[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-cosentino-architecture-and-everything-else-23":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":340},{"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":335,"matched_pages":336,"match_count":337,"two_pages":338,"show_text":339},24499,"Architecture & Everything Else 23","cosentino-architecture-and-everything-else-23","\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002Ff0\u002F6ee5bc84dcf5f0e3e3384f3a70fc04-28f7a160a4.pdf","Cosentino",2482,"cosentino","28.9 MB",[14,17,21,25,29,33,36,40,44,48,52,56,60,64,68,72,76,80,84,88,91,95,99,103,107,111,115,119,123,127,130,134,138,142,146,150,154,158,162,166,169,173,177,181,185,189,192,196,200,204,208,212,216,220,224,228,231,235,239,242,246,250,254,258,262,266,270,274,277,281,285,289,293,297,301,305,309,313,317,321,324,327,330,333],{"image":7,"text":15,"number":16},"c \narchitecture &  \neverything else 23 \n",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.2.png","",2,{"image":22,"text":23,"number":24},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.3.png","c\ncontents\n20\n06\n30\n40\n46\n56\n68\n  Architecture\n 06 Global TheaTer  Taipei Performing Arts Center by OMA  \n \n rem Koolhaas y su socio David Gianotten revisan la tipología del espacio escénico.  \n \n Partners Rem Koolhaas and David Gianotten reinterpret the performance theater type.\n 14 Deep CuT  Jinyun Quarries by DnA\n \n la intervención de la firma china recupera nueve canteras dispersas por el paisaje de Jinyun.\n \n The Chinese studio recovers and transforms nine abandoned quarries in Jinyun county.\n \n Style\n 30 beyonD realiTy  Andrés Reisinger\n \n el inclasificable diseñador imagina un futuro entre el mundo real y el digital.\n \n The unclassifiable designer imagines a future between the real and the digital world.   \n 34 arTisTiC furniTure  Cosentino’s Capsule Collection\n \n la colección de piezas de mobiliario ha sido realizada con Dekton slim.\n \n The furniture and home accessories collection is made with Dekton Slim.\n \n Cosentino\n 40 DeKTon faCaDe  TQ InvestPro Building by Arquitecturia+Adrià Felip\n \n el acabado en Dekton Kreta es el protagonista de las fachadas de este edificio de usos mixtos. \n \n Dekton Kreta clads the facades of this mixed-use building in a matt grey tone.\n \n Interior\n 46 The Day afTer  TAKK Architecture in Madrid\n \n el proyecto rehabilita una vivienda de los años ochenta bajo preceptos climáticos. \n \n A 1980s apartment is refurbished and updated to meet today’s climatic efficiency standards.  \n 50 naTural MaTTer  Omed Headquarters by GANA Arquitectura\n \n Dekton es el material elegido para la reforma y ampliación de esta antigua almazara.\n \n Dekton is the material of choice to renovate and extend an old oil mill.\n  Interview\n 56 CrisTina iGlesias & esTrella De DieGo  In dialogue\n \n la sede de la real academia de bellas artes acoge el encuentro de la escultora y la escritora.\n \n The sculptor and the historian meet at the Royal Academy of Fine Arts in Madrid.\n  Travel\n 68 ValenCia  Spain\n \n una guía por la ciudad mediterránea, convertida este año en la Capital Mundial del Diseño.\n \n A guide of the Mediterranean city, which is this year’s World Design Capital.\n  Arts\n 20 surreal sCenes  Beneath the Roses by Gregory Crewdson\n \n las imágenes de Crewdson muestran oníricas calles vacías de los suburbios americanos.  \n \n Crewdson’s images depict oneiric scenes of empty streets in suburban America. \n 24 GhosT siGns  A London Story\n \n el libro de roberts y reed recupera las historias ocultas tras los desdibujados rótulos urbanos.\n \n The book by Sam Roberts and Roy Reed unveils the stories hidden behind faded city signs.\n",3,{"image":26,"text":27,"number":28},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.4.png","Depósito Legal: M-14282-2014\nISSN: 2341-3867 \nCubierta Cover\n©Wang Ziling \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\nDirector adjunto Deputy Director\nJosé Yuste \nDirector de arte Art Director\nMiguel Fernández-Galiano\nEditado por Edited by\nCosentino \u002F Arquitectura Viva\nDiseño y producción editorial\n Graphic Design and Editing\nArquitectura Viva S.L.  \nAlberto Ballesteros \nCuca Flores \nAlejandra Galache \nLaura González \nEnrique Morillo \nJesús Pascual \nRaquel Vázquez \nTraducción Translations\nGina Cariño, Laura Mulas\n",4,{"image":30,"text":31,"number":32},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.5.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 aportación 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":19,"number":35},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.6.png",6,{"image":37,"text":38,"number":39},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.7.png","Architecture\nGlobal Theater\nTaipei Performing Arts Center by OMA\nDeep Cut\nJinyun Quarries by DnA\n",7,{"image":41,"text":42,"number":43},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.8.png","6 C 23\nArchitecture\nAuditorium\n1\nSi las artes escénicas han vivido grandes transformaciones en el \núltimo siglo, el diseño de teatros y auditorios ha mantenido una \npostura inmovilista, fiel al habitual esquema de auditorio, pros-\ncenio y caja escénica. Frente a la estrategia de muchos proyectos \ncontemporáneos, que han ocultado esta clásica distribución —con \nescasos cambios significativos desde el siglo xix— bajo pieles \nvanguardistas o formas ampulosas, la propuesta de OMA para el \nCentro de artes escénicas de Taipei (Taiwán) huye de la actual \n«estandarización» de los teatros, y sus conservadores principios \noperativos, para presentar una verdadera revisión tipológica de \nlos auditorios tradicionales.\nLa construcción se conforma por la macla de un volumen cúbico \ncon los tres tipos de salas diferentes: un llamativo espacio esférico, \ncon capacidad para 800 personas, y dos cajas rectangulares asimé-\ntricas que pueden albergar 1.500 y 800 espectadores. El cubo central \naglutina escenarios, tramoyas, cuartos técnicos y núcleos de comu-\nnicación, permitiendo que los auditorios puedan modificarse o unir-\nse para adaptarse a diferentes usos y representaciones. Esta boutade \nformal se evidencia en las fachadas; mientras que los auditorios son \nvolúmenes ciegos, el cubo se reviste de vidrio, y se culmina elevando \ntodo el conjunto. Esta operación permite que el edificio se entienda \ncomo una extensión del espacio público, recogiendo los flujos urba-\nnos y repartiéndolos hacia las distintas salas.\nWhereas the performing arts have undergone major transforma-\ntions in the past century, the design of theaters and concert halls \nhas stayed largely unchanged, faithful to the conventional scheme \nof auditorium, proscenium, and stage box. Contrary to the strategy \nadopted by many contemporary projects, which have tended to hide \nthis classic layout – with little significant alteration since the 19th \ncentury – under avant-garde skins or bombastic forms, OMA’s design \nfor the performance center in Taipei (Taiwan) flees from the current \n“standardization” of theaters and the conservative principles behind \nthem, opting instead for a true and all-out typological revision of \nthe traditional performance venue.\nThe Taipei Performing Arts Center is formed by a cubic vol-\nume’s interlocking with three different auditorium types: a sphere \nseating an audience of 800 and two asymmetrically positioned \nrectangular boxes taking in 1,500 and 800 spectators. The central \ncube contains the stages and also all stage machinery, technical \nrooms, and circulation cores, making it possible for the auditori-\nums to be modified or even joined, adapting to a variety of uses \nand performances. The arrangement is reflected on the facades. \nWhile the auditoriums are blind, opaque volumes, the cube in the \nmiddle has a glass enclosure, and is raised above the ground to \ncreate an extension of the public space, welcoming urban flows \nand leading people to the shows upstairs.\nGlobal Theater \nTaipei Performing Arts Center by OMA\nEl proyecto de la firma \nOMA —liderada aquí por \nRem Koolhaas y David \nGianotten— propone una \nrevisión tipológica de los \nauditorios tradicionales \ny, tras más de diez años \nde construcción, ha sido \nrecientemente inaugurado.\nThis OMA project – led \nby Rem Koolhaas and \nDavid Gianotten – is a \ntypological revision of \ntraditional auditoriums \nand, after more than ten \nyears of construction \nwork, the building has \nfinally opened.\n",8,{"image":45,"text":46,"number":47},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.9.png","C 23 7\n",9,{"image":49,"text":50,"number":51},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.10.png","8 C 23\nLas tres salas se maclan \nen el espacio cúbico \ncentral, permitiendo \ntanto su funcionamiento \nautónomo como \ndistintas combinaciones \npara adaptarse a las \nnecesidades de cualquier \ntipo de representación.\nThe three auditoriums \nstick out of different \nsides of a central cube, \nand function either \nseparately or in any of \ndifferent combinations, \nin accordance with the \nrequirements of the \nperformances on show.\n",10,{"image":53,"text":54,"number":55},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.11.png","C 23 9\nTheater configurations\naudience\nstage\n",11,{"image":57,"text":58,"number":59},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.12.png","10 C 23\nAlrededor de las salas se \nha generado un recorrido \ncircular que da a los \nvisitantes acceso a zonas \nnomalmente ocultas \ncomo los espacios de \nproducción, aunque no \ndispongan de entrada \npara las representaciones.\nThe scheme generates  \na circular route around \nthe auditoriums that \ngives visitors access to \nzones normally kept \nout of sight, such as \nproduction spaces,  \neven without a ticket  \nfor any of the shows.