLFG: Así que, para ti, dibujar es como \nrespirar.\nNF: Desde que tengo memoria he estado \ndibujando, y esta fue una de las razones por \nlas que quise ser arquitecto. Estaba dispuesto \na pagar por tener el privilegio de estudiar, \nde trabajar para poder pagar las matrículas \ny mantenerme a mí mismo. Para mí, hacer \narquitectura sigue siendo un puro lujo. Lo \nmalo es que, con el gran tamaño de un es-\ntudio internacional, surgen muchas otras \ncosas que hacer. Pero sigo sintiendo el gozo \nde proyectar. \nLFG: Sé que no quieres hablar ahora sobre \ntu legado, algo que le dejas a los historiado-\nres, pero desde tu primer proyecto en Man-\nchester has guardado todos tus dibujos y \nmaquetas, así que de algún modo veo que \nahí hay un acervo de trabajo que puede ser \nsustancial e importante para el futuro. \nNF: Este material, que es orgánico y está \nen expansión, abarca muchos temas para-\nlelos. Uno de ellos es la nobleza de hacer \ncosas, el orgullo de construir, y no sólo edi-\nficios. Esta tradición no es un tema de moda \nen nuestra era digital, pero incluso en un \nmundo entregado a lo virtual hay una ne-\ncesidad creciente de ciudades, edificios y del \nmovimiento de la gente entre ellos mediante \ncoches, aviones y trenes. \nLa búsqueda de la calidad es un recordato-\nrio de esa tradición, no sólo de la fabricación \nen sí misma, sino de la concepción inicial de \nun objeto y de su reconocimiento posterior. \nPara explicar la importancia que tiene un \nenfoque personal del diseño, suelo repetir \nel lema de que «la calidad es una actitud \nmental». En la creación de un edificio hay \ntres recursos fundamentales: el dinero, el \ntiempo y la energía creativa. Pero es siem-\npre el elemento creativo el que determina la \ncalidad del producto final, no la cantidad de \ndinero o tiempo empleados. Algunos de los \nmejores edificios que hay en el mundo se han \nconstruido en un tiempo récord, y a menudo \ncon presupuestos muy reducidos. Algunos \nde los peores se han eternizado y han costado \nuna fortuna. Esto no significa, por supuesto, \nnegar la sabiduría que hay en invertir en \nmateriales más duraderos y en habilidades \nartesanales. Pagar más para hacerlo bien de \nuna vez en lugar de tener que rechazarlo y \nprobar de nuevo (y a veces, más de una vez) \nresulta, al final, más económico. Ocurre lo \nmismo en la aviación, donde «el precio de la \nseguridad es la vigilancia constante», y nada \npuede darse por sentado, todo debe cuestio-\nnarse. Hay un vínculo directo entre poner \n«Es siempre el elemento \ncreativo el que determina la \ncalidad del producto final, \nno la cantidad de dinero o \ntiempo empleados»\n",78,{"image":320,"text":321,"number":322},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.79.png","C 04 77\n",79,{"image":324,"text":325,"number":326},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.80.png","78 C 04\n",80,{"image":328,"text":329,"number":330},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.81.png","C 04 79\ntopic in our newly found digital age,  but \neven in the world of virtual reality there is \nan ever growing need for cities, buildings and \nthe movement of people between them – by \ncars, planes and trains.\nThe quest for quality is a reminder of \nthat tradition – not just the actual manufac-\nture but the initial conception and its later \nappreciation. To explain the importance of \na personal approach to design, I tend to \nrepeat the mantra that “quality is an atti-\ntude of mind”. In the creation of a building \nthere are three resources: money, time and \ncreative energy. It is always the creative \nelement that determines the quality of the \nend product, never the amount of money \nor time. Some of the best buildings in the \nworld have been achieved in record time, \nand often on shoestring budgets. Some of the \nworst have