[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-cosentino-architecture-and-everything-else-06":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":409},{"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":404,"matched_pages":405,"match_count":406,"two_pages":407,"show_text":408},24474,"Architecture & Everything Else 06","cosentino-architecture-and-everything-else-06","\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002F1b\u002Ff6fbc0eb217f6ab3ce62ccc051ebaa-28f77aed18.pdf","Cosentino",2482,"cosentino","297.3 MB",[14,17,21,25,29,33,36,40,44,48,52,56,60,64,68,72,76,80,84,88,92,96,100,104,108,112,115,119,123,127,131,135,139,143,147,151,155,159,163,167,171,175,179,183,187,191,195,199,203,207,211,215,219,223,226,230,234,238,242,246,250,254,258,262,266,270,274,278,281,285,289,293,297,301,305,309,313,317,321,325,329,333,337,341,345,349,353,357,361,365,369,373,377,381,385,389,392,395,399,402],{"image":7,"text":15,"number":16},"c \n06 \narchitecture &  \neverything else \n",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.2.png","",2,{"image":22,"text":23,"number":24},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.3.png","c\ncontents\n06\n26\n40\n54\n68\n84\n  Architecture\n 06 THE RIVER: SANAA IN CONNECTICUT  Grace Farms Foundation \n \n Bajo la cubierta serpenteante, el edificio alberga un programa cultural. \n \n Beneath the meandering roof, the building houses a cultural program.\n 16 THE BROAD MUSEUM’S VEIL AND VAULT  Diller Scofidio + Renfro in LA\n \n Un espacio expositivo abierto abraza y atraviesa la caja opaca de almacenamiento.\n \n The open exhibition space is wrapped around the opaque storage box. \n \n Innovation\n 40 INFLATABLES  Blow up! Ephemeral constructions\n \n El aire como técnica constructiva en edificios, intervenciones temporales e instalaciones.   \n \n Air as a construction technique for buildings, ephemeral projects, and installations. \n \n Style\n 54 MAPPING THE WORLD  Stephen Walter\n \n Una colección de mapas soprendentes dibujados a mano.\n \n An extraordinary collection of hand-drawn maps. \n 62 VISUAL COMPLEXITY  Manuel Lima\n \n Mapas interactivos que visualizan redes de datos complejas.\n \n Interactive maps that visualize complex data networks.\n  Interview\n 68 SOUTO DE MOURA & PALLASMAA  In dialogue\n \n Los arquitectos se encuentran en Madrid, en la sede de la Real Academia de Bellas Artes.\n \n The architects meet in Madrid, at the Royal Academy of Fine Arts of San Fernando. \n  Travel\n 84 SINGAPORE  Singapore\n \n La ciudad se caracteriza por sus hoteles de lujo, fantásticos parques y viviendas en altura.\n \n The city is famous for its luxury hotels, fantastic parks, and high-rise residential buildings. \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  Louvre Abu Dhabi Museum by Jean Nouvel\n \n El arquitecto francés construye una enorme cúpula que parece flotar sobre el agua.\n \n The French architect builds a huge dome that seems to float over the water.  \n  Arts\n 26 THE SPACE, THE DETAIL, THE IMAGE  Candida Höfer at Helga de Alvear\n \n La fotógrafa alemana muestra en Madrid su obra reciente.\n \n The German photographer presents in Madrid her latest works.\n 32 PREHISTORIC BEAUTY: ART AND NATURE  Cave paintings in Spain\n \n Una exposición reúne una selección de calcos de pinturas rupestres de la península.\n \n An exhibition gathers reproductions of cave paintings of the Iberian Peninsula.\n",3,{"image":26,"text":27,"number":28},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.4.png","Depósito Legal: M-6539-2016\nISSN: 2341-3867 \nCubierta Cover\nAnish Kapoor, Leviathan, Grand Palais, Paris\nImpreso en España Printed in Spain\nEsta revista está elaborada con papel libre de cloro \nThis magazine is printed on chlorine-free paper\nDirector Director\nSantiago Alfonso Rodríguez\nEditado por Edited by\nCosentino \u002F Arquitectura Viva\nDiseño y producción editorial\n Graphic design and editing\nArquitectura Viva S.L.\nMaite Báguena \nPablo Canga\nAlba Carballal  \n Laura F. Suárez  \nMiguel Fernández-Galiano  \nCuca Flores \nLaura González \nAlicia Gutiérrez \nMiguel de la Ossa \nJesús Pascual \nEduardo Prieto \nRaquel Vázquez \n José Yuste\nTraducción Translations\nGina Cariño, Laura Mulas\nImpresión Printing\nArtes Gráficas Palermo S.L.\nEncuadernación Binding\nJosé Luis Sanz\n",4,{"image":30,"text":31,"number":32},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.5.png","L\na famiLia Martínez Cosentino ha te-\nnido siempre la vocación de superar \nlos desafíos más ambiciosos. A partir de \n2014, con la revista C, Cosentino se propu-\nso hacer una nueva contribución al ámbito \nde la arquitectura, en esta ocasión desde \nel campo de la comunicación, con la difu-\nsión de las mejores innovaciones, diseños \ny proyectos que contribuyen a hacer el \nmundo más sostenible y bello.\nT\nhe marTínez CosenTino family has al-\nways applied itself to meeting the most \nambitious challenges. From 2014, with C \nmagazine, Cosentino set out to contribute \nanew to the world of architecture but from \na different field, that of communications, \nthrough information on the best and lat-\nest innovations, designs, and projects that \nmake for a more sustainable and more \nbeautiful world. \n",5,{"image":34,"text":19,"number":35},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.6.png",6,{"image":37,"text":38,"number":39},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.7.png","architecture\nThe River: SANAA in Connecticut\nGrace Farms Foundation\nThe Broad Museum’s Veil and Vault\nDiller Scofidio + Renfro in LA\n",7,{"image":41,"text":42,"number":43},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.8.png","6 C 06\nArchitecture\nBuilding\n1\n«Un centro para el arte, la fe y la justicia, un regalo de la Funda-\nción a la comunidad de New Canaan». Así define el nuevo edificio \ndel estudio de Kazuyo Sejima y Ryue Nishizawa, Sharon Prince, \npresidenta de la Grace Farms Foundation, una organización cuyo \nobjetivo es luchar contra cualquier tipo de abuso infantil. \nUbicado en un entorno natural de 32 hectáreas en New Canaan, \nen el estado norteamericano de Connecticut, el terreno alberga un \njardín comunitario, campos deportivos, un parque infantil y un \nconjunto de senderos diseñados por los arquitectos. Además, los \nárboles que fueron talados para la construcción se procesaron in situ \npara el mobiliario del conjunto, del que destacan las largas mesas \nde más de 6 metros de largo. Rodeado de vegetación multicolor, el \nserpenteante edificio, de casi 8.000 metros cuadrados, fluye suave-\nmente por la topografía, abrazando árboles y colinas. Una cubierta \nondulante, sostenida por esbeltos pilares metálicos, da continuidad \na una sucesión de espacios con cerramiento de vidrio, cada uno de \nellos convertido al mismo tiempo en escaparate y mirador. For-\nman el conjunto un anfiteatro para 700 personas (el «Santuario»), \nuna biblioteca, una cafetería, un centro de bienvenida y una sala \nrehundida de usos múltiples con gimnasio. La calefacción y refrige-\nración se consiguen gracias a 55 pozos geotérmicos de 180 metros \nde profundidad. El centro se completa con dos antiguos galpones \nrehabilitados que dan nombre a la fundación.\n“A center for arts, faith, and justice, a gift of the Foundation to the \ncommunity of New Canaan”. This is how Kazuyo Sejima and Ryue \nNishizawa’s new building is described by Sharon Prince, president of \nthe Grace Farms Foundation, an organization committed to fighting \nagainst any kind of child abuse.\nLocated in a natural habitat, on a thirty-two hectare open space \nin New Canaan, Connecticut, the new building – known as ‘the \nRiver’ for the way it winds down the sloping terrain – houses a \ncommunity garden, athletic fields, a playground, and a series of \nwalking trails designed by the architects in collaboration with a \nlocal team. Furthermore, the trees that were removed to make \nroom for the building were processed on site and used to build \nthe furniture pieces, including six-meter-long tables. Surrounded \nby colorful vegetation, the meandering building, of almost 8,000 \nsquare meters, flows gently through the terrain, embracing trees \nand hills. An undulating roof, held by narrow metal pillars, links a \nseries of glass-enclosed spaces, each one of them transformed into \na showcase and lookout. The center includes a 700-seat auditorium \n(the ‘Sanctuary’), a library, a cafeteria, a welcome pavilion, and a \nburrowed multipurpose space including a gymnasium. Fifty-five, \n180-meter-deep geothermal wells provide heating and cooling in \nthe building. The center is rounded off with two refurbished barns \nthat lend the foundation its name.\nThe River: SANAA  \nin Connecticut\nGrace Farms Foundation \nSilenciosa y exquisita, \nla cubierta plateada de \nSANAA repta por las \nsuaves colinas de una \nfinca de Connecticut \npara albergar un \ncomplejo programa \ndedicado a la fe, la \neducación y las artes.\nSilent and exquisite, \nSANAA’s silvery \nserpentine rooftop \nslithers down the gentle \nhillslopes of an estate \nin Connecticut to be \nhome to a complex \ndevoted to faith, \neducation, and the arts.\n",8,{"image":45,"text":46,"number":47},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.9.png","C 06 7\n",9,{"image":49,"text":50,"number":51},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.10.png","8 C 06\nSujeta con evanescentes \npilares que apenas tocan \nel suelo, la cubierta va \nreptando con elegancia \npor el terreno, y se \nremata con un amplio \ncanalón embebido en \nel canto que sirve para \nrecoger la nieve fundida.\nHeld up by evanescent \npillars that hardly touch \nthe ground, the roof \nstretches elegantly over \nthe terrain, with a wide \ndrainpipe embedded \nalong the edge that  \nserves to collect water \nfrom melted snow.\n",10,{"image":53,"text":54,"number":55},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.11.png","C 06 9\n",11,{"image":57,"text":58,"number":59},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.12.png","10 C 06\n",12,{"image":61,"text":62,"number":63},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.13.png","C 06 11\n",13,{"image":65,"text":66,"number":67},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.14.png","12 C 06\nLas grandes luces del \nedificio se resuelven con \nuna combinación de \nesbeltas vigas de madera \ny cables de acero, \nofreciendo una solución \nexquisita y sencilla para \nun problema estructural \nrelativamente complejo.\nThe large spans of  \nthe building are achieved \nwith a combination  \nof slender timber \nbeams and steel cables, \noffering an exquisite \nand simple solution to \na relatively complex \nstructural issue. \n",14,{"image":69,"text":70,"number":71},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.15.png","C 06 13\n",15,{"image":73,"text":74,"number":75},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.16.png","14 C 06\n",16,{"image":77,"text":78,"number":79},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.17.png","C 06 15\nArquitectos Architects:  \nSANAA \u002F Kazuyo Sejima, Ryue Nishizawa; Shohei Yoshida \n(arquitecto responsable project architect).