[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-cosentino-architecture-and-everything-else-01":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":368},{"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":363,"matched_pages":364,"match_count":365,"two_pages":366,"show_text":367},24467,"Architecture & Everything Else 01","cosentino-architecture-and-everything-else-01","\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002Fb1\u002Fc35c05c8c268988bb97cc218491266-28f76d3116.pdf","Cosentino",2482,"cosentino","50.9 MB",[14,17,21,24,28,31,35,38,42,45,49,52,56,59,63,66,70,73,77,80,84,87,91,94,98,101,105,108,112,115,119,122,126,129,133,137,141,144,148,151,155,158,162,165,169,172,176,179,183,186,190,193,197,200,204,207,211,214,218,221,225,228,232,235,239,242,246,249,253,256,260,263,267,270,274,277,281,284,288,291,295,298,302,305,309,312,316,319,323,326,330,333,337,340,344,347,351,354,358,361],{"image":7,"text":15,"number":16},"c \n01 \narchitecture &  \neverything else \nC architecture & everything else 01\nConsentino_PORTADA.indd   1\n19\u002F05\u002F2014   18:41:51\n",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.2.png","c\ncontents\n06\n32\n46\n58\n68\n84\n  Architecture\n 06 ZAHA HADID IN BAKU, A WARPED ICON  Heydar Aliyev Center \n \n Nuevo centro cultural y de usos mixtos en la capital de Azerbaiyán.\n \n New mixed-used cultural center in the capital of Azerbaijan.\n 22 LEARNING ON THE WATER IN LAGOS  Floating School in Nigeria\n \n Una escuela prototipo construida por la comunidad local.\n \n A school prototype designed by the local community.\n \n Arts\n 32 PEDREIRAS, PORTRAIT OF A QUARRY  Joaquín Bérchez\n \n El fotógrafo e historiador valenciano captura en detalle las canteras portuguesas.\n \n The Valencian photographer and historian captures Portuguese quarries in detail.  \n 40 THE ALHAMBRA OF OWEN JONES  Ornament and geometry\n \n Los dibujos que descubrieron el monumento granadino al público de Europa.\n \n The drawings that made the Granada monument known to the European public.\n  Innovation\n 46 PARTICLES BY DESIGN  Cosentino develops Dekton, a new building material\n \n Un producto ultracompacto cuya fabricación se inspira en los procesos geológicos.\n \n An ultra-compact product that takes geological processes as reference for manufacturing.\n  Travel\n 84 SÃO PAULO  Brazil\n \n Viaje a una ciudad que es en sí misma un museo de arquitectura moderna.\n \n Travel to a city that is in itself a museum of modern architecture.\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 Market Hall by MVRDV\n \n El edificio que cubre un mercado abierto durante el día y una plaza pública por la noche.\n \n The building that covers an outdoor market during the day and a public square at night.\n \n Style\n 58 THE WILD SIDE  Mythological portraits\n \n Charles Fréger presenta sus fotografías sobre indumentarias rituales del pasado europeo. \n \n Charles Fréger photographically documents ritual costumes across Europe.\n  Interview\n 68 JACQUES HERZOG & EMILIO TUÑÓN IN DIALOGUE\n \n Los arquitectos conversan sobre vino y arquitectura en el casco histórico de Cáceres.\n \n The architects converse about wine and architecture at the Atrio hotel and restaurant.\nConsentino_PORTADA.indd   2\n19\u002F05\u002F2014   18:41:57\n",2,{"image":22,"text":19,"number":23},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.3.png",3,{"image":25,"text":26,"number":27},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.4.png","N\nacida eN torNo al mundo del mármol, \nel legendario Blanco Macael  —desde \nel pueblo andaluz del mismo nombre en \nel sureste de España—, la familia Martínez \nCosentino ha tenido siempre la vocación \nde superar los desafíos más ambiciosos. De \nlas fábricas de esta compañía han salido \nmiles, tal vez millones, de metros cuadra-\ndos de mármoles, travertinos y calizas, \npara obras tan importantes como el Patio \nde los Leones en la Alhambra de Granada, \nla sede del Senado en Madrid o el auditorio \nde la Expo de Sevilla.\nLa capacidad de innovación de la em-\npresa Cosentino hizo posible que en 1990 \nse lanzara a nivel mundial Silestone, una \nsuperficie de cuarzo que ha conquistado \ninnumerables hogares en los cinco conti-\nnentes, y se encuentra en las cocinas de \nlos más destacados chefs del mundo. \nEl tesón emprendedor de este grupo, \npresente ya en más de sesenta países, ha \ntenido un nuevo hito en el año 2013 con \nel lanzamiento de Dekton Superficie Ultra-\ncompacta, que representa la hibridación \nde las más avanzadas tecnologías en los \nterrenos del cuarzo, el vidrio plano y el \nporcelánico técnico.\nEn 2014, Cosentino quiere hacer una  \nnueva contribución al ámbito de la arqui-\ntectura, en esta ocasión desde el campo de \nla comunicación, con la difusión de las \nmejores innovaciones, diseños y proyectos \nque contribuyan a un mundo más sosteni-\nble y más bello. Presentamos así la nueva \nrevista C, para el fomento de la arquitec-\ntura y otras áreas afines, y esperamos que \nagrade a nuestros lectores.\nB\norN iNto the world of marble – the leg-\nendary Blanco Macael, from the town of \nthe same name in the southeastern Spanish \nregion of Andalusia – the Martínez Cosenti-\nno family has always applied itself to meet-\ning the most ambitious challenges. From the \nplants of their company have come thou-\nsands, perhaps millions of square meters \nof marbles, travertines, and limestones for \nworks as important as the Court of the Lions \nin the Alhambra of Granada, the Senate \nbuilding in Madrid, or the auditorium at \nthe Expo of Seville.\nThe company Cosentino’s capacity for \ninnovation led in 1990 to the launching, \nworldwide, of Silestone, a quartz surface \nthat has found its way into millions of \nhomes on five continents, and can also be \nseen today in the kitchens of the world’s \nleading chefs.\nThe enterprising tenacity of this corpo-\nrate group, which has established a pres-\nence in over sixty countries, marked a new \nmilestone in the year 2013 with the release \nof Dekton, an ultra-compact surface that \nrepresents the hybridization of the most ad-\nvanced technologies in the areas of quartz, \nflat glass, and technical porcelain.\nIn 2014 Cosentino intends to contribute \nanew to the world of architecture, this \ntime from the field of communications, \nthrough information on the best and lat-\nest innovations, designs, and projects that \nmake for a more sustainable and more \nbeautiful world. We are proud to offer this \nnew magazine, C, that seeks to promote \narchitecture from the angle of innovation. \nWe hope you like it.\nSantiago Alfonso Rodríguez\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.\nIrene Ezquerra, Miguel Fernández-Galiano, \nCuca Flores, Laura González,  \nAndrea Lusquiños, Jorge Martín,  \nJesús Pascual, Eduardo Prieto,  \nIsabel Rodríguez, Claudia Satrústegui,  \nRaquel Vázquez, Jose Yuste\nTraducción Translations\nGina Cariño, Laura Mulas\nImpresión Printing\nArtes Gráficas Palermo S.L.\nEncuadernación Binding\nJosé Luis Sanz\nDepósito Legal: M-14282-2014\nISSN: 2341-3867 \nCubierta Cover\nJoaquín Bérchez, Vera Cavea Romana \nImpreso en España Printed in Spain\nEsta revista está elaborada con papel libre de cloro \nThis magazine is printed on chlorine-free paper\n",4,{"image":29,"text":26,"number":30},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.5.png",5,{"image":32,"text":33,"number":34},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.6.png","architecture\nZaha Hadid in Baku, a warped icon\nHeydar Aliyev Center\nLearning on the water in Lagos\nFloating School in Nigeria\n",6,{"image":36,"text":33,"number":37},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.7.png",7,{"image":39,"text":40,"number":41},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.8.png","6 C 01\nLa arquitectura y el urbanismo de Bakú, capital de Azerbaiyán, re-\nflejan la herencia de una Unión Soviética a la que el país perteneció \nhasta 1991. Desde su independencia, sin embargo, el Gobierno azer-\nbaiyano ha invertido concienzudamente en la modernización de las \ninfraestructuras de la ciudad, así como en la de su arquitectura. El \nCentro Heydar Aliyev pertenece a esta renovación urbana y aspira \na convertirse en el principal exponente de los programas culturales \nde la región. El diseño, de predominantes formas onduladas, rompe \ncon la rígida y monumental arquitectura soviética, para inspirarse en \naspectos de la cultura azerí, como su geométrica caligrafía. Utiliza \nasí una serie de curvas sucesivas con las que quiere transmitir un \nmensaje de optimismo y progreso a una nación en desarrollo. Con \nla intención de generar un espacio fluido en toda la intervención, \nuna  plaza recibe el edificio para después prolongarse y convertirse \nen un generoso vestíbulo público. Este acoge a los visitantes y los \ndistribuye entre los más de cien mil metros cuadrados de programa \n—en el que destaca un auditorio y un museo—. Para la construc-\nción del complejo volumen se utilizaron herramientas de última \ntecnología que permitieron no sólo sistematizar los procesos de \nfabricación sino también monitorizar toda la evolución de la obra. \nPor último, el diseño de la iluminación merece especial atención \nya que su estudio específico contribuye a enfatizar la continuidad \nentre el espacio exterior y el interior.\nArchitecture and urban planning in Baku, the capital of Azerbaijan, \nreflect the legacy of the Soviet Union, which the country belonged to \nuntil the year 1991. Since independence, however, the Azerbaijan \ngovernment has conscientiously invested in the modernization of the \ncity’s network of infrastructures as well as in the development of its \narchitecture. The new Heydar Aliyev Center is part and parcel of this \nurban renewal and aspires to become the main impulse of cultural \nprograms in the region at large. With its dominant undulating forms, \nthe design of the building breaks with the rigidity and monumen-\ntalism of Soviet architecture to draw inspiration from aspects of \nAzeri culture, such as, for example, the geometry of its calligraphy. \nIt thus has a succession of curves sending a message of optimism \nand progress to a nation steep in the process of development. With \nthe intention of creating a fluid space in the entire project, a square \ntakes in the building to later stretch on and become a spatious public \nfoyer, which, in turn, welcomes visitors and spreads them out within \nthe over 100,000 square meters of the program, including an audi-\ntorium and a museum. Tools of the latest technology were used to \nmaterialize the complex volumetric scheme, making it possible not \nonly to systematize manufacturing processes but also to monitor the \nwhole evolution of the work. Finally, the lighting deserves special \nattention because it is designed to help emphasize the continuity \nbetween exterior and interior.\nZaha Hadid in Baku, \na warped icon\nHeydar Aliyev Center\nArchitecture\nBuilding\n1\nEl proyecto para este \ncentro cultural de usos \nmixtos arranca en 2007 \ncomo resultado de un \nconcurso internacional \nconvocado por el \nGobierno de la República \nde Azerbaiyán y termina \nde construirse en 2013.\nThe project for this \nmultipurpose cultural \ncenter began in 2007 as a \nresult of an international \ncompetition called by \nthe government of the \nRepublic of Azerbaijan, \nand construction was \ncompleted in 2013.\n",8,{"image":43,"text":40,"number":44},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.9.png",9,{"image":46,"text":47,"number":48},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.10.png","El centro descansa sobre \nun extenso parque que \nse organiza en terrazas \npara aprovechar la \ncompleja topografía y \ncomunicar de manera \nalternativa el edificio, el \nparking subterráneo, la \nplaza y la ciudad.