\n5\n7\n3\n",12,{"image":61,"text":62,"number":63},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.13.png","C 23 11\n",13,{"image":65,"text":66,"number":67},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.14.png","12 C 23\n",14,{"image":69,"text":70,"number":71},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.15.png","C 23 13\nArquitectos Architects\nOMA \u002F Rem Koolhaas, David Gianotten (socios partners); \nChiaju Lin (responsable de proyecto project director); \nPaolo Caracini, Inge Goudsmit, Daan Ooievaar \n(asociados associates); Vincent Kersten, Han Kuo, Kevin \nMak, Chang-An Liao, with Yannis Chan, Hin-Yeung Cheung, \nMeng-Fu Kuo, Nien Lee, Nicole Tsai (equipo team)\nColaboradores Collaborators\nKRIS YAO | ARTECH (arquitecto ejecución executive \narchitect); dUCKS Scéno, Creative Solution Integration Ltd. \n(consultores teatro theater consultant); Royal HaskoningDHV \nand Theo Raijmakers, SM&W (acústica acoustic); Inside \nOutside (paisajismo y diseño de interiores landscape and \ninterior design); Arup (ingeniería engineering); Evergreen \nConsulting Engineering Inc. (estructura structure); Heng \nKai Inc., IS Leng and Associates Engineers (ingeniería de \nmantenimiento services engineer); Taiwan Fire Safety \nConsulting Ltd. (ingeniería prevención de fuego fire \nengineer); Chroma 33 (consultores iluminación lighting \nconsultant); ABT, CDC Inc. (consultores fachada facade \nconsultant); Segreene Design and Consulting (consultores \nsostenibilidad sustainability consultant); CNHW (consultores \npaisajismo landscape consultant); Sino Geotech (estudios \ngeotécnicos geotechnical engineer); Everest Engineering \nConsultants Inc. (consultores tráfico traffic consultant); \nArtefactory (animación animation)\nFotos Photos\nChris Stowers (pp. 9, 10 abajo bottom, 12-13); Shephotoerd \nCo. (pp. 7, 8, 10 arriba top, 11, 13)\n",15,{"image":73,"text":74,"number":75},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.16.png","14 C 23\nArchitecture\nLandscaping\n1\nDeep Cut\nJinyun Quarries by DnA\nEl histórico condado de Jinyun, en la parte central de la provincia \nde Zhejiang, es una zona de montañas escarpadas y valles angostos, \ncaracterizada por sus ricos paisajes naturales. Dentro de estos parajes \nexistía una intensa actividad minera, que continuaba con la tradi-\ncional extracción manual de materiales. Debido a la transformación \nen curso de la sociedad y a los nuevos desafíos socioeconómicos, \nen la actualidad más de tres millares de estas pequeñas canteras de \npiedra han caído en desuso. Dentro de los planes para el desarrollo \ny revitalización de estas zonas rurales, la firma DnA_design and \narchitecture —liderada por Xu Tiantian— ha reactivado nueve de \nestas antiguas pedreras ubicadas en el valle de Xiandu. \nEl proyecto del estudio pekinés se desarrolla en canteras próximas, \ntodas situadas en un radio menor de un kilómetro, y conectadas por \nun sendero. La estrategia de la intervención ha sido realizar operacio-\nnes sencillas —como pequeñas terrazas, ligeras pasarelas o discretas \nfuentes de iluminación— que aprovechan la belleza de las superficies \nrocosas y las buenas condiciones acústicas para introducir un pro-\ngrama limitado y atento con el enclave. De este modo, los espacios \nmejor acondicionados se han destinado a la celebración de actos \nculturales y los de escala más reducida, o con mejores vistas sobre \nel paisaje, se convierten en imprevistas casas de té y espectaculares \nmiradores. Estas delicadas piezas funcionan como los hitos de un \nnuevo y respetuoso itinerario a través de la naturaleza.\nThe historic county of Jinyun, in the central part of Zhejiang \nprovince, is a region of rugged mountains and narrow valleys, \ncharacterized by its rich natural landscape. This area was known \nfor an intensive mining activity, which perpetuated the traditional \nmanual extraction of materials. But as a consequence of the deep \ntransformation of today’s society and the new socioeconomic \nchallenges, more than three thousand quarries have become \nredundant, a situation which has called for initiatives to bring \nthese rural areas back to life. In the context of these plans to \nrevitalize these areas, the firm DnA_design and architecture – \nled by Xu Tiantian – has reactivated nine of these old quarries \nin Xiandu valley. \nThe project by the Beijing-based studio is developed in nearby \nquarries, all located within a one kilometer radius, and connected \nby a path. The strategy for the intervention was to carry out simple \noperations – small terraces, light catwalks, and subtle lighting – \nthat take advantage of the beauty of the rocky surfaces and the good \nacoustic conditions to introduce a limited program that is respectful \nwith the site. The largest and most suitable spaces have been reserved \nfor cultural events, and the smaller ones, or with better views, are \ntransformed into tea houses and spectacular observation platforms. \nThese delicate pieces become milestones  in a new and respectful \njourney through nature. \nCliente Client:  \nJinyun County Culture tourism Development  \nArquitectos Architects:  \nXu Tiantian \u002F DnA_Design and Architecture \nFotos Photos \nWang Ziling\n",16,{"image":77,"text":78,"number":79},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.17.png","C 23 15\n",17,{"image":81,"text":82,"number":83},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.18.png","16 C 23\n",18,{"image":85,"text":86,"number":87},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.19.png","C 23 17\n",19,{"image":89,"text":19,"number":90},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.20.png",20,{"image":92,"text":93,"number":94},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.21.png","Arts\nSurreal Scenes\nBeneath the Roses by Crewdson\nGhost Signs\nA London Story\n",21,{"image":96,"text":97,"number":98},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.22.png","20 C 23\nArts\nPhotography\n2\nArts\nPhotography\n2\nSurreal \nScenes\nBeneath the Roses \nby Gregory Crewdson\nEn la serie ‘Beneath the \nRoses’, con influencias de \nlas pinturas de Hopper, la \nfotografías de Arbus o el \ncine de Lynch, Crewdson \nplasma enigmáticas \nescenas de la vida \ncotidiana de poblaciones \nsuburbanas americanas.\nIn the series ‘Beneath \nthe Roses’ Crewdson \ndepicts enigmatic \nscenes of everyday life \nin American suburban \ntowns, with images that \nevoke Hopper’s paintings, \nArbus’s photographs,  \nand Lynch’s films. \n",22,{"image":100,"text":101,"number":102},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.23.png","C 23 21\nUntitled, 2003. From ‘Beneath the Roses,’ 2003-2008. Digital Pigment Print 144.78x223.52cm. © Gregory Crewdson. Courtesy Gagosian\n",23,{"image":104,"text":105,"number":106},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.24.png","22 C 23\nUntitled, 2007. From ‘Beneath the Roses,’ 2003-2008. Digital Pigment Print 144.78x223.52cm. © Gregory Crewdson. Courtesy Gagosian\nUntitled, 2006. From ‘Beneath the Roses,’ 2003-2008. Digital Pigment Print 144.78x223.52cm. © Gregory Crewdson. Courtesy Gagosian\nGrace Clark for Crewdson Studio, 2018\nThe ‘construction’ of his \nimages is characterized \nby the use of cinematic \nprocesses involving a \ncareful location research, \nsound and lighting \nequipment, and post-\nproduction using digital \nart and special effects. \nLa ‘construcción’ de sus \nimágenes se caracteriza \npor la utilización de \nprocesos cinematográficos \nque incluyen estudios de \nlocalización, técnicos de \nsonido e iluminación y \nprocesos de postproducción \no efectos especiales.\nUntitled, 2003. From ‘Beneath the Roses,’ 2003-2008. Digital Pigment Print 144.78x223.52cm. © Gregory Crewdson. Courtesy Gagosian\n",24,{"image":108,"text":109,"number":110},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.25.png","C 23 23\nUntitled, 2007. From ‘Beneath the Roses,’ 2003-2008. Digital Pigment Print 144.78x223.52cm. © Gregory Crewdson. Courtesy Gagosian\n",25,{"image":112,"text":113,"number":114},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.26.png","24 C 23\nArts\nPhotography\n2\nGHOST SIGNS\nA London Story\nBorough High Street SE1. All the images come from the book Ghost Signs. A London Story of Sam Roberts and Roy Reed.\nLos palimpsestos urbanos nos ayudan a entender las ciudades que \nhabitamos. Estas evanescentes huellas, desde las diacrónicas su-\nperposiciones de edificios o viario hasta los restos desvanecidos de \nun rótulo en una medianera, nos hablan de los modos de vida y las \npreocupaciones de sus antiguos moradores. Los ghost signs —carteles \npintados o grabados directamente sobre los muros de ladrillo de los \nedificios— surgieron en el siglo xix, se popularizaron en el periodo \nde entreguerras y acabaron pereciendo frente a los carteles en papel. \nConsiderados como un antecedente de los grafitis contemporáneos, \nen la actualidad estos rótulos se recuperan y protegen como una \nvaliosa parte de la memoria de las ciudades.\nCon su libro Ghost Signs. A London Story el escritor Sam Roberts \ny el fotógrafo Roy Reed narran una historia alternativa de Londres, \nescrita tras recorrer como flâneurs contemporáneos las calles de la \ncapital británica para así identificar estos singulares restos arqueo-\nlógicos. La publicación —que es solo una parte de un proyecto más \nambicioso iniciado en el año 2006— recoge una meticulosa catalo-\ngación de cada una de los anuncios, incluyendo fotografías y datos \nde interés, y descubre las historias o factores ocultos responsables de \nsu pervivencia en la ciudad. Los autores tratan estos rótulos no solo \npor su indudable valor estético, sino por un interés antropológico \nque, entre otros, nos permite dilucidar algunas de las conductas de \nconsumo de la sociedad del momento.