\nColaboradores Collaborators:  \nHandel Architects (arquitecto local architect of record); SAPS \n\u002F Sasaki y Robert Silman (estructuras structures); McChord \nEngineering (ingeniería civil civil engineering); BuroHappold \n(instalaciones MEP).  \nFotos Photos\nIwan Baan; Montse Zamorano (p. 12 izquierda left).\n",17,{"image":81,"text":82,"number":83},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.18.png","16 C 06\nArchitecture\nBuilding\n1\nEl nuevo museo, proyectado por el estudio de Elizabeth Diller, \nRicardo Scofidio y Charles Renfro en colaboración con Gensler, \nalberga una de las mayores colecciones de arte contemporáneo, \nla del filántropo americano Eli Broad y su esposa, Edythe. Junto \nal Walt Disney Concert Hall de Frank Gehry y con más de 11.000 \nmetros cuadrados, el Broad reúne en tres plantas galerías expo-\nsitivas, espacios de almacenamiento y oficinas. El diseño de los \nneoyorquinos está basado en un cerramiento estructural de acero \nque libera un enorme espacio sin pilares. \nApodado «el velo y la bóveda», el diseño une dos programas \nprincipales del edificio: el espacio de exposición pública y el de \nalmacenamiento. A modo de velo, la singular envolvente con forma \nde panal de abeja —compuesta por 2.500 módulos romboidales de \nhormigón reforzado con fibra de vidrio— filtra el paso de la luz \nnatural al interior. Esta piel se levanta en sus esquinas, invitando a \nentrar a los visitantes a través de la parte inferior de la caja central \no bóveda. Lejos de querer esconder estos espacios servidores de \nalmacenamiento, la «bóveda» juega un papel principal en la visita \nal museo ya que su masa opaca y pesada siempre está a la vista, \nflotando en medio del edificio. Su parte inferior tallada conforma \nel vestíbulo y las vías de circulación pública, mientras que la su-\nperficie que lo cierra superiormente se convierte en el suelo de la \ngalería del tercer piso. \nThe Broad, designed by the firm of Elizabeth Diller, Ricardo Scofidio, \nand Charles Renfro in collaboration with Gensler, houses one of the \nmost comprehensive collections of postwar and contemporary art, \nthat of the American philanthropist Eli Broad and his wife, Edythe. \nLocated on Grand Avenue in downtown Los Angeles, next to Frank \nGehry’s Walt Disney Concert Hall, the Broad Museum distributes \nexhibition galleries, storage spaces, and offices in three levels and \n11,000 square meters. The project of the New York architects is \nbased on a structural enclosure of steel that makes a space free of \npillars possible, adaptable to curatorial needs. \nDubbed ‘the veil and the vault,’ the design brings together the \ntwo main programs of the building: the public exhibition space \nand archive\u002Fstorages areas. Resembling a veil, the unique honey-\ncomb-like envelope – composed of 2,500 rhomboidal modules of \nfiberglass-reinforced concrete – filters the natural light shining in. \nThis skin is lifted at the corners, inviting visitors into the main \nlobby carved into the underside of the central box or ‘vault.’ Rather \nthan giving the archive and storage space a secondary status, the \n‘vault’ plays a key role in shaping the museum experience from \nbeginning to end, because its heavy opaque mass is always in view, \nhovering midway in the building. Its carved underside shapes the \nlobby below and public circulation routes, while its top surface is \nthe floor of the exhibition areas. \nThe Broad Museum’s  \nVeil and Vault\nDiller Scofidio + Renfro in LA\nUn panal de piezas de \nhormigón reforzado con \nfibra de vidrio envuelve los \ntres espacios segregados y \nsuperpuestos del museo de \nDiller Scofidio y Renfro en \nLos Ángeles: el vestíbulo \npúblico, los almacenes y \nlas salas expositivas.\nA honeycomb of pieces \nof glass-fiber-reinforced \nconcrete wraps three \nsegregated, overlapping \nspaces of Diller Scofidio + \nRenfro’s museum in LA: \nthe public entrance hall, \nthe storage area, and the \nexhibition galleries.\n",18,{"image":85,"text":86,"number":87},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.19.png","C 06 17\n",19,{"image":89,"text":90,"number":91},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.20.png","18 C 06\n",20,{"image":93,"text":94,"number":95},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.21.png","C 06 19\n0\n+2\nGallery\nGallery\nArchive\nLobby\nEl museo está formado \npor el ‘velo’ exterior \ncompuesto de celdillas \ny por la ‘bóveda’ con \nlos almacenes, sobre la \nque se sitúan las salas \nexpositivas conectadas a \nla planta baja mediante \nuna escalera mecánica.\nThe museum is formed \nby the ‘veil’ of the facade \nof honeycomb cells and \nthe ‘vault’ containing \nstorage, on top of which \ngo the galleries. These \nare reached from the \nground floor by means  \nof an escalator.\n",21,{"image":97,"text":98,"number":99},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.22.png","20 C 06\nTras atravesar las formas \norgánicas de la ‘bóveda’ \nmontado en una escalera \nmecánica de 30 metros de \nlongitud, el visitante llega \na la zona expositiva, \nformada por varias salas \nque se iluminan mediante \ngrandes lucernarios.\nAfter going through \nthe organic forms of \nthe ‘vault’ aboard an \nescalator stretching  \n30 meters long, the \nvisitor arrives at the \nexhibition area, where \nseveral galleries are lit \nby huge skylights. \n",22,{"image":101,"text":102,"number":103},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.23.png","C 06 21\n",23,{"image":105,"text":106,"number":107},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.24.png","22 C 06\n",24,{"image":109,"text":110,"number":111},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.25.png","C 06 23\nArquitectos Architects:  \nDiller Scofidio + Renfro; Elizabeth Diller (socio a cargo del \nproyecto principal in charge); Ricardo Scofidio, Charles \nRenfro (socios principal designers); Kevin Rice (arquitecto de \nproyecto project director).\nColaboradores Collaborators:  \nGensler (gestión proyecto y obra executive architects).\nFotos Photos\nIwan Baan\n",25,{"image":113,"text":19,"number":114},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.26.png",26,{"image":116,"text":117,"number":118},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.27.png","arts\nPrehistoric Beauty: Art and Nature\nCave paintings in Spain\nThe Space, the Detail, the Image \nCandida Höfer at Helga de Alvear\n",27,{"image":120,"text":121,"number":122},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.28.png","26 C 06\nThe Space, the  \nDetail, the Image \nCandida Höfer at  \nHelga de Alvear\nArts\nDesign\n2\nThe work of Candida Höfer, like that \nof Andreas Gursky, Axel Hütte, or \nThomas Struth, is closely tied to the \nKunstakademie Düsseldorf and the \nteachings of Bernd and Hilla Becher.  \nThe exhibition features large-format \ninteriors of libraries and corridors of \nmonasteries and Benedictine abbeys in \nAustria, aside from a photograph of Linz \nState Theater. The absence of human \nfigures makes the architecture stand out \neven more, and the apparent austerity  \nof her images conceals a complex reading \nof the buildings in relation to their  \ncurrent uses and functions. \nThe prominent German \nphotographer Candida \nHöfer (Eberswalde, 1944) \npresents a solo exhibition \nat Galería Helga de Alvear \nin Madrid, where two \nphotographic projections  \nby the artist are shown  \nfor the first time.\nLa obra de Höfer, como la de Andreas \nGursky, Axel Hütte o Thomas Struth, \nse enmarca dentro de la tradición de \nla Kunstakademie de Düsseldorf y las \nenseñanzas de Bernd y Hilla Becher. La \nexposición presenta en gran formato una \nserie de interiores de bibliotecas y corredores \nde monasterios y abadías benedictinas en \nAustria, además de una imagen del Teatro \nEstatal de Linz. La ausencia de la figura \nhumana provoca un mayor protagonismo de \nla arquitectura y la aparente austeridad de \nsus imágenes encierra una compleja lectura \nde los edificios en relación con sus usos y \nfunciones actuales. \nCandida Höfer \n(Eberswalde, 1944) \npresenta su exposición \nindividual en la Galería \nHelga de Alvear en \nMadrid, donde por \nprimera vez se muestran \ndos proyecciones \nfotográficas de la artista.\n",28,{"image":124,"text":125,"number":126},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.29.png","C 06 27\nBenediktinerstift Admont I (2014)\n",29,{"image":128,"text":129,"number":130},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.30.png","28 C 06\nBiblioteca Nacional de España, Madrid V (2015)\nZisterzienserstift Schlierbach II (2014)\nSchauspielhaus Linz I (2014)\n",30,{"image":132,"text":133,"number":134},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.31.png","C 06 29\nHöfer’s characteristic \nphotographs of library \ninteriors contrast with \nother images in a  \nsmaller format but more \nabstract and innovative, \nand which offer a \ndifferent perspective  \nof her work. \nLas reconocibles \nimágenes de bibliotecas \nde la fotógrafa alemana, \ncontrastan con otras \ninstantáneas de menor \nformato pero más \nabstractas y novedosas, \nofreciendo una distinta \nperspectiva sobre su obra.\nBenediktinerstift Kremsmünster III (2014)\nAugustiner Chorherrenstift Sank Florian III (2014)\n",31,{"image":136,"text":137,"number":138},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.32.png","30 C 06\nThe exhibition also \nincludes a new series \nof images taken during \nthe summer of 2015 in \nMadrid and Cáceres, \noffering a photographic \ndocumentary of the \njourney by car between \nthe two cities. \nLa exposición incluye \nademás una serie de \nfotografías inéditas y \nsorprendentes tomadas  \nel verano de 2015 \nen Madrid y Cáceres, \nque retratan un \ndesplazamiento en coche \nentre las dos ciudades.\nHotel Atrio, Cáceres (2015)\nStone (2015)\nThrough A Window I (2015)\nPaper Rolls (2015)\n",32,{"image":140,"text":141,"number":142},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.33.png","C 06 31\n",33,{"image":144,"text":145,"number":146},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.34.png","32 C 06\nPrehistoric Beauty:\nArt and Nature  \nCave paintings in Spain  \nArts\nDrawings\n2\nThe CIPP (commission for paleontological  \nand prehistoric research) was founded in  \n1912 to organize the study and reproduction \nof cave art in the Peninsula. This initiative, in \nwhich prominent figures like Santiago Ramón \ny Cajal and Ignacio Bolívar participated,  \nwas directed by Eduardo Hernández Pacheco, \nwho collected the preliminary sketches  \ncarried out by the artists Cabré Aguiló and \nBenítez Mellado. Over a hundred years  \nlater, this exhibition, curated by Begoña \nSánchez Chillón (CSIC), displays these \nextraordinary reproductions that constitute  \na scientific portrait of Prehistory, and an \nartistic manifestation today. \nThe exhibition ‘Art and \nNature in Prehistory’ \nfeatures a collection of  \nthe tracings of cave art  \n(the majority of them \nprevious to the Spanish \nCivil War) at the Museo \nNacional de Ciencias \nNaturales in Madrid. \nLa Comisión de Investigaciones \nPaleontológicas y Prehistóricas, se creó en \n1912 para el estudio y copia de las pinturas \nrupestres en la península. Este esfuerzo, en \nel que participaron Santiago Ramón y Cajal \ne Ignacio Bolívar, fue dirigido por Eduardo \nHernández Pacheco, que recopiló los \nesbozos iniciales de los artistas Cabré Aguiló \ny Benítez Mellado sobre esta disciplina. Más \nde cien de años después, esta exposición, \ncomisariada por la conservadora del CSIC, \nBegoña Sánchez Chillón, saca a la luz estas \nmagníficas reproducciones que constituyen \nun retrato científico de la prehistoria, y una \nmanifestación artística en la actualidad.