[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-cosentino-architecture-and-everything-else-07":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":408},{"id":4,"title":5,"slug":6,"image":7,"source":8,"brand_name":9,"brand":10,"brand_slug":11,"file_size":12,"pages":13,"pages_count":403,"matched_pages":404,"match_count":405,"two_pages":406,"show_text":407},24475,"Architecture & Everything Else 07","cosentino-architecture-and-everything-else-07","\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002F0e\u002Ff52d3f1a9bcf3681088dd4f6588cb3-28f77dabe9.pdf","Cosentino",2482,"cosentino","300.7 MB",[14,17,21,25,29,33,36,40,44,48,52,56,60,64,68,72,76,80,84,88,91,95,99,103,107,111,115,119,123,127,131,135,139,143,147,151,155,159,162,166,170,174,178,182,186,190,194,198,202,206,209,213,217,221,225,229,233,237,241,245,249,253,257,261,265,269,273,277,281,285,289,293,296,300,304,308,312,316,320,324,328,332,336,340,344,348,352,356,360,364,368,372,376,380,384,388,391,394,398,401],{"image":7,"text":15,"number":16},"c \n07 \narchitecture &  \neverything else \n",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.2.png","",2,{"image":22,"text":23,"number":24},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.3.png","c\ncontents\n06\n20\n38\n50\n72\n84\n  Architecture\n 06 ÁLVARO SIZA IN CHINA  Shihlien Group Offices \n \n Plegado sobre sí mismo, el edificio de oficinas flota sobre sobre un lago artificial. \n \n The undulating office building floats over an artificial lake.\n \n Innovation\n 38 MILL ON THE SEA  Ángel León\n \n El restaurante Aponiente, con dos estrellas Michelin, se muda a un molino de mareas.\n \n The restaurant Aponiente, with two Michelin stars, moves to new premises in a tide mill.\n \n Style\n 50 CREATIVE DISPLAY  Milan Design Week\n \n Recorrido por la semana del mueble y del diseño más importante del año.\n \n A visit to the most important furniture and design fair of the year.\n 58 CRITICAL PHOTO CALL  Seven Series at the Venice Biennale\n \n Siete fotógrafos retratan la situación de la arquitectura española durante la crisis.\n \n Seven photographers offer a portrait of Spanish architecture during the crisis.\n  Interview\n 72 IÑAQUI CARNICERO & CARLOS QUINTÁNS  In dialogue\n \n Los comisarios del pabellón Español en Venecia conversan sobre su exposición.\n \n The curators of the Spanish Pavilion in Venice talk about their exhibition.\n  Travel\n 84 LONDON  England\n \n La capital exhibe a lo largo del Támesis su capacidad creativa y su primacía financiera.\n \n Along the Thames the city displays its creative capacity and financial strength.  \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  King Abdulaziz Center for World Culture by Snøhetta\n \n Los noruegos construyen un inmenso centro cultural en Arabia Saudí.\n \n The Norwegian architects build a huge cultural center in Saudi Arabia.\n  Arts\n 20 TAXONOMY OF A LANDSCAPE  Victoria Sambunaris\n \n La fotógrafa norteamericana retrata los horizontes de su país natal.\n \n The American photographer collects portraits of her country’s horizons.\n 28 A DIARY OF THINGS  Hong Hao\n \n Una recopilación de objetos convertidos en obra de arte gracias al orden del artista chino.\n \n By arranging them in a specific order, the Chinese artist turns everyday objects into artworks.\n",3,{"image":26,"text":27,"number":28},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.4.png","Depósito Legal: M-6539-2016\nISSN: 2341-3867 \nCubierta Cover\nShihlien Group Offices, Huaiyin City (China) \n© Fernando Guerra \u002F FG+SG \nImpreso en España Printed in Spain\nEsta revista está elaborada con papel libre de cloro \nThis magazine is printed on chlorine-free paper\nDirector Director\nSantiago Alfonso Rodríguez\nDirector adjunto Deputy Director\nJosé Yuste \nDirector de arte Art Director\nMiguel Fernández-Galiano\nEditado por Edited by\nCosentino \u002F Arquitectura Viva\nDiseño y producción editorial\n Graphic design and editing\nArquitectura Viva S.L.\nMaite Báguena \nPablo Canga\n Laura F. Suárez  \nCuca Flores \nLaura González \nMiguel de la Ossa \nJesús Pascual \nEduardo Prieto \nRaquel Vázquez \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\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.5.