\nEl libro culmina un \nproyecto iniciado en \n2006 por Sam Roberts, \nque recorre las calles de \nLondres para descubrir \nlas historias ocultas \ntras estos rótulos y los \nfactores responsables \nde su pervivencia.\nThe book rounds off \nthe project initiated in \n2006 by Sam Roberts, \nwho walks the streets \nof London to discover \nthe stories hidden \nbehind these signs and \nthe reasons why they \nremain in place. \nUrban palimpsests help us understand the cities we live in. These \nevanescent traces, from the diachronic superpositions of build-\nings or streets to the faded remains of a sign or writing on a \nparty wall, tell stories about the lifestyles and concerns of past \ndwellers. ‘Ghost signs’ – advertisements hand-painted, carved, or \nplaced with moulded lettering on the walls of buildings – emerged \nin the 19th century, became popular during the interwar period, \nand ended up perishing and being replaced by paper billboards. \nConsidered as forerunners of contemporary graffitis, nowadays \nthese signs are being recovered and protected as valuable traces \nof the memory of cities. \nIn the book Ghost Signs. A London Story, writer Sam Roberts \nand photographer Roy Reed tell an alternative history of London, \nwritten after walking, as contemporary flâneurs, the streets of the \nBritish capital to identify these unique archaeological remains. \nThe publication – which is only a portion of a more ambitious \nproject initiated in the year 2006 – comprehensively lists each \none of the signs, including photographs and interesting facts, and \nunveils the stories behind them or specific factors that explain \nwhy they have survived in the city. The authors study these signs \nnot only for their undoubtable aesthetic value, but also for their \nanthropological interest, because they are able to shed light on \nconsumer habits in today’s society. \n",26,{"image":116,"text":117,"number":118},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.27.png","C 23 25\n",27,{"image":120,"text":121,"number":122},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.28.png","26 C 23\nHugh Street SW1\nRedcross Way SE1 (corner of Park Street)\nCrispin Street E1 (just off Brushfield Street)\nTyssen Road N16 (corner of Stoke Newington High Street)\nSt James Street E17 (between Brunner Road and Station Road)\n",28,{"image":124,"text":125,"number":126},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.29.png","C 23 27\nCon temáticas publicitarias \nvariadas, estas cicatrices \nurbanas perduran como \ndesgastadas cápsulas del \ntiempo en las paredes de \nlos edificios, mostrando \nlas preocupaciones e \nintereses cotidianos de \nsus antiguos habitantes.\nWith differents sorts \nof advertising themes, \nthese urban scars remain \nas time capsules on \nthe walls of buildings, \nreflecting the daily \nworries and concerns \nof the people that once \ninhabited them.\nCedars Road SW4\nStoke Newington Church Street N16\n",29,{"image":128,"text":19,"number":129},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.30.png",30,{"image":131,"text":132,"number":133},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.31.png","Style\nBeyond Reality \nAndrés Reisinger\nArtistic Furniture\nCosentino’s Capsule Collection\n",31,{"image":135,"text":136,"number":137},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.32.png","30 C 23\nDesde los primeros videojuegos a las redes sociales o las platafor-\nmas interactivas como Fortnite, nuestras interacciones en mundos \nvirtuales no paran de crecer, y hoy asistir a un concierto de Aria-\nna Grande o a un showroom de mobiliario desde la pantalla de \nun smartphone o un ordenador es ya una realidad. Esta evolución \nha llevado a numerosos profesionales —arquitectos, interioristas o \ndiseñadores— a investigar las posibilidades creativas de lo digital, \ndonde el único límite es la propia imaginación. Si la corriente habi-\ntual es adaptar objetos del mundo real al metaverso, Andrés Reisin-\nger invirtió la tendencia con su silla Hortensia. La pieza consiguió \nun gran alcance en redes sociales hasta convertirse en viral, lo que \nanimó a un fabricante a producirla.\nTras este éxito, el multidisciplinar creador, con formación en di-\nseño gráfico, ha continuado imaginando un futuro híbrido y ex-\nplorando los límites entre ambos mundos. Sus diseños han pro-\ntagonizado otros hitos importantes, como la reciente subasta de \npiezas de mobiliario de la colección ‘The Shipping’, que se agotó en \nmenos de diez minutos y que destaca por su carácter híbrido: cinco \nde las piezas tienen su correspondiente versión física, mientras que \notras tantas existen solo en modelo 3D verificado por un NFT. Sus \ncreaciones abarcan también la arquitectura en el metaverso, donde \nlos proyectos no responden a la gravedad y puede experimentar \ncon oníricos espacios de geometrías claras y colores suaves.\nOur interactions in virtual worlds keep on increasing, from the \nfirst videogames to social media or interactive platforms like \nFortnite. Today it is even possible to attend a virtual concert of \nAriana Grande or visit a furniture showroom from a smartphone \nor computer screen. This evolution has pushed numerous ar-\nchitects and designers – among other professionals – to explore \nand exploit the creative possibilities of the digital world, where \nimagination is the only limit. Though the usual order is to adapt \nobjects from the real world to the metaverse, Andrés Reisinger has \ninverted the trend with his Hortensia Chair, a piece that garnered \nhuge attention in social media and became viral, encouraging a \ncompany to manufacture it. \nAfter this success, the unclassifiable artist, with a background \nin graphic design, has continued imagining a hybrid future and \nexploring the boundaries of both worlds. Another highlight in his \nwork was the recent sale at an online auction of all the furniture \npieces in ‘The Shipping’ collection, which sold out in less than \nten minutes, and which is hybrid in character: five of the items \nhad their physical counterparts, while another five existed only \nas an NFT-verified 3D models. Reisinger’s designs also reach the \narchitecture of the metaverse, where the projects do not respond \nto gravity and where he can experiment with oneiric spaces of \nclear-cut geometry and soft colors. \nBeyond Reality \nAndrés Reisinger \nDesde su estudio de \nBarcelona, el creador \nvisual Andrés Reisinger \n(Buenos Aires, 1990) se \nha convertido, gracias \na objetos como la silla \nHortensia, en uno de los \nartistas digitales más \ncotizados del momento.\nDesigning from his \nBarcelona-based studio, \nAndrés Reisinger \n(Buenos Aires, 1990) \nhas become, thanks \nto objects like the \nHortensia Chair, one of \nthe most sought-after \ndigital artists today. \nStyle\nMetaverse\n3\nWinter House\n",32,{"image":139,"text":140,"number":141},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.33.png","C 23 31\n",33,{"image":143,"text":144,"number":145},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.34.png","32 C 23\nThe Winter House, \ndesigned in collaboration \nwith the architect Alba \nde la Fuente, was one of \nReisinger’s first domestic \ncommissions. The house \nreflects his usual oneiric \nstyle of distinct shapes \nand soft colors. \nEl proyecto Winter House, \ndiseñado con la arquitecta \nAlba de la Fuente, fue \nuno de sus primeros \nencargos domésticos de \nReisinger, donde muestra \nsu habitual estilo onírico \nde geometrías claras y \ncolores suaves.\nWinter House\nHortensia Armchair\nMatsumoto, The Shipping\nCustom, The Shipping\nDeep Space, The Shipping\nTime Table, The Shipping\nWinter House\n",34,{"image":147,"text":148,"number":149},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.35.png","C 23 33\n",35,{"image":151,"text":152,"number":153},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.36.png","34 C 23\nStyle\nDesign\n3\nartiStic \nfurniture\nCosentino’s Capsule Collection\n",36,{"image":155,"text":156,"number":157},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.37.png","C 23 35\nLa colección de muebles \nes una colaboración del \nCosentino City Dubai con \nlas principales casas de \ndiseño de Oriente Medio. \nTodas las piezas  se han \nelaborado en la gama \nDekton Slim, con tan \nsolo 4mm de espesor.\nThe furniture collection \nis a collaborative work \nof Cosentino City Dubai \nwith the leading design \nhouses of the Middle \nEast. All the pieces are \nmade in the Dekton Slim \nrange, with panels as \nthin as 4 mm.. \n",37,{"image":159,"text":160,"number":161},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.38.png","36 C 23\nThe pieces, designed by \nfamed designers Nada \nDebs, Mustafa Khamash, \nFadi Sarieddine, Aljoud \nLootah, and The Line \nConcept, push the \nboundaries of Dekton \nSlim, taking it to its \nmaximum potential.  \nLas piezas, realizadas por \nreconocidas figuras del \ndiseño como Nada Debs, \nMustafa Khamash, Fadi \nSarieddine, Aljoud Lootah \no The Line Concept, \namplían los límites de \nDekton Slim y aprovechan \nal máximo su potencial.