\nLa exposición ‘Arte \ny Naturaleza en la \nPrehistoria’ presenta una \ncolección de calcos de \narte rupestre (la mayoría \nprevios a la Guerra Civil \nespañola) en el Museo \nNacional de Ciencias \nNaturales de Madrid. \n",34,{"image":148,"text":149,"number":150},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.35.png","C 06 33\nAbrigo del Roure (Morella, Castellón). Francisco Benítez Mellado, 1918\n",35,{"image":152,"text":153,"number":154},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.36.png","34 C 06\nLos Cantos de la Visera, abrigo II (Yecla, Murcia). Juan Cabré Aguiló, 1915\nCueva de la Vieja, abrigo II (Alpera, Albacete). Juan Cabré Aguiló, 1911\nCueva de los Caballos (Valltorta, Castellón). Francisco Benítez Mellado, 1917\n",36,{"image":156,"text":157,"number":158},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.37.png","C 06 35\n",37,{"image":160,"text":161,"number":162},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.38.png","36 C 06\nTabla cronológica de las pinturas y grabados rupestres del Oriente de España (Albarracín, Teruel). Juan Cabré Aguiló, 1915\n",38,{"image":164,"text":165,"number":166},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.39.png","C 06 37\nThe CIPP was founded \nin 1912, giving rise to \nthe most fruitful period \nin the discovery of \ncave paintings in the \nIberian Peninsula, which \nwere systematically \nreproduced by direct \ntracing on paper.  \nCon la creación del CIPP \nen 1912 comienza el \nperiodo más fructífero \nde descubrimientos \nde arte rupestre en la \npenínsula ibérica, y la \nreproducción sistemática \na través de copias \ndirectas en papel.\nCueva de la Graja (Jimena, Jaén). Francisco Benítez Mellado, 1921\nEscena de la recolección de la miel Cueva de la Araña, abrigo III (Bicorp, Valencia). Francisco Benítez Mellado, 1920\n",39,{"image":168,"text":169,"number":170},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.40.png","PTW \u002F CSCEC \u002F Arup, Beijing National Aquatics Center (2008) © Tim Griffith \u002F Arcaid\n",40,{"image":172,"text":173,"number":174},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.41.png","innovation\nInflatables\nBlow up! Ephemeral constructions\n",41,{"image":176,"text":177,"number":178},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.42.png","40 C 06\nInnovation\nStructures\n3\nInflatables\nBlow up! Ephemeral constructions\nLas arquitecturas inflables o inflatoestructuras (como las llama el \narquitecto español Prada Poole) nos invitan a buscar la manera de \nconstruir expresiones espaciales alternativas a los rígidos caminos \narquitectónicos que nos desilusionaban cuando éramos niños.\nLa construcción neumática actual tiene sus orígenes en las inves-\ntigaciones desarrolladas durante la II Guerra Mundial. Los centros \nde investigación militares construyeron hospitales, hangares y hasta \npuentes inflables que resultaron muy eficaces por su facilidad de \ntransporte y velocidad de montaje. Se produjeron incluso tanques \ninflables para utilizarlos como señuelos falsos ante los aviones de \nreconocimiento enemigos. Tras la guerra, la experiencia adquirida se \naplicó a la industria para producir protecciones de radares y cubiertas \nde barco, y también hangares móviles.\nPosteriormente, se dio un segundo periodo de esplendor cuando los \nmateriales plásticos se pusieron de moda, en las décadas de 1960 y \n1970. Los estudios de arquitectura contraculturales se apropiaron de \neste lenguaje constructivo como herramienta subversiva y de crítica \na la arquitectura más académica, presentándola como la arquitectura \ndel cambio y lo efímero, como el hábitat del nómada contemporáneo. \nBajo esos preceptos se diseñaron propuestas como Corazón Amarillo \nVicenç Sarrablo & Nuria Prieto\nInflatable architectures (coined ‘inflatoestructuras’ in Spanish by ar-\nchitect Prada Poole) invite us to look for the means, the way to build \nspace forms that provide alternatives to the strict architectural paths \nthat we found so disappointing when we were kids. \nCurrent pneumatic architecture stems from the researches devel-\noped during World War II. Military research centers built hospitals, \nhangars and even inflatable bridges that were very effective because \nthey were portable and quick to deploy. Even inflatable tanks were \nbuilt to confuse enemy surveillance aircrafts. After the war, all this \nacquired experience was applied to the industry for the production of \nradar protections and ship decks, as well as portable hangars.\nLater on there was a second period of splendor when plastic materi-\nals came back into fashion, in the 1960s and 1970s. Countercultural \narchitecture studios used this language it as a means to adopt a sub-\nversive and critical stance against the most academic architecture, \npresenting it as the architecture of change and the non-permanent, \nas the habitat of the contemporary nomad. These precepts inspired \nproposals like Yellow Heart by Hauss-Rucker-Co (1968), Parasites \nby Missing Link Productions (1969), Dyodon by Jean Paul Jungman \n(1967), Inflatables by Ant Farm (1970) or Instant City by Prada Poole. \nPTW \u002F CSCEC \u002F Arup, Beijing National Aquatics Center (2008) © Tim Griffith \u002F Arcaid\nPTW \u002F CSCEC \u002F Arup, Beijing National Aquatics Center (2008)\n",42,{"image":180,"text":181,"number":182},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.43.png","C 06 41\nPTW \u002F CSCEC \u002F Arup, Beijing National Aquatics Center (2008) © Tim Griffith \u002F Arcaid\n",43,{"image":184,"text":185,"number":186},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.44.png","42 C 06\n",44,{"image":188,"text":189,"number":190},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.45.png","C 06 43\nHerzog & de Meuron, Allianz Arena (2005) © Duccio Malagamba\n",45,{"image":192,"text":193,"number":194},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.46.png","44 C 06\nde Haus-Rucker-Co (1968), Parásitos de Missing Link Productions \n(1969), Dyodon de Jean Paul Jungman (1967), Inflatables de Ant \nFarm (1970) o la Instant City de Prada Poole (1971).\nA partir de 1967 tuvieron gran relevancia los simposios de ar-\nquitectura inflable celebrados en Europa, en los que se mostraban \nlos últimos avances desarrollados en los centros de investigación. \nGracias a ellos se pudieron experimentar diversas tipologías en el \nevento de mayor trascendencia en la arquitectura neumática: la \nExpo de Osaka de 1970, una muestra internacional de pabellones \ninflables entre los que destacaron como hitos el pabellón de Estados \nUnidos de Davis & Associates y Geiger, los Mobile roofs de Tanero \nOki, el Teatro flotante de Murata y Kawaguchi y el pabellón Italiano \nde Studio d’Architettura e Industrial Design.\nLa poca atención hacia los materiales plásticos en las siguientes \ndécadas pareció acabar con estas singulares estructuras. Sin embar-\ngo, en los últimos años se han vuelto a recuperar con inusitada fuerza \nen varios campos de la actividad humana: juegos, arte, diseño, alta \ncostura, ocio, publicidad y, por supuesto, arquitectura. La tecnología \nactual incluso permite ensayar módulos lunares neumáticos que \nla NASA pretende implantar en nuestro satélite para el año 2020.\nSi bien resulta complicado clasificar la infinidad de estructuras \nneumáticas, es posible, sin embargo, presentarlas en dos grandes \nfamilias según el recinto que queda presurizado: las membranas \nsoportadas por aire y las formadas por elementos inflados.\nMembranas soportadas por aire\nEn este sistema, la membrana se soporta presurizando el espacio \ninterior que cubre, de manera que el espacio de uso se encuentra con \nuna ligera sobrepresión respecto del exterior. Por ello sus puertas y \nel anclaje perimetral al suelo deben impedir las fugas de presión y \nsoportar las tracciones generadas por el tensado de la membrana. \nAdemás, su envolvente  de cierre ofrece poca resistencia térmica, \naunque en aquellos programas con necesidades de climatización \nse puede mejorar su aislamiento doblando la membrana. Estos \nrequerimientos han provocado que este tipo de inflables se utili-\ncen mayoritariamente para eventos temporales o como encofrados \nprovisionales de estructuras más permanentes.\nEntre las construcciones temporales, resulta inevitable mencionar \ndos proyectos que en los últimos años han llamado la atención \ncomo ampliaciones de museos: la Serpentine Gallery en Londres de \nRem Koolhaas y Cecil Balmond (2006) y la propuesta para el Museo \nHirshhorn en Washington de Diller Scofidio + Renfro (2009). Ambos \nproyectos (el segundo aún no construido) aprovechan estéticamente \nel contraste entre sus enormes globos y la arquitectura preexistente. \nLa construcción \nneumática tuvo un fuerte \ndesarrollo durante la II \nGuerra Mundial porque \npermitía montar grandes \nestructuras temporales de \nforma rápida y económica, \nque además podían ser \ntransportadas fácilmente.\nThe development of \npneumatic construction \nwas strong during \nWorld War II because it \npermitted building large \ntemporary structures \nquickly and cheaply, \nstructures that were \nfurthermore easy to move. \nDavies & Associates y Geiger, US Pavilion for the Expo, Osaka (1970)\n© Obayashi-Gumi Ltd\nDummy tank (1943)\n",46,{"image":196,"text":197,"number":198},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.47.png","C 06 45\nLas ‘inflatoestructuras’ se \nclasifican en dos grupos: \naquellas cuyo interior  \nestá presurizado, como \nel Serpentine Pavilion \nde 2006 o el Pneumatic \nSerendipity de 2014 \n(abajo), y las formadas por \npiezas infladas (derecha). \nInflatable structures  \nare classified in two \ngroups: with a pressurized \ninterior, like the Serpentine \nPavilion of 2006 or \nPneumatic Serendipity  \nof 2014 (bottom), and \nthose made of inflated \nelements (right). \nFrom 1967 onwards the symposiums devoted to inflatable archi-\ntecture became very important in Europe, and were an opportunity \nto display the new developments carried out in research centers. \nThanks to these encounters it was possible to test several types at \nthe most important event in the history of pneumatic architecture: \nthe Osaka Expo of 1970, an international show of inflatable pa-\nvilions where several proposals stood out particularly: the United \nStates Pavilion by Davis & Associates and Geiger, the Mobile Roofs \nby Tanero Oki, the Floating Theater by Murata and Kawaguchi, and \nthe Italian Pavilion by Studio d’Architettura and Industrial Design. \nScarce attention was paid to plastic materials in the following \ndecades, apparently putting an end to the story of these structures. \nHowever, over the past years they have once again come to fore with \nstrength in several areas of human activity: games, art, design, haute \ncouture, leisure, advertising and, of course, architecture. The current \ntechnology has even allowed to test pneumatic lunar modules that \nNASA hopes to install in our satellite in 2020. \nThough classifying the great variety of pneumatic structures is \na hard task, it is however possible to present them in two major \ngroups depending on the precincted space that remains pressurized: \nair-supported membranes, in the one hand, and membranes formed \nby inflated elements on the other. \nAir-supported Membranes\nIn these systems, the membrane is held by pressurizing the interior \nspace covered, so this space has a slight overpressure with respect \nto the exterior. For this reason the doors and anchorage to the \nground must prevent pressure leaks and take on the tensile stress \ngenerated by the stretched membrane. Furthermore, the enclosure \nhas a reduced thermal resistance, though in those programs with \nclimate control needs the insulation can be improved by doubling \nthe membrane. Because of these requirements these inflatables are \nused mainly for temporary events or as provisional formworks for \nmore permanent structures. \nAmong the ephemeral structures that have gone up in recent years \nthere are two obvious examples that have drawn much attention, \nboth developed as museum extensions: the Serpentine Gallery in \nLondon by Rem Koolhaas and Cecil Balmond (2006) and the pro-\nposal for the Hirshhorn Museum in Washington by Diller Scofidio \n+ Renfro (2009). Both projects (the latter still unbuilt) aesthetically \nexploit that contrast between their huge balloons and the existing \narchitecture.