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\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.6.png",6,{"image":37,"text":38,"number":39},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.7.png","architecture\nÁlvaro Siza in China\nShihlien Group Offices\n",7,{"image":41,"text":42,"number":43},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.8.png","6 C 07\nArchitecture\nBuilding\n1\nComo un dragón enroscado y dormido, el edificio de oficinas de \nla compañía de industrias químicas Shihlien Group emerge en el \ncentro de un lago artificial en la ciudad de Huaiyin, en la provincia \nchina de Jiangsu. La idea de situar la construcción sobre el agua \nestaba implícita en el plan director del complejo, ya que la fábrica \nnecesita una gran reserva para asegurar su producción constante. \nEl edificio de dos plantas, que alberga las oficinas, está formado \npor una pastilla longitudinal que se dobla en forma de herradura y \nse conecta con el resto de los equipamientos a través de dos pasa-\nrelas perpendiculares que continúan la trama urbana del complejo \nfabril. Los puestos de trabajo se organizan siguiendo un esquema en \nforma de peine a lo largo de una directriz curva que funciona como \npasillo central de distribución. Con un fuerte carácter escultórico, \nlas líneas que delimitan el volumen principal fugan en direcciones \nopuestas, generando espacios de circulación que fluyen a lo largo \ndel perímetro y perspectivas abiertas hacia el paisaje industrial. \nConceptualmente el proyecto flota sobre el agua, pero construc-\ntivamente la estructura se sostiene sobre un bosque de pilotes que \napoya en el fondo del estanque a ocho metros de profundidad. La \nsensación de levedad que transmite el reflejo en el lago se intensifica \ngracias a que los soportes se ocultan en una posición retranqueada y \nla plataforma inferior avanza en voladizo, de manera que se percibe \nun vacío entre la superficie del agua y la base del edificio.\nLike a coiled, sleeping dragon, the new office building for the \ncompany Shihlien Chemical Industrial Group emerges at the center \nof an artificial lake in the city of Huaiyin, in the Chinese province \nof Jiangsu. The idea of placing the building over the lake was \npresent in the master plan for the complex, because the factory \nneeds a significant water reserve to guarantee constant produc-\ntion. The building, with offices organized in two levels, consists of \nan elongated strip that curls like a horseshoe and is connected to \nthe rest of the areas by two perpendicular footbridges that extend \nthe urban pattern of the industrial complex. The workspaces are \norganized in a comb-shaped plan along a curved line that func-\ntions as a central distribution corridor. With a marked sculptural \ncharacter, the undulating lines delimiting the main volume look \nin opposite directions, generating circulation spaces that flow \nthroughout the perimeter and perspectives that open up to the \nindustrial landscape. \nConceptually speaking, the building floats over the water (and is \nin fact known as ‘The Building on the Water’), but constructively \nthe structure is held by piles at the bottom of the pond, eight me-\nters deep. The apparent lightness conveyed by the lake’s reflection \nis intensified by the supports that are concealed and recessed, and \nalso by the lower, cantilevered platform, revealing an empty space \nbetween the water and the building. \nÁlvaro Siza in China\nShihlien Group Offices\nDiseñado por Álvaro Siza \ny Carlos Castanheira, \nel edificio de oficinas \nde Shihlien Group se \npliega sobre sí mismo \nen el centro de un lago \nartificial que sirve como \nreserva de agua para el \nproceso industrial.  \nDesigned by Álvaro Siza \nand Carlos Castanheira, \nthe office building for \nShihlien Group curls  \nup on an artificial  \nlake that supplies  \nthe company with the \nwater needed for its \nindustrial processes.