taken forever and cost a fortune. \nThat is not to deny the wisdom of invest-\ning wisely in more enduring materials and \ncraftsmanship. Paying more to do something \nwell once, without having to take it to pieces \nand try again (and sometimes yet again), is, \nin the end, sound economics. It is the same \nin aviation, where “the price of safety is \nconstant vigilance” – nothing can be taken \nfor granted, everything is to be questioned. \nContinuing this theme, there is a direct link \nbetween questioning and innovation. So for \nme the most interesting projects are those \nwhere we have challenged preconceptions. \nFor example, before our bank headquarters \nin Hong Kong, every skyscraper was a rib-\nbon of space around a solid central core. I \nchallenged this and consequently reinvented \nthe tall building by fragmenting the core and \ndisplacing the smaller bits to the edges of a \nclear open space, from which you could look \nout in all directions. This created a much \nbetter place to work, to uplift the spirits of \neveryone in the building.\nThe Hong Kong project was born in the \nsame decade – the 1970s – as our Willis \nFaber building in Ipswich. The innovations \nin that design similarly raised social levels, \nas well as the flexibility to accommodate \nthe new digital technology without having \nto resort to a new programme of building.\nThe story of London’s third airport at \nStansted is a similar one of innovation or \nreinvention. In the quest for a new genera-\ntion terminal we literally turned the previ-\nous model upside down to create a radical \nalternative which has since become the norm \nand been adopted by other airport planners \nand designers worldwide.  It seeks to bring \nback the joy and romance of air travel as well \nas improving the efficiency of its operation. \nI could give you other examples from our \nbody of work which are revolutionary, al-\nthough most of our projects could be termed \nevolutionary. In other words, they build on \nour earlier pioneering projects or they are \nfurther developments of an otherwise exist-\ning model. Beijing Airport is a good example \nat an epic and celebratory scale, made pos-\nsible by Stansted and the interim achieve-\nments of Hong Kong’s Chek Lap Kok.\nIn response to your question, I could also \ndemonstrate links from my student interests \nin the anonymous traditions in architecture \nto the present day – our recent works in \nplaces as far removed as the vineyards of \nBordeaux, the Arabian Desert, Africa and \neven outer space. All of these examples are \nrooted in improving the conditions of today, \nbut pushing the boundaries of the possible \nto serve the needs of the future. This as a \njourney is surely important?\n«It is always the \ncreative element that \ndetermines the quality \nof the end product, \nnever the amount of \nmoney or time»\n",81,{"image":332,"text":333,"number":334},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.82.png","80 C 04\nen cuestión las cosas e innovar. Así que, \npara mí, los proyectos más interesantes son \naquellos en los que nos hemos enfrentado  a \nlos prejuicios. Por ejemplo, antes de nuestro \nBanco de Hong Kong, todos los rascacielos \nconsistían en un anillo de espacio útil en \ntorno a un núcleo central macizo. Puse esta \nconvención en cuestión, y el resultado fue \nreinventar el edificio en altura, rompiendo \nel núcleo y desplazando los fragmentos a los \nbordes de un espacio diáfano, desde el cual \nse podía mirar en todas las direcciones. Esto \npermitió crear un lugar mucho mejor para \ntrabajar, haciéndolo más estimulante para \nlos usuarios del edificio. \nEl proyecto de Hong Kong surgió en la \nmisma década, la de los años 1970, que nues-\ntro edificio para Willis Faber en Ipswich. \nLas innovaciones de este último edificio lo \nhicieron socialmente