\nBecause of its quick assembly, this system offers many advan-\ntages as provisional cast for concrete layers, through several patents \ncurrently in the market. Some consist of spraying concrete on the \nPrada Poole, Pneumatic Serendipity (2014)\nSnøhetta, Tuballoon (2006) © Robert Sannes\nKoolhaas \u002F Balmond, Serpentine Pavilion\n",47,{"image":200,"text":201,"number":202},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.48.png","46 C 06\n",48,{"image":204,"text":205,"number":206},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.49.png","C 06 47\nNicholas Grimshaw, Eden Project (2000) © VIEW Pictures\n",49,{"image":208,"text":209,"number":210},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.50.png","48 C 06\nLas envolventes que \nestán formadas por \npiezas infladas (o cojines) \npermiten una mayor \nversatilidad al no exigir \nque el recinto interior se \nmantenga cerrado para \nmantener una presión \nsuperior a la del exterior.\nThe envelopes consist of \ninflated structures (or \ncushions) that permit a \ngreater versatility because \nthe interior precinct \ndoesn’t have to be kept \nclosed to maintain a \npressure higher than  \nthat of the exterior. \nTambién ofrece amplias ventajas, por su gran velocidad de mon-\ntaje, utilizar este sistema como molde provisional de láminas de \nhormigón,  mediante varias patentes disponibles en el mercado. \nUnas contemplan el proyectado del hormigón sobre el inflable \ndesde el exterior, como las viviendas Domecrete de los arquitectos \nisraelíes Haim y Raphael Heifetz (Heifetz System) o las espectacula-\nres cúpulas de hasta 36 metros de luz del arquitecto italiano Dante \nBini (Binishell System). Y otras, como el norteamericano Monolithic \nDome System, se construyen proyectando desde el interior para \naprovechar la membrana inflable como impermeabilización exte-\nrior del hormigón. Pero el sistema con mayor reconocimiento es la \npatente Concrete Canvas. En este caso la membrana que se infla es \nuna fibra de tres dimensiones que ya contiene en su interior una \nmezcla de hormigón seco especialmente formulado para endurecerse \nal hidratarlo con agua desde el exterior, de manera que una vez \nfraguado las fibras refuerzan el hormigón.\nEnvolventes de elementos inflados\nA diferencia del anterior sistema, en estas envolventes lo que se pre-\nsuriza no es el ambiente de uso, sino los elementos que lo envuelven, \nfacilitando el diseño de formas más complejas.  En este caso, ya no es \nnecesaria la estanqueidad del recinto, por lo que también se consigue \nuna mayor fluidez entre interior y exterior, sin necesidad de puertas. \nDe esa libertad formal y ausencia de puertas hacen gala proyectos \ncomo el Tuballoon de Snøhetta (2006), el Air Forest de Mass Studies \n(2008) y la Golden Dome de AmidCero9 (2011). El Tubaloon de 40 \nmetros de largo y 20 metros de altura cubre escenarios para con-\nciertos de jazz, presentando una sugestiva forma que recuerda a los \ninstrumentos de viento o las geometrías del oído interno. Siguiendo \ncon las evocaciones formales, Mass Studies diseña en un parque de \nDenver un espectacular bosque con gradientes de puntos plateados \na modo de hojas que se mueven con el viento y las fluctuaciones de \npresión de los ventiladores para provocar la sensación de estar en un \nVehovar & Jauslin, Bus Station in Aarau, Switzerland (2012) © Niklaus Spoerri\nSarrablo + Buildair, MET Festival Pavilions (2005) \n",50,{"image":212,"text":213,"number":214},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.51.png","C 06 49\ninflatable form from the outside, as in the Domecrete system by \nIsraeli architects Haim and Raphael Heifetz (Heifetz System) or the \nspectacular domes spanning up to 36 meters by the Italian archi-\ntect Dante Bini (Binishell System). And others, like the American \nMonolithic Dome System, were built by spraying from the interior \nto ensure that the inflatable membrane makes the concrete’s exterior \nwaterproof. The most widely known system is the patented Concrete \nCanvas. In this case the inflated membrane is a three-dimensional \nfiber matrix whose interior contains a mixture of dry concrete that \nhardens when hydrated with water from the exterior, and once cast \nthe fibers reinforce the concrete. \nMembranes of Inflated Elements\nUnlike the previous examples, in these systems pressure goes into \nthe the enclosing elements and not the contained space, making it \neasier to design more complex forms. In this case the precinct does \nnot need to be watertight, so there is a free-flowing relationship \nbetween interior and exterior, with no need for doors. \nThis formal freedom and absence of doors can be seen in projects \nlike the Tuballoon by Snøhetta (2006), the Air Forest by Mass Studies \n(2008) and the Golden Dome by AmidCero9 (2011). The Tubaloon \nis 40 meters long and 20 meters tall, and covers jazz concert stages, \nwith a suggestive shape the evokes wind instruments or the geom-\netries of the inner ear. Further formal evocations can be found in \nthe design by Mass Studies for City Park in Denver, a spectacular \nforest made of nylon fabric with gradients of silver dots that move, \nlike leaves, with the wind and pressure changes, making visitors feel \nas if they were inside a living animal. And the more daring Golden \nDome is a helium-filled form, a prototype of which was displayed \nat Tokyo’s Museum of Contemporary Art.\nHowever, the most important developments have been achieved \nwith the repetition of inflated forms that are then sown together. \nLenticular forms or cushions, these elements can often be combined \nand held by auxiliary metallic structures or cylinders that, folded \nor arched, take on all the loadbearing responsiblity. \nThe first, the metallic frameworks and the enclosures of inflated \nlenticular forms, have favored permanent uses and the largest spans. \nThe pioneering tests carried out by Gernot Minke or Jens Pothl have \nled to works like the Eden Project and Leicester Tower by Nicholas \nGrimshaw, the Water Cube by PTW Architects, and the Allianz \nArena by Herzog & de Meuron. \nThe company Buildair is known in the field of pressurized cylindric \narches, and has managed to build the largest cover for temporary \naircraft hangars, like the one they did for Airbus in Getafe (Madrid, \n2013), measuring 54 x 75 meters. The same company has also car-\nried out intensive formal research, with examples like the inflatable \npavilions for the MET Festival in the port of Barcelona (2005), \ndesigned by Sarrablo, covering an area of 1,800 square meters: one \nof the largest pneumatic structures for events ever built in Spain. \nFrom a tangible technological maturity, architects continue to \nshow interest in the possibilities of these volumes that are evanes-\ncent, lightweight and offer freedom of design, and whose unique \npresence usually sparks at once curiosity and at knowing smile, as \nthose of a child playing with a balloon. \nNicholas Grimshaw, Eden Project (2000) © Nilfanion\n",51,{"image":216,"text":217,"number":218},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.52.png","50 C 06\nanimal vivo. Y, con mayor osadía, la Golden Dome es una propuesta \nque se eleva inflada con helio, de la cual pudo verse un prototipo en \nel Museo de arte Contemporáneo de Tokio.\nSin embargo, es en la repetición de elementos inflados cosidos entre \nsí donde se han conseguido los mayores logros. Estos elementos pue-\nden ser lentículas o almohadones, a menudo combinados y soportados \npor estructuras metálicas auxiliares, o también cilindros que, plegados \no arqueados, consiguen asumir toda la responsabilidad portante.\nMediante los primeros, los entramados metálicos y cerramientos de \nlentículas infladas, se han logrado usos permanentes y las mayores \nluces. Desde los ensayos pioneros realizados por Gernot Minke o Jens \nPothl, se ha llegado al Eden Project y la Leicester Tower de Nicholas \nGrimshaw, el Water Cube de PTW Architects o el estadio Allianz Arena \nde Herzog & de Meuron.\nRespecto a los arcos cilíndricos presurizados, cabe distinguir a la \nempresa Buildair, que en nuestro país se ha especializado en este tipo \nde inflables y ha llegado a conseguir el récord de mayor cubrición \npara hangares temporales de aviones, como el realizado para Airbus \nen Getafe (2013), de 54 x 75 metros. La misma empresa se ha des-\ntacado también por su investigación formal, como en el caso de los \npabellones inflables para el festival MET en el puerto de Barcelona \n(2005) que, bajo el diseño de Vicente Sarrablo, llegaron a cubrir 1.800 \nmetros cuadrados: una de las mayores estructuras neumáticas para \neventos nunca construidas en nuestro país.\nDesde una madurez tecnológica tangible, los arquitectos vuelven \na interesarse por las posibilidades de estos volúmenes evanescentes, \nlivianos y de trazo libre, cuya singular presencia provoca miradas cu-\nriosas y sonrisas cómplices, como las de un niño jugando con un globo.