\nTektonia Tables, The Line Concept\nRocco, Mustafa Khamash\n",38,{"image":163,"text":164,"number":165},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.39.png","C 23 37\nTalyd, Aljoud Lootah\nCarapace Console, Nada Debs\nPaper Coffee Table, Fadi Sarieddine\n",39,{"image":167,"text":19,"number":168},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.40.png",40,{"image":170,"text":171,"number":172},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.41.png","Cosentino\nDekton Facade\nTQ InvestPro Building by Arquitecturia\n",41,{"image":174,"text":175,"number":176},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.42.png","40 C 23\nCosentino\nArchitecture\n4\nDekton FACADe\nTQ InvestPro Building by Arquitecturia+Adrià Felip\nSituado en el centro histórico de Gerona, sobre las trazas de la \nantigua muralla, el proyecto firmado por la oficina Arquitecturia, \njunto con Adrià Felip, surge del diálogo con las construcciones \ncolindantes, entre las que destacan uno de los primeros proyectos \ndel nuevo ensanche a cargo de Isidre Bosch, la sede del Banco de \nEspaña de la firma de Clotet & Paricio y la Plaza de la Constitución de \nMartínez Lapeña & Elías Torres. La propuesta organiza los distintos \nusos en tres estratos compositivos: un basamento formado por \nlocales comerciales, un cuerpo intermedio de oficinas y una última \nparte dedicada a viviendas. El programa residencial se articula en \ntorno al núcleo central de comunicaciones y el patio posterior, \npara así asegurar tanto la iluminación como la ventilación natural \nde todas las estancias. \nAdemás, el espacio doméstico propone una reflexión sobre los \nmodelos de convivencia, y por ello las habitaciones se organizan \ncon un sistema de paneles de madera que permite acotar los usos \nmanteniendo a la vez la conexión visual entre ellos. Otro rasgo \ncaracterístico del proyecto es su innovadora fachada, construida en \nDekton y configurada por un sistema de contraventanas modulares. \nEn el exterior se consigue una imagen uniforme gracias a la \nrepetición de este módulo y del uso de Dekton Kreta en el resto \nde superficies y elementos, desde los pavimentos de los balcones \nhasta las barandillas.\nLocated in the historic center of Girona, over the traces of the old \ncity wall, the project signed by Arquitecturia, in collaboration with \nAdrià Felip, establishes a dialogue with the neighboring buildings, \namong which are some prominent constructions like one of the first \nprojects in the new urban expansion plan by Isidre Bosch, the Bank \nof Spain branch building by Clotet & Paricio, and the Plaça de la \nConstitució by José Antonio Martínez Lapeña & Elías Torres. The \nproject organizes the different uses in three compositive strata: a \nplinth containing commercial premises, an intermediate volume \nfor offices, and a last part reserved for housing. The residential \nprogram is laid out around the central communications core and \nthe rear courtyard, ensuring in this way that all the rooms enjoy \nnatural lighting and ventilation. \nFurthermore, the domestic space invites to reflect on the diverse \nliving arrangements, so the rooms are divided by a system of timber \npanels that marks out the different uses while maintaining a visual \nconnection between the spaces. Another characteristic feature of \nthe project is its innovative facade, clad with Dekton and a system \nof modular shutters. The building’s exterior offers a uniform image \nthanks to the repetition of this module and the use of Dekton Kreta \nby Cosentino for the remaining surfaces and elements, such as the \nflooring of terraces or the guard rails, bringing a seamlesse design \nin matt texture and grey color.\nCliente Client:  \nTQ InvestPro \nArquitectos Architects:  \nJosep Camps, Olga Felip \u002F Camps Felip Arquitecturia\nAdrià Felip\nArquitectos técnicos Quantity surveyor: \nCarles Planas y Robert Badosa\nIngeniería Engineering: \nPGI y Legir \nFotos Photos \nJosé Hevia\n",42,{"image":178,"text":179,"number":180},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.43.png","C 23 41\n",43,{"image":182,"text":183,"number":184},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.44.png","42 C 23\nThe Dekton Kreta finish \nof the facade and folding \nshutters is also used on \nthe remaining surfaces, \nand its 30cm-module \ncontinues on the flooring \nof the terraces and  \nguard rails, creating  \na uniform image.  \nEl acabado en Dekton \nKreta de la fachada y las \ncontraventanas se repite \nen el resto de paramentos, \ny su módulo de 30cm se \ncontinúa en el pavimento \nde los balcones o sus \nbarandillas ordenando \nlos barrotes metálicos. \nDekton Kreta\n",44,{"image":186,"text":187,"number":188},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.45.png","C 23 43\n",45,{"image":190,"text":19,"number":191},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.46.png",46,{"image":193,"text":194,"number":195},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.47.png","Interior\nThe Day After\nTAKK Architecture in Madrid\nNatural Matter \nOmed Headquarters by GANA\n",47,{"image":197,"text":198,"number":199},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.48.png","46 C 23\nPhotos: Jose Hevia\n‘The Day After House’ es un proyecto de reforma de una vivienda \nubicada al norte de Madrid y realizada por el estudio TAKK, formado \npor Mireia Luzárraga y Alejandro Muiño. El encargo consistía en \nla actualización de los espacios domésticos a los modelos de uso \ncontemporáneos, siempre bajo la conciencia medioambiental que \nexige el nuevo régimen climático y la crisis energética presente. \nTodo el proyecto se estructura en torno a tres ideas básicas: distribuir \nel programa siguiendo gradientes térmicos, organizándolo en capas \nsegún sus requisitos de climatización; el uso de materiales de baja \nemisión de CO2, básicamente madera y corcho natural; y reducir \nla superficie construida de la casa a la mitad, liberando el resto \npara crear una especie de terraza interior.\nEl diseño programático de la vivienda utiliza a sus propios inquilinos \ncomo factor determinante. El espacio abierto de la cocina favorece \nun uso equitativo por los distintos miembros de la familia y busca \nuna continuidad material con el salón o el comedor. La intervención \nopta por introducir un único dormitorio, para aprovechar así las \nventajas climáticas de dormir juntos a la vez que se refuerzan los \nlazos afectivos. Los baños también son repensados desde una visión \nhedonista y lúdica, y se sitúan en un espacio privilegiado junto a la \nfachada para así favorecer su iluminación y ventilación. Por último, \nse incorpora una zona que permita introducir una abundante vida \nvegetal, esencial para mantener un clima fresco en verano.\n‘The Day After House’ is the project to refurbish an apartment \nlocated north of Madrid, commissioned to TAKK – the architecture \noffice led by Mireia Luzárraga and Alejandro Muiño. The brief called \nfor a complete updating of the domestic space to contemporary \nmodels of use and environmental responsibility under the new \nclimate regime and the current energy crisis. The whole project \nis structured around three basic ideas: the distribution of the \ndomestic program based on thermal gradients and on the climatic \nneeds of each space; the use of materials with low CO2 emissions, \nmainly wood and natural cork; and the reduction of the built area \nto just half of the total surface of the house, emptying the other \nhalf to create an indoor terrace.\nTo define the layout of the house, the designers take the residents \nthemselves as reference. The open space of the kitchen favors an \nequitable use by the different members of the family, and establishes a \nmaterial continuum with the living and dining room. The advantages \nof sleeping together are countless, as much for climatic reason as for \nemotional ones, so there is only one single and communal bedroom. \nThe bath spaces are reconsidered from a playful and hedonistic \nperspective, and thus occupy the best parts of the house close to \nthe facade to ensure that they are well ventilated and illuminated. \nThe design also reserves space for plants, which will keep a fresh \nenvironment during the summer.\nThe day afTer \nTAKK Architecture in Madrid\nInterior\nhousing\n5\n",48,{"image":201,"text":202,"number":203},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.49.png","C 23 47\n",49,{"image":205,"text":206,"number":207},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.50.png","48 C 23\nEn lugar del habitual \narreglo de salas y pasillos, \nla organización sigue \nun gradiente térmico, de \nmodo que una ‘casa de \ninvierno’ perfectamente \naislada queda contenida  \nen un ‘área de verano’  \nmás abierta y fresca.\nInstead of the usual \narrangement of rooms \nand hallways, the \nlayout follows a thermal \nsequence, so a perfectly \ninsulated ‘winter house’  \nis contained within a \ncooler and more open \n‘summer area.’\n",50,{"image":209,"text":210,"number":211},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.51.png","C 23 49\n",51,{"image":213,"text":214,"number":215},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.52.png","50 C 22\nInterior\nVisitors Center\n5\nPhotos: Juanan Barros\nLos hermanos García Casas —responsables de la empresa familiar \nOmed, con una larga tradición en la elaboración de aceite \nde oliva— decidieron, tras recibir diferentes distinciones por la \ncalidad de sus productos, renovar sus instalaciones en la pequeña \nlocalidad granadina de Ácula. Con la intervención de la oficina \nGANA arquitectura, la antigua almazara se ha convertido en un \nvanguardista edificio que cumple con los estándares actuales de \nsostenibilidad y eficiencia. Las distintas estrategias buscaban reducir \nla huella de carbono y trabajar en un entorno más natural, para ello \nse implementó la recogida y reutilización de las aguas pluviales y se \nrealizaron estudios para optimizar la distribución de las aperturas, lo \nque ha permitido eliminar la luz artificial en la horas de producción \ny un mejor control de la climatización.\nLa propuesta arquitectónica destaca por sus amplios espacios, su \ngenerosa iluminación natural y el detalle de sus acabados, gracias a \nla utilización de Dekton en sus distintas superficies. El proyecto debía \ncombinar zonas de visitantes con espacios industriales, un factor \ndeterminante en la elección del material de Cosentino en todos sus \nelementos —pavimentos, escaleras, mobiliario o expositores— tanto \nen el interior como el exterior. El innovador acabado permite un \nalto rendimiento, con excelentes propiedades frente a los arañazos, \nlas manchas o el calor; y un bajo mantenimiento, una característica \nimportante en las áreas de intenso tráfico.