más adecuado, y le \ndieron la flexibilidad para integrar la nueva \ntecnología digital sin tener que recurrir a un \nnuevo programa. \nLa historia de Stansted, el tercer aero-\npuerto de Londres, es también una historia \nde innovación o reinvención. Buscando una \nnueva generación de terminales aeroportua-\nrias, le dimos literalmente la vuelta al mo-\ndelo tradicional para crear una alternativa \nradical que, desde entonces, se ha convertido \nen norma para otros diseñadores de aero-\npuertos a lo largo y ancho del mundo. Este \nmodelo aspira a devolver al usuario el placer \ny el atractivo del viaje en avión, además de \nmejorar su eficacia operativa.\nPodría darte otros ejemplos de nuestros \ntrabajos que han sido revolucionarios, aun-\nque, en realidad, la mayor parte de nuestros \nproyectos merezcan el nombre de evolutivos. \nEn otras palabras, son proyectos construidos \nsobre otros previos y pioneros, o desarrollos \nadicionales de modelos preexistentes. A una \nescala épica, el aeropuerto de Pekín es un \nbuen ejemplo de ello, pues fue posible sobre \nla base de Stansted y los logros intermedios \ndel aeropuerto Chep Lap Kok de Hong Kong. \nEn respuesta a tu pregunta, también po-\ndría mostrar los vínculos entre los intereses \nde mi época de estudiante respecto a las \ntradiciones anónimas de la arquitectura y \nnuestras obras más recientes, en lugares \ntan alejados como los viñedos de Burdeos, \nel desierto de Arabia, África e incluso el es-\npacio exterior. Todos estos ejemplos buscan \nmejorar las condiciones del hoy, pero yendo \nmás allá de las fronteras de lo convencional \no lo posible, para servir a las necesidades \ndel mañana. ¿No es acaso este un logro \nsignificativo?\n",82,{"image":336,"text":337,"number":338},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.83.png","C 04 81\n",83,{"image":340,"text":19,"number":341},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.84.png",84,{"image":343,"text":344,"number":345},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.85.png","Sydney \nAustralia\ntravel\n",85,{"image":347,"text":348,"number":349},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.86.png","01\nA distinctive city icon \nsince 1932, the steel \nbridge across the bay \nhas earned the friendly \nnickname of ‘the \nCoathanger’ because of \nits huge arch, spanning \n503 meters and a total \ndistance of 1,149 meters.\nLandmark \nHarbour Bridge\n02\nObra de Jørn Utzon, \nla Ópera de Sídney es \nun hito arquitectónico \nnombrado Patrimonio de \nla Humanidad en 2005, \ncuyas cúpulas blancas \npresiden el puerto desde \n1973 evocando las velas \nde los barcos que pasan.\nA work by Jørn Utzon, \nthe Sydney Opera House \nis an architectural \nlandmark and since 2005 \na World Heritage Site. \nIts white domes lord over \nthe harbor since 1973, \nevoking the sails \nof ships passing by.\nArchitecture \nSydney Opera House\n© Allyson Galle \u002F source: bucultureshock.com\nReferencia de la ciudad \ndesde 1932, el puente de \nacero que cruza la bahía  \nes conocido cariñosamente \ncomo ‘la percha’ por su  \ngran arco, con el que  \nsalva 503 metros entre \napoyos y una distancia  \ntotal de 1.149 entre orillas.\n84 C 04\nSydney\nTravel\nCity Guide\n6\nCosmopolita y multicultural,  \nla urbe más densa de Oceanía  \nes un extenso conglomerado \ncon paisajes impactantes y  \nuna amplia oferta de ocio.\nModern and multicultural, \nthe densest city in  \nOceania offers dazzling \nlandscapes and plenty  \nof recreational options. \nsource: wallippo.com\n",86,{"image":351,"text":352,"number":353},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.87.png","C 04 85\n© John Gollings\n03\nLandscape\nSydney Harbour\nCon unos 19 kilómetros \nde longitud desde la línea \nde costa, la bahía de \nSídney, llamada también \nPort Jackson, es uno de \nlos puertos naturales más \ngrandes del mundo y \ndefine el paisaje y el estilo \nde vida de la ciudad.