\nThe building is located in \na park and is organized \nin terraces to make the \nmost of the complex \ntopography while \nconnecting the center, \nthe underground parking, \nthe square, and the city \nin a unique way.\n",10,{"image":50,"text":47,"number":51},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.11.png",11,{"image":53,"text":54,"number":55},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.12.png","10 C 01\nC 01 11\nEl proyecto persigue \nla constante fluidez \nfísica y espacial entre \nla plaza y el edificio, \ny únicamente se ve \ninterrumpida por las \ncortinas de vidrio que \nenmarcan accesos y \ngrandes ventanales.\nThe project pursues a \ndegree of physical and \nspatial fluidity between \nthe square and the \nbuilding which is only \ninterrupted by the glass \ncurtains framing the \nentrances and the  \nhuge windows.\n",12,{"image":57,"text":54,"number":58},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.13.png",13,{"image":60,"text":61,"number":62},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.14.png","12 C 01\nLa obra consta de dos \nsistemas estructurales \nsolidarios: uno de \nhormigón para los \nnúcleos verticales, y \notro metálico para la \nenvolvente con el fin \nde liberar de pilares el \nespacio interior.\nThe construction consists \nof two complementary \nloadbearing systems, \none in concrete for the \nvertical cores, and the \nother in metal for  \nthe envelope, to free  \nthe interior space of \npillars completely.\n",14,{"image":64,"text":61,"number":65},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.15.png",15,{"image":67,"text":68,"number":69},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.16.png","C 01 15\n",16,{"image":71,"text":68,"number":72},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.17.png",17,{"image":74,"text":75,"number":76},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.18.png","C 01 17\nLa utilización de \navanzadas herramientas \ninformáticas en el diseño \ny en la construcción hace \nposible la homogeneidad \ndel revestimiento \nexterior, de hormigón y \npoliéster reforzados con \nfibra de vidrio.\nThe external cladding, \nrendered in concrete \nand polyester, \nboth reinforced \nwith fiberglass, is \nhomogenized through \nadvanced technical and \ncomputer tools used in \ndesign and construction.\n",18,{"image":78,"text":75,"number":79},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.19.png",19,{"image":81,"text":82,"number":83},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.20.png","18 C 01\nLa ondulada geometría \nexterior conforma \ntambién la imagen \ninterior del edificio \nque «da la bienvenida, \nabraza y dirige» a los \nvisitantes a través de \nlos distintos niveles \nconstruidos.\nThe undulating \ngeometry of the exterior \nalso serves to shape \nthe appearance of the \ncenter’s interior space, \nwhich “welcomes, \nembraces, and guides” \nvisitors through the \nvarious floor levels.\n",20,{"image":85,"text":82,"number":86},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.21.png",21,{"image":88,"text":89,"number":90},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.22.png","C 01 21\nEl auditorio tiene \ncapacidad para mil \nespectadores y conserva \nlas lineas formales del \nresto del edificio. Su \nacabado en madera \ny la iluminación, sin \nembargo, transforman \nsu materialidad y color.\nThe auditorium can \nseat an audience of a \nthousand and maintains \nthe formal lines of the \nrest of the building, but \nthe wooden finishes \nand lighting fixtures \ntransform it materially \nand chromatically.\nArquitectos Architects: Zaha Hadid Architects\nDiseño Design: Zaha Hadid, Patrik Schumacher\nJefe de proyecto Project leader: Saffet Kaya Bekiroglu\nEquipo de proyecto Project team: Sara Sheikh Akbari, \nShiqi Li, Phil Soo Kim, Marc Boles, Yelda Gin,  \nLiat Muller, Deniz Manisali, Lillie Liu, Jose Lemos, \nSimone Fuchs, Jose Ramon, Tramoyeres, Yu Du,  \nTahmina Parvin, Erhan Patat, Fadi Mansour, Josef Glas, \nJaime Bartolome, Michael Grau, Deepti Zachariah, \nCeyhun Baskin, Daniel Widrig, Murat Mutlu.\nConsultoras Consultants\nDiA Holding (contratista contractor), Tuncel \nEngineering AKT (consultora de estructuras structural \nconsultants), GMD Project (mecánica mechanical), \nHB Engineering (eléctrica electrical), Werner \nSobek (fachada facade), Etik Fire Consultancy \n(fuego fire), Mezzo Stüdyo (acústica acoustics), \nEnar Engineering (geotécnica geotechnical), \nSigal (infraestructura infrastructure), MBDL \n(iluminación lighting), MERO (esqueleto de \nacero steel space frame), Bilim Makina (instalación de \nesqueleto de acero installation of space frame), Doka \n(encofrados formwork), Arabian Profile (paneles de \nrevestimiento exterior external cladding panels), Lindner \n(revestimiento interior internal skin cladding), Sanset \nIkoor (revestimiento de madera del auditorio auditorium \nwooden cladding), Quinette (asientos del \nauditorio auditorium seats), Zumbotel (accesorios de \niluminación lighting fixtures), Baswa (techos acústicos \nespeciales special acoustic ceilings), Astas (instalación \nde techos installation of ceilings), Solarlux (puerta de \nfachada del vestíbulo hall facade door), Bolidt (acado \ndel suelo de poliuretano polyurethane floor finish), Kone \nElevators + Ikma (ascensores elevators), MM Mühendisler \nMermer (revestimientos de mármol marble cladding), \nHRN Dizayn (instalación LED de paisaje landscape \nLED installation), Thyssen Group (escaleras \nmecánicas escalators), Remak Makina (puertas de \nemergencia fire doors), Tema (paneles de yeso gypsum \npanels), MIM Mühendislik (acero estructural structural \nsteel), Elekon Enerji Sistemleri (sistemas de control \nde iluminación lighting control system), NIS Epoksi \nKaplama Sistemleri (epoxi epoxy works), Projects Group \n(accesorios de iluminación lighting fixtures), Limit Insaat \n(aislamiento insulation).\nFotos Photos\nIwan Baan (pp. 11 bottom, 15); Hélène Binet  \n(pp. 12,13,16-17, 21); Hufton + Crow Photographers  \n(pp. 7, 8-9, 11 top, 14, 17, 18, 19, 20-21) \n",22,{"image":92,"text":89,"number":93},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.23.png",23,{"image":95,"text":96,"number":97},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.24.png","22 C 01\nEn torno a 100.000 personas viven en los palafitos de Makoko, un \nbarrio lacustre situado en la costa de la segunda ciudad más po-\nblada de África: Lagos. Allí las construcciones son muy precarias \ny apenas resisten los envites de la naturaleza (lluvias torrenciales, \ncrecidas, fuertes vientos...), que son especialmente agresivos en la \nzona debido al cambio climático. En este contexto, el estudio NLÉ, \nfundado en 2010 por el arquitecto nigeriano Kunlé Adeyemi y \nlocalizado entre Amsterdam y Lagos, diseña la nueva escuela de la \ncomunidad con una doble función: por un lado, proporciona a los \nvecinos una dotación educativa y una referencia cívica; por el otro, \nsirve de modelo tipológico y constructivo para futuros proyectos. \nEl edificio, de base rectangular y diez metros de altura, está cons-\ntruido con una estructura de madera de forma piramidal que por su \ngeometría resulta muy estable al tener el centro de gravedad bajo, \nademás de resistente y muy rígida (está diseñada para cobijar a cien \npersonas en las condiciones climáticas más adversas). A diferencia \nde los palafitos tradicionales  cuyos postes se hincan en el fondo, \nla escuela se apoya sobre una base flotante hecha de bidones de \nplástico hallados en uno de los múltiples vertederos de la ciudad \nque se vinculan entre sí gracias a una robusta celosía de madera. \nForman este zócalo insumergible varios módulos construidos en \ntierra pero ensamblados en el agua. Y todo ello con la participación \nactiva de la comunidad local Makoko.\nAbout 100,000 people live in the stilt dwellings of Makoko, a \nlagoon-side neighborhood in the heart of the African continent’s \nsecond most populated city, Lagos. Constructions here are very \nprecarious, hardly able to resist the inclemencies of nature (tor-\nrential rains, floods, strong winds, and so on), which because of \nclimate change are especially aggressive in the area. In this context, \nthe studio NLÉ, founded in 2010 by the Nigerian architect Kunlé \nAdeyemi and established between Amsterdam and Lagos, designs \nthe new school of the community with a double mission: to pro-\nvide residents with and educational facility and a civic reference, \nand to serve as a typological and constructional model for further \nbuilding. Rising ten meters over a rectangular base, the school is \nbuilt with a timber structure whose pyramid geometry, because of \nits low gravitational center, is highly stable as well as resistant \nand very rigid; after all, it is intended to take in a hundred people \nin adverse weather conditions. Unlike traditional water structures, \nwhere the posts are firmly set on the bottom of the body of lake or \nriver, the Makoko school rests on a floating base made of plastic \ndrums that were salvaged from one of the city’s numerous dumps, \nheld together with the help of a robust wooden lattice. This unsub-\nmersible plinth is formed by several modules constructed on land \nbut assembled on water. And all this with the active participation \nof Makoko local community. \nCon una superficie de \n220 m2, el proyecto \nterminó de construirse \nen 2013. Pese a estar \nconcebido como escuela, \nel modelo constructivo \npodría utilizarse para \nvivienda, mercado o \nhasta centro hospitalario.\nThe project has a total \nsurface of 220 m2 and \nits construction finishes \nin 2013. Even though \nit was conceived as a \nschool, the constructive \nprototype aims to be also \nused as housing, market \nor as a health clinic. \nLearning on the \nwater in Lagos \nFloating School in Nigeria\nArchitecture\nBuilding\n1\n",24,{"image":99,"text":96,"number":100},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.25.png",25,{"image":102,"text":103,"number":104},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.26.png","24 C 01\nC 01 25\nMientras que los \npalafitos que colonizan \nel lago se anclan al \nsuelo, esta escuela flota; \nha sido construida \ncon estrategias de \nsostenibilidad por una \nde las comunidades más \nprecarias de la región.\nUnlike the traditional \nwater structures that \ncolonize the lake, where \nthe posts are dug into \nthe bottom of the river, \nthis school floats. It was \nbuilt with sustainability \nstrategies by a poor \ncommunity of Lagos. \n",26,{"image":106,"text":103,"number":107},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.27.png",27,{"image":109,"text":110,"number":111},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.28.png","26 C 01\nC 01 27\nLas tres alturas de la \nescuela albergan una \nzona abierta destinada \na recreo en planta baja, \naulas con capacidad \npara cien alumnos \nen la segunda, y unos \ntalleres semicerrados \nen la tercera.\nThe three floors of \nthe school house an \nopen play area for the \nbreaks on the ground \nfloor, classrooms for \n100 students on the \nsecond level and a semi \nenclosed workshop space \non the third. \n",28,{"image":113,"text":110,"number":114},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.29.png",29,{"image":116,"text":117,"number":118},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.30.png","C 01 29\nAl flotar sobre el agua, \nla escuela hace frente \na las crecidas. Su \nestructura está formada \npor una malla de vigas \nde madera que se \napoyan sobre una base \nde bidones vacíos de \nplástico reciclado.\nBecause it floats on \nwater, the school can \nwithstand the high tides \nof the area. Its structure \nis formed by a mesh of \nwooden beams that rest \non a floating base of \nempty drums made of \nrecycled plastic.\nArquitecto Architect: Kunlé Adeyemi\nEquipo de diseño Project Team: Lisa Anderson, \nThijs Bouman, Leslie Ebony, Marije Nederveen, Segun \nOmodele, Adekunle Olusola, Chryso Onisiforou, Martin \nOreoluwa, Berend Strijland, Mónica Velasco.