\nIsozaki, Aoki & Associates \u002F Anish Kapoor, Lucerne Festival Ark Nova Pavilion, Matsushima, Japan (2013) © Iwan Baan\n",52,{"image":220,"text":221,"number":222},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.53.png","C 06 51\n",53,{"image":224,"text":19,"number":225},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.54.png",54,{"image":227,"text":228,"number":229},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.55.png","style\nVisual Complexity\nManuel Lima\nMapping the World \nStephen Walter\n",55,{"image":231,"text":232,"number":233},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.56.png","54 C 06\nStyle\nVirtual\n4\nMAPPING\nTHE WORLD\nStephen Walter\nStephen Walter (Londres, 1975) utiliza el \ndibujo obsesivo como investigación y mé-\ntodo. Se presentan en este capítulo cuatro \nde sus trabajos más reconocidos: Similands \n(2006), The Island (2008), Nova Utopia \n(2013) y Hub (2007-2010), una colección de \ncomplejos mapas compuestos por palabras, \ngarabatos, anécdotas o dibujos que sirven de \nretrato de las ciudades representadas, pero \ntambién del propio autor, que plasma sus \nexperiencias, inquietudes o críticas sobre \nellas. La magnífica meticulosidad y el pe-\nqueño tamaño de cada dibujo hace inapre-\nciables los detalles en la distancia, dejándose \ndescubrir al aproximarse.\nStephen Walter (London, 1975) uses \nobsessive drawing as a research tool and \nmethod. This section features four of  \nhis best known works: Similands (2006), \nThe Island (2008), Nova Utopia (2013), \nand Hub (2007-2010), a collection \nof complex maps made up of words, \ndoodles, anecdotes, and drawings that \nportray the cities represented, but also the \nauthor himself, who reflects his personal \nexperiences, interests, and critiques on \nthem. The extraordinary meticulousness \nand small size of each drawing makes the \ndetails hardly noticeable from the distance,  \nleft to be discovered only from up close. \n",56,{"image":235,"text":236,"number":237},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.57.png","C 06 55\nNova Utopia (2013)\n",57,{"image":239,"text":240,"number":241},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.58.png","56 C 06\nEstos dibujos representan \nbarrios de Londres que \ncompondrán unidos el \ngran mapa de la ciudad \n(The Island). En la página \nde la derecha, Similands, \nes un retrato de Gran \nBretaña imitando un \nmapa medieval. \nThe drawings on this \npage represent London \nneighborhoods that will \ntogether compose the \nbig map of the city (The \nIsland). Similands, on \nthe right-hand page, is a \nportrait of Great Britain \nimitating a medieval map. \nBarking \nCroydon\nBromley\nBarnet\n",58,{"image":243,"text":244,"number":245},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.59.png","C 06 57\nSimilands (2006)\n",59,{"image":247,"text":248,"number":249},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.60.png","58 C 06\nThe Island (2008)\n",60,{"image":251,"text":252,"number":253},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.61.png","C 06 59\nThe Island (2008) es \nun mapa de Londres \ncompuesto por una \nmaraña de palabras, de \nreferencias culturales,  \nde dibujos o de elementos \nautobiográficos \nvinculados a lugares \nconcretos de la ciudad.\nThe Island (2008) is \nan oversized map of \nLondon made up of a \ntangle of words, symbols, \ncultural data, drawings, \nand autobiographical \nreferences that are  \nrelated to specific  \nplaces in the city. \nThe Island (2008)\n",61,{"image":255,"text":256,"number":257},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.62.png","60 C 06\n",62,{"image":259,"text":260,"number":261},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.63.png","C 06 61\n",63,{"image":263,"text":264,"number":265},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.64.png","62 C 06\nStyle\nVirtual\n4\nVISUAL \nCOMPLEXITY\nManuel Lima\nEl establecimiento de patrones y conexiones \ncomprensibles dentro de redes de informa-\nción se ha convertido en uno de los grandes \ndesafíos de este siglo: nuestra capacidad para \ngenerar datos parece haber superado con cre-\nces nuestra habilidad para comprenderlos. \nConsciente de ello, Manuel Lima (Azores, \n1978) inició en 2005 el proyecto Visual Com-\nplexity: una plataforma que actualmente re-\ncoge 900 interfaces de autores cuyos temas \nson tan variados como arte, biología o polí-\ntica. El portugués es considerado uno de los \nembajadores por excelencia del fenómeno de \nla datificación, y ha pronunciado conferen-\ncias sobre el tema por todo el mundo.\nEstablishing understandable patterns and \nconnections within complex information \nnetworks has become one of the big challenges \nof this new century: our capacity to generate \ndata seems to have well surpassed our ability \nto grasp data. Aware of this, Manuel Lima \n(Açores, 1978) launched the project Visual \nComplexity in 2005: a platform that currently \ngathers 900 interfaces of authors dealing with \na wide range of issues across disciplines such \nas art, biology, and politics. Considered to be \none of the ambassadors par excellence of the \n‘datification’ phenomenon, the Portuguese \nhas given lectures around the world on \ninformation visualization.\n",64,{"image":267,"text":268,"number":269},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.65.png","C 06 63\nRadial Convergence\nArc Diagram\nArea Grouping\nCentralized Burst\nCentralized Ring\nCircled Globe\nCircular Ties\nFlow Chart\nRadial Implosion\nRamification\nScaling Circles\nSegmented Radial\nSphere\nOrganic Rhizome\nJang Sub Lee, Complexcity, 2008\n",65,{"image":271,"text":272,"number":273},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.66.png","64 C 06\nVisualComplexity.com \nwas launched with the \ngoal of offering a unified \nspace for the visualization \nof complex information \nnetworks. It integrates \nprojects for printed \ndistribution as well as \ninteractive applications.\nVisualComplexity.com \nnace con el objetivo de \nser un espacio unificado \npara la visualización \nde redes complejas, y \nrecoge tanto proyectos \nconcebidos para la \ndifusión impresa como \naplicaciones interactivas.\n2Roqs and Hudson Powell, Music Growth, 2006\n2Roqs and Hudson Powell, Music Growth, 2006\nStephanie Posavec, 2008\nyWorks, yFiles Visualization, 2005\nPedro Ortiz, Santiago Ortiz, Luis Rico and Alfonso Valencia, GNOM, 2005\n",66,{"image":275,"text":276,"number":277},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.67.png","C 06 65\nLumeta Corporation, Internet Map, 2010\n",67,{"image":279,"text":19,"number":280},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.68.png",68,{"image":282,"text":283,"number":284},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.69.png","interview\nSouto de Moura & Pallasmaa \n in dialogue \n",69,{"image":286,"text":287,"number":288},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.70.png","68 C 06\nInterview\nConversation\n5\nSouto de Moura  \n& Pallasmaa in dialogue\nLos arquitectos se encuentran  \nen Madrid, donde discuten sobre \nla actualidad de la profesión.\nThe architects met in Madrid, \nwhere they talked about the \ncurrent state of the profession.\n",70,{"image":290,"text":291,"number":292},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.71.png","C 06 69\n",71,{"image":294,"text":295,"number":296},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.72.png","70 C 06\nEduardo Souto de Moura (Oporto, Portugal, \n1952), ganador del premio Pritzker en 2011, \ndialoga con el también arquitecto y antiguo \ndecano en la Universidad Tecnológica de \nHelsinki, Juhani Pallasmaa (Hämeenlinna, \nFinlandia, 1936), sobre la relevancia de sus \npaíses de orígen en el panorama global de \nla arquitectura. \nJuhani Pallasmaa: Ambos venimos de \npaíses considerados periféricos dentro de \nEuropa, lo cual me parece una condición \nmuy positiva ya que permite observar las \ncosas desde una distancia crítica, así como \ncon un cierto desfase temporal. En este \nsentido, ¿qué circunstancias consideras \nque están modificando esta relación entre \nel centro y la periferia en Europa y el resto \ndel mundo?\nEduardo Souto de Moura: Yo me eduqué \nbajo este concepto de periferia. Antes era ló-\ngico —yo solía hablar mucho con Siza sobre \nla cultura de lo local— pero hoy en día ya \nno lo es. Por ejemplo, hoy es más fácil llegar \na París que a ciertas regiones de mi propio \npaís, como Évora, principalmente porque \ntengo que ir en coche y tardo cinco horas en \nlugar del viaje de dos horas de avión a París. \n«Le Corbusier encontró \nun lenguaje universal. Al \nmismo tiempo siempre era \nlocal, toda su arquitectura \nera vernácula»\nEl concepto de la distancia ha cambiado. \nEn arquitectura es muy parecido. Recuerdo \nuno de mis primeros proyectos, el Mercado \nde Braga, donde diseñé un muro de hormi-\ngón de casi 100 metros. El alcalde me dijo \nentonces: “Eduardo, esto es muy caro, ¿no \npuedes hacerlo más barato? En piedra, por \nejemplo”. Esta anécdota es curiosa porque \nJacques Herzog, que me escuchó explicar el \nproyecto una vez, se sorprendió de lo rico \nque defendía el uso de materiales locales. \nEsto creó en la ciudad una cultura contraria \nal vanguardismo, que llegó más tarde al ser, \ncomo es Portugal, un país periférico. Aun \nasí, veo con cierto escepticismo la idea de \nla periferia.\nJP: Creo que la cuestión de la identidad \nque comentas es importante e interesante \na la vez. He viajado mucho desde que era \njoven —este es mi viaje número 86 alrededor \ndel mundo— y cuántos más lugares conozco, \nmás siento mis raíces, y más disfruto de vol-\nver a casa. Alvar Aalto tenía razón cuando, \nen un par de entrevistas o ensayos, defendía \nque lo local y lo universal no eran opuestos. \nESM: Un poeta portugués, Miguel Torga, \nsolía decir que “universal es una casa sin \nparedes”. Me encanta esta frase. La distancia \nentre lo local y lo universal es mínima. Lo \nque me gusta de Le Corbusier es que encon-\ntró un lenguaje universal, la casa universal. \nAl mismo tiempo siempre era local, toda su \narquitectura viene de lo vernáculo. \nJP: Estoy de acuerdo. Sin embargo es \nimportante tener en cuenta la forma en la \nque mezclamos las culturas, en mi opinión \nmuy violentamente, y no sólo en Europa, \nPhotos: Miguel Fernández-Galiano \nque era Portugal que construía con pie-\ndra en 1984, algo impensable en Suiza. En \neste caso la piedra local es más económica, \nmientras que la madera, por ejemplo, cuesta \nel doble de lo que costaría en el norte de \nEspaña —yo voy a Vilagarcía de Arousa a \ncomprar pino americano—. Siza, igual que el \nresto de arquitectos en Oporto, estaba muy \ninfluido por la arquitectura de Alvar Aalto, \nLa sede de la Real \nAcademia de Bellas \nArtes en Madrid \nsirve de escenario del \nencuentro entre el \narquitecto portugués \nEduardo Souto de \nMoura y el finés  \nJuhani Pallasmaa. \nThe Royal Academy of \nFine Arts in Madrid \nprovided the backdrop \nfor this conversation \nbetween two architects: \nthe Portuguese  \nEduardo Souto de \nMoura and the Finnish \nJuhani Pallasmaa. \n",72,{"image":298,"text":299,"number":300},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.73.png","C 06 71\nEduardo Souto de Moura (Porto, Portugal, \n1952), Pritzker Prize laureate of 2011, talks \nwith the also architect and former dean at the \nHelsinki University of Technology, Juhani Pal-\nlasmaa (Hämeenlinna, Finland, 1936), about \nthe influence of their countries in today’s ar-\nchitectural panorama. \nJuhani Pallasmaa: We both come from \ncountries that are considered the periphery of \nEurope. I have always felt that the peripheral \ncondition is a very positive one, since one can \nobserve from a critical distance and also with a \ncertain delay. Which events would you say are \nchanging this center versus periphery concepts \nin Europe and around the World?