\nThe García Casas brothers – in charge of the family-owned \nbusiness Omed, growers and producers of extra virgin olive oil –  \ndecided to renovate their facilities in the small town of Ácula \n(Granada), encouraged by the many distinctions awarded to their \nquality products. The architectural design was commissioned \nto the young Málaga-based studio GANA arquitectura, which \nhas refurbished and extended the old oil mill, transforming in \ninto an innovative building that meets today’s sustainability and \nefficiency standards. The different strategies aim to reduce the \ncarbon footprint and create a more natural working environment, \nachieved through the implementation of rain harvesting systems \nand the carefully studied placement of openings to cut down on \nartificial lighting during the production process and provide a \nmore efficient climate control.\nThe design stands out for its expansive spaces, generous amounts \nof natural light, and the detail of its finishes, with a prevailing use \nof Dekton on all surfaces. The project had to combine industrial \nspace with corporate and visitor areas, so Dekton by Cosentino \nbecame the first choice for all areas – floors, stairs, landings, \nfurniture, display cases – both indoors and outdoors. The innovative \nfinish guarantees high performance (with an excellent resistance \nto scratches, stains, and heat), and low maintenance, which is \nespecially important in heavy traffic areas. \nNatural Matter \nOmed Headquarters by GANA Arquitectura\n",52,{"image":217,"text":218,"number":219},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.53.png","C 22 51\n",53,{"image":221,"text":222,"number":223},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.54.png","52 C 22\n",54,{"image":225,"text":226,"number":227},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.55.png","C 22 53\nAdemás del Dekton de los \npavimentos y mobiliarios \n—en acabados como \nLunar, Kreta, Laurent o \nTrilium—, el proyecto \nutiliza acabados en piedras \nnaturales de Scalea, como \nlos mármoles Rain Forest \nGreen o Roma Imperial.\nAside from the finishes \nused on floors and \nfurnishings – Dekton \nLuna, Kreta, Laurent, \nor Trilium –, the design \nalso includes Scalea \nnatural stone in the Rain \nForest Green and Roma \nImperial varieties. \nDekton Strato\nDekton Kreta\nDekton Laurent\nDekton Trilium\nDekton Sasea\nDekton Lunar\nScalea Roma Imperial\nScalea Rain Forest Green\n",55,{"image":229,"text":19,"number":230},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.56.png",56,{"image":232,"text":233,"number":234},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.57.png","Interview\nIglesias & De Diego\nIn Dialogue\n",57,{"image":236,"text":237,"number":238},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.58.png","Interview\nConversation\n6\nCristina Iglesias &  \nEstrella de Diego \nin dialogue\n",58,{"image":240,"text":19,"number":241},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.59.png",59,{"image":243,"text":244,"number":245},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.60.png","58 C 23\nPhotos: Miguel Galiano \nEl Palacio de Goyeneche, sede de la Real \nAcademia de Bellas Artes en Madrid, acoge \nel encuentro entre Cristina Iglesias y Estrella \nde Diego. A lo largo del recorrido por las \ndistintas dependencias del histórico edifi-\ncio, la conversación gira en torno a temas \npresentes en la obra de la escultora nacida \nen San Sebastián, como el paso del tiempo, \nlas ilusiones visuales o la importancia del \nespacio arquitectónico que las acoge. \nEstrella de Diego: Cada vez que veo una \npieza tuya siento cosas diferentes, siendo \nyo la misma persona. Tu obra cambia tanto \ncon el tiempo como con el espacio. Siempre \nrecuerdo una vez que, volviendo de un viaje \ntransatlántico —en el que no había dormido \nmucho— y aún con esa percepción tan alta \nque te da la vigilia, decidí ir a visitar una \nexposición que hacías en el Museo Casa de \nla Moneda. Yo ya había visto las planchas \nantes, algunas de ellas al menos, pero ese \nmomento fue como entrar dentro del mar, \ncomo si fuese algo acuático. \nCristina Iglesias: Es muy interesante lo \nque dices porque, ahora que he hecho tan-\ntas obras con agua, recuerdo que en esa \nexposición precisamente no había ninguna \npieza con agua. Eran más reflejos, cobres \ncon collages de dibujo o impresiones; pero \nme parece muy bonito que digas que parecía \nacuática. Una vez hice un bajorrelieve muy \nescultórico de hongos, raíces y plantas, lo \nsuspendimos del techo que conforma una \nhabitación y al mirarlo hacia arriba te en-\ntraba una especie de mareo, que recordaba a \nlos fondos marinos. Yo ya soñaba con esos \nfondos que ni siquiera conocía. \nED: ¿Qué eran esos fondos con los que \nsoñabas?\nCI: La idea del fondo o el ilusionismo de \nla profundidad están en gran parte de mi \ntrayectoria. En los últimos años he trabajado \nmucho con la idea de mirar hacia abajo, de \ncrear una profundidad que todavía no exis-\nte. Mediante una sucesión de planos que te \nhacen pensar que el fondo es mayor, que hay \nmás espacio del que ves inmediatamente \nenfrente de ti. Y esa idea estaba ya en ese \ntecho suspendido. \nED: Tus obras son muy arquitectónicas. \nSiempre estás trabajando sobre el espacio, \naunque también seas una hortelana que va \nplantando sus setas en esos espacios. Unas \nsetas totalmente venenosas, eso sí. Porque \nson unas plantas diabólicas. \nCI: El veneno también está cerca del placer.\nED: Has trabajado con muchos arquitectos \nen grandes intervenciones públicas, pero antes \nde eso ya estabas preocupada por el espacio. \nCI: En principio son esculturas con una \nsensibilidad muy fuerte hacia el espacio que \nocupan y hacia la arquitectura que con-\nforma ese espacio. Por ejemplo, en muchas \nexiste una gran dependencia de la pared. Y \nno solo la dependencia, sino que en muchas \nde mis primeras piezas, la pared es una parte \nconstitutiva de la obra. \nED: Hace poco estuvimos hablando sobre \nel libro A contrapelo que, por cierto, según \nllegué a casa volví inmediatamente a leer \ny es un libro inagotable. Siempre pienso \nen esas plantas, Huysmans no las inventa \ncomo tú, pero sí les da un giro semántico y \nlas junta de una manera concreta. \nLa artista Cristina \nIglesias (San Sebastián, \n1956) dialoga con la \nacadémica y escritora \nEstrella de Diego \n(Madrid, 1958) sobre \nel agua, los sueños y \notras referencias que \nhan marcado su obra.\nThe artist Cristina \nIglesias (San Sebastián, \n1956) engages in \ndialogue with the \nacademic and writer \nEstrella de Diego \n(Madrid, 1958) about \nwater, dreams, and other \nreferences in her work.\n«Ese momento fue \ncomo entrar dentro \ndel mar, como si  \nfuese algo acuático»\n",60,{"image":247,"text":248,"number":249},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.61.png","The Goyeneche Palace in Madrid, home of \nSpain’s Royal Academy of Fine Arts, was \nthe venue of a colloquy between Cristina \nIglesias and Estrella de Diego. In the course \nof a walk through the numerous halls of the \nhistoric building, the conversation revolved \naround themes that have a strong presence \nin the oeuvre of the sculptor born in the \ncity San Sebastián, such as the passage of \ntime, visual illusions, and the importance \nof the architectural space where her works \nare placed.\nEstrella de Diego: Whenever I see a work \nof yours again, it strikes me differently from \nthe way it did at other times, even though \nI’m the same person. Your work changes so \nmuch over both time and space. I remember \nhow one day, right after a transatlantic \njourney during which I hadn’t gotten much \nsleep at all, still in that high-alert mode that \nlack of sleep puts a person in, I decided to \ngo to an exhibition that you happened to be \ndoing at the Museum of the Royal Mint. I \nhad seen those plates before, or at least I’d \nseen some of them, but that particular visit \nwas like going into the sea. It was truly an \naquatic experience.\nCristina Iglesias: What you’re saying is \ninteresting because now that I’ve been using \nwater into my work, I remember that in \nthat exhibition, precisely, there was noth-\ning whatsoever with water in it. There were \nreflections, copper pieces with collages of \ndrawings or impressions. It’s lovely that \nthey struck you as aquatic. I once did a very \nsculptural low-relief of mushrooms, roots, \nand plants, and hanging them from the ceil-\ning to form a room without walls, and if you \nlooked up from underneath you felt slightly \ngiddy and were reminded of the sea floor. I \nwas then already dreaming of ocean bottoms \nI didn’t know anything about...\nED: And what were those bottoms you \nwere dreaming of?\nCI: The idea of the bottom, or the illusion \nof depth, is present in a good part of my \ntrajectory. In the past years I have worked \na lot around the idea of looking downward, \nof creating a depth that does not yet exist. \nThrough a succession of planes that make \nyou think that the bottom is larger, that there \nis more space than you see right before you. \nAnd this idea was already present in the \nsuspended ceiling.\nED: Your works are highly architectural. \nYou’re always working on spaces, while also \nbeing a gardener planting her mushrooms \nin those spaces. Totally poisonous mush-\nrooms, that’s for sure, because these are \ndiabolical plants.\nCI: Poison, too, is much bound to pleasure.\nED: You have worked with many archi-\ntects in large public spaces, but were inter-\nested in space even before.\nCI: In theory my sculptures have a very \nstrong sensitivity for the spaces that they \noccupy, and for the architectures that form \nthose spaces. For example, a lot of them \nare much dependent on a wall. And not \njust dependent. The wall is in and of itself \nan integral part of a good number of my \nearly pieces.