\n",8,{"image":45,"text":46,"number":47},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.9.png","C 07 7\n",9,{"image":49,"text":50,"number":51},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.10.png","8 C 07\n",10,{"image":53,"text":54,"number":55},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.11.png","C 07 9\nA la insólita colección \nde volúmenes que \nforman parte del paisaje \nindustrial, se une el \nescultórico edificio de \nhormigón blanco que \nse desarrolla de forma \nautónoma e introvertida \nsobre el agua. \nThe undulating, \nsculptural building of \nwhite concrete sits on \nthe water autonomously \nand introvertedly, \njoining the crop of the \nfactory buildings that \nare already part of the \nindustrial landscape. \n7 m\nA\nB\n",11,{"image":57,"text":58,"number":59},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.12.png","10 C 07\nA\nB\n",12,{"image":61,"text":62,"number":63},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.13.png","C 07 11\nLas fotografías de \nFernando Guerra \npotencian el entorno \ndramático en el que se \nimplanta el edificio, \nresaltando el contraste \nplástico entre el hierro \nfrío de la fábrica y el \ncálido hormigón blanco.\nFernando Guerra’s \nphotographs bring out \nthe dramatic environment \nwhere the building is \nlocated, highlighting the \ncontrast between the cold \nsteel of the factory and \nthe warm white concrete \nof the facades. \n",13,{"image":65,"text":66,"number":67},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.14.png","12 C 07\n",14,{"image":69,"text":70,"number":71},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.15.png","C 07 13\nEl volumen de oficinas  \nparece flotar sobre \nel agua del estanque \nde ocho metros de \nprofundidad, gracias \na que los soportes de \nhormigón se ocultan en \nuna posición alejada del \nperímetro del edificio.  \nThe supports are \nconcealed in a central \nposition far from the \nbuilding’s perimeter, \nmaking the curved \noffice building seem to \nfloat above the water \nof the eight-meter-deep \nartificial lake.\n",15,{"image":73,"text":74,"number":75},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.16.png","14 C 07\n",16,{"image":77,"text":78,"number":79},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.17.png","C 07 15\nEl trazado curvilíneo de \nla planta evita que el \nrecorrido a lo largo de los \npasillos sea monótono, \nya que se generan \npuntos de fuga en \ndirecciones divergentes, \nenriqueciendo así las \ndistintas perspectivas.\nWith a C-shape, the \nwavy trace of the floor \nplan makes the walks \nthrough corridors livelier, \ngenerating vanishing \npoints in opposite \ndirections, enriching \nin this way the many \nperspectives.\n",17,{"image":81,"text":82,"number":83},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.18.png","16 C 07\n",18,{"image":85,"text":86,"number":87},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.19.png","C 07 17\nArquitectos Architects\nÁlvaro Siza, Carlos Castanheira\nColaboradores Collaborators\nPedro Carvalho (proyecto básico preliminary project), Luís \nReis (proyecto básico y proyecto de ejecución preliminary \nproject and execution project); Diana Vasconcelos, Susana \nOliveira, Elisabete Queirós, Orlando Sousa, Rita Ferreira, João \nFigueiredo, Caitriona, Anand Sonecha; Francesco Sechi, João \nFigueiredo, Pedro Afonso, José Soares (infografías renderings)\nConsultores Consultants\nXue Xue Institute, Xue Xue Foundation (consultoría de \nintegración creativa creative integration consultant); \nStephen Wang & Richard Wang, Chiou-Hui Lin (director \nde proyecto y jefe de obra project management \nand construction supervision); United Architects & \nEngineers Co. (permiso local local permit); Shanghai \nQingya Mechanical and Electrical Engineering Co. \n(climatización, electricidad, fontanería, instalaciones de \ntelecomunicación y seguridad HVAC, electricity, plumbing, \ntelecommunications and security installation); RFR Shanghai \n(supervisión de estructura structural review); Geberit \nChina (drenaje de agua water drainage); HDP: Paulo \nFidalgo (estructura structure); GET: Raul Bessa (ingeniería \nmecánica mechanical engineering); GPIC: Alexandre Martins \n(iluminación lighting)\nContratista Contractor\nZhejiang Urban Construction Group\nFotos Photos\nFernando Guerra \u002F FG+SG\n",19,{"image":89,"text":19,"number":90},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.20.png",20,{"image":92,"text":93,"number":94},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.21.png","arts\nA Diary of Things\nHong Hao\nTaxonomy of a Landscape \nVictoria Sambunaris\n",21,{"image":96,"text":97,"number":98},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.22.png","20 C 07\nTaxonomy \nof a Landscape \nVictoria Sambunaris\nArts\nPhotography\n2\nFor over ten years Victoria Sambunaris \nhas traveled throughout the United States \nphotographing the landscapes of her home \ncountry. An early interest in the broad, vast \nhorizons of the new continent prompted \nher to explore the intersection between \nsociety and landscape. Since then, every \nyear she embarks on a new adventure, a \nnew road trip during which she documents \nthe impact of humans on the natural \nenvironment. Sambunaris’s dramatic \nphotographs assess the balance between the \nnatural and the artificial, between industry \nand agriculture, reflecting the fragile nature \nof the ecosystems we inhabit. \nVictoria Sambunaris: \nTaxonomy of a Landscape \nis the first monograph \ndevoted to American \nphotographer Victoria \nSambunaris (1964).  \nThe publication gathers  \na selection of images  \nfrom her travels. \nDurante más de una década, Victoria \nSambunaris ha recorrido los Estados Unidos \nfotografiando los paisajes de su país natal. \nLa fascinación por los vastos horizontes \ndel nuevo continente despertó en ella, \ndesde una temprana edad, la curiosidad por \ninvestigar la intersección entre la sociedad \ny el paisaje. Desde entonces, se embarca \ncada año en una aventura para retratar \nel impacto del hombre sobre el entorno. \nLlenas de dramatismo, las fotografías de \nSambunaris estudian el equilibrio entre lo \nnatural y lo artificial, entre la industria y la \nagricultura, haciendo evidente la fragilidad \nde los ecosistemas que habitamos.\nLa publicación Victoria \nSambunaris: Taxonomy \nof a Landscape es la \nprimera monografía \ndedicada a la fotógrafa \namericana nacida en \n1964, y recoge una \nselección de imágenes  \nde sus viajes.\n",22,{"image":100,"text":101,"number":102},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.23.png","C 07 21\nUntitled (Santa Elena Canyon), Big Bend National Park, Texas, 2010\n",23,{"image":104,"text":105,"number":106},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.24.png","22 C 07\nTop: Polaroid Photo Record; Bottom: Untitled (Red Containers, Wet Ground), Fort Worth, Texas, 2000\n",24,{"image":108,"text":109,"number":110},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.25.png","C 07 23\nUntitled (Red Containers, Stacked), Newark, New Jersey, 2001\n",25,{"image":112,"text":113,"number":114},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.26.png","24 C 07\nUntitled (White Trains on Salt Flats, I-80), Great Salt Lake Desert, Utah, 2002\n",26,{"image":116,"text":117,"number":118},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.27.png","C 07 25\nIn her photographs \nSambunaris manages to \ncapture the complexity \nof the landscape’s \nlayers, highlighting \nthe relationship \nbetween environment, \npolitics, exploitation of \nresources, and identity.  \nEn sus fotografías, \nSambunaris consigue \nretratar la complejidad \nde las capas que forman \nel paisaje acentuando la \nrelación entre el medio \nnatural, la política, la \nexplotación de recursos \ny la identidad.\n",27,{"image":120,"text":121,"number":122},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.28.png","26 C 07\nUntitled (Basin and Range), Carlin, Nevada, 2007; Derecha Right: Untitled (Echo Canyon, East), Near Echo, Utah, 2007\nUntitled (Tanker Trains with Water), Wendover, Utah, 2002\n",28,{"image":124,"text":125,"number":126},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.29.png","C 07 27\nThe monograph includes \ndifferent types of \ndocuments that help  \nto shape a portrait of  \nthe landscape. Among \nthese, photographs of \nminerals, history and \ngeology books, and \nPolaroid shots. \nLa publicación incluye \ndiferentes tipos de \ndocumentos que ayudan \na configurar un retrato \ndel paisaje, como fotos \nde minerales y libros \nde historia y geología, \nmapas, e imágenes de \ninstantáneas polaroid. \nUntitled (Train on Salt Flats), Great Salt Lake Desert, Utah, 2002\n",29,{"image":128,"text":129,"number":130},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.30.png","28 C 07\nA Diary  \nof Things  \nHong Hao\nArts\nProject\n2\nHong Hao graduated from the Printmaking \nDepartment of the Central Academy of Fine \nArts in Beijing in 1989. He has earned \ninternational recognition with photographic \nseries like ‘My Things,’ featuring everyday \nobjects that the artist meticulously collects, \nphotographs, groups into categories, and \nfiles, creating huge collages that propose an \naesthetic research and an analysis of our \nrelationship with consumerism. The work \nof Hong Hao is included in the collections \nof