\nMakoko Waterfront Community: The Baales of Makoko\u002F\nIwaya Waterfront Community, with special mention \nof Baale Emmanuel Shemede, Noah Jesutin Shemede, \nJeunbete Shemede, Makoko Community Development \nAssociation & Youth Leaders and Makoko Floating \nSchool building team.\nConsultoras Consultants\nMakoko Community Building Team, Blok Kats van Veen \nArchitects, Dykstra Naval Architects, Thieu Besselink, \nRoel Bosch, Urhahn + Borra, Pieters Bouwtechniek, Ikeyi \n& Arifayan, Matrix Design & Works Nig Ltd., Solarmate \nEngineering Nig Ltd.\nFotos Photos\nIwan Baan (pp. 23, 24-25, 24 bottom, 26, 27, 28-29); \nNLÉ (p. 29 right).\n",30,{"image":120,"text":117,"number":121},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.31.png",31,{"image":123,"text":124,"number":125},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.32.png","arts\nPedreiras, portrait of a quarry\nJoaquín Bérchez\nThe Alhambra of Owen Jones \nOrnament and geometry\n",32,{"image":127,"text":124,"number":128},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.33.png",33,{"image":130,"text":131,"number":132},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.34.png","C 01 33\n32 C 01\nPedreiras,  \nportrait of a quarry \nJoaquín Bérchez\nArts\nExhibition\n2\nJoaquín Bérchez nace en Valencia en \n1950. Fotógrafo e historiador del arte   \n—disciplina por la que es catedrático en \nla Universidad de Valencia, y miembro de \nla Real Academia de Bellas Artes de San \nCarlos de Valencia—, está especializado en \nhistoria de la arquitectura. Sus imágenes \nenmarcan este conocimiento teórico en \nimpactantes retratos, casi tangibles, de la \narquitectura y el paisaje que describen. \nEn su libro Pedreiras. Carne de dioses, \nBérchez captura las verticales e inmensas \ncanteras a cielo abierto de la ciudad \nVila Viçosa, en el distrito de Évora, para \nmuchos considerada la capital del mármol, \ndescubriéndonos un paisaje artificial que, \npese a ser tallado por el hombre, excede \ncon creces la escala de lo humano: un \npaisaje que nos muestra el material en su \nestado primitivo. Como escribe Vicente \nLleó Cañal en el prólogo del libro, «igual \nque Miguel Ángel sentía auténtica pasión \npor el mármol y acudía a las canteras de \nCarrara para escoger personalmente los \nbloques cuya veta (o ausencia de ella) \nle resultaban más atractivos, Bérchez \ndemuestra la misma emoción, pasando así \nde la natura naturata a la natura naturans, \nes decir, de la concreción de la forma a \nla infinita posibilidad de la materia en su \nestado bruto».\nJoaquín Bérchez was born in Valencia in \n1950. A photographer and art historian – \nhe is chair professor in art history at the \nUniversity of Valencia and is a member \nof the San Carlos Royal Academy of Fine \nArts of this western Spanish city – his \nspecialty is the history of architecture. His \nimages frame this theoretical knowledge \nin impactful, almost tangible portraits \nof architecture and the landscape they \ndescribe. In his book Pedreiras. Carne \nde dioses, Bérchez captures the vertical \nand immense open-air quarries of the \nPortuguese city of Vila Viçosa, considered \nby many to be the marble capital of \nthe world, revealing to us an artificial \nlandscape that, though carved by man, \nfar exceeds the scale of the human: a \nlandscape that presents us the material \nin its most primitive state. As Vicenter \nLleó Cañal writes in the foreword of the \nbook, “Michelangelo felt strong passion \nfor marble and would go to the Carrara \nquarries to personally select the blocks \nwhose veins (or lack thereof) he found \nmost attractive. Bérchez demonsrates a \nsimilar emotion, and with that, goes from \nnatura naturata to natura naturans – that \nis, from the materialization of form to the \ninfinite prospects of the material in its \nraw matter.”\nPedreiras. Carne de \ndioses de Joaquín \nBérchez se publica en \n2011. El libro recoge más \nde 25 instantáneas del \nautor que retratan las \ncanteras de mármol de \nla ciudad portuguesa de \nVila Viçosa. \nThe 2011 book Pedreiras. \nCarne de dioses, by \nJoaquín Bérchez, \ncompiles over 25 \nphotographs, taken by \nthe author, portraying \nthe marble quarries  \nof the Portuguese city  \nof Vila Viçosa.\n",34,{"image":134,"text":135,"number":136},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.35.png","C 01 33\n32 C 01\nPedreiras,  \nportrait of a quarry \nJoaquín Bérchez\nArts\nExhibition\n2\nJoaquín Bérchez nace en Valencia en \n1950. Fotógrafo e historiador del arte  \n—disciplina por la que es catedrático en \nla Universidad de Valencia, y miembro de \nla Real Academia de Bellas Artes de San \nCarlos de Valencia—, está especializado en \nhistoria de la arquitectura. Sus imágenes \nenmarcan este conocimiento teórico en \nimpactantes retratos, casi tangibles, de la \narquitectura y el paisaje que describen. \nEn su libro Pedreiras. Carne de dioses, \nBérchez captura las verticales e inmensas \ncanteras a cielo abierto de la ciudad \nVila Viçosa, en el distrito de Évora, para \nmuchos considerada la capital del mármol, \ndescubriéndonos un paisaje artificial que, \npese a ser tallado por el hombre, excede \ncon creces la escala de lo humano: un \npaisaje que nos muestra el material en su \nestado primitivo. Como escribe Vicente \nLleó Cañal en el prólogo del libro, «igual \nque Miguel Ángel sentía auténtica pasión \npor el mármol y acudía a las canteras de \nCarrara para escoger personalmente los \nbloques cuya veta (o ausencia de ella) \nle resultaban más atractivos, Bérchez \ndemuestra la misma emoción, pasando así \nde la natura naturata a la natura naturans, \nes decir, de la concreción de la forma a \nla infinita posibilidad de la materia en su \nestado bruto».\nJoaquín Bérchez was born in Valencia in \n1950. A photographer and art historian – \nhe is chair professor in art history at the \nUniversity of Valencia and is a member \nof the San Carlos Royal Academy of Fine \nArts of this western Spanish city – his \nspecialty is the history of architecture. His \nimages frame this theoretical knowledge \nin impactful, almost tangible portraits \nof architecture and the landscape they \ndescribe. In his book Pedreiras. Carne \nde dioses, Bérchez captures the vertical \nand immense open-air quarries of the \nPortuguese city of Vila Viçosa, considered \nby many to be the marble capital of \nthe world, revealing to us an artificial \nlandscape that, though carved by man, \nfar exceeds the scale of the human: a \nlandscape that presents us the material \nin its most primitive state. As Vicenter \nLleó Cañal writes in the foreword of the \nbook, “Michelangelo felt strong passion \nfor marble and would go to the Carrara \nquarries to personally select the blocks \nwhose veins (or lack thereof) he found \nmost attractive. Bérchez demonsrates a \nsimilar emotion, and with that, goes from \nnatura naturata to natura naturans – that \nis, from the materialization of form to the \ninfinite prospects of the material in its \nraw matter.”\nPedreiras. Carne de \ndioses de Joaquín \nBérchez se publica en \n2011. El libro recoge más \nde 25 instantáneas del \nautor que retratan las \ncanteras de mármol de \nla ciudad portuguesa de \nVila Viçosa. \nThe 2011 book Pedreiras. \nCarne de dioses, by \nJoaquín Bérchez, \ncompiles over 25 \nphotographs, taken by \nthe author, portraying \nthe marble quarries  \nof the Portuguese city  \nof Vila Viçosa.\n",35,{"image":138,"text":139,"number":140},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.36.png","C 01 35\nLas fotografías abarcan \ntodas las escalas de \nla cantera: desde la \nprecisión de la veta o \nsus sutiles variaciones \nde color hasta la \ninmensidad de las \nparedes verticales en \nrelación con el hombre.\nThe photographs \ncover all the scales of \nthe quarry: from the \nprecision of the veins or \nthe subtle variations in \ncolor to the immensity \nof vertical walls in \ncomparison to the \nhuman being.\n",36,{"image":142,"text":139,"number":143},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.37.png",37,{"image":145,"text":146,"number":147},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.38.png","La profundidad en los \ndetalles se muestra \nperfectamente en esta \npared de mármol, que \nse presenta como una \nimpactante cartografía \nde la propia estructura \ny las muchas cualidades \nfísicas del material.\nThe depth of details is \nstriking in this wall of \nmarble, which comes \nacross as a most vivid, \nastonishing cartography \nof the very structure \nand the numerous \nphysical properties  \nof the material.\n",38,{"image":149,"text":146,"number":150},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.39.png",39,{"image":152,"text":153,"number":154},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.40.png","38 C 01\nJoaquín Bérchez captura \ncon sencillez el vértigo \nemocionante de estos \npaisajes artificiales; \narquitecturas naturales \nque se asemejan a las \ngrandes intervenciones \ncaracterísticas del Land \nArt contemporáneo.\nWith simplicity Joaquín \nBérchez captures the \nvertiginous drama \nof these artificial \nlandscapes, which \namount to natural \narchitectures resembling \nlarge-scale works of \ncontemporary Land Art.\n",40,{"image":156,"text":153,"number":157},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.41.png",41,{"image":159,"text":160,"number":161},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.42.png","40 C 01\nThe Alhambra  \nof Owen Jones\nOrnament  \nand geometry\nArts\nExhibition\n2\nOwen Jones (Londres, 1809-1874) \nfue un arquitecto, artista decorativo y \nescritor británico que participó de una \nforma trascendental en la difusión del \nconocimiento de la Alhambra en la Europa \ndel siglo XIX. Publicada entre 1836 y 1845, \nsu obra magna La gramática del ornamento \ncontribuyó, con su muestrario de motivos \nornamentales históricos, sus delicados \ndetalles y sus sugerentes perspectivas \nde esta ciudad palatina, a difundir el \nimaginario orientalista en el continente. \nConsiderado uno de los pioneros de la \ncromolitografía  —la técnica de reproducción \nlitográfica en colores— su papel fue \nigualmente importante en la polémica sobre \nla policromía en la arquitectura, suscitada \npor el descubrimiento de la ornamentación \ncromática en los edificios clásicos, donde \nse posicionó del lado de los defensores del \ncolor. Esta nueva técnica permitió exportar \nsus ideas gracias a las abundantes láminas \nque reproducían el colorido original de los \nantiguos monumentos. El estudio no sólo \ntenía valor como documento de registro \nsino que además se convirtió en una \nenciclopedia de detalles que inspiraría a \nsus coetáneos, pero también a arquitectos \nposteriores tan destacados como Le \nCorbusier, del que se conservan dibujos \ncopiados del libro de Jones.\nOwen Jones (London, 1809–1874) was a \nBritish architect, a decorative artist, and \na writer who contributed significantly to \nspreading knowledge about the Alhambra \nof Granada in 19th-century Europe. \nPublished during the period 1836-1845, \nhis opus The Grammar of Ornament – with \nits collection of historical ornamental \nmotifs, its delicate details, and its \nsuggestive insights on this Andalusian \npalace-city – was instrumental in \npopularizing orientalist imagery on the \ncontinent. Considered one of the pioneers \nof chromolithography – the technique of \nlithographic printing in colors – he also \nplayed a leading role in the controversy \non polychromy in architecture, sparked by \nthe discovery of chromatic adornment in \nclassical buildings, in which he positioned \nhimself on the side of those in favor of \ncolor. This new technique enabled him \nto promote his ideas through a wealth \nof plates reproducing the original color \nschemes of ancient monuments. The \nvolume is valuable not only as a document \nfor the records. It became an encyclopedia \nof details that would serve as inspiration \nnot only to his contemporaries, but also \nto later architects as prominent as Le \nCorbusier, some of whose drawings copied \nfrom Jones’s book have been preserved.