\nEduardo Souto de Moura: I was educated \nin this concept of periphery. I used to talk a \nlot with Siza about the culture of the local, \nand think that back then it was logical, but \nit is no longer so. Today, it is easier to get to \nParis than to travel to some regions in my \nown country, like Évora. Basically because I \nhave to go by car, and it takes me five hours \ninstead of the two-hour plane to Paris. The \nconcept of distance has changed. In archi-\ntecture it is very similar. I remember one of \nmy first projects, the Braga Market, where I \ndesigned a one-hundred-meter long concrete \nwall. The mayor told me then: “Eduardo, this \nis very expensive, can you do it cheaper, in \nstone, for example?” This anecdote is interest-\ning because Jacques Herzog, who once heard \nme explain the project, was surprised about \nhow rich Portugal was since we were build-\ning in stone in 1984, something impossible \nto imagine in Switzerland. In this model local \nstone is cheaper but, local wood, for example, \ncosts double what it would cost in the north of \nquite skeptical about this concept of periphery.\nJP: I think that this question of identity is \nvery interesting and important. I have been \ntravelling the world since I was very young \n– I am currently on my 86th trip around the \nglobe – and the more I see, the more I feel my \nroots, the more I enjoy coming back home. \nAlvar Aalto made the point in a couple of \ninterviews and essays, where he stated that \nlocal and universal are not opposites.\nESM: A Portuguese poet, Miguel Torga, \nused to say: “Universal is a house without \nwalls.” I like this phrase. The distance between \nthe local and the universal is very small. What \nI liked about Le Corbusier is that he found a \nuniversal language, the universal house. But \nit was also always local, all his architecture \ncomes from the vernacular. \nJP: I agree with you. At the same time, \nhowever, it is important to see the way we \nare mixing cultures, rather violently, not only \nin Europe but also around the world. And I \nthink that this question of identity and back-\nground history has become very important \nand complex. \nESM: We have to rebuild the geography. \nYou can move ideas around, but the physical \nSpain – I go to Vilagarcía de Arousa to buy \nAmerican pine wood. Siza, like most of the \narchitects from Porto, was very influenced by \nthe work of Alvar Aalto because he defended \nthe use of local materials. This idea created \nan anti avant-garde culture in the city, so this \nmovement arrived later in Portugal, being as \nit is a peripheral country. Even so I am still \n«Le Corbusier found a \nuniversal language, but \nit was also very local. All \nhis architecture comes \nfrom the vernacular»\n",73,{"image":302,"text":303,"number":304},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.74.png","72 C 06\n",74,{"image":306,"text":307,"number":308},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.75.png","C 06 73\nlandscape does not change. I cannot make \nthe same building in Chicago and in Lisbon. \nJP: Exactly. You cannot change the climate, \nfor example. When I was young, I did not pay \nany attention to these things, but with age I \nhave come to understand more and more that \nI am a product of a local situation. I person-\nally have had the fortune of travelling around \nthe world and knowing the world, but I have \nrealized that I see it from a very distinct point \nin southern Finland.\nESM: When I started working as an archi-\ntect, I was afraid of windows. When I had to \ndesign a window, I panicked. It is the most dif-\nficult thing you can do in architecture. Open-\ning a negative in a wall is very complicated. \nJP: Also, the window is the most power-\nful way of connecting your building with the \nlandscape. That brings us back to this idea of \nplace. Merleau-Ponty has an interesting argu-\nment when he says that we do not come to see \nthe work of art, but the world according to the \nwork of art. And I think that is the essence of \narchitecture, what a window reveals. \nESM: Perhaps that’s why, like a Matisse \npainting, they are so difficult to design. Last \nweek we won a competition for a theater where \nwe reused a facade of a disciple of Perret, with \nvertical windows and an elegant proportion. \nI liked the idea of having a conflict between \nPerret and Le Corbusier, with  horizontal and \nvertical windows, so I proposed both kinds \nof windows in the same part of the building. \nFinally they advised me not to use horizontal \nwindows, which surprised me because it was \nsuch an authoritarian ban in the 21st century. \nJP: That makes me think that as a real \narchitect you have to reinvent the window \nevery time.\nESM: That’s right. And it is dramatic for \nme… I think that Siza or Moneo, in the morn-\ning, after brushing their teeth, design a win-\ndow. Just like that. They are naturals. When \nSiza and I designed the Portuguese pavilion \nin Hannover, the pavilion was built with a \ncork facade, a very abstract curved roof, a big \nwall, and a kitchen behind. Once, visiting it \nwith Siza, I told him: “Alvaro, there is a big \nproblem because the firemen say we have to \n«We have to rebuild \nthe geography. You can \nmove ideas around, but \nthe physical landscape \ndoes not change»\n",75,{"image":310,"text":311,"number":312},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.76.png","74 C 06\nUna de las salas del \nmuseo de la Real \nAcademia de Bellas \nArtes de Madrid arropa \nentre sus obras de arte \nel diálogo entre Juhani \nPallasmaa (izquierda) \ny Eduardo Souto de \nMoura (derecha).\nThe conversation \nbetween Juhani \nPallasmaa (left) and \nEduardo Souto de \nMoura (right) took \nplace surrounded by \nartworks, in one of \nthe halls of the Royal \nAcademy of Fine Arts. \n",76,{"image":314,"text":315,"number":316},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.77.png","C 06 75\n",77,{"image":318,"text":319,"number":320},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.78.png","76 C 06\nsino en todo el mundo. Por eso creo que \nla identidad y el contexto histórico se han \nvuelto cruciales y tremendamente comple-\njos a la vez. \nESM: Debemos reconstruir la geografía. \nPuedes mover las ideas de lugar, pero el \npaisaje físico permanece inmóvil. Yo no \npuedo hacer el mismo edificio en Chicago \no en Lisboa. \nJP: Exacto. No puedes cambiar el clima, \npor ejemplo. Cuando era joven, no prestaba \natención a estas cosas, pero con la edad he \naprendido que no soy más que un producto \nde una situación local. He tenido la suerte \nde poder viajar y conocer el mundo, pero no \ndejo de verlo desde un punto de vista muy \nconcreto, el del sur de Finlandia. \nESM: Cuando empecé a trabajar como \narquitecto, me aterrorizaban las ventanas. \nCada vez que tenía que diseñar una, entraba \nen pánico. Creo que es lo más difícil que pue-\ndes hacer en arquitectura. Abrir negativos \nen los muros es muy complicado.\nJP: Al mismo tiempo, la ventana es la \nherramienta más potente para conectar tu \nedificio con el paisaje, lo que nos trae de \nvuelta la idea de lugar. Merleau-Ponty tiene \nun argumento muy interesante cuando dice \nque no vemos la obra de arte, sino el mundo \na través de la obra de arte. Para mí esa es \nla esencia de la arquitectura: lo que una \nventana revela.  \nESM: Esa es, a lo mejor, como un cuadro \nde Matisse, la razón por la que son tan difí-\nciles de diseñar. La semana pasada ganamos \nun concurso para hacer un teatro en el que \nutilizamos una fachada de un discípulo de \nPerret, con unas ventanas verticales y de \nproporción elegante. Me gustaba la idea de \ntener el conflicto entre Perret y Le Corbusier, \ncon ventanas verticales y horizontales, por \nlo que propuse ambos tipos en la misma \nparte del edificio. Al final me aconsejaron \nno utilizar ventanas horizontales, lo que me \nsorprendió por ser una recomendación tan \nautoritaria en el siglo XXI. \nJP: Esto me hace pensar que, como ar-\nquitecto, tienes que reinventar la ventana \ncada vez. \nESM: Así es. Y es dramático para mí… \nTengo la sensación de que Siza o Moneo \nse levantan por la mañana, se lavan los \ndientes, y diseñan una ventana. Sin más. \nTienen un don. Cuando Siza y yo diseña-\nmos el pabellón de Portugal en Hannover, \nlo hicimos con una fachada de corcho, una \ncubierta curva muy abstracta, un gran muro \ny una cocina detrás. Un día fuimos a visitarlo \ny le dije: “Alvaro, tenemos un gran problema \nporque los bomberos dicen que tenemos que \nabrir una puerta de seguridad en el muro”. \nEra una gran pared, muy abstracta, como una \nescultura, y la puerta iba a quedar demasiado \ndoméstica. Entonces Siza dibujó una puerta \nen cinco minutos, y así se hizo más tarde. \nYo miraba el muro y con la mano tapaba y \ndestapaba la puerta, para ver la diferencia. Al \nfinal me di cuenta de que era mejor con ella, \nporque se convertía en una ventana real, que \ntenía que ver con la vida, y no en el gesto de \nla instalación de un artista. \nJP: Para mí la ventana es el ojo del edificio, \ny la puerta la boca. Son esenciales para la \nfisionomía del cuerpo, del edificio. En mis \npropios diseños nunca he podido entender la \npuerta como algo preconcebido. Siempre me \npregunto qué es una puerta. Siempre tiene un \ncontexto preciso y un propósito. Cada puerta \nes fundamentalmente diferente. \nESM: Ése es el verdadero problema de la \narquitectura. En París tuve muchas discu-\nsiones con Aldo Rossi sobre las ventanas. Él \nme decía: “Eduardo, piensa siempre en las \ncuestiones prácticas, desde el interior al ex-\nterior, desde el exterior al interior”. Es como \nhacer un retrato. \nJP: Comenzaste tu carrera en Oporto y \nahora trabajas en muchas partes del mundo. \n¿Te sientes cómodo trabajando en el exte-\nrior?\nESM: Estoy muy agradecido de trabajar en \ntantos países, y no sería correcto que dijese \nque no me gusta, pero sí que prefiero trabajar \nen Oporto. Para mí, lo más importante de \nla arquitectura hoy en día es tener tiempo. \nTener tiempo para pensar, para cambiar, para \nhacer maquetas, bocetos, ir a la obra un sá-\nbado, cuando no hay nadie, hacer fotos… Es \ncomo la gastronomía: no puedes comer con \nprisa. Tienes que disfrutarlo tranquilamente. \nPor eso creo que la calidad de la arquitectura \nactual es baja, porque el tiempo es dinero, y \nlos clientes piden tiempos muy cortos, que \nes normal; el problema es que los arquitectos \nlo aceptamos. \nJP: Sigfried Giedion, en Espacio, tiempo \ny arquitectura, habla de cómo Finlandia es \ncon Alvar Aalto como España es con Picas-\nso, o Irlanda con James Joyce. ¿Cuánto de \n«Debemos reconstruir la \ngeografía. Puedes mover \nlas ideas de lugar, \npero el paisaje físico \npermanece inmóvil»\n",78,{"image":322,"text":323,"number":324},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.79.png","C 06 77\nopen a security door in the wall.” It was a big \nwall, very abstract, like a sculpture, and the \ndoor would make it very domestic. Siza then \ndesigned a door in five minutes, and that is \nhow it was done later. I kept looking at the \ndoor using my hand to blind it, and I realized \nit was actually better with the door. It became \na real window, which had to do with life, not \nthe gesture of an artist’s installation. \nJP: For me a window is the eye of the build-\ning, and the door is the mouth. They are es-\nsential to the physiognomy of the body, of the \nbuilding. In my own design I have never been \nable to understand the door as a given thing. \nI always start with the question of what the \ndoor is. There is always a distinct context \nand a purpose for the door, and every door is \nfundamentally different.