the MoMA in New York, the British \nMuseum in London, the Museum of Fine \nArts in Boston, and the Asian Art Museum \nof Fukuoka, among other venues. \nHong Hao was born in \n1965 in Beijing, where  \nhe currently lives and \nworks. His series titled  \n‘My Things’ was on  \nview at the Biennial of \nIndustrial Photography of \nBologna (Foto\u002FIndustria), \ncelebrated in 2015. \nHong Hao se gradua en 1989 en la \npekinesa Academia Central de Bellas \nArtes. En una de sus series más conocidas \ny difundidas internacionalmente, ‘My \nThings’, el artista recopila, fotografía, \ncategoriza y archiva objetos cotidianos, \npara realizar con ellos grandes \ncollages, que son al mismo tiempo una \ninvestigación estética y una forma de \nanálisis de la condición humana frente \nal consumo. La obra de Hong Hao está \npresente en las colecciones del MoMA \nde Nueva York, del British Museum de \nLondres, o del Asian Art Museum de \nFukuoka, entre otros muchos.\nHong Hao nace en 1965 \nen Pekín, donde reside \ny trabaja actualmente. \nSu serie ‘My Things’ \nha estado expuesta en \nla segunda edición de \nla Bienal de Fotografía \nIndustrial de Bolonia, \ncelebrada en 2015.\n",30,{"image":132,"text":133,"number":134},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.31.png","C 07 29\nMy Things-Book-Keeping of 04-05 B, 2006\n",31,{"image":136,"text":137,"number":138},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.32.png","30 C 07\nMy Things No.7, 2004\n",32,{"image":140,"text":141,"number":142},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.33.png","C 07 31\nTop: My Things-Book-Keeping of 04-05 A, 2006; Bottom: Book, 2008\n",33,{"image":144,"text":145,"number":146},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.34.png","32 C 07\nLike a personal visual \ndiary, Hong Hao \ncomposes his collages \nfrom everyday objects \nthat he has collected, \nscanned, and classified \nover the course of twelve \nyears – a transmigration \ncycle in Chinese tradition.\nA modo de diario visual, \nHong Hao compone \nsus collages con objetos \ncotidianos que durante \ndoce años —un ciclo de \ntransmigración en la \ntradición china— ha ido \ndigitalizando, archivando \ny clasificando diariamente.\nBook-Keeping of 07 B, 2008 \nBottom No.1, 2008 \nBottom No.3, 2009\n",34,{"image":148,"text":149,"number":150},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.35.png","C 07 33\n",35,{"image":152,"text":153,"number":154},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.36.png","34 C 07\n",36,{"image":156,"text":157,"number":158},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.37.png","C 07 35\nMy Things No.5, 2002\n",37,{"image":160,"text":19,"number":161},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.38.png",38,{"image":163,"text":164,"number":165},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.39.png","innovation\nMill on the Sea\nÁngel León\n",39,{"image":167,"text":168,"number":169},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.40.png","38 C 07\nMILL ON \nTHE SEA\nÁngel León\nDesde la pequeña taberna Aponiente, en el \npuerto de Santa María, Ángel León desa-\nrrolló su cocina vinculada al mar. Eso le \nvalió el título popular del «Chef del Mar», \ny dos estrellas Michelin que se lleva a su \nnuevo local, una amplia nave que se apoya \nsobre las marismas gaditanas, y que origi-\nnalmente era un molino de mareas. Con el \nmismo equipo y las mismas ideas, busca \nahora seguir creciendo (manteniendo, eso sí, \nel número de comensales) para en un futuro \nconquistar el salar sobre el que se ubica con \nhuertos y animales, y generar así un sistema \nautosuficiente que, con ironía imagina como \nel Disney World de la cocina.\nEver since he started out in his small tavern \nAponiente, in Puerto de Santa María, \nÁngel León has developed a cuisine with \nstrong ties to the sea. This earned him the \npopular title of ‘Chef of the Sea’ and two \nMichelin stars that go with him to his new \npremises, a large warehouse that was once \na tide mill, on a salt pan by the marshes of \nCádiz. With the same team and the same \nideas, he now works to continue growing \n(though maintaining the same number of \ndiners), and in a future fill the salt pan with \nvegetable gardens and animals, generating \na self-sufficient system that he ironically \nenvisages as the Disney World of cuisine. \nInnovation\nFood\n3\n",40,{"image":171,"text":172,"number":173},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.41.png","C 07 39\n",41,{"image":175,"text":176,"number":177},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.42.png","40 C 07\nAponiente se muda a un \nmolino de mareas del \nsiglo xvii, en el que se \nmolía el grano de trigo \nutilizando la energía \nde la marea, con un \nproyecto del arquitecto \nBasilio Iglesias junto al \nartista Javier Ayarza.