\nProfundamente influido \npor el romanticismo \norientalista, Owen Jones \nfue uno de los teóricos \ndel ornamento más \ndestacados del siglo XIX, \ny uno de los principales \ndivulgadores del \nmonumento granadino. \nUnder the influence of \norientalist romanticism, \nthe architect and \ndesigner Owen Jones \nwas a leading theorist \nof ornament during the \n19th century, and one of \nthe main experts on the \nAlhambra of Granada.\n",42,{"image":163,"text":160,"number":164},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.43.png",43,{"image":166,"text":167,"number":168},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.44.png","42 C 01\nC 01 43\nLack of precision in the \nmeasurements taken – \nbecause of the period’s \nprecarious means for \nobtaining data – was \ncompensated for by  \nthe exquisite artistic \nquality of the drawings \nand engravings.\nLa falta de precisión en \nlas medidas tomadas  \n—debido a la precariedad \nde los medios del \nmomento para obtener \nlos datos— se compensa \ncon la exquisita calidad \nartística de los dibujos y \nlos grabados. \n",44,{"image":170,"text":167,"number":171},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.45.png",45,{"image":173,"text":174,"number":175},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.46.png","44\ninnovation\nParticles by design\nCosentino develops Dekton, a new building material\n",46,{"image":177,"text":174,"number":178},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.47.png",47,{"image":180,"text":181,"number":182},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.48.png","46 C 01\nInnovation\nProduct\n3\nLa técnica no sólo imita los procesos de la naturaleza; a veces es capaz \nincluso de acelerarlos y mejorarlos. Tal es el caso de Dekton, un pro-\nducto lanzado al mercado en  2013 por Cosentino tras un desarrollo \nde seis años y una gran inversión, que se deriva de la innovadora \nTecnología de Sinterización de Partículas (TSP), una versión acelerada \ndel cambio metamórfico que la piedra natural experimenta cuando se \nsomete a temperaturas y presiones muy altas a lo largo de miles de \naños. El resultado es un material de altas prestaciones, ultracompacto \ny resistente, que admite ilimitadas configuraciones de diseño y que \nse comercializa en tableros de gran formato (3,20 x 1,44 metros), con \nespesores que oscilan entre los 8 y los 20 milímetros.\nMás que un producto estandarizado, Dekton es una plataforma \nde diseño abierta que permite, a partir de un cierto rango de encar-\ngos, seleccionar a la carta las propiedades y acabados del material \ngracias a una compleja hibridación de tecnologías —la del vidrio, la \nde los aglomerados pétreos y la de los productos porcelánicos— que \naprovecha las ventajas de cada una de ellas para conferir al producto \nunas buenas prestaciones mecánicas, muy baja porosidad y bajos \ncoeficientes de dilatación, así como resistencia a agentes químicos, \na la abrasión, al choque térmico y a la luz ultravioleta. \nEl proceso de fabricación es el que aporta a Dekton sus extraor-\ndinarias propiedades. Su mayor particularidad es que implica un \nnuevo modo de concebir la producción, en el que las cuestiones de \nTechnology does not only imitate the processes of nature; it can \nsometimes even accelerate and improve them. A case in point is \nDekton, a product launched by Cosentino in 2013 after six years of \nR&D and huge investment. It stems from the innovative Sinterized \nParticle Technology, an accelerated version of the metamorphic \nchange that natural stone undergoes when subjected to very high \ntemperature and pressure in the course of thousands of years. The \nresult is a high-performance material – ultra-compact and resistant \n– that lends itself to an unlimited array of design configurations and \nis sold in huge boards (3.20 x 1.44 meters and 8–20 millimeters \nthick), with a wide range of architectural applications.\nMore than the usual closed or standardized product, Dekton is an \nopen design platform that allows one to select, from a certain range \nof orders, the exact properties and finishes desired in the material, \nthanks to a complex hybridization of different technologies – of \nglass, stone agglomerates, and porcelain products – that capital-\nizes on the advantages of each one to give the product excellent \nmechanical features, very low porosity, and low thermal expansion \ncoefficients besides resistance to chemical agents, abrasion, thermal \nshock, and ultraviolet light. And all this with great versatility of \ntextures and finishes.\nMore than in any other material, here it is the manufacturing \nprocess that gives Dekton its extraordinary properties. What is \nParticles by design\nCosentino develops Dekton, a new building material \n",48,{"image":184,"text":181,"number":185},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.49.png",49,{"image":187,"text":188,"number":189},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.50.png","48 C 01\nC 01 49\ndiseño están consideradas desde las fases más tempranas del proceso \nde manera que se abren posibilidades ilimitadas para los arquitectos.\nEl proceso comienza con la recepción de materias primas, que \nse almacenan por separado para evitar la contaminación, y que se \nsometen a un exhaustivo control de calidad. Una vez preparadas, las \nmaterias primas se purifican antes de conducirse a la fase de molienda \nen húmedo, durante el cual se mezclan en una determinada propor-\nción y se molturan hasta alcanzar el tamaño buscado de partícula. Es \naquí donde propiamente comienza el diseño del producto final, pues \nel tamaño de gránulo condiciona tanto la velocidad de la reacción \nquímica que da lugar a Dekton como sus propiedades finales.\nMolturadas ya las materias primas, el proceso de diseño de las \npartículas continúa con la fase de coloración —en la que se utilizan \nsólo pigmentos inorgánicos— y con la de atomización, una de las \npartes más importantes de la fabricación, por la cual la fórmula de \nDekton ya coloreada se seca hasta conseguir la forma y el tamaño \nde gránulo deseados. Una vez depositado en silos independientes, el \npolvo obtenido gracias a la atomización se hace pasar por los siste-\nmas de decoración, en los que los gránulos o partículas de material \nse van colocando cuidadosamente en diferentes lugares de una cinta \ntransportadora, dando lugar a una tabla continua y decorada con \nefectos que pueden afectar tanto a la superficie como al espesor de \ndicha tabla. Gracias a los 16 sistemas de decoración disponibles —que \nEl producto resiste los \nimpactos, los arañazos \ny la abrasión de manera \nque puede utilizarse \nen zonas de mucho \ntránsito. También ofrece \nresistencia al choque \ntérmico frente al calor,  \nal hielo y al deshielo.\nThe product has a high \nresistance to scratches \nand abrasion, so it \ncan be used in spaces \nsubjected to intensive \nuse. It also has a very \ngood resistance to heat \nand thermal shock, to \nfreezing and thawing. \nmost special about it is how it involves an altogether new way of \nconceiving production, with design questions considered from the \nearliest stages of the process. Broadly speaking, the idea is to design \nthe particles of the product with the shape, size, and color needed \nto compose them in a specific design matrix that opens up infinite \nnew possibilities for architects.\nThe process begins with the gathering of raw materials, which \nare stored separately to avoid contamination and subjected to ex-\nhaustive quality control. When they are ready, they are purified, \nand a wet-grinding phase ensues in which they are mixed in given \nproportions and ground to the desired particle sizes. This is where \nthe actual design of the final product begins, given that the size of \nthe granule conditions both the rate of chemical reaction giving rise \nto Dekton and its final properties.\nOnce the raw materials are ground, the process of designing the \nparticles continues with the coloring stage – using only inorganic \npigments – and the atomizing stage, one of the most important parts \nof fabrication, through which the Dekton formula, now colored, is \ndried until the granule takes on the shape and size desired. Once it is \ndeposited in separate silos, the powder obtained through atomization \nis put through decoration systems where the granules or particles of \nthe material are carefully placed in different parts of a conveyor belt, \nforming a continuous board decorated with effects that can affect \n",50,{"image":191,"text":188,"number":192},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.51.png",51,{"image":194,"text":195,"number":196},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.52.png","50 C 01\nC 01 51\nEl Grupo Cosentino \nexplota la mayor planta \nde producción de  \ncuarzo en España y \nde granito natural \nen Brasil. Además, la \ncompañía distribuye sus \nproductos en más de \nochenta países.\nThe multinational \ncompany Cosentino \ndistributes its products \nand brands to over \neighty countries, and \noperates the largest \nquartz production factory \nin Spain and of natural \ngranite in Brazil. \n",52,{"image":198,"text":195,"number":199},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.53.png",53,{"image":201,"text":202,"number":203},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.54.png","52 C 01\nC 01 53\npueden trabajar de forma aislada, simultánea o formando grupos—, \ntras la primera fase del proceso de producción está definido ya el aca-\nbado final del producto, siempre con una gran versatilidad de diseño.\nLa fabricación de Dekton prosigue con el conformado del material. \nLa tabla continua y decorada se corta en los diferentes fragmentos \nque, al final del proceso, conducirán al formato comercial del tablero. \nEl conformado consiste en ultracompactar las tablas a una presión \nmuy elevada mediante una prensa susceptible de aplicar 25.000 \ntoneladas, una máquina única en el mundo tanto por su capacidad \nde compactación como por sus dimensiones. Esto permite eliminar \nal máximo los vacíos entre los gránulos coloreados, de manera que \npuedan agilizarse las reacciones químicas posteriores. El proceso \ntermina con un tratamiento a altas temperaturas mediante el cual \nlos distintos gránulos coloreados se transforman químicamente a \ntravés de rutas de síntesis muy controladas que confieren a la tabla \nsus propiedades físicas, químicas y estéticas finales. \nEn su modo de aplicar a los materiales base presiones y tempe-\nraturas, el proceso de sinterización empleado en Dekton imita los \nprocesos de formación de las rocas metamórficas, pero reduciendo los \nperiodos de ‘fabricación’ desde miles de años a tan sólo unas horas, \npara configurar un material muy resistente, compacto y que mantiene \nsus propiedades —en particular, el color— prácticamente inalteradas \nincluso en ambientes agresivos. De ahí las innumerables aplicaciones \narquitectónicas de Dekton, que resulta apropiado como revestimiento \ndecorativo no sólo en pavimentos y escaleras, sino también como \naplacado en interiores y fachadas ventiladas. Con todo, la principal \nvirtud de Dekton es su carácter abierto, su condición de plataforma \ntecnológica susceptible de responder a demandas de diseño muy va-\nriadas, y de permitir el desarrollo en un futuro cercano de materiales \ncon propiedades y acabados tan inéditos como sorprendentes. \nboth its surface and its thickness. Thanks to the sixteen decoration \nsystems available, which can work separately, simultaneously, or \nin groups, after the first phase of the production process the final \nfinish of the product is already defined, always with a high degree \nof versatility in design.