\nMeasuring some 19 \nkilometers in length \nfrom the coastline, the \nSydney Harbour, also \ncalled Port Jackson, \nis one of the world’s \nlargest natural ports, \ndefining the landscape \nand lifestyle in the city.\n",87,{"image":355,"text":356,"number":357},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.88.png","86 C 04\n05\nTower\nDeutsche Bank Place\nEste rascacielos diseñado  \npor Norman Foster añadió  \nen 2005 su afilado perfil \nal skyline de la ciudad.\nThe sharp profile of the \nNorman Foster-designed \nskyscraper is part of the  \ncity skyline since 2005.\n06\nArchitecture\nOne Central Park\nJean Nouvel and PTW are \nthe authors of this retail \nand residential complex \nwrapped in green facades. \n04\nTowers\nAurora Place\nDesigned by Renzo Piano, \nthe two towers of offices \nand apartments rise as  \ntwo huge glass sails. \n07\nArchitecture\nDr Chau Chak Wing Bldg\nNicknamed ‘the paper \nbag’ the UTS business \nschool is Frank Gehry’s \nfirst building in Australia. \n© Martin van der Wal\n© Martin van der Wal\n© Nigel Young \u002F Foster + Partners\n© Andrew Worssam\n© Murray Fredericks\nCreadas por Renzo Piano, \nlas dos torres de viviendas \ny oficinas se levantan como \ndos grandes velas de vidrio.\nApodada ‘la bolsa de papel’, \nla escuela de negocios de la \nUTS es la primera obra de  \nFrank Gehry en Australia.\nJean Nouvel y PTW firman \neste conjunto de viviendas \ny comercios envuelto en \nfachadas vegetales.\n",88,{"image":359,"text":360,"number":361},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.89.png","C 04 87\n08\nLocated across from the \nOpera House, to which \nit is connected by a \npath that goes along the \nedge of the Farm Cove, \nthis small peninsula is \na must visit to enjoy a \npanoramic view of the \ncity skyline. \nSkyline views \nMrs Macquarie’s Point\n09\n10\nLas obras de Glenn Murcutt, \núnico arquitecto australiano \ngalardonado con el Pritzker, \nson en su mayoría viviendas \nque están diseminadas por el \npaís. En Sídney se encuentra \nsu casa-estudio (arriba), y  \nmuy cerca de la ciudad, la  \ncasa Ball-Eastaway (derecha).\nObra del estudio local \nJohnson Pilton Walker, \nla terminal de cruceros \nocupa un antiguo muelle \nde carga y mantiene una \nestructura original para \nalmacenar contenedores, \nentre la que inserta su \nnueva cubierta ondulante.\nDesigned by the local \nstudio Johnson Pilton \nWalker and recently \ncompleted, the Cruise \nPassenger Terminal \nmaintains an existing \nstorage structure in \nwhich it inserts its new \nundulating roof.\nGlenn Murcutt is the \nonly Australian Pritzker \nlaureate, and his \nworks, mainly houses, \nare located across the \ncountry. His house-study \n(above) is in Sydney, and \nthe Ball-Eastaway House \nis near the city (right).\nArchitecture\nGlenn Murcutt works\nArchitecture\nWhiteBayCruiseTerminal\n© Anthony Browell\n© Brett Boardman & Ethan Rohloff\n© Anthony Browell\nFrente al edificio de la \nÓpera y comunicado con  \nella por un paseo que \nbordea la ensenada de \nFarm Cove, esta pequeña \npenínsula es una visita \nobligada para obtener \nuna vista panorámica del \nskyline de la ciudad. \n",89,{"image":363,"text":364,"number":365},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.90.png","88 C 04\n13\n15\nMuseum\nMCA Australia\nGardens\nRoyal Botanic Gardens\nAbierto en 1991, el \nmuseo consagrado al \narte contemporáneo, y \nen especial al panorama \ncreativo de Australia, \nocupa uno de los edificios \nhistóricos de The Rocks \n y fue objeto en 2012 \nde una gran ampliación.\nEn pleno centro y con \nmagníficas instalaciones, \nlos jardines botánicos \nde Sídney se abrieron \nen 1816. Constituyen la \ninstitución científica más \nantigua de Australia y son \nuno de los botánicos más \nimportantes del mundo.  \nOpened in 1991, the \nmuseum dedicated \nto contemporary art, \nand in particular to \nAustralia’s artistic scene \ntoday, takes up one of \nthe historic buildings \nof The Rocks and was \nexpanded in 2012.\nIn the heart of the city \ncenter and with excellent \nfacilities, Sydney’s \nBotanic Garden opened \nin 1816. It is the oldest \nscientific institution in \nAustralia and one of the \nmost important of its \nkind in the world.\n11\nHistoric Area\nThe Rocks\nLa zona donde se fundó \nel primer asentamiento \nde colonos europeos, The \nRocks, es la parte más \nantigua y turística de la \nciudad y mantiene su \nambiente singular gracias \na los edificios históricos \nde piedra arenisca.\nThe Rocks, the stretch \nof land where the \nfirst European settlers \narrived, is the oldest and \nmost touristic area, with \na unique atmosphere \nthanks to the historic \nlimestone buildings that \nhave been preserved. \n14\nPark\nCentennial Park\nInaugurado en 1888 con \nmotivo del centenario del \nprimer asentamiento de \ncolonos en el continente,  \nel Centennial Park, con \n189 hectáreas, es un \nenorme pulmón para la \nciudad localizado a 4 \nkilómetros del centro.\nInaugurated in 1888 \nto mark the centennial \nof the first colonial \nsettlement in the \ncontinent, the Centennial \nPark, with 189 hectares \nand just 4 kilometers \nfrom the center, is a \ngreen lung for the city. \nWith large collections of \nAustralian, European, \nAsian and contemporary \nart, the NSW Gallery is \na national landmark. \nCon vastas colecciones de \narte australiano, europeo, \nasiático y contemporáneo,  \nla Galería de NSW es toda \nuna referencia en el país.\nArt Gallery\nNew South Wales\n12\n© Pete Davies\n© Sailko\n© hightopszucchinisandme.com\n© Brett Boardman\n© source: photofans.cn\n",90,{"image":367,"text":368,"number":369},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.91.png","C 04 89\nLocated south of the  \ncity, this national  \npark of over 15,000 \nhectares dates back to \n1879, and it is therefore \nthe world’s second \noldest, with intact \necosystems and beautiful \nvirgin landscapes. \nEl origen de este parque \nnacional de más de 15.000 \nhectáreas, situado al sur \nde la ciudad, data de \n1879, convirtiéndolo en \nel segundo más antiguo \ndel mundo y ofreciendo \necosistemas intactos y \nbellos paisajes vírgenes.\nNatural Park\nRoyal National Park\n20\n19\nPromenade\nBondi to Coogee Walk\n18\nActivities\nWater Sports\nFuertemente arraigados \nen la identidad local, los \ndeportes de playa definen \nel estilo de vida de los \nSydneysiders. Por toda la \ncosta existen infinidad  \nde academias que ofrecen  \ncursos y tiendas donde se \npueden alquilar equipos.\nDeeply-rooted in the \nlocal identity, water \nsports are part of the \nlifestyle of Sydneysiders. \nThroughout the coast \nthere are schools  \noffering lessons, and \nshops where gear  \ncan be rented. \n17\nBeach & Pool\nBondi & Icebergs Pool \nSiempre animada con \nturistas y locales, Bondi \nBeach es la playa más \nfamosa de la ciudad. La \ncercana Campbell Parade \nestá repleta de tiendas \ny bares, entre los que \ndestaca Icebergs, con una \npiscina al borde del mar.\nAlways popular among \ntourists and locals, \nBondi Beach is the city’s \nmost famous beach.  \nThe nearby Campbell \nParade is full of shops \nand bars, among which \nIcebergs, with a pool  \nby the water. \nThe 6 kilometers of the \nwalkway offer fantastic \nviews of Bondi and \nCoogee beaches.\nThere are over a hundred \nbeaches to enjoy the sand \nand the sea. Palm Beach, \nnorth of the city, is \namong the most beautiful.\nUn paseo elevado de 6 km \ncon impresionantes vistas \nrecorre la costa entre las \nplayas de Bondi y Coogee.\nSídney ofrece más de cien \nplayas para disfrutar de \nla arena y el mar. Palm \nBeach, situada al norte, es \nuna de las más hermosas.