\nAponiente has moved to \na seventeenth-century \ntide mill where once \nwheat was ground using \nthe energy of the tide. \nThe new project has been \ndesigned by the architect \nBasilio Iglesias with the \nartist Javier Ayarza. \nPhotos: Miguel Fernández-Galiano \n",42,{"image":179,"text":180,"number":181},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.43.png","C 07 41\n",43,{"image":183,"text":184,"number":185},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.44.png","42 C 07\n",44,{"image":187,"text":188,"number":189},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.45.png","C 07 43\n",45,{"image":191,"text":192,"number":193},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.46.png","44 C 07\nEn la planta superior, \njunto a la terraza que \nmira el salar, se ha \ninstalado una cocina \nadicional, dedicada \nexclusivamente a la \ninvestigación y el \ndesarrollo de nuevos \nplatos y sabores.\nThere is an additional \nkitchen on the upper \nfloor, by the terrace  \nwith panoramic views \nover the salt pan. \nThis kitchen is only \nused for research and \ndevelopment of new \ndishes and flavors. \n",46,{"image":195,"text":196,"number":197},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.47.png","C 07 45\nEl grupo Cosentino ha \napoyado activamente a \nÁngel León en su nuevo \nlocal instalando, además \nde algún revestimiento \nde pared, una enorme \nencimera de Dekton \ncolor Zenith que separa \nla cocina del comedor.\nCosentino has actively \nsupported Ángel León’s \nnew project, installing, \naside from some of the \nwall claddings, a huge \nDekton worktop, in color \nZenith, that separates \nthe kitchen from the \ndining room.  \n",47,{"image":199,"text":200,"number":201},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.48.png","46 C 07\n",48,{"image":203,"text":204,"number":205},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.49.png","C 07 47\nEl antiguo local de \nAponiente, en el centro \ndel Puerto de Santa \nMaría, es hoy la Taberna \ndel Chef del Mar, un local \nde tapas en el que Ángel \nLeón presenta su cocina \nde una manera más \ninformal y asequible.\nThe old Aponiente, in \nthe center of Puerto de \nSanta María, is now \nthe Taberna del Chef del \nMar, a ‘tapas’ bar where \nÁngel León’s cuisine \nis presented in a more \ncasual fashion and at \nmore affordable prices. \n",49,{"image":207,"text":19,"number":208},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.50.png",50,{"image":210,"text":211,"number":212},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.51.png","style\nCritical Photo Call\nSeven Series at the Venice Biennale\nCreative Display \nMilan Design Week\n",51,{"image":214,"text":215,"number":216},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.52.png","50 C 07\nStyle\nDesign\n4\nCREATIVE\nDISPLAY\nMilan Design Week\nTras la inauguración de la Fundación Prada, \nlos Silos de Armani y la Exposición Interna-\ncional, el esfuerzo de la ciudad de Milán por \nser el foco de la arquitectura y el diseño no \ndecae. En esta ocasión, la capital lombarda \nacoge su semana más esperada, la del Diseño \ny el Mueble. Innumerables exposiciones flo-\nrecen por la ciudad para competir con el apa-\nbullante despliegue de firmas que ofrece, si-\nmultáneamente, el recinto ferial proyectado \npor Fuksas en Rho. Acoge éste la Feria Inter-\nnacional del Mueble, que este año celebra su \n55 aniversario con un récord de visitantes: \ncerca de 400 mil personas han visitado los \n270 mil metros cuadrados de recinto.