\nThe manufacture of Dekton continues with the shaping of the mate-\nrial. The smooth decorated board is cut into pieces that at the end of \nthe process will lead to the commercial format. The molding involves \nultra-compacting the boards at very high pressure with a press that \ncan take 25,000 tons; a one-of-a-kind machine owing as much to \nits compression capacity as to its dimensions. The compression can \nmaximize elimination of the gaps between colored granules, speeding \nup subsequent chemical reactions and giving the boards sufficient con-\nsistency for the next phase. The process ends with a high-temperature \ntreatment that chemically transforms the different colored granules \nthrough closely controlled synthesis routes giving the boards their \nfinal physical, chemical, and aesthetic properties.\nIn the way pressures and temperatures are applied to the base \nmaterials, the sinterization procedure followed in Dekton imitates the \nprocesses by which metamorphic rock is formed, but with ‘fabrication’ \nperiods shortened from thousands of years to just a few hours, giving \nrise to a highly resistant and compact material whose properties – in \nparticular its color – stays unaltered even in aggressive environments. \nHence the innumerable architectural applications of Dekton, so suited \nfor decorative cladding not only in floors and stairs, but also in in-\nterior walls and ventilated facades. All told, the primary attribute of \nDekton is its open nature, its being a technological platform with the \npotential to address very varied design demands, as well as to allow \nthe development, in the near future, of materials with unprecedented \nand surprising properties and finishes.\n",54,{"image":205,"text":202,"number":206},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.55.png",55,{"image":208,"text":209,"number":210},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.56.png","54 C 01\nC 01 55\nEl Dekton se obtiene \ngracias a una prensa \nde 25.000 toneladas, \nla mayor del mundo, \nque convierte el \nmaterial base en una \nsuperficie ultracompacta \nque garantiza unas \nprestaciones extremas.\nDekton is produced  \nwith a 25,000-ton press, \nthe world’s largest, which \ntransforms the slab into \nan ultra-compact surface, \nguaranteeing that it will \nendure extreme conditions \nwhilst maintaining  \nits properties.\n©F.Alda (pp. 46, 48, 49, 50 right, 51 top, 51 bottom, 52, 53 bottom, 54, 55), Cosentino (pp. 47, 50 left, 51 middle, 53 top) \n",56,{"image":212,"text":209,"number":213},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.57.png",57,{"image":215,"text":216,"number":217},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.58.png","The wild side\nMythological portraits\nstyle\n",58,{"image":219,"text":216,"number":220},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.59.png",59,{"image":222,"text":223,"number":224},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.60.png","58 C 01\nC 01 59\nStyle\nTradition\n4\nTHE \nWILD\nSIDE\nMythological \nportraits \nLeft and top: Babugeri from Bansko (Bulgaria)\nEl libro Wilder Mann \n(Kehrer, 2012) recoge \nlos retratos del fotógrafo \nfrancés Charles Fréger \n(1975) en su búsqueda \nde la figura mitológica \ndel hombre salvaje en \nlos diferentes rituales \npaganos europeos.\nThe book Wilder Mann  \n(Kehrer, 2012) gathers \nthe portraits by French \nphotographer Charles \nFréger (1975), taken \nduring his search for the \nmythological figure of the \nwild man in pagan rituals \nthroughout Europe. \n",60,{"image":226,"text":223,"number":227},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.61.png",61,{"image":229,"text":230,"number":231},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.62.png","60 C 01\nC 01 61\nTop: Strohmann from Leipferdingen (Germany), right: Caretos from Lazarim (Portugal)\nLa transformación \ndel hombre en bestia \nha sido el aspecto \nfundamental de estos \nrituales que durante \nsiglos han celebrado el \ncambio de estación, \nla fertilidad, la vida  \ny la muerte.\nThe transformation  \nof man into beast is  \nthe central theme of \nthese traditional rituals \nthat over the centuries \nand across frontiers \nhave celebrated the \nchange of seasons, \nfertility, life and death. \n",62,{"image":233,"text":230,"number":234},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.63.png",63,{"image":236,"text":237,"number":238},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.64.png","62 C 01\nC 01 63\nTraje de cuerdas (left), Hueso (top) from Zarramacadas of Mecerreyes (Spain)\nPara realizar esta \nserie de fotografías, \nFréger viajó, durante \nmás de tres años, a \ndieciocho países en \nEuropa estudiando \nestas prácticas en los \ndiferentes carnavales o \nfiestas de Adviento.\nTo complete this \nphotographic series, \nFréger traveled, for \nmore than three years, \naround eighteen \ncountries in Europe, \nstudying these rituals  \nin the different carnival \nor Advent traditions.\n",64,{"image":240,"text":237,"number":241},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.65.png",65,{"image":243,"text":244,"number":245},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.66.png","64 C 01\nC 01 65\nTop: Perchta from Werfen (Austria), right: Certi from Nedašov (Czech Republic)\nCon máscaras, \ncampanas, plantas o \ndespojos (cuernos, pieles \ny huesos) estos disfraces \nrepresentan animales \ncomo machos cabríos \no jabalíes y símbolos \ncomo la muerte o \nincluso el demonio.\nWith masks, bells,  \nplants or remains  \n(elements such as horns, \nskins and bones), these \ncostumes represent \nanimals like billy goats, \nbears or wild boars, and \nsymbols like death or \neven the devil. \n",66,{"image":247,"text":244,"number":248},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.67.png",67,{"image":250,"text":251,"number":252},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.68.png","interview\nJacques Herzog &  Emilio Tuñón \n in dialogue \n",68,{"image":254,"text":251,"number":255},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.69.png",69,{"image":257,"text":258,"number":259},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.70.png","Jacques Herzog\n& Emilio Tuñón \nin dialogue\nLos dos arquitectos \nconversan en Atrio \nsobre vinos y bodegas\nThe two architects \ntalk at Atrio about \nwines and wineries\nInterview\nConversation\n5\n",70,{"image":261,"text":258,"number":262},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.71.png",71,{"image":264,"text":265,"number":266},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.72.png","70 C 01\nEmilio Tuñón: We are sitting in the patio \nof Atrio, a hotel and restaurant which owns \none of the finest wine cellars in Europe, and \nI cannot help but think about the relationship \nbetween architecture and wine.\nJacques Herzog: It is interesting to talk \nabout wine and architecture, but we should \navoid the lifestyle connotations that are often \nassociated with this kind of comparison. We \nboth share this passion not only because we \nlove the wines but also because we share the \ncarefulness which is necessary to produce \nsuch products; carefulness which is also a \nkey condition for architecture. One can see \nand sense that here, in this wonderful place, \nthe Atrio hotel in Caceres that you have \nconverted into such a great place. Care is all \nover the place, in your architectural details \nas well as in how the owners are using the \nplace. Today, more than ever in architecture \nthis care is real, it is natural and it is a real \nEmilio Tuñón: Estamos en el patio de \nAtrio, restaurante con una de las mejores \nbodegas de Europa, y no puedo dejar de \npensar en la relación entre la arquitectura \ny el vino…\nJacques Herzog: Resulta interesante ha-\nblar sobre el vino y la arquitectura, pero de-\nbemos evitar las connotaciones lifestyle que \nnormalmente se asocian a esta comparación, \ny que podrían malinterpretarse. Tenemos en \ncomún esta pasión no sólo porque amamos \nlos vinos, sino porque también compartimos \nla atención necesaria para la producción de \nambos productos. Uno puede ver y sentir eso \naquí, en el hotel Atrio en Cáceres, que has \nconvertido en un sitio tan fantástico. Todo \nestá cuidado en el edificio, desde los detalles \narquitectónicos hasta cómo los propietarios \nutilizan y conservan el sitio. Hoy, más que \nnunca en la arquitectura, esta atención es \nreal, se produce de manera natural, y es un \nactivo intangible en nuestras vidas. El vino \nsugiere una idea muy semejante, porque \ntomar vino te fuerza a sentarte a la mesa y \nestar en un lugar, en vez de comer y beber de \nmanera mecánica, sin darte cuenta de lo que \nhaces. Es como si el vino te obligara a com-\nportarte de una manera arcaica, ancestral. \nET: La arquitectura y el vino están rela-\ncionados con la vida, por eso tienen mu-\nchas cosas en común. No se trata de lujo \no sofisticación, sino de saber vivir la vida, \ndisfrutarla.\n«Wine forces you to sit \ndown at the table and to \nbe somewhere instead of \neating without becoming \naware»\n«El vino te fuerza a \nsentarte a la mesa y estar \nen un lugar, en vez de \ncomer y beber de manera \nmecánica»\nJH: Es el tipo de vida que nosotros valo-\nramos, pero no necesariamente los demás. \nNo sólo por Asia o América, sino también \npor Europa —incluso por países con tradi-\nciones vinícolas tan añejas como Francia o \nEspaña—, la gente tiende a dedicar menos \ntiempo a comer en la mesa con su familia \ny amigos. Los comportamientos culturales \nasset in all our lives. Wine is very much \nassociated to this, because wine forces you \nto sit down at the table and to talk and to \nbe somewhere instead of eating and drink-\ning without becoming aware. So wine forces \nyou into a kind of old fashioned, archaic \nway of being. \nET: Architecture and wine are related to \nlife. That is why they have a lot of things in \ncommon. It is not a problem of luxury, but a \nproblem of how to enjoy life and how to live it. \nJH: It is the kind of life that we find \nimportant, but not necessarily others. Not \nonly in Asia or America, but also in Eu-\nrope – even in archaic wine countries like \nFrance or Spain – people tend to spend less \ntime eating at the table with their family or \nfriends. Cultural patterns are changing and \nothers are coming up. It is a fundamental \ndifference whether you take eating as a he-\ndonistic and holistic experience or whether it \nis just about consuming food to survive. It is \nholistic when it involves all your senses not \njust the visual one or the one dimensional \nsmell of standardized industrial food. I am \nnot talking in favor of gourmet style eccentric \ncuisine but rather of basic experiences. Wine \nis a key to such an experience and of course \narchitecture totally depends on it. \nET: Yes, but we must also take into con-\nsideration how architecture relates to the \nearth, it is very important for architecture to \nbe very close to the ground. This is important \nbecause wine is also related to geography. For \nexample, in your Dominus Winery, the way \ntierra; es muy importante estar cerca del \nsuelo. Por ejemplo, en tu Bodega Dominus, \nel modo en que la geografía interactúa con \nel edificio y con el vino es muy interesante: \ncaptura el espíritu de esta parte tan especial \nde la tierra. \nJH: Estoy de acuerdo. La condición del \nterreno que nos encontramos, el terroir, era \nrealmente valioso tanto para nosotros como \npara el cliente. Habíamos intentado cosas \ndiferentes, como usar vidrios de botellas, \npero conforme avanzábamos en el proyecto \nnos íbamos dando cuenta de que el calor \ndurante el día era muy fuerte. Se trataba \nde California, así que comprendimos que la \nmasa resultaba crucial. Finalmente encon-\ntramos la solución de utilizar el terreno de \nla zona, la piedra volcánica. Era necesario \ncontar con muros gruesos para proteger del \ncalor el interior de manera que, gracias a su \ninercia térmica, esos mismos muros durante \nla noche —las noches son bastantes frescas \nen esa zona— pudieran liberar el calor acu-\nmulado a lo largo del día. Se trata de un \nconcepto muy europeo, como europeo es el \nvinatero propietario de la bodega. De esta \nmanera se evitaba que el vino tuviera que \ntrasegarse demasiado y adquiriese un gusto \nartificial.