\nESM: That is the real problem of architec-\nture. When I was in Paris, I had lots of dis-\ncussions with Aldo Rossi about the windows. \nHe would tell me: “Eduardo, you always have \nto think about the practical issues: from the \ninside to the outside, from the outside to the \ninside.” It is like designing a portrait. \nJP: You began your career in Porto and now \nyou work in many parts of the world. Do you \nfeel comfortable working abroad?\nESM: I am very grateful to be working in \nmany countries, and it would not be right to \nsay that I do not like it, but I do prefer to work \nin Porto. For me, the most important thing for \nan architect today is to have time. To have \ntime to think, to change, to make models, \ndo sketches, go to the construction site on a \nSaturday morning when nobody is there, take \npictures… I think it is like gastronomy: you \ncannot go there in a rush. You have to enjoy it \nquietly. This is why the quality of architecture \ntoday is poor, because time is money, and cli-\nents ask for short deadlines, which is normal, \nthe problem is that architects accept this. \nJP: Sigfried Giedion, in Space, Time and \nArchitecture, talks about how Finland is with \nAlvar Aalto, the same way that Spain is with \n",79,{"image":326,"text":327,"number":328},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.80.png","78 C 06\ntu trabajo está hecho desde una perspectiva \nportuguesa?\nESM: Lo que más me gusta de Portugal \nes la atmósfera, el ambiente. La arquitectura \nno es únicamente física. Si diseñas una silla, \npuedes hacerlo tú solo en una semana, pero \ndiseñar en un lugar, en un país, te obliga \na pensar en muchas otras cosas. Por eso la \narquitectura es un asunto social. Para llegar a \nla máxima calidad en la profesión tienes que \npensar en el tiempo, el material, los oficios, la \nbuena relación con el cliente… No hay buen \nedificio con un mal cliente. \nJP: Cuando enseñaba en Doha, no se me \nocurría dedicarme a la arquitectura allí por-\nque no tenía por dónde empezar. Es una \nciudad sin lugar. Es un no-lugar sin fin. \nESM: Es el coche y el hotel. Esta cuestión \nde lo regional y lo local es muy interesante. Lo \nhablaba con Frampton, que siempre defien-\nde el regionalismo. Creo que hoy es ridículo \nhablar del regionalismo como antes se enten-\ndía, hoy hay un nuevo regionalismo. Pachi \nMangado, por ejemplo, va muchas veces a \nPortugal porque está muy interesado en los \noficios de allí. Viene a discutir unas cosas \ny otras con los artesanos y, con el tiempo, \nforman un equipo. Me siento más identifi-\ncado con este tipo de trabajo, que con el que \ndesempeñan en Lisboa, por ejemplo. Y no es \nuna cuestión de rivalidad, sino de empatía. \nJP: Estoy de acuerdo. En Finlandia hay \nuna tradición de no hablar. Me he dado \ncuenta de que allí la calidad de la arquitec-\ntura es mejor cuando hay una crisis (ya sea \neconómica, política o social) y empeora en \nmomentos de riqueza, cuando todo se da \npor garantizado. No creo que la arquitectura \npueda existir sin la seguridad de que hay un \nfuturo mejor. La arquitectura se construye \ndesde la esperanza.\nESM: Cuando la gente me pregunta \n“Eduardo, ¿qué le dirías a los jóvenes arqui-\ntectos en esta etapa de crisis?”, yo respondo \nque siempre he trabajado en una etapa de \ncrisis. Es bueno representar una oposición a \nesa crisis. En chino, la palabra crisis signifi-\nca cambio y proyecto. Siempre es positivo. \nHay que tener cuidado, además, porque hay \nmucho oportunismo con esta idea de la crisis. \nLos clientes, por ejemplo, aprovechan para \nintentar reducir los presupuestos y cosas así.\n«Creo que hoy es ridículo \nhablar del regionalismo \ncomo antes se entendía, \nhoy hay un nuevo \nregionalismo»\n",80,{"image":330,"text":331,"number":332},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.81.png","C 06 79\n",81,{"image":334,"text":335,"number":336},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.82.png","80 C 06\n",82,{"image":338,"text":339,"number":340},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.83.png","C 06 81\nPicasso, or Ireland with James Joyce. How \nstrongly are you doing your work from a Por-\ntuguese perspective?\nESM: What I like most about Portugal is the \natmosphere, the mood. Architecture is not only \nphysical. If you design a chair, you can do it \nalone in one week, but designing something in \na place, in a country, involves thinking about \nmany other things. That is the reason why \narchitecture is a social matter. To obtain a \nhigh quality in architecture you have to think \nabout time, material, craftsmen, a good rela-\ntion with the client… There is no good building \nwith a bad client. \nJP: When I was in Doha teaching, I could \nnot think of designing anything there, because \nI would not know where to start. In my experi-\nence it is a city that has no place at all. It is \njust a limitless placelessness. \nESM: The car and the hotel. But this matter \nof the regional and the local is very interest-\ning. I talked about it with Frampton, who \nalways defends regionalism. I think it is a bit \nridiculous right now to talk about regional-\nism as it was understood before, today there \nis a new regionalism. Pachi Mangado, for \ninstance, comes often to Portugal because he \nis very interested in Portuguese crafts, and he \ncomes to discuss this thing or the other with \nthe craftsmen. It is a team. And I feel more \nidentified with this kind of work than the one \nthey develop in Lisbon, for instance. It is not \na question of rivalry, but of empathy. \nJP: I feel the same, since Finland has the \ntradition of not talking. In my observation, in \nFinland the quality of architecture is better \nwhen there is a crisis (economic, political, or \nsocial) and it goes down when there is a period \nof wealth, when everything is taken for granted. \nI don’t think architecture can exist without the \nbelief that there is a future. Architecture is \ngrounded on hope.\nESM: When people ask me, “Eduardo, what \nwould you say to young architects in this time \nof crisis?” I say that I have always worked in a \ntime of crisis. It is good to represent an opposi-\ntion to crisis. In Chinese, crisis has two mean-\nings: change and project. It is always positive. \nYou must be careful also, because there is a lot \nof opportunism. Clients, for instance, always \ntry to reduce budgets and so on…\n«It is a bit ridiculous \nright now to talk about \nregionalism as it was \nunderstood before, today \nthere is a new regionalism»\n",83,{"image":342,"text":343,"number":344},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.84.png","© Susanne Gawlyta\n",84,{"image":346,"text":347,"number":348},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.85.png","© Susanne Gawlyta\nSingapore \nSingapore\ntravel\n",85,{"image":350,"text":351,"number":352},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.86.png","01\nThe world’s highest  \nferris wheel is located  \non the Formula 1 circuit \nof Marina Bay, with \nvantage views over the \ncity. It is 165 meters \ntall and can hold 784 \npassengers in its 28  \nfixed capsules. \nSightseeing \nThe Flyer\n02\n© CEphoto, Uwe Aranas \u002F CC-BY-SA-3.0\nLa noria más alta del \nmundo está situada \nsobre el circuito de F1 \nde Marina Bay, con \nfantásticas vistas de la \nciudad. Tiene 165 metros \nde altura y una capacidad \nde 784 pasajeros en sus \n28 cápsulas fijas.\nEl complejo, diseñado por \nMoshe Safdie, tiene tres \ntorres hoteleras, un museo, \nun centro comercial, dos \nteatros, seis restaurantes, \nun centro de convenciones, \ndos pabellones flotantes \ny el casino independiente \nmás costoso del mundo.\nThe complex, designed by \nMoshe Safdie, has three \nhotel towers, a conference \ncenter, a shopping  \nmall, a museum, two \ntheaters, six restaurants, \ntwo floating pavilions, \nand the famed  \ncasino and hotel.\nResort \nMarina Bay Sands\nwww.skyhdwallpaper.com\n84 C 06\nSingapore\nTravel\nCity Guide\n6\nEsta isla y ciudad-estado, \ndestaca por su arquitectura \nde gran altura y densidad, \nsu flora tropical, sus \nparques y sus jardines.\nThis island and city-state \nshines with its high-rise \nand dense architecture, its \ntropical flora, its parks,  \nand its gardens.\n",86,{"image":354,"text":355,"number":356},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.87.png","© Bloomberg\nC 06 85\n03\nPanoramic Views\nHigh-Rises\nLa ciudad cuenta con \nmás de 4.300 edificios en \naltura (aproximadamente \n50 superan los 140 \nmetros) y la mayoría \nse encuentran en el \nDowntown Core, donde \nla altura máxima está \nrestringida a 280 metros.\nIn the city there are \nover 4,300 high-rise \nbuildings, of which \naround 50 are more than \n140 meters tall, most \nof them located in the \nDowntown Core, where \nthe maximum height \nallowed is 280 meters.\n",87,{"image":358,"text":359,"number":360},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.88.png","Theaters on the Bay \nThe Esplanade\n07\nArchitecture\nSupreme Court\nMuseum \nArtScience\n06\nAlso designed by Moshe \nSafdie, the museum was \ncompleted in 2011 and is \nevocative of a lotus flower. \nThe 60,000 square meters \nhouse a concert hall \nseating 1,800 spectators \nand a theater for 2,000. \nTambién diseñado por \nMoshe Safdie, el museo \nse terminó en 2011 y \nrecuerda a un flor de loto. \nEn sus 60.000 m2, el edificio \nacoge una sala de conciertos \nde 1.800 asientos y un \nteatro de 2.000 plazas.\nRising behind the \nhistoric building, \nthe new volume was \ncompleted in 2005 by \nthe renowned British \nfirm Foster + Partners, \nand has a built area of \n72,000 square meters. \nTras el edificio histórico, \ny con una superficie \ntotal construida superior \na 72.000 m2, emerge \nel nuevo volumen \ncompletado en 2005 \npor la oficina británica \nFoster + Partners.\n05\n04\nEstas 1.129 viviendas \nocupan una superficie de \n185.000 m2 y han sido \ndiseñadas por el estudio \ndel estadounidense de \norigen polaco Daniel \nLibeskind. Se apilan en 6 \ntorres cuya altura oscila \nentre 24 y 41 plantas.\nDesigned by the studio \nof the Polish-American \nDaniel Libeskind,  \nthese 1,129 apartments \ntake up an area \nof 185,000 square \nmeters, distributed in six \ntowers rising between 24 \nand 41 stories high. \nHigh-Rise Housing \nReflections \nKeppel Bay PTE LTD\n© Nigel Young, Foster + Partners\nwww.spiceuptheroad.com\n© TNP\n86 C 06\n",88,{"image":362,"text":363,"number":364},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.89.png","El complejo cuenta \ncon varios bloques de \n38 plantas de altura \nconectados entre sí por \npasarelas ajardinadas. Estas \ncomunican los distintos \nespacios y equipamientos \ncomunitarios, convirtiendo \nel conjunto en una pequeña \n ciudad residencial.