\nBeach\nPalm Beach\n16\n© Florian Groehn\n© Brad Chilby\n© John \u002F Sheba\n© Richard Hirst\nsource: supracer.com\n",91,{"image":371,"text":372,"number":373},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.92.png","90 C 04\nFauna  \nTaronga Zoo\n24\nAttraction\nLuna Park\nViews \nHarbour Bridge Climb\n23\nA stair takes visitors up \nto the top of the bridge, \nwhere they can enjoy the \nspectacular harbor views. \nOn the harbor’s north shore, \nthe zoo brings visitors close \nto the country’s biodiversity, \nwith the skyline as backdrop.\nUna escalera permite \nrecorrer el enorme arco \ndel puente y disfrutar de \nlas magníficas vistas.\nEn la orilla norte del puerto,  \nel zoo permite aproximarse a  \nla increíble biodiversidad del \npaís, con el skyline de fondo.\nOpened in 1935, this \namusement park is  \npart of the collective \nmemory of Sydney’s \ncitizens, and it is one of  \nthe two parks in the \nworld protected by \ngovernment laws. \nAbierto en 1935, este \nparque de atracciones \nforma parte de la \nmemoria colectiva de los \nhabitantes de la ciudad; \nes uno de los dos parques \ndel mundo protegidos por \nleyes gubernamentales.\n22\n21\nEn la torre más alta de la \nciudad se sitúa el Sydney \nTower Eye. Elevado 250 \nmetros sobre el suelo, es \nel observatorio más alto \ndel hemisferio sur y ofrece \nuna panorámica de 360º y \nuna experiencia de vértigo \ndesde su mirador de vidrio. \nThe Sydney Tower Eye \nis in the city’s tallest \nbuilding. At 250 meters \nabove the ground, it is \nthe tallest observation \ntower in the southern \nhemisphere and offers \n360º views from its \nglass-enclosed deck. \nSkywalk & Views\nSydneyTower Eye\n© Skywalk \u002F AP\n© Jason Orlando\n© John O’Neill\n© Stephania \u002F awhiskandaspoon flickr\n",92,{"image":375,"text":376,"number":377},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.93.png","C 04 91\nSimilar a un mercadillo, \nel Paddy’s Market de \nChinatown es perfecto \npara comprar souvenirs.\nSimilar to a flea market, \nChinatown’s Paddy’s \nMarket is the perfect \nplace to buy souvenirs. \n25\nShopping\nPaddy’s Market\n26\nShopping\nStrand Arcade\nEsta lujosa galería de \ncomercio se sitúa en un \nedificio victoriano abierto \nen 1892 que mantiene \nmuchos de sus elementos \noriginales, como los finos \nmosaicos de cristal, las \nbaldosas de gran colorido \ny las delicadas lámparas.\nThis high-end shopping \ncenter is located in \na Victorian building. \nOpened in 1892, it \npreserves many of the \noriginal elements, such \nas the glass mosaics, \nthe colorful tiles or the \nexquisite lamps. \n29\nBar & Views\nGlenmore Hotel Rooftop \nLa azotea del hotel \nGlenmore, en The Rocks, \nestá ocupada por un \nagradable bar con una \nde las mejores vistas \nsobre el puerto y la \nÓpera. Además, tiene \nuna buena selección de \ncervezas y cócteles.\nThe Glenmore Hotel \nrooftop bar is a lively  \nentertainment venue \nin The Rocks, offering \nimpressive views of \nSydney Harbour and  \nthe Opera House, as well \nas a good selection of \nbeers and cocktails. \nRestaurant\nTetsuya’s\n28\nIn his world-famous \nrestaurant chef Tetsuya \nWakuda serves a \nvery personal menu, \nbased on Japanese and \nAustralian gastronomy \nand influenced by \nFrench haute cuisine. \nEn su famoso restaurante, \nampliamente reconocido, \nel chef Tetsuya Wakuda \nofrece una cocina muy \npersonal, basada en la \ngastronomía japonesa y \naustraliana e influenciada \npor la alta cocina francesa.\nHotel & Nightclub\nCivic Hotel\n27\nThis art déco building  \nin the business district \nhouses one of the city’s \nmost popular music clubs.\nEn el distrito financiero,  \neste edificio art déco aloja \nuno de los clubs de música  \nmás populares de la ciudad. \nParty\nThe Island Bar\n30\nLocated on the water, \nthe exclusive lounge bar \nThe Island can only be \nreached by boat.