\nED: Not long ago we talked about the novel \nÀ rebours (Against the Grain), which, inci-\n“That visit was like \ngoing into the sea, \nit was an aquatic \nexperience”\n",61,{"image":251,"text":252,"number":253},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.62.png","60 C 23\n",62,{"image":255,"text":256,"number":257},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.63.png","C 23 61\ndentally, I picked up and started reading as \nsoon as I got home, and it’s an inexhaustible \nbook. I think of those plants. The French \nwriter Joris-Karl Huysmans doesn’t invent \nthem the way you do, but he does give them \na semantic twist and puts them together in \na certain way.\nCI: Yes, he uses them as in an art installa-\ntion. It reminds me a bit of the overlappings \nthat there can be in the editing of a film. He \nundertakes a total work that has something \ncinematographic about it, that explains how \none is supposed to walk. There’s a script \non how the journey toward the work or the \nbuilding is supposed to be, how you are to \nenter it, how to come upon the work. He took \ngreat pains over this.\nED: It’s something that has to do with a \nworld that’s not fiction, but fictional. That is, \na world that is in fact going to exist, but on \na completely different plane. And the script \nyou mention has a lot to do with the Prado \nMuseum door, which in my view is like an \n18th-century robot.\nCI: Exactly, it’s a robot. That piece sug-\ngests you enter a forest and build a pas-\nsage. It’s a transition between the city and \nthe museum, the temple, but with a vegetal \ninvention.\nED: It shows plants that are almost fos-\nsil-like. It’s complex because it’s fossilized \nat the same time, but it’s also constantly \nchanging. I have a feeling that when I return \nto that door, many things will have hap-\npened in the interim. And it’s more than the \npatina you like to speak of, or more than \nthe bugs that may be inhabiting it. That’s \nprecisely what I find most intriguing. The \nidea that something petrified is not really \nso petrified, and so we enter a world of \nscience fiction.\nCI: A world of science fiction which, to \nboot, was science fiction in dreams. In the \ndescriptions of dreamed or invented places. \nAnd what’s interesting is that nature can \ngrow where it didn’t exist before. That it can \ncreate life in a place.\nED: You’re constantly talking about \ndreams. What are those dreams?\nCI: Dreams are fantastic places. They \nare a way to tell a story. As you know, I \nuse science-fiction texts, especially in sus-\npended constructions, for obvious associa-\ntion reasons. Because the suspension makes \nthe viewer enter them and see them move, \nbut without showing the person. And all \nof this is connected to the dream idea. I \nhave used writings of J.G. Ballard, such as \nThe Crystal World or The Drowned World, \nwhere scientists discover how the world has \nchanged after a great disaster on Earth, \nwhat buildings are like after being sub-\n“That piece suggests you \nenter a forest and build a \npassage. A transition between \nthe city and the museum“\n",63,{"image":259,"text":260,"number":261},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.64.png","62 C 23\nCI: Eso es, él las utiliza como si fueran \nuna instalación artística. Recuerda un poco \na las superposiciones que puede haber en la \nedición de una película. Hace una obra total, \nque tiene algo cinematográfico, que te explica \ncómo tienes que caminar. Hay un guión de \ncómo es ese viaje hacia la obra, o hacia el \nedificio, cómo entras, cómo te encuentras con \nla obra. Por eso utilicé partes del texto en dos \npiezas de celosías.\nED: Es algo que tiene que ver con una es-\npecie de mundo no ficticio, sino ficcional. Es \ndecir, es un mundo que va a existir, pero en \nun plano totalmente diferente. Y ese guión del \nque hablas tiene mucho que ver con el portón \ndel Museo del Prado, que desde mi punto de \nvista es como un autómata del siglo xviii. \nCI: Es que es un autómata. Esa pieza \nsugiere que entras en un bosque y cons-\ntruyes ese pasaje. Es una transición entre \nla ciudad y el museo, el templo, pero con \nuna invención vegetal.\nED: Son unas plantas que parecen casi \nfósiles. Es complejo, porque es a la vez fosili-\nzado, pero también está en constante cambio. \nTengo la impresión de que cuando vuelva a \nesa puerta van a haber pasado muchas cosas. \nY va más allá de esa pátina de la que siempre \nhablas, o de los bichos que puedan habitarla. \nEso es lo que me parece más intrigante. Esa \nidea de que algo petrificado no lo está tanto, y \nasí entramos en un mundo de ciencia ficción. \nCI: Un mundo de ciencia ficción que ade-\nmás era de ciencia ficción en los sueños. \nEn las descripciones de lugares soñados o \ninventados. Y lo interesante es que puede \ncrecer lo natural donde no existía antes. Que \npuede crear vida en un lugar. \nED: Estás constantemente hablando de los \nsueños. ¿Qué son esos sueños?\nCI: Los sueños son lugares fantásticos. Son \nuna manera de contar. Como sabes utilizo \ntextos de ciencia ficción sobre todo en las \nconstrucciones suspendidas, por una asocia-\nción muy obvia. Porque esa suspensión hace \nque el espectador se introduzca en ellos y \nsiente que se mueven, pero sin descubrir a \nla persona. Y todo esto tiene que ver con la \nidea de sueño. Cuando he utilizado textos de \nJ.G.Ballard como El mundo de cristal o El \nmundo sumergido, en los que habla de cien-\ntíficos que van a descubrir cómo el mundo ha \ncambiado tras un gran desastre en la Tierra, \ncómo son los edificios después de haber sido \nsumergidos, etc. En ellos todo está cubierto \nde agua y con plantas creciendo. Esa ficción \nvegetal está muy relacionada con esos sue-\nños de seres vivos que no conoces, pero que \npueden crecer e invadirnos. \nED: En esa negociación espacial, arqui-\ntectónica y escultórica, ¿cómo es la cola-\nboración con los arquitectos?\n«Esa pieza sugiere que entras \nen un bosque y construyes \nese pasaje. Es una transición \nentre la ciudad y el museo»\n",64,{"image":263,"text":264,"number":265},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.65.png","C 23 63\nmerged, etc. In them, everything is covered \nwith water and growing plants. The vegetal \nfiction is closely bound to those dreams of \nliving things you don’t know of, but which \ncan grow and invade us.\nED: In this spatial, architectural, and \nsculptural negotiation, how’s the collabora-\ntion with architects?\nCI: I have always been very fortunate \nworking with architects. I always try to \nbuild places, as you well know, so when \nI work with an architect who is raising a \nbuilding with specific needs and require-\nments, I do my best to make sure that my \npiece isn’t trivial. That is, that it’s not just \nsomething pretty placed at the entrance to \na building, but something that serves a real \npurpose, and also has a certain autonomy. \nFor example, in a work I did with Norman \nFoster in London, the piece acts as a bar-\nrier, protecting the building from possible \naggressions, but it functions at the same \ntime as a meeting point, a nexus between \none side of the project and the other, so \nthat the avenue has a stronger presence, or \nmakes more sense. In that case the rapport \nwith the architect was really very useful \nbecause together we talked about creating \nthe pit, and about the communication and \nthe illusion of continuity that I wanted to \nachieve in order to evoke the rivers that had \nonce flowed there.\nED: Rescuing the nature of cities from \nwhat it was and that isn’t there. That is, \nyou imagine what it was. It’s a story tied to \nboth space and time.\nCI: No doubt. The creation of sequences \nis just another material that goes into the \nmaking of the pieces. But so is the interest \nin creating gathering places in the city.\nED: You make a sculpture in a present \ntime, but you simultaneously re-do a past, \nand all the while, you also have to be think-\ning of a future.\nCI: That’s what I have in mind a lot, \nwith the patinas. By this I mean not only \nthe superficial patinas. Think of when we \nwere talking about organisms that are able \nto live in them, and that in so doing even \nget to transform their colors or textures. \nAnd the idea is very different from dirt. It’s \na deposit of time.\nED: Your interplays with perspectives are \nhighly pictorial and they have a strong cin-\nematographic component. I find this very \nstriking in your works, and am reminded of \npaintings by Rogier van der Weyden.\nCI: Yes, and they are also very sculp-\ntural. Maybe Van der Weyden is the per-\nfect example for the cinematographic idea \nyou mentioned. In his paintings, everything \nhappens in a theatrical space, in a box with \ndifferent perspectives or, better, different \nmeasurements of the geometrical position \nof each one of the figures, as in The Descent \nfrom the Cross, a masterly work. I am very \ninterested in those perspectives which are \nsometimes impossible, more Renaissance, \nmore classical. Earlier we were talking \nabout floors, and about how those floors \nsometimes define you.\nED: Today, suddenly, in that entire floor of \nRogier van der Weyden, I saw Cristina Igle-\nsias: the small branches, the small stones…\nCI: That could well be, though I never paid \nattention, but what really fascinates me is \nthe box, that very limited space in which so \nmany things happen.