\nET: Siempre hablas sobre las cualidades de \nesa zona de California: la situación geográfi-\nca en el valle, los diferentes niveles topográ-\nficos… Me encanta esta manera de enfocar \nPhotos: Miguel Fernández-Galiano \u002F Alfonso Rengifo\nestán cambiando, y se están reemplazando \npor nuevas actitudes. Hay una diferencia \nfundamental entre si uno considera el comer \ncomo una experiencia holística o hedonista \no, por el contrario, como un simple trámite \npara sobrevivir. Es holístico cuando involu-\ncra todos los sentidos, no sólo el visual o el \nolor unidimensional de la comida industrial \nestandarizada. No me posiciono a favor del \nestilo gourmet de la cocina excéntrica, pero \nsí de las experiencias básicas. El vino, en \nmi opinión, es la clave de la experiencia y \nla arquitectura es imprescindible para que \nesta ocurra. \nET: El vino está vinculado a la geografía. \nLa arquitectura también, y por eso debemos \nconsiderar cómo esta se relaciona con la \nEl premio Pritzker suizo, \nJacques Herzog, conversa \ncon el arquitecto español \nEmilio Tuñón, ganador \na su vez del premio Mies \nvan der Rohe, y autor del \nhotel y restaurante Atrio \nde Cáceres, donde tiene \nlugar el encuentro. \nThe Swiss Pritzker \nlaureate Jacques Herzog \ntalks with the Spanish \narchitect Emilio Tuñón, \nwinner of the Mies van \nder Rohe Award and \nauthor of the Atrio hotel \nin Cáceres, where the \nmeeting takes place.\n",72,{"image":268,"text":265,"number":269},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.73.png",73,{"image":271,"text":272,"number":273},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.74.png","72 C 01\nC 01 73\n«Architects do many \nthings for different \nfields of our society \nwithout being real \nexperts in them. I like \nthis generalist side of \nour profession»\n«Los arquitectos hacemos \ncosas para disciplinas \ndiferentes sin ser \nverdaderamente expertos \nen ninguna. Me gusta \neste lado generalista de \nla profesión»\nthe geography is working with the building \nand also working with the wine is very in-\nteresting: capturing the spirit of this special \npart of the earth. \nJH: I agree. The earth or the given ground \ncondition, the terroir, was especially im-\nportant for us as well as for the client. I \nremember that we had tried different things. \nWe wanted to use glass to associate with \nthe glass of bottles, but the more we worked \non the project the more we realized that the \nheat during the day was very strong; it is in \nCalifornia, so we understood that the mass \nwas very important. We finally found the \nsolution in using the mass we found in the \nground of the area, the volcanic stones. It \nwas necessary to have thick walls to protect \nthe inside from the heat, the same walls that \nat night – the nights are quite cool in this \narea – free this accumulated heat. This is a \nvery European concept, as the owner was \na European winemaker. This way the wine \nwould not be overly extracted and would not \nhave an artificial taste. \nET: You always talk about the qualities \nof this area of California: the geographical \nsituation in the valley, the different levels \nof the topography… I love this approach to \narchitecture and I find it very coherent with \nthe subject of the building. Wine is very much \nrelated to all these things you deal with: the \nsoil, the terrain…\nJH: In a vineyard the smallest change, \neither in the height of the vines, their posi-\ntion or orientation makes a big difference. If \nyou are not a winemaker, you are not aware \nof those things because the landscape looks \ntruly similar. They, however, not only have \nan amazing knowledge and sensibility for \nsmall variations in the landscape, but also in \nthe characteristics of each different season. \nThey memorize time, reflected in the differ-\nence of every year’s seasonal uniqueness…\noften over a time span of decades. I was \nvery impressed with Christian Moueix when \nhe taught me about añadas in the past. He \nknows everything about every year.\nET: It is completely incredible that they \nremember every detail and how these details \nchange the grape and the wine.\nJH: Whereas we tend to forget so fast... \nEven architecture, which is not an easy busi-\nness and shares the physical parameters and \nthe importance of time, lacks these abilities. \nThat is why I have so much respect for the \ngreat winemakers. That is also why I can’t \nunderstand that wine lovers all of a sudden \nchange the sides and do their own wine, a \nfashion trend that I find quite absurd. Per-\nhaps with the exception of Rafael Moneo \nwho makes a considerable effort to produce \na good wine - ‘la Mejorada’ - in a area and \non a piece of land to which he has a lifelong \naffection and relationship. Winemaking is \nsuch a different business and us architects \nla arquitectura y me parece muy coherente \ncon el tema de la construcción. El vino está \nmuy relacionado con todas estas cosas a las \nque te refieres: el suelo, el terreno…\nJH: En un viñedo cualquier cambio mí-\nnimo, ya sea en la altura de las viñas, su \nposición o su orientación, da pie a grandes \ndiferencias. Alguien que no sea enólogo en-\ncontrará que el paisaje le resulta homogé-\nneo. Los enólogos, por el contrario, no sólo \ntienen una sensibilidad increíble hacia estas \npequeñas variaciones del paisaje, sino que \nconocen también las características de cada \nestación. Memorizan el tiempo, reflejado en \nla diferencia de las peculiaridades estaciona-\nles de cada año… memorizan hasta décadas. \nMe quedé muy impresionado con Christian \nMoueix (propietario de las bodegas Domi-\nnus) cuando comprobé sus conocimientos \nsobre las añadas. Lo sabe todo de cada uno \nde los años.\nET: Es verdaderamente asombroso que \npuedan recordar todos los detalles de estas \nañadas y encima cómo cada uno influye \nsobre la uva y el vino.\nJH: Mientras nosotros tendemos a olvidar \ntan rápido… Incluso en la arquitectura, que \nno es una empresa fácil y comparte la aten-\nción a los parámetros físicos y la importancia \ndel tiempo propios de la crianza del vino, \nfaltan están habilidades. Esta es la razón por \nla que tengo tanto respeto por los buenos \nvinateros. Esa es también el motivo por el \nque no puedo entender que los amantes del \nvino se cambien de bando repentinamente y \ndecidan fabricar su propio vino, una moda \nque encuentro bastante absurda. Con la ex-\ncepción, quizá, de Rafael Moneo, que hace \nun esfuerzo considerable para producir un \nbuen vino –La Mejorada– en un terreno al \nque ha estado vinculado toda su vida, y al \nque tiene mucho afecto. Producir vino es \nun negocio totalmente diferente y nosotros \nlos arquitectos somos una especie de profa-\nnos profesionales, hacemos muchas cosas \nde muchas disciplinas diferentes sin ser ver-\ndaderamente expertos en ninguna: museos, \nlaboratorios, oficinas, espacios religiosos, \nurbanismo, mobiliario. A mí me gusta este \nlado generalista de la arquitectura, es un \ngran privilegio y te da mucha libertad, pero \nnuestro conocimiento es limitado cuando \nse trata de entender todos los procesos y \ncomponentes vitales de nuestros proyectos.\nET: Como acabas de señalar, tanto en el \nvino como en la arquitectura el tiempo es \nimportante. Ayer probamos un vino de 1964, \ny fue increíble. Es interesante comparar un \nvino de diferentes añadas o, simplemente, \ndiferentes vinos de un mismo año. Se trata \nde algo mental: necesitas reunir vinos diver-\nsos para poder compararlos y hablar sobre \nellos. Es una manera de empezar la conver-\n",74,{"image":275,"text":272,"number":276},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.75.png",75,{"image":278,"text":279,"number":280},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.76.png","C 01 75\nare a kind of professional ‘laymen’, we do so \nmany things for different fields of our society \nwithout being real experts in them: muse-\nums, laboratories, offices, religious spaces, \ncity planning, furniture… \nI like that generalist side of our profes-\nsion, it is a great privilege and freedom, but \nin fact we are quite limited when it comes to \nreally understanding the processes and life \ncomponents in all our projects… \nET: As you said before, in wine and in \narchitecture time is also important. Yester-\nday we were drinking a wine from 1964 and \nit was amazing, but it was a bit too old. It \nis interesting to compare a wine from dif-\nferent years, or simply different wines from \nthe same year. It is something mental, you \nneed to put together different wines in order \nto compare them and talk about them. It is \na way to start a conversation. I believe in \narchitecture as a kind of conversation about \nthe site, the temperature, the weather… \nJH: In wine tastings wines are compared \noften vertically, e.g. the same wine in differ-\nent years or simply different wines from dif-\nferent places. For a winemaker such tastings \nare probably a comparable exercise to archi-\ntects’s visiting and photographing buildings \nin order to compare them for the sake of \nbetter understanding.\nThe wine world guru Robert Parker invent-\ned a rating system which gives points up to \n100 for the great wines. Parker’s rating sys-\ntem became hugely successful with a strong \neconomic impact on the wine market. This \nhas been leading to a ‘Parkerization’ of many \nwines, a more uniform style which would ide-\nally please Mr. Parker’s taste whereas other \nwines, also great, but more subtle ones would \nget lower scores. I was often wondering when \nsuch a rating system would be introduced \ninto the field of architecture…\nET: It is a simplification. If you give \npoints to a wine, or give prizes or awards to \na building, you are simplifying the approach \nof people to them. It is, in my opinion, more \ninteresting to make the effort to understand \nhow the building that you really enjoy is, and \nhow the wine that you really enjoy is.