\nSituado sobre la superficie \ndel mar y sólo accesible \npor barco, The Island es \nun exclusivo lounge bar.\n© source: theglenmore.com.au\n© Queen Victoria Building\n© Thomas Shannon \u002F flickr\n© Ross \u002F galleryhip\n© Yannie Trip \u002F flickr\n© Dunedoo \u002F flickr\n",93,{"image":379,"text":380,"number":381},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.94.png","92 C 04\n09\n 03. Sydney Harbour\nwww.sydney.com\n 04. Aurora Place Towers\n88 Phillip Street\nSydney NSW 2000\n 05. Deutsche Bank Place\n6\u002F126 Phillip St\nSydney NSW 2000\n 06. One Central Park\n28 Broadway\nChippendale NSW 2008\nwww.centralparksydney.com\n 15. Royal Botanic Gardens\nMrs Macquaries Road\nwww.rbgsyd.nsw.gov.au\n 16. Palm Beach\nNSW 2108 (suburb)\nwww.palmbeachbandb.com.au\n 14. Centennial Park\ncentennialparklands.com.au\n 17. Bondi & Icebergs Pool\nBondi Beach NSW 2026\nwww.bondivillage.com\n 18. Water Sports\nLet’s go surfing! Surf Academy\n+61 2 9365 1800\nwww.letsgosurfing.com.au\n 19. Bondi to Coogee Walk\nStart: \n1 Notts Ave, Bondi Beach\nEnd:\nArden Street, Coogee\n 20. Royal National Park\nAudley Rd, NSW 2232 \nnationalparks.nsw.gov.au\n 26. Strand Arcade\n412-414 George Street\nwww.strandarcade.com.au\n 25. Paddy’s Market\nHay Street & Thomas Street\nwww.paddysmarkets.com.au\n 24. Taronga Zoo\nBradleys Head Road\nMosman NSW 2088\nwww.taronga.org.au\n 23. Harbour Bridge Climb\n3 Cumberland Street, The Rocks\n+61 (2) 8274 7777\nwww.bridgeclimb.com\n 10. Sydney Cruise Terminal\nJames Craig Road, Rozalle\nwww.whitebaysydney.com\n 07. DrChauChakWingBldg\nUltimo Road NSW 2007\n 12. Art Gallery NSW\nArt Gallery Road\n+61 2 9225 1700\nwww.artgallery.nsw.gov.au\n 08. Mrs Macquarie’s Point\nMrs Macquarie’s Road\n 02. Sydney Opera House\nBennelong Point\nSydney NSW 2000\nwww.sydneyoperahouse.com\n 01. Harbour Bridge\nSydney Harbour\nwww.australia.gov.au\nSydney\nLocalización y datos prácticos \nLocation and useful information \n 13. MCA Australia\n140 George Street, The Rocks\n+61 2 9245 2400\nwww.mca.com.au\n 11. The Rocks\nwww.sydney.com\u002FThe-Rocks\n 09. Glenn Murcutt works\nMurcutt-Lewin House\nMosman (neighborhood)\nBall-Eastaway House\nGlenoire (suburb)\n 27. Civic Hotel\n388 Pitt St\nwww.civichotel.com.au\n 29.GlenmoreHotelRooftop\n96 Cumberland Street, \nThe Rocks NSW 2000\n+61 2 9247 4794\nwww.theglenmore.com.au\n 28. Tetsuya’s Restaurant\n529 Kent Street\n+61 2 9267 2900\nwww.tetsuyas.com\n 30. The Island Bar\n1 Athol Wharf Road,\nMosman 2088 NSW\n+61 420 220 885\nwww.theislandsydney.com.au\n 21. Sydney Tower Eye\n100 Market Street\nsydneytowereye.com.au\n 22. Luna Park\n1 Olympic Dr\nMilsons Point NSW 2061\nwww.lunaparksydney.com\n",94,{"image":383,"text":384,"number":385},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.95.png","C 04 93\n06\n07\n25\n14\n17\n18\n19\n15\n04\n21\n27\n28\n26\n05\n10\n01\n22\n02\n08\n11\n12\n13\n23\n29\n03\n24\n30\n09\n16\n20\n",95,{"image":387,"text":388,"number":389},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.96.png","06_02_Cosentino World.indd   94\n30\u002F01\u002F2015   10:45:51\n",96,{"image":391,"text":392,"number":393},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.97.png","06_02_Cosentino World.indd   95\n30\u002F01\u002F2015   10:46:00\n",97,{"image":395,"text":396,"number":397},"\u002Fmedia\u002Fimages\u002F0c\u002F1d5e008b863e2975031a4b96896b69-28f775e396.98.png","96 C 04\nEl Taipei Performing \nArts Center (Taiwán), del \nestudio OMA, acoge tres \nteatros que comparten \nlas zonas comunes, pero \nque pueden funcionar \nindependientemente.\nTerminará de construirse \na finales de 2015.\nThe Taipei Performing \nArts Center (Taiwan), \nby OMA, offers three \nauditoriums that share \ncommunal areas, \nbut that can be used \nindependently. 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