\n",65,{"image":267,"text":268,"number":269},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.66.png","64 C 23\nCI: He tenido siempre mucha suerte con \nlos arquitectos con los que he podido traba-\njar. Como sabes, siempre procuro construir \nlugares, entonces cuando trabajo con un \narquitecto, que está construyendo un edifi-\ncio con unas necesidades concretas, intento \nque mi intervención no sea baladí. Es decir, \nque no sea solo para poner algo bonito en la \nentrada de un edificio, sino que tenga una \nfunción y mantenga alguna autonomía. Por \nejemplo, en una obra que hice con Norman \nFoster en Londres, la pieza es una barre-\nra para proteger al edificio de una posible \nagresión, pero a la vez construye un lugar \nde encuentro, una comunicación de un lado \ndel edificio con el otro, de manera que la \navenida se vuelva más presente o tenga más \nsentido. La relación con el arquitecto en \nese caso fue muy interesante porque juntos \nhablamos de crear ese foso, de esa comuni-\ncación y de ese ilusionismo de continuidad \nque yo quería crear para evocar los ríos que \nhabían corrido por debajo.\nED: Rescatar la naturaleza de las ciuda-\ndes de lo que fue y no está. Es decir, estás \nimaginando lo que fue. Es una historia que \nestá relacionada tanto con el espacio como \ncon el tiempo. \nCI: Sin duda. La creación de secuencias es \nun material más de las piezas. Pero también \nlo es la preocupación de crear lugares de \nencuentro en la ciudad. \nED: Estás haciendo una escultura en un \npresente, pero al mismo tiempo estás re-\nhabilitando un pasado y tienes que estar \npensando en un futuro. \nCI: En eso pienso mucho con las pátinas. \nNo solo las superficiales, sino como cuando \nhablábamos antes de los organismos que \npueden vivir en ellos y que pueden llegar \na transformar los colores o las texturas. Y \nes una idea muy distinta de la suciedad. Es \nun depósito del tiempo.\nED: Tus juegos con las perspectivas son \nmuy pictóricos y tienen un componente \nmuy cinematográfica. Este aspecto me \nllama mucho la atención en tus obras y \nme recuerda a las pinturas de Rogier van \nder Weyden. \nCI: Sí, y son muy escultóricos a la vez. \nQuizás Van der Weyden es el ejemplo per-\nfecto para esa idea, como dices, cinemato-\ngráfica. En sus cuadros todo ocurre en un \nespacio teatral, en un cajón con diferentes \nperspectivas o más bien diferentes medidas \nde la posición geométrica de cada una de \nlas figuras, como en El Descendimiento, que \nes una obra magistral. Me interesan mucho \nesas perspectivas que a veces son imposibles, \nmás renacentistas, más clásicas de la pintura. \nAntes estábamos hablando de los suelos y \ncomo estos suelos, a veces, te definen. \nED: Hoy he visto, de repente, en todo ese \nsuelo de Van der Weyden a Cristina Iglesias: \nlas ramitas, las piedrecitas…\nCI: Puede ser, nunca me había fijado en \nello, pero lo que de verdad me fascina es \nel cajón, ese espacio tan limitado en el que \nocurren tantas cosas.\n",66,{"image":271,"text":272,"number":273},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.67.png","C 23 65\n",67,{"image":275,"text":19,"number":276},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.68.png",68,{"image":278,"text":279,"number":280},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.69.png","Travel\nValencia\nSpain\n",69,{"image":282,"text":283,"number":284},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.70.png","68 C 23\nValencia\nTravel\nSpain  \n7\nThis year the city on the \nMediterranean shore has \nits turn as World Design \nCapital, an acknowledgment \nof its strong design culture.\nLa ciudad a orillas del \nMediterráneo se convierte \neste año en la World Design \nCapital, reconociendo su \nasentada cultura del diseño.\n01\n02\nCultural\nCity of Arts & Sciences\nUrban Park \nCabecera Park\n© Duccio Malagamba \nLocated at the end of \nthe Turia riverbed, \nthe complex built by \nSantiago Calatrava has \nmuch to offer in the \nway of leisure activities, \nfrom Europe’s largest \naquarium to an opera \nhouse and museums.\nEl parque prolonga los \nJardines del Turia y \ncompleta el cinturón \nverde que recorre el lecho \ndel río. La actuación de \nEduardo de Miguel y \nVicente Corell se vertebra \ncon el agua para recrear \n el ambiente original.\nThe new parkland is a \nprolongation of the Turia \nGardens and completes \nthe green belt across the \nriverbed. Eduardo de Miguel \nand Vicente Corell’s project \ninteracts with the water, \nrecreating what was the \noriginal atmosphere.\nSituado al final del \nantiguo cauce del río \nTuria, el complejo fue \ndiseñado por Santiago \nCalatrava y acoge una \namplia oferta de ocio, \ndesde el mayor acuario \nde Europa a una ópera o \ndistintos museos.\n",70,{"image":286,"text":287,"number":288},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.71.png","C 23 69\ndepositphotos.com © bloodua\n03\nQuartier\nCiutat Vella\nEl barrio es el origen \nde Valencia y todavía \nmantiene su trazado \noriginal delimitado \npor la antigua muralla \nmedieval. Actualmente \nse ha convertido en el \ncentro histórico, cultural \ny político de la ciudad.\nThe neighborhood is \nwhere Valencia began \nand its original scheme \nremains intact, bordered \nby the medieval wall. \nThe area is currently the \nhistorical, cultural, and \npolitical center of the \neastern Spanish city.\n",71,{"image":290,"text":291,"number":292},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.72.png","70 C 23\nGothic Building\nLlotja de la Seda\nMarket \nMercado Colón\nMarket\nMercado Central\n06\n04\n05\n© José Luis Filpo Cabana\n© Diego Delso\n© Luca Florio\nConstruida durante el \nsiglo xv como muestra de \nla prosperidad comercial \nde la ciudad, la Lonja \nde la Seda destaca por \nsu Sala de Contratación \ny es uno de los mejores \nejemplos del gótico civil \nen el Mediterráneo.\nProyectado en el año \n1914 por Francisco Mora \nBerenguer, el mercado \nse sitúa en el ensanche \nde la ciudad. Tras su \nrehabilitación se ha \nconvertido en un espacio \ndedicado a la gastronomía \ny la restauración. \nBuilt in the 15th century \nas a banner of the city’s \ncommercial prosperity, \nthe Silk Exchange is \nespecially admired for \nits Contract Hall, and is \none of the best examples \nof civilian Gothic in the \nentire Mediterranean.\nDesigned in the year \n1914 by Francisco Mora \nBerenguer, the market \nhas after renovation \nworks marked its place \nas a popular gastronomy \nand restaurant hub in \nthe city’s 19th-century \ngridded extension.\nTras formarse en la ciudad \ncondal en el despacho de \nDomènech i Montaner, \nlos arquitectos Alejandro \nSoler March y Francisco \nGuardia Vial ganaron \nen 1910 el concurso \npara sustituir el antiguo \nmercado descubierto.\nHaving trained in \nBarcelona under \nDomènech i Montaner, \nin 1910 the architects \nAlejandro Soler March \nand Francisco Guardia \nVial won the competition \nto replace the old \nopen-air marketplace.\n",72,{"image":294,"text":295,"number":296},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.73.png","C 23 71\nArt Déco\nPunto de Gancho House\nArt Déco\nJewish House\nRococo Palace\nMarqués de Dos Aguas\n Railway Station\nEstació del Nord\nArt Déco\nNoguera Suay Houses\n07\n08\n09\n11\n10\n© Juan Mayordomo\n© Felivet\n© Diego Delso\n© Juan Mayordomo\n© PMRMaeyaert \nConstruida en 1930 por \nJuan Guardiola, es uno de \nlos mejores ejemplos del \nestilo art déco. El edificio \nresidencial destaca por \nla abundante decoración \ny el uso del color de su \nfachada principal hacia  \nla calle Castellón.\nTras más de diez años de \nconstrucción, la nueva \nEstación del Norte se \ninauguró en 1917. El \nedificio destaca por su \nornamentación, tanto \ninterior como exterior, \ncon mosaicos y azulejos \nde motivos regionalistas.\nUbicada en la Plaza \ndel Ayuntamiento, la \nmanzana se edificó \ntras la remodelación \nde la antigua barriada \nde pescadores. Ambos \nedificios fueron diseñados \nen estilo neogótico por \nFrancisco Mora Berenguer.\nBuilt in 1930 by \nJuan Guardiola, this \nresidential building is one \nof the finest examples \nof Art Déco, standing \nout for its abundant \nadornment and the use of \ncolor on its main facade \non Carrer de Castellò. \nAfter more than ten \nyears of construction \nworks, the North Station \nopened in 1917 in \nthe city center. It is \nprofusely decorated \nboth inside and out, \nwith mosaics and tiles \nshowing regional motifs.\nStanding on City Hall \nSquare, the residential \nblock was built after \nthe revamp of the old \nfishermen’s quarter. Both \nbuildings were designed \nin neo-Gothic style by \nthe architect Francisco \nMora Berenguer.\nEdificado sobre los restos \nde la antigua capilla de \nSan Valero, el edificio de \nviviendas obra de Manuel \nPeris Ferrando se distingue \npor su fachada, inspirada \nen la casa Ciamberlani \nde Bruselas del arquitecto \ny diseñador Paul Hankar. \nErected over the ruins \nof the old Chapel of San \nValero, the apartment \nbuilding by Manuel Peris \nFerrando is known for \na facade inspired by the \narchitect-designer Paul \nHankar’s Ciamberlani \nHouse in Brussels.\nEl palacio de la familia \ndel Marqués de Dos Aguas \nalberga hoy el Museo \nNacional de Cerámica.\nThe Palace of the Marquis \nof Dos Aguas hosts the \nNational Museum of \nCeramics & Decorative Arts.\n",73,{"image":298,"text":299,"number":300},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.74.png","72 C 23\nArchitecture\nVeles e Vents\nPublic Space\nÁgora Valencia WDC\nRefurbishment\nPort Sheds\nArchitecture\nVLC Convention Center\n12\n13\n14\n15\nObra del británico David \nChipperfield, el pabellón \nfue construido en el centro \nde La Marina para las \ncelebraciones de la Copa \nAmérica del año 2007. \nActualmente acoge una \ngran oferta gastronómica \ncon vistas hacia el mar.\nEl edificio de Norman \nFoster responde a la forma \nlenticular de la parcela con \ndos planos curvos, que se \nintersecan generando una \nplanta de reminiscencias \nópticas, y una sinuosa \ncubierta inspirada en el \nmundo marítimo.