\n«If you give points \nto a wine, or give \nprizes or awards \nto a building, you \nare simplifying \nthe approach of \npeople to them»\n",76,{"image":282,"text":279,"number":283},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.77.png",77,{"image":285,"text":286,"number":287},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.78.png","76 C 01\nsación. Creo que también la arquitectura es \nuna suerte de conversación sobre el lugar, \nla temperatura, el tiempo…\nJH: En las catas, los vinos normalmente se \ncomparan verticalmente, es decir, el mismo \nvino en diferentes años o, simplemente, di-\nferentes vinos de diferentes lugares. Para \nlos enólogos estas catas son un ejercicio \ncomparable al de los arquitectos cuando \nvisitan o fotografían edificios con el obje-\ntivo de entenderlos mejor. Robert Parker, \nel crítico de vino estadounidense, inventó \nun sistema de puntuación que calificaba \nlos buenos caldos del 1 al 100. Este sistema \ntuvo un enorme éxito y a su vez un enor-\nme impacto económico en el mercado del \nsector. Esto ha llevado a una parkerización \nde los vinos, de forma que los que más se \nasemejan al gusto del señor Parker reciben \nmejores puntuaciones mientras que otros \nvinos, también exquisitos pero más senci-\nllos, recibirían calificaciones más bajas. Me \npregunto cuándo un sistema de puntuación \nsimilar se introducirá en la arquitectura…\nET: Se trata de una simplificación. Al \npuntuar un vino o dar un premio a un edi-\nficio se simplifica el modo en que la gente \nse aproxima luego a ellos. Es más interesan-\nte hacer el esfuerzo por entender cómo es \nel edificio que realmente has disfrutado, y \ncómo es el vino que realmente has probado. \nLa idea de disfrutar es importante. Un vino \nmuy barato, un vino sencillo, puede resul-\ntar apropiado en ciertas ocasiones. Todo \nel mundo recuerda las veces en que beber \nun vino no es algo bueno en términos de \npuntuaciones, pero sí increíble para ese mo-\nmento determinado. \nJH: Sí, es como descubrir en un edificio \nanónimo o incluso banal un detalle que \nte fascina y te llama la atención: un color  \ninesperado, un encuentro entre dos elemen-\ntos contrarios, un olor repentino… Estas sor-\npresas pueden ser muy gratificantes, y te \ntransmiten felicidad por un instante, porque \nson situaciones muy personales, esos mo-\nmentos son tuyos y sólo tuyos. Aparecen \ny se vuelven reales a través de tu propia y \nespecífica energía creativa. \n«Al puntuar un vino \no dar un premio a \nun edificio se esta \nsimplificando el modo \nen que la gente se \naproxima a ellos y se \nmodifica la forma de \nentenderlos»\n",78,{"image":289,"text":286,"number":290},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.79.png",79,{"image":292,"text":293,"number":294},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.80.png","C 01 79\nThis idea of enjoyment is important. \nSometimes a very cheap wine, a simple wine, \nis very interesting for a particular moment.  \nEverybody remembers special occasions \nwhen they drank a wine that was not very \ngood in terms of punctuation but was amaz-\ning for the situation. \nJH: Yes, that’s like discovering a detail of a \nbuilding that fascinates you and catches your \nattention in an otherwise anonymous or even \nbanal piece of architecture: an unexpected \ncolor, a junction of unlikely elements, a sud-\nden smell… Those things can be very reward-\ning, make you happy for a moment because \nsuch moments are yours – only yours. They \nappear and become real through your own \nand specific creative energy. \nET: The Spanish philosopher Ortega y \nGasset used to divide people into collec-\ntors and hunters. I think the position of the \nowner of Atrio, José Polo, who is making an \nincredible collection of wine, is interesting. \nHowever, I prefer to be a hunter: if there is a \ngood wine, I have to drink it; if there is a good \nbuilding, I have to enjoy it. In architecture \nit is similar: there are architects who collect \nbuildings and others who think that every \nproject is a challenge and who try to hunt \nnew perspectives in their way of thinking. \nJH: Being a hunter sounds sexier… but I \nagree that hunting and collecting are two \nmain vectors in human behavior. I also al-\nways saw myself as a hunter in contrast to \nthe collecting obsession of my brother who has \nbeen piling up old photographs his whole life. \nOver so many years working as an architect you \ninevitably collect a lot, maquettes, drawings, \nplans etc. In other words you can never fully \navoid piling up a lot of stuff, a lot of ‘waste.’ \nMaybe it is not really collecting but you cannot \nget rid of it, you have to keep it, archive it, \nprepare it like dead insects in a natural history \nmuseum. I prefer my table to be totally empty, \nwith no objects on it, but it fills up again and \nagain. These are all specific patterns and obses-\nsions everyone has and this will be reflected in \nthe kind of architecture that you do. Architecture \nis very psychological. It tells so much about who \nyou are, even as an architect. If we walk through \nyour building we can discover a lot about your \npersonality, and you cannot avoid it. \nET: Indeed, but this building is also full of life. \nIt is interesting to see how cooking, collecting \nwines, architecture… how all these things create \ntheir own atmosphere.\n«There are architects \nwho collect buildings \nand others who think \nthat every building \nis a challenge and \nwho try to hunt new \nperspectives in their \nway of thinking»\n",80,{"image":296,"text":293,"number":297},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.81.png",81,{"image":299,"text":300,"number":301},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.82.png","80 C 01\nET: El filósofo español Ortega y Gasset \nsolía clasificar a las personas en recolec-\ntores y cazadores. Creo que la posición del \npropietario de Atrio, José Polo  —que está \natesorando una increíble colección de vino— \nes interesante. Sin embargo, yo prefiero ser \nun cazador: si hay un buen vino, lo tengo \nque probar; si hay un buen edificio, lo tengo \nque visitar. Necesito disfrutarlos. En la ar-\nquitectura ocurre algo semejante: hay arqui-\ntectos que coleccionan edificios y los hay \nque piensan que cada proyecto es un reto, \ne intentan cazar nuevas perspectivas en su \nforma de pensar. \nJH: Ser cazador suena más sexy… pero \nestoy de acuerdo en que cazar y coleccio-\nnar son dos direcciones divergentes en el \ncomportamiento humano. Yo siempre me \nveo como un cazador en contraste con la \nobsesión de coleccionar de mi hermano, por \nejemplo, que lleva toda su vida apilando vie-\njas fotografías. Después de tantos años tra-\nbajando como arquitecto acabas irremedia-\nblemente coleccionando maquetas, dibujos, \nplanos… es decir, es inevitable coleccionar \nmuchas cosas, mucha ‘basura’. Quizá no sea \nrealmente coleccionar, sino que no te puedes \ndeshacer de ello, tienes que guardarlo, archi-\nvarlo, prepararlo, como insectos disecados \nen un museo de historia natural. Yo pre-\nfiero mi mesa vacía, sin nada, pero siempre \nacaba llenándose. Estos comportamientos u \nobsesiones que todo el mundo tiene acaban \nreflejando el tipo de arquitectura que cada \nuno hace. La arquitectura es muy psicológi-\nca: dice mucho sobre lo que uno es, incluso \ncomo arquitecto. Si repasamos tu edificio, \npor ejemplo, podríamos averiguar mucho de \ntu personalidad; es algo inevitable. \nET: Es cierto, pero este edificio está tam-\nbién lleno de vida. Es interesante cómo la \ncocina, la colección de vinos, la arquitectu-\nra… cómo al final, todas estas cosas, todos \nestos elementos, crean una atmósfera propia.\n«Hay arquitectos que \ncoleccionan edificios \ny los hay que piensan \nque cada proyecto \nes un reto e intentan \n‘cazar’ nuevas \nperspectivas en su \nforma de pensar»\n",82,{"image":303,"text":300,"number":304},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.83.png",83,{"image":306,"text":307,"number":308},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.84.png","São Paulo \nBrazil\ntravel\n© Nelson Kon\n",84,{"image":310,"text":307,"number":311},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.85.png",85,{"image":313,"text":314,"number":315},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.86.png","84 C 01\nC 01 85\nSão Paulo\nTravel\nCity Guide\n6\nSituada junto a la costa, \nunos 1.000 kilómetros al \nsur de Brasilia, São Paulo \nes un auténtico museo de \narquitectura moderna.\nLocated on the coast, \n1,000 kilometers from \nthe capital, São Paulo is \nan open-air museum of \nmodern architecture.\n02\nMuseum\nMuseu da Escultura\nConstruido por Paulo \nMendes da Rocha e \ninaugurado en 1995, este \nedificio semienterrado \nde 7.000 m2 se integra \nen un célebre jardín \nde Roberto Burle Marx \ndonde se exhiben algunas \nesculturas de la colección. \nBuilt by Paulo Mendes da \nRocha and inaugurated \nin 1995, this half-buried \n7000 square meter \nbuilding is integrated \ninto a garden by Roberto \nBurle Marx where \nsome sculptures of the \ncollection are displayed. \n01\nMuseum\nMASP\nDiseñado por Lina Bo \nBardi en 1956 con el \ndeseo de generar un \n‘museo vivo’, este espacio \ncultural de ubicación \nprivilegiada alberga una \nde las colecciones de \narte más importantes de \nAmérica Latina.\nDesigned by Lina Bo \nBardi in 1956 with the \nidea of creating a ‘living \nmuseum’, this cultural \nspace at a choice location \nin the city harbors one \nof the most important \nart collections in all \nof Latin America.\n03\nViews\nEdifício Banespão\nLas mejores vistas \nde la ciudad pueden \ndisfrutarse desde lo alto \nde sus rascacielos; entre \nlos más emblemáticos \nestán el Banespão y el \nEdificio Itália, que se han \nconvertido en importantes \natractivos turísticos.\nThe best views of the city \ncan be enjoyed from the \ntops of its skyscrapers; \namong the most iconic \nof these towers are \nBanespão and the Itália \nBuilding, both of which \nhave become important \ntourist attractions.\n© Wanderley Celestino\n© Leonardo Finotti\n© Leonardo Finotti\n",86,{"image":317,"text":314,"number":318},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.87.png",87,{"image":320,"text":321,"number":322},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.88.png","86 C 01\nC 01 87\n10\nCulture\nCentro Cultural São Paulo\nInaugurado en 1982 y \ncon una superficie de \n46.500 m2, el edificio \nse estructura mediante \nrampas. Brinda una \nvariada oferta cultural \n(cine, teatro, biblioteca, \nmuseo) y está integrado \nen la red de metro.\nOpened in 1982, this \n46,500 square meter \nbuilding which offers a \nwide range of cultural \nactivities (film, theater, \nlibrary, museum) is \nstructured in ramps and is \nintegrated into the city’s \nmetropolitan railway.\n07\nMemorial \nda América Latina\nOscar Niemeyer diseñó \nen 1989 un monumento \na la integración política, \ncultural, social y \neconómica de América \nLatina, compuesto \npor construcciones de \nhormigón y vidrio de \nformas orgánicas.\nIn 1989 Oscar Niemeyer \ndesigned a monument to \nthe political, cultural, \nsocial, and economic \nintegration of Latin \nAmerica, composed \nof concrete and glass \nconstructions with \norganic forms.\nReúne la historia de la \npintura brasileña de los \nsiglos xix y xx y se \nreparte en tres sedes: la \nEstação Pinacoteca, la \nrehabilitación de Paulo \nMendes da Rocha en el \nJardim da Luz y otra en \nel Parque do Ibirapuera.\nBrazilian painting of the \n19th and 20th centuries \nis distributed in three \nbuildings: the Estação \nPinacoteca, Paulo \nMendes da Rocha’s \nrenovation in the Jardim \nda Luz, and another in  \nthe Parque do Ibirapuera.\n04\nMuseum\nPinacoteca do Estado\nCoronando la Praça da Sé, \nla catedral es uno de los \ncinco templos neogóticos \nmás grandes del mundo. \nCrowning the Praça da \nSé, the cathedral is one of \nthe five largest neogothic \ntemples in the world.\n06\nReligious\nCatedral da Sé\nEn 143 hectáreas, el parque \nalberga un orquidario, un \njardín atlántico nativo y \ndos estufas frías. \nThe 143-hectare park \nfeatures an orchid farm, \na native Altantic garden, \nand two greenhouses.\n08\nPark\nJardim Botânico\nMezcla de edificios \nhistóricos y modernos, la \ncalle está llena de museos \ny de vida nocturna.\nA mix of historical \nand modern buildings, \nthe streets are full of \nmuseums and nightlife.\n09\nStreet Life\nAvenida Paulista\n© Raul Junior\n© Marcus Ramos\n© Marcio de Assis\n12\nMuseum\nMuseu do Futebol\nUbicado en el Estádio do \nPacaembu, obra de Lúcio \nCosta, este museo de \nreciente creación dedica \ndos plantas a un deporte \nconsiderado un elemento \nintrínseco de la cultura \nbrasileña, que causa \nfuror en el país de Pelé. \n11\nArt \nBienal de São Paulo\nCreada a semejanza de \nsu homóloga veneciana \nen 1951, la bienal se \nha convertido en una \nde las exposiciones de \narte más reconocidas a \nnivel internacional. La \n31ª edición abrirá sus \npuertas en septiembre. \nCreated in 1951 in the \nimage of its Venetian \nequivalent, the São Paulo \nbiennial has become one \nof the most recognized  \nart exhibitions in the \nworld. The 31st edition \nwill open its doors  \nin September.\nLocated within the \nEstádio do Pacaembu, a \nwork of Lúcio Costa, this \nrecently created museum \ndevotes two floors to a \nsport considered to be an \nintrinsic part of Brazilian \nculture, a passion in the \ncountry of Pelé.