\nThe housing complex \nincludes several 38-story \nblocks, connected to \none another by \nlandscaped footbridges \nthat link the different \nareas and communal \nspaces, transforming \nthe towers into a small \nresidential city.\n© Hufton and Crow\n© Edward Hendricks\n© Iwan Baan\n© parameters 75\nC 06 87\n08\n09\nUniversity\nHub by Heatherwick\nArchitecture\nResort by Foster\nEl edificio para la \nuniversidad de Nanyang, \ndiseñado por el estudio \nbritánico Heatherwick, \nes un conjunto de torres \nagrupadas en torno \na un amplio atrio de \ncomunicaciones.\nLa residencia de \nlujo Capella es una \nampliación de dos \nedificios militares de \n1880, se ubica en la isla \nSentosa, y tiene 112 \nhabitaciones en más de \ncuatro hectáreas.\nThe new building for \nNanyang Technological \nUniversity, designed by \nthe UK-based Heatherwick \nstudio and finished  \nin 2015, consists of a \nseries of towers grouped \naround a large atrium.  \nWith 112 rooms in more \nthan four hectares, the \nhigh-end Capella Resort \nin Sentosa Island extends \ntwo military buildings \ndating from 1880, \nestablishing a dialogue \nwith the old structures. \nHigh-Rise Housing \nThe Interlace by OMA11\nOMA and Ole Scheeren \nare the authors of this \nresidential development \ncomprising more than \na thousand apartments. \nCompleted in 2013,  \nthe Interlace occupies \nmore than 170,000 \nsquare meters. \nEl estudio OMA, junto \ncon Ole Scheeren, son \nlos autores de este \ncomplejo de más de \nmil apartamentos. \nTerminados en 2013, \nocupan una superficie \ntotal superior a 170.000 \nmetros cuadrados.  \nHigh-Rise Housing\nSky Habitat by Safdie\n10\n",89,{"image":366,"text":367,"number":368},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.90.png","Los amantes de la \nnaturaleza podrán \ndisfrutar de este sendero \nde más de 9 kilómetros \nque comunica distintos \nparques de la ciudad y \nque se caracteriza por \nlos diferentes puentes \nque aparecen a lo  \nlargo del recorrido.\nNature lovers will  \nsurely enjoy this \n9-kilometer walking \ntrail that connects the \ndifferent parks  \nalong the southern \nridge of the city, and \nis characterized by the \ndifferent bridges that \nappear along the way.\n88 C 06\nwww.gazeandgraze.com\n13\n12\n14\nCon sus 274 metros de \nlargo y 36 metros de alto, \nes el puente peatonal \nmás alto de Singapur.\n274 meters long and  \n36 meters tall, this is  \nthe tallest pedestrian \nbridge in Singapore. \nSituado en los jardines \nde la bahía, este \nconjunto de cúpulas \nacristaladas recrean \ndiferentes microclimas \npara dar lugar a \nfrondosos paisajes \ntransitables en altura.\nLocated in the Gardens  \nby the Bay, these  \nglazed domes recreate \ndifferent microclimates \nand invite visitors to \nstroll through elevated \nwalkways amid lush \nmountaintop vegetation.  \nSentosa, meaning  \npeace and tranquillity  \nin Malaysian, is one \nof the main tourist \nattractions in Singapore, \nwith an endless beach, \nluxury hotels, and  \na Universal Studios \ntheme park. \nSentosa (del malayo: la \npaz y la tranquilidad) \nes una de las mayores \natracciones turísticas \nde Singapur. Destaca \nsu kilométrica playa, \nlos hoteles de lujo y \nel parque temático de \nUniversal Studios.\nBridge \nHenderson Waves\nLandscape \nCloud Forest\nResort \nSentosa Island\nPark \nSouthern Ridges\n15\n",90,{"image":370,"text":371,"number":372},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.91.png","C 06 89\n© Yen Trinh\n© Allie Caulfield\nflostenparadise.com\n16\n17\nInscribed as a UNESCO \nWorld Heritage Site  \nin 2015, the city’s \ntropical garden has  \nmore than 150 years \nof history. Its National \nOrchid Garden treasures \na living collection of  \nover 1,200 species. \nThis pedestrian bridge, \ncompleted in 2010, \nwas designed by Cox \nArchitecture and \nArchitects 61, winners \nof an international \ncompetition held in 2006. \nIt connects two districts  \nof the Marina Bay area.\nEl jardín tropical tiene \nmás de 150 años de \nantigüedad y está \nconsiderado patrimonio \ncultural de la UNESCO. \nEn su interior, el Jardín \nNacional de Orquídeas \nposee una colección de \nmás de 1.200 especies.\nEste puente, completado \nen 2010, es un proyecto \nde Cox Architecture y \nArchitects 61 que resultó \nganador en un concurso \ninternacional en 2006. \nSirve de conexión \npeatonal entre dos \ndistritos de la bahía.\nNature \nBotanic Gardens\nInfrastructure \nHelix Bridge\nLandscape\nGardens by the Bay\nThe popular park on \nthe bay is home to the \nSupertrees: vertical \nmegastructures measuring \nup to 50 meters, planted \nwith different tropical \nspecies, and fitted with \nphotovoltaic cells to \nprovide solar energy.  \nEl popular parque en la \nbahía está poblado por los \nconocidos superárboles: \nunas megaestructuras \nde hasta 50 metros de \nalto, alimentadas por \nenergía solar, y que \ncultivan distintas plantas \ntropicales.\n18\n",91,{"image":374,"text":375,"number":376},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.92.png","90 C 06\n19\nHotel\nMarina Bay Sands\nEl hotel cuenta con  \nuna piscina infinita de \n150 metros de largo \nsituada en la planta \n57 sobre las tres torres \ny uniéndolas entre sí. \nAdemás, la arbolada \nterraza de la cubierta es \nun magnífico mirador.\nThe hotel has an infinity \nedge pool measuring  \n150 meters long. \nAtop the 57th floor of \nthe three towers and \njoining them together, \nthe roof terrace is \nalso an amenity-filled \nobservation deck. \nShopping\nSpace Asia Hub\nMuseum\nNational Design Center\n22\nThe museum, designed  \nby the Singapore studio \nSCDA Architects, was \ncompleted in 2013. \nEl museo fue terminado \nen 2013 y es obra del \nestudio de Singapur  \nSCDA Architects.\nThe local architecture \nstudio WOHA stresses \nthe contrast between \nold and new in the \nproject to refurbish an \nexisting bakery and \nhotel, extended to house \na shopping gallery of \ndesigner furniture. \nEl reconocido estudio \nlocal WOHA juega \ncon el contraste entre \nlo antiguo y lo nuevo \npara la restauración de \nla antigua panadería y \nhotel y su ampliación \n(que acoge una tienda de \nmuebles de diseño).\n20\n© Patrick Bingham Hall\ndeepblue \u002F Shutterstock\n© Aaron Pocock, courtesy of SCDA Architects\nShopping\nOrchard Road21\nThis popular shopping \nstreet, 2,2 kilometers long, \nhas 22 shopping malls \nand six department stores.\nEsta popular calle comercial \ntiene 2.200 m. de longitud, \n22 centros comerciales  \ny seis grandes almacenes.\n",92,{"image":378,"text":379,"number":380},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.93.png","C 06 91\n123hdwallpapers.com\ngourmetadventures.com\ncomesingapore.com\nsingaporeuts.wordpress.com\nEn poco tiempo, este \nrestaurante se ha \npopularizado gracias a su \ncotidiana comida francesa.\nIn very little time, this \nrestaurant has made a \nname for itself thanks to \nits casual French cuisine.  \n26\nFood \nCocotte\n23\nEl histórico barrio chino, \ncompuesto de cinco \ndistritos, es una viva \nmezcla entre lo nuevo y \nlo viejo. Los templos, y los \nmodernos restaurantes y \ncafeterías lo convierten en \nuno de los destinos más \nturísticos de la ciudad. \nThis historic Chinese \nquarter, comprising five \ndistricts, is a lively mix of \nold an new. With trendy \nrestaurants and cafés \nrising next to historic \ntemples and mosques, it is \none of Singapore’s main \ntourist destinations. \nStreet Life \nChinatown\nDistintas galerías de \narte, puestos de comida \nvegetariana o restaurantes \nindios caracterizan el barrio.\nThe quarter is filled  \nwith vegetarian food \nstalls, Indian restaurants \nand art galleries. \n24\nStreet Life \nLittle India\nDesde 1991 es una de las \ndiscotecas más populares \nde la isla con varias salas \ny diferentes ambientes. \nSince 1991 it is one of \nthe most popular discos \nwith several clubs and \ndifferent atmospheres. \n27\nNight Life\nZouk Club\nEn pleno centro financiero, \nes el lugar perfecto para \ndegustar la comida local  \na buen precio.\nIn the heart of the \nfinancial district, this is \nthe ideal place to enjoy \nlocal food at a good price. \n25\nFood \nMaxwell Food Center\n",93,{"image":382,"text":383,"number":384},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.94.png","92 C 06\n03\n06\n22\n20\n21\n09\n17\n17\n07\n24\n11\n14\n26\n02\n13\n04\n23\n08\n16\n15\n19\n05\n25\n27\n27\n",94,{"image":386,"text":387,"number":388},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.95.png","C 06 93\n01\n18\n10\n12\n 03. Downtown Core\n 04. Reflections Housing\n1 Keppel Bay View, 098402\nreflectionsatkeppelbay.sg \n+65 6463 1780\n 05. Supreme Court\n1 Supreme Court Lane,178879\nsupremecourt.gov.sg\n+65 6336 0644\n 06. ArtScience Museum\n6 Bayfront Ave, 018974\nmarinabaysands.com\n+65 6688 8888\n 15. Southern Ridges\nHenderson Rd,159557\nnparks.gov.sg\n+65 1800 471 7300\n 14. Sentosa Island\n 17. Helix Bridge\n 16. Botanic Gardens\n1 Cluny Rd, 259569\nsbg.org.sg\n+65 6471 7138\n 18. Gardens by the Bay\n18 Marina Gardens Dr, 018953 \ngardensbythebay.com.sg \n+65 6420 6848\n19. Marina Bay Sands Ht\n10 Bayfront Ave,018956\nmarinabaysands.com\n+65 6688 8868\n 25. Maxwell Food Center\n1 Kadayanallur St, 069184\n 24. Little India\n 23. Chinatown \n 22. National Design Center\n111 Middle Rd, 188969\ndesignsingapore.org\n+65 6333 3737\n 10. Sky Habitat\n7, Bishan Street 15, 579827\nskyhabitat.com.sg \n+65 6258 0087\n 07. The Esplanade\n1 Esplanade Dr, 038981\nesplanade.com\n+65 6828 8377\n 12. Cloud Forest\n18 Marina Gardens Drive\ngardensbythebay.com.sg\n+65 6420 6848\n 08. Learning Hub\n50 Nanyang Ave, 639798\nntu.edu.sg\n+65 6791 1744\n 02. Marina Bay Sands\n1 Bayfront Ave, 018971\nmarinabaysands.com\n+65 6688 8888\n 01. The Flyer\n30 Raffles Ave, 039803\nsingaporeflyer.com\n+65 6333 3311\nSingapore\nLocalización y datos prácticos \nLocation and useful information  \n 13. Henderson Waves\nHenderson Rd,159557\nnparks.gov.sg\n+65 1800 471 7300\n 11. The Interlace\n200 Depot Rd, 109694\nprojectshomes.com \n+65 9488 6880\n 09. Capella Resort\n1 The Knolls, Sentosa Island \ncapellahotels.com \n+65 6377 8888\n 26. Cocotte\n2 Dickson Road, 209494\nrestaurantcocotte.com\n+65 6298 1188\n 27. Zouk Club\n17 Jiak Kim St, 169420\nzoukclub.com\n+65 6738 2988\n 20. Space Asia Hub\n77 Bencoolen Street, 189653\nspacefurniture.com.sg\n+65 6415 0000\n 21. Orchard Road\nMain avenue:\nEsplanade Dr, 038981\nNS Raffles Place\n",95,{"image":390,"text":19,"number":391},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.96.png",96,{"image":393,"text":19,"number":394},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.97.png",97,{"image":396,"text":397,"number":398},"\u002Fmedia\u002Fimages\u002F2c\u002F452d8f28f827d7c9b651f5594960b9-28f77b61fc.98.png","96 C 06\nEn el complejo cultural \nde la Isla de Saadiyat \n(Emiratos Árabes Unidos), \nel Louvre Abu Dhabi de \nJean Nouvel es una gran \ncúpula de 180 metros \nde diámetro, con mallas \nsuperpuestas que evocan \nuna celosía islámica.\nIn the cultural hub of \nSaadiyat Island (United \nArab Emirates), Jean \nNouvel’s Louvre Abu \nDhabi is a colossal \ndome measuring 180 \nmeters in diameter, with \nsuperimposed meshes \nevoking an Islamic 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