\nA work of the architect \nDavid Chipperfield, the \npavilion went up at \nthe center of Valencia’s \nMarina to host the \nAmerica’s Cup in \n2007. It is now a huge \ngastronomy hub with \ngreat views of the sea.\nNorman Foster’s building \naddresses the lenticular \nshape of the site through \ntwo curved planes – \nwhich intersect to form \na floor plan of optical \nreminiscences – and a \nsinuous roof inspired  \nby the sea world.\nEl pabellón de Miguel \nArraiz se sitúa en la \nPlaza del Ayuntamiento \ny es el punto neurálgico \nde la Valencia Capital \nMundial del Diseño 2022; \nsu piel a base de láminas \ncerámicas se inspira en \nlas olas del Mediterráneo. \nLa intervención del estudio \nrellam reacondiciona uno \nde los históricos tinglados \ndel puerto valenciano.\nA project by estudio \nrellam has reconditioned \none of the old sheds at \nthe port of Valencia.\nThis pavilion by Miguel \nArraiz stands at City \nHall Square and is the \nnerve center of World \nDesign Capital Valencia \n2022. Mediterranean \nwaves were the \ninspiration for its skin \nof ceramic plates.\n© David Zarzoso\n© Hisao Suzuki\n© Germán Cabo\n© Miguel Ángel Valero\n",74,{"image":302,"text":303,"number":304},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.75.png","C 23 73\nAuditorium \nPalau de la Música\nLibrary \nNou Campus Library\nMuseum\nMuVIM\nCultural Center\nTeatre El Musical\n16\n17\n18\n19\nLa biblioteca, proyectada \npor el arquitecto italiano \nGiorgio Grassi, preside \nla plaza del campus \nuniversitario y cierra, \ncon su composición \nsimétrica, la perspectiva \naxial creada entre los dos \naularios paralelos.\nEl proyecto, firmado por \nla oficina de Guillermo \nVázquez Consuegra, \ndialoga con el antiguo \nHospital de los Inocentes \ncon un único volumen \nlineal de hormigón visto, \nque se adapta a los \nlímites de la parcela.\nLa sala de conciertos, \nubicada en los Jardines \ndel Turia, fue diseñada \nen 1987 por José María \nGarcía de Paredes y \nha sido ampliada, con \nnuevas salas y oficinas, \nen el año 2003 por \nEduardo de Miguel.\nLa propuesta del \narquitecto local Eduardo \nde Miguel renueva el \nAteneo Musical, uno \nde los emblemáticos \nedificios del popular \nbarrio de El Cabanyal, \ndel que conserva su \nmonumental fachada.\nThe Italian architect \nGiorgio Grassi built \nthis the library which \ndominates the university \ncampus square, and  \nwith its symmetry closes \nthe axial perspective \ncreated between the two \nparallel lecture halls.\nDesigned by Guillermo \nVázquez Consuegra, \nthe Museum of the \nEnlightenment engages \nwith the old Hospital \nd’Innocents through a \nlone linear volume of \nreinforced concrete that \nadapts to the site.\nIn renovating what \nis one of the prized \nemblems of the \npopular El Cabanyal \nneighborhood, the \nAteneo Musical, the \nlocal architect Eduardo \nde Miguel preserved the \nmonumental facade.\nThe concert hall in the \nTuria Gardens was \ndesigned in the year \n1987 by José María \nGarcía de Paredes, and  \nin 2003 was enlarged  \n– with new performance \nvenues plus offices –  \nby Eduardo de Miguel.\n© Duccio Malagamba \n© Duccio Malagamba \n© Duccio Malagamba \n",75,{"image":306,"text":307,"number":308},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.76.png","74 C 23\nArt Center\nBombas Gens\nExhibition Center\nCaixaForum\nMuseum\nIVAM\nArt Center\nCentre del Carme\n20\n21\n22\n23\nLa intervención del \nequipo formado por \nEduardo de Miguel, \nAnnabelle Selldorf y \nRamón Esteve transforma \nuna antigua fábrica de \nbombas hidráulicas en \nun espacio polivalente \ndedicado al arte\nEl Institut Valencià d’Art \nModern surge en 1986 \npara la difusión del arte \ncontemporáneo en la \nregión, y desde entonces \nalberga una singular \ncolección permanente \ny organiza importantes \nexposiciones temporales.\nAn intervention by the \nteam formed by Eduardo \nde Miguel, Annabelle \nSelldorf, and Ramón \nEsteve has transformed \nan old hydraulic pumps \nfactory into a \nnew multipurpose  \nspace for art.\nThe Valencian Institute \nof Modern Art was \nfounded in 1986 as a \ncenter for contemporary \nart in the region, and \nhas since hosted major \ntemporary shows besides \nbeing home to a \nsplendid collection.\nTras su última renovación, \nel Ágora de la Ciudad de \nlas Artes y las Ciencias \nacoge el CaixaForum.\nEl centro cultural ocupa \nun antiguo convento \npara acoger un amplio \nespectro del arte actual.\nAfter its latest renovation, \nthe Agora of the City of \nArts and Sciences harbors \nthe CaixaForum.\nThe cultural center \noccupies an old convent \nand offers a broad \nspectrum of current art.\n© Alfonso Calza \n© Mariela Apollonio\nsource: valenciacity.es\n© Miguel Lorenzo\n",76,{"image":310,"text":311,"number":312},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.77.png","C 23 75\nStreet Food\nGuakame\nRestaurant\nEl Camerino Ruzafa\nRestaurant\nVoltereta Kioto\nRestaurant\nLiving Bakkali\nYouth Hostel\nVLC Lounge Hostel\nShopping \nPAU Store\n24\n26\n25\n27\n28\n29\nTras su primera etapa \ncomo food truck y su \néxito en redes sociales, \nGuakame ha abierto su \nprimer restaurante, donde \nofrece un menú vegano \ny un ambiente futurista, \nobra de Tatay Atelier, de \ninspiración asiática.\nAfter an initial life as a \nfood truck and its success \nin social networks, \nGuakame has opened a \nfirst restaurant where the \nmenu is vegan and the \nambience futuristic. A \nwork of Tatay Atelier, it \nis Asian-inspired.\nEl joven estudio DIIR \npropone una retícula de \nespacios concatenados \npara la nueva tienda \ninsignia de la marca de \nmoda y accesorios PAU. \nEl local destaca por su \nrobusta escalera y los \nvolumétricos expositores.\nThe young studio \nDIIR creates a grid of \nconcatenated spaces \nfor the new flagship \nstore of the fashion and \naccessories brand PAU. \nThe shop features a \nrobust staircase and  \ndisplay-case volumes.\nEl albergue combina \nelementos típicos de las \ncasas valencianas con \nespacios más actuales.\nEl popular barrio de \nRuzafa acoge este peculiar \nrestaurante, basado en el \nmundo del teatro. \nThe hostel combines \ntypical elements of \nValencian houses with \ncontemporary spaces.\nThis unique restaurant \ninspired by the theater \nworld is located in the \nRuzafa neighborhood.\nMasquespacio propone \nuna paleta cromática \nen tonos tierra y formas \ncurvas influenciadas \npor las construcciones \norientales para Living \nBakkali, un lugar donde \nconviven gastronomía, \ndiseño y arquitectura.\nMasquespacio opts  \nfor a chromatic palette \nof earthy tones and \ncurved forms influenced \nby eastern constructions \nfor Living Bakkali,  \na place where \ngastronomy, design,  \nand architecture meet.\nEl restaurante propone \nun viaje por la ciudad \njaponesa desde el siglo \nxvii hasta el año 2050. \nThis Japanese eatery \nis a trip through Kyoto \nthat goes from the 17th \ncentury to 2050.\n© Luis Beltran\n© Jose Hevia\n© J.Alfaro\nsource: lynxproaudio.com\n© Sebastian Erras\n© David Zarzoso\n",77,{"image":314,"text":315,"number":316},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.78.png","76 C 23\n02\n14\n20\n21\n23\n01\n03\n08\n11\n13\n19\n10\n27\n05 \n25 \n16\n28\n07 \n26 \n09\n04\n24\n06\n22\n",78,{"image":318,"text":319,"number":320},"\u002Fmedia\u002Fimages\u002Fe9\u002F906270cb287bf660581a0012ca50f7-28f7a1d5d7.79.png","C 23 77\n17\n29\n12\n15\n18\nAv. Professor López Piñero, 7 \nweb: cac.es \n+34 961 97 46 86\nLa Marina de\nweb: veleseventsvalencia.es \n11:00-00:30 Sun-Wed \n11:00-01:00 Thu-Sat\nCarrer d’Eduardo Primo \nYúfera, 1A \nweb: caixaforum.org\n10:00-20:00 Mon-Sun\nC\u002F de Guillem de Castro, 118 \nweb: ivam.es \n10:00-19:00 Tue-Sun \n(Fri until 21:00)\nCarrer del Museu, 2 \n11:00-21:00 Tue-Sun\nCarrer dels Cadirers, 11 \nweb: valencialoungehostel.com\nCarrer de Colón, 43 \n11:00-20:30 Mon-Sat\nCarrer de Mossèn Femenia, 16 \nweb: elcamerinoruzafa.com\n20:00-00:00 Mon-Sun\nCarrer Mur de Santa Anna, 3 \nweb: guakamestreetfood.com \n13–17, 20–24 Mon-Sun\nCarrer de Xile, 9 \nweb: livingbakkali.com\n13:00-02:30 Mon-Sun\nPasseig de l’Albereda, 51 \nweb: volteretarestaurante.com\n12:30–16:30, 19:00–24:00 \nMon-Sun\nPlaça de l’Ajuntament \nweb: wdcvalencia2022.com\nAv. de les Corts Valencianes, 60 \nweb: palcongres-vlc.com\n+34 963 17 94 00\nC\u002F Marina Real Juan Carlos \nweb: lamarinadevalencia.com\nPasseig de l’Albereda, 30 \nweb: palauvalencia.com\nCampus de Tarongers Biblioteca \nde Ciències Socials «Gregori \nMaians» 2n pis, Zona Sud \n08:15-20:45 Mon-Fri \n09:00-13:45 Sat\nPlaça del Rosari, 3 \nweb: teatreelmusical.es\nCarrer de Quevedo, 10 \nweb: muvim.es \n10–14, 16–20 Tue-Sat \n10:00-20:00 Sun\nAv. de Burjassot, 54\nweb: bombasgens.com\n11–14, 17–20 Wed-Sun\nPlaça de la Ciutat de Bruges, \nweb:mercadocentralvalencia.es \n10:00-19:00 Mon-Sat\nCarrer del Marquès de Dos \nAigües, 4 \n10-14, 16-20 Tue-Sat \n(Sun until 14:00)\nCarrer d’Alacant, 25\nPlaça de l’Ajuntament, 22\nAv. Pío Baroja \nweb: jardins.valencia.es\nPlaça de la Reina\nCarrer de la Llotja, 2 \n10:00-19:00 Tue-Sun\nCarrer de Jorge Juan, 19, \nweb: mercadocolon.es \n7:30-2:00 Mon-Sun\nC. de Castelló, 20\nPl. de l’Almoina, 4\n 01. City of Arts & Sciences\n 12. Veles e Vents\n 22. CaixaForum\n 21. IVAM\n 23. Centre del Carme\n 24. VLC Lounge Hostel\n 25. PAU Store\n 26. El Camerino Ruzafa\n 27. Guakame\n 28. Living Bakkali\n 29. Voltereta Kioto\n 13.Ágora Valencia WDC\n 14. VLC Convention Center\n 15. Port Sheds\n 16. Palau de la Música\n 17. Nou Campus Library\n 18. Teatre El Musical\n 19. MuVIM \n 20. Bombas Gens\n 02. Cabecera Park\n 03. Ciutat Vella\n 04. Llotja de la Seda\n 05. Mercado Colón\n 06. Mercado Central\n 07. Jewish House\n 08. Marqués de Dos Aguas\n 11. Noguera Suay Houses\n 09. Estació del Nord\n 10. Punto de Gancho House\nValencia\nLocalización y datos prácticos \nLocation and useful information  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