\n© Museu do Futebol\n© Andrés Otero\n© Leonardo Finotti\n© Leonardo Finotti\n© Bencito the Traveller\n05\nTheater\nTheatro Municipal\nConstruido a comienzos \ndel siglo xx tomando como \nreferencia la Ópera de  \nParís de Garnier, el teatro \nes una de las postales \ntípicas de la capital paulista \ny acoge un completo \nprograma de música \nclásica, ballet y ópera. \nRaised at the beginning  \nof the 20th century and \nwith the Garnier’s Paris \nOpera House as reference, \nit makes one of São Paulo’s \npicture postcards and is \nhome to a comprehensive \nprogram of classical music, \nballet, and opera.\n© Brian McMorrow\n",88,{"image":324,"text":321,"number":325},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.89.png",89,{"image":327,"text":328,"number":329},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.90.png","88 C 01\nC 01 89\n16\n15\n18\nLeisure Center\nSESC Fábrica Pompéia\nPara la remodelación \nde una antigua fábrica, \nLina Bo Bardi añadió \nen 1977 dos volúmenes \nde hormigón al edificio \nexistente. Hoy alberga \nun centro comunitario \ncon programas de ocio, \ncultura y deporte.\nEl segundo edificio más \nalto del país se inauguró \nen 1956, convirtiéndose \nen uno de los símbolos \nde la ciudad. Desde \nel restaurante Terraço \nItália, en la planta 44, \nse puede disfrutar de \nimpresionantes vistas.\nProyectado por Paulo \nMendes da Rocha a los \n29 años, el pabellón fue \npremiado en la VI Bienal \nInternacional de São \nPaulo; está formado por \nun anillo de hormigón \nelevado sobre soportes a \nuna altura de 3,5 metros.\nFor the refurbishment  \nof an old factory in  \n1977, Lina Bo Bardi \nadded two concrete \nvolumes to the existing \nbuilding. Today it houses  \na community center \nfor leisure, culture,  \nand sport programs.\n19\nHousing\nEdifício COPAN\nObra de Oscar Niemeyer \ny localizado en un lugar \nestratégico, es una de \nlas construcciones más \nemblemáticas de la \nciudad y el mayor edificio \nresidencial de América \nLatina con 5.000 vecinos, \n72 locales y una iglesia.\nThis strategically located \nwork of Oscar Niemeyer \nis one of the most iconic \nconstructions in the city \nand the largest residential \nbuilding in all of Latin \nAmerica, housing 5,000 \npeople and including 72 \nstore units and a church.\nThe second tallest \nbuilding in the country \nwas inaugurated in 1956 \nand became one of the \nleading symbols of the \ncity, spectacular views of \nwhich can be had \nfrom Terraço Itália, the \nrestaurant on floor 44.\nA project of Paulo \nMendes da Rocha at \nage 29, the pavilion \nwas awarded at the 6th \nInternational Biennial  \nof São Paulo; it is \nformed by a concrete  \nring raised on supports \n3.5 meters tall.\nRodeada de la frondosa \nvegetación del Parque \nde Ibirapuera, esta \ninstitución se dedica \na la conservación, \ninvestigación y \nexposición de objetos \nrelacionados con la \ncultura negra en Brasil.\nSurrounded by the \nluxuriant vegetation  \nof Ibirapuera Park, this \ninstitution opened in \n2004 is devoted to the \npreservation, study, and \nexhibition of objects \nhaving to do with black \nculture in Brazil.\n17\nMuseum\nMuseu Afro Brasil\nUbicada en el parque más \ngrande de la ciudad, se \ntrata de una de las últimas \nobras de Oscar Niemeyer. \nSituated in the city’s \nlargest park, this concert \nhall is one of Oscar \nNiemeyer’s last works.\n13\nPark & Auditorium\nIbirapuera\nObra de Vilanova Artigas, \nes uno de ejemplos más \ncélebres del Movimiento \nModerno en Brasil.\nA work of Vilanova \nArtigas, it is among the \nfinest examples of Brazil’s \nModern Movement.\n14\nArchitecture Faculty\nFAU-USP\nSkyscraper\nTerraço Itália\nGymnasium\nClub Atlético Paulistano\n© José Moscardi\n© Gabriel de Andrade Fernandes\n© Andre Deak\n© Pedro Kok\n© Studio Tom Emerson\n© Pedro Kok\n© Nelson Kon\n",90,{"image":331,"text":328,"number":332},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.91.png",91,{"image":334,"text":335,"number":336},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.92.png","90 C 01\nC 01 91\n26\n28\nUrban Art\nBoa Mistura\nRestaurant\nMANÍ\nAbierto por el chef \npaulistano Alex Atala, \nes uno de los 50 mejores \nrestaurantes del mundo.\nUbicado en el COPAN de \nNiemeyer, expone obras \nrelacionadas con el mítico \nedificio y su entorno.\nEl original de Paulo \nMendes de Rocha de 2004 \nse reconstruyó en 2011 a \ndos manzanas del primero. \nHogar de la amplia colonia \nnipona de la ciudad, cuenta \ncon templos budistas, típicos \njardines y restaurantes. \nThis restaurant of the  \nSão Paulo chef Alex  \nAtala counts among the \nworld’s top fifty.\nLocated in Niemeyer’s \nCOPAN, it exhibits works \nrelated to the building \nand its surroundings.\nPaulo Mendes da Rocha’s \noriginal of 2004 was \nreconstructed in 2011  \njust two blocks away.\nThe famous gallery \nfocusses on performances \nand on experiments  \nwith digital media.\nBuddhist temples and \ngardens grace this home \nto the largest Nippon \ncommunity outside Japan.\nLa conocida galería está \nenfocada a la performance \ny a la experimentación \ncon medios digitales. \nEn 2012, el proyecto de \narte urbano participativo \n‘Luz nas vielas’ del grupo \nmadrileño convirtió en \narte las calles de la favela \nVila Brâsilandia, a través \nde palabras legibles sólo \ndesde ángulos concretos y \nsobre colores intensos.\nFormada en El Celler \nde Can Roca, Helena \nRizzo, titular junto a \nsu marido de MANÍ, ha \nganado el premio Veuve \nClicquot 2014 tras haber \nsido premiada ya el año \npasado como mejor chef \nde América Latina.\nIn 2012, through words \nposed on intense colors \nand legible only from \ncertain angles, the ‘Luz \nnas vielas’ participative \nurban art project of the \nMadrid group turned the \nstreets of the shantytown \nVila Brâsilandia into art.\nTrained at El Celler de \nCan Roca, in Gerona, \nHelena Rizzo runs MANÍ \nwith her husband and is \nthe winner of the Veuve \nClicquot Award for  \n2014, having last year \nbeen named best chef  \nin Latin America.\n24\n25\n21\n22\n23\nConstruido por Ruy \nOhtake y João Armentano, \nel peculiar hotel ganó el \nPremio a la Excelencia de \nCondé Nast en 2009. Su \nsingularidad escultórica \nlo convierte en una pieza \nde arte urbano junto al \nParque de Ibirapuera.\nBuilt by Ruy Ohtake and \nJoão Armentano, this \npeculiar hotel won the \nCondé Nast Johansens \nAwards for Excellence \nin 2009. Its sculptural \nuniqueness makes it a \npiece of urban art beside \nIbirapuera Park.\n27\nHotel\nUnique\nArt Gallery\nGaleria Vermelho\nRestaurant\nD.O.M\nArt Gallery\nGaleria Pivo\nArt Gallery\nGaleria Leme\nJapanese neighborhood\nLiberdade\n20\nInaugurado en 1933 \ny de estilo ecléctico, \nel Mercado Municipal \npermite disfrutar de las \nexquisiteces locales, \ndesde frutas tropicales al \ntradicional sándwich de \nmortadela, alimento muy \npopular en São Paulo. \nOpened back in 1933 \nin an eclectic style, \nthe city’s municipal \nmarketplace sells a wide \nvariety of local delicacies, \nfrom tropical fruits to \nthe traditional salami \nsandwiches that are so \npopular in São Paulo.\nLocal Shopping\nMercado Municipal\n© Cleber Lima\n© Patty Kirsche\n© Ricardo Alcaide\n© Phuong-Cac Nguyen\n© Hotel Unique\n© Boa Mistura\n© D.O.M.\n© thisguysfoodblog.com\n© Galería Leme\n",92,{"image":338,"text":335,"number":339},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.93.png",93,{"image":341,"text":342,"number":343},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.94.png","C 01 93\n92 C 01\n 03. Edifício Banespão\nRua Joao Bricola, 24\n10am-3pm Sat-Sun\n+55 11 2196-3730\ngoo.gl\u002F45Cb3Y\n 04. Pinacoteca do Estado\nPraça da Luz, 2\n10am-6pm Tue-Sun\n+55 11 3324-1000\nwww.pinacoteca.org.br\n 05. Theatro Municipal\nPraça Ramos de Azevedo\nTickets: 10am-7pm Mon-Fri \n& 10am-7pm Sat-Sun\n+55 11 3397 0327\nwww.prefeitura.sp.gov.br\n 06. Catedral da Sé\nPraça da Sé\n8am-7pm Mon-Fri \u002F 8am-5pm \nSat \u002F 8am-1pm \u002F 3-6pm Sun\nwww.catedraldase.org.br\n 15. Ginásio C. A. Paulistano\nRua Honduras, 1400\n8.15am-6pm Mon-Fri\n+55 11 3065-2074\n+55 11 3065-2000\nwww.paulistano.org.br\n 16. Terraço Italia\nAvenida São Luís, 344\n3-4pm Mon-Fri\n+55 11 2189-2997\nwww.edificioitalia.com.br\n 14. FAU-USP\nRua do Lago, 876 \n8am-7pm \nFree entrance\n+55 11 3091-4557\nwww.usp.br\u002Ffau\n 17. Museu Afro Brasil\nParque do Ibirapuera\n10am-5pm Tue-Sun\n+55 11 3320-8900\nwww.museuafrobrasil.com.br\n 18. SESC Fábrica Pompéia\nRua Clélia, 93\n9am-10pm Tue-Sat, \n9am-8pm Sun\n+55 11 3871-7700\nwww.sescsp.org.br\n 19. Edificio COPAN\nAv Ipiranga, 200\nwww.copansp.com.br\nGalería Pivo, loja 54 \n+55 11 3255 8703\nwww.pivo.org.br\n 20. Mercado Municipal\nRua da Cantareira, 306\n7am-6pm Mon-Sat 7am-4pm Sun\n+55 11 3313-3365\nwww.mercadomunicipal.com.br\n 22. Galeria Leme\nAv. Valdemar Ferreira, 130\n10am-7pm Mon-Fri, \n10am-5pm Sat\n+55 11 3093-8184\ngalerialeme.com\n 27. Hotel Unique\nAvenida Brigadeiro Luís \nAntônio, 4700\nreservas@hotelunique.com \n+55 11 3055-4700\nwww.hotelunique.com.br\n 26. Restaurante MANÍ\nRua Joaquim Antunes, 210\nLunch Tue-Sun \nDinner Tue-Sat \n+55 11 3085-4148\nwww.manimanioca.com.br\n 25. Restaurante D.O.M. \nRua Barão de Capanema\nLunch Mon-Fri \u002F Dinner Sat\nMenus R$160-R$230\n+55 11 3088-0761\nwww.domrestaurante.com.br\n 24. Galeria Vermelho\nRua Minas Gerais, 372\n10am-7pm Tue-Fri, \n11am-5pm Sat\n+55 11 3138-1520\nwww.galeriavermelho.com.br\n 10. Centro Cultural São Paulo\nRua Vergueiro 1000, Paraíso\n10am-8pm Tue-Fri, \n10am-6pm Sat-Sun\n+55 11 3397-4002 \nwww.centrocultural.sp.gov.br\n 07. Memorial América Lat.\nAvenida Auro Soares de \nMoura Andrade, 664\n+55 11 3823-4600\nwww.memorial.org.br\n 12. Museu do Futebol\nPraça Charles Miller s\u002Fn\n9am-5pm Tue-Sun\nadult\u002Fstudent R$6\u002F3, Thu free\n+55 11 3664-3848\nwww.museudofutebol.org.br\n 08. Jardim Botânico\nAv. Miguel Estefano, 3031\n9am-5pm Tue-Sun\nadult\u002Fstudent R$3\u002F1\n+55 11 5067-6000\nwww.saopaulo.sp.gov.br\n 01. MASP\n 02. Museu da Escultura\nAvenida Europa, 218\n10am-7pm Tue-Sun\n+55 11 2594-2601\nmube.art.br\nAvenida Paulista, 1578\n10am-6pm Tue-Sun\n+55 11 3251-5644\nwww.masp.art.br\nSão Paulo\nLocalización y datos prácticos \nLocation and useful information \n 09. Avenida Paulista\n 11. Bienal de São Paulo\n 21. Galeria Pivô\n 23. Japanese District\n 13. Auditório Ibirapuera\nAv Pedro Álvares Cabral, s\u002Fn\nParque Ibirapuera\n+55 11 3629-1075\nwww.auditorioibirapuera.com.br\n 28. Urban Art\nEdifício Copan, loja 54\nt +55 11 3255 8703\nwww.pivo.org.br\nPavilhão Ciccillo Matarazzo, \nParque do Ibirapuera\n+55 11 5576-7600\nwww.bienal.org.br\nBela Vista\nOmnibus, metro (línea 2)\nLiberdade District\nCentro Histórico São Paulo\n‘Luz nas Vielas’\nVila Brasilândia\n01\n02\n03\n04\n05\n06\n07\n08\n09\n10\n20\n16\n24\n14\n22\n18\n26\n11\n12\n13\n21\n17\n25\n15\n23\n19\n27\n28\n",94,{"image":345,"text":342,"number":346},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.95.png",95,{"image":348,"text":349,"number":350},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.96.png","",96,{"image":352,"text":349,"number":353},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.97.png",97,{"image":355,"text":356,"number":357},"\u002Fmedia\u002Fimages\u002Fc7\u002Fe28156144b753f745e74794958cba6-28f76da664.98.png","96 C 01\nEl nuevo Market Hall \nen Róterdam, de los \nholandeses MVRDV, \ncubrirá con su forma \nde arco un gran espacio \npúblico que será un \nmercado abierto durante \nel día y, por la noche, \nuna luminosa plaza. \nThe new Market Hall \narc-shaped building in \nRotterdam, by the Dutch \nstudio MVRDV, will \ncover a generous public \nspace that will be an \nopen market during the \nday and a well lit plaza \nin the after hours.\nON\nSITE\n© Ossip Van Duivenbode\nConsentino_PORTADA.indd   2\n19\u002F05\u002F2014   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