\nAfter the opening of Fondazione Prada, the \nArmani\u002FSilos and the Expo, Milan’s efforts \nto be the center for architecture and design \nare going stronger than ever. The capital of \nLombardy also holds Milan Design Week, \nwhich has become its most anticipated \nevent. Countless exhibitions are held around \nthe city to compete with the overwhelming \ncast of firms that display their products at \nthe Fiera designed by Fuksas. The new trade \nfair complex hosts the Salone Internazionale \ndel Mobile, which has celebrated its \n55th anniversary this year with a record \nattendance: close to 400,000 people have \nvisited the 270,000-square-meter complex. \n",52,{"image":218,"text":219,"number":220},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.53.png","C 07 51\n",53,{"image":222,"text":223,"number":224},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.54.png","52 C 07\n",54,{"image":226,"text":227,"number":228},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.55.png","C 07 53\nLa colaboración entre \narquitectos y firmas de \ndiseño destaca este año \ncon la serie de muebles \nen madera para e15 y \nla vajilla para Alessi \nde Chipperfield, o el \npabellón para Knoll, \nproyectado por OMA.\nLos hermanos Bouroullec \nfirman la nueva colección \nde Artek, hoy parte de la \nomnipresente Vitra.\nThe collaboration between \narchitects and design \nfirms has rendered \nnoteworthy results like \nthe wood furniture series \nfor e15 and the dinner \nservice for Alessi by \nChipperfield, or the Knoll \npavilion by OMA.\nThe Bouroullec brothers \nsign the new collection \nof Artek, which has now \nbeen acquired by Vitra. \nPabellón para Knoll  Knoll pavilion, OMA \nMuebles para Artek  Furniture, Ronan & Erwin Bouroullec \nMesa y banco para e15  Table and bench for e15, David Chipperfield\n",55,{"image":230,"text":231,"number":232},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.56.png","54 C 07\nDekton de Cosentino \nluce en Milán con varias \ninstalaciones simultáneas. \nEn la foto, el acabado Gada.\nLa firma escandinava \nMuuto presenta su última \ncolección de lámparas y \nsus famosos colgadores.\nRina Menardi presenta un \nnuevo estudio de color \nen sus piezas de cerámica \nhechas a mano en Italia.\nEl joven belga Pierre-\nEmmanuel Vandeputte \naboga por la intimidad \ncon ‘Nascondino’.\nLa silla ‘Tatous’ de Valentin \nVan Ravestyn se mostraba \nen el SaloneSatellite, para \njóvenes diseñadores.\nLa estantería o la silla \nhíbrida de Sander Lorier \n(Holanda), defienden la \nartesanía en madera. \nCosentino’s Dekton is on \ndisplay in simultaneous \ninstallations in Milan. In \nthe photo, the Gada finish.\nThe Scandinavian firm \nMuuto presents its latest \ncollection of lamps and \nits famed hooks. \nRina Menardi introduces \na new color study in \nher ceramic pieces, all \nhandmade in Italy. \nThe young designer from \nBelgium, Pierre-Emmanuel \nVandeputte, offers privacy \nwith ‘Nascondino.’\nValentin Van Ravestyn \ndisplayed the ‘Tatous’ \nchair at the SaloneSatellite \nfor young designers. \nThe shelf or hybrid chair \nby the Dutch Sander \nLorier champion wood \ncraftsmanship. \n",56,{"image":234,"text":235,"number":236},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.57.png","C 07 55\nInstalación en el pabellón de Vitra  Installation at Vitra’s pavilion\nInstalación en el pabellón de Zanotta  Installation at Zanotta’s pavilion\n",57,{"image":238,"text":239,"number":240},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.58.png","56 C 07\nLa presencia de la  \nmarca de ropa COS \nen Milán ha sido \nprotagonista en el \nCinema Arti gracias a \nla instalación lumínica \ny acústica diseñada por \nSou Fujimoto Architects, \ntitulada ‘Forest of Light’. \nThe Cinema Arti \nin Milan provided \nthe backdrop for an \nimpressive light and \nsound installation, \ntitled ‘Forest of Light’ \nand designed by Sou \nFujimoto Architects for \nthe fashion brand COS. \n",58,{"image":242,"text":243,"number":244},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.59.png","C 07 57\nEl estudio japonés Nendo \naparece con dos brillantes \nactuaciones: la instalación \n‘Light & Shadow’ (derecha) \npara mostrar los muebles \nde mármol de Marsotto \nEdizioni y una colección \nde 50 sillas manga para \nFriedman Benda (abajo).\nThe Japanese studio \nNendo excelled with two \ninterventions: the ‘Light & \nShadow’ installation (right) \nshowing marble furniture \nobjects for Marsotto \nEdizione and a collection \nof ‘50 Manga Chairs’ for \nFriedman Benda (below).\n‘Light and Shadow’, Nendo\n‘50 Manga Chairs’, Nendo\n‘50 Manga Chairs’, Nendo\n",59,{"image":246,"text":247,"number":248},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.60.png","58 C 07\nStyle\nArchitecture\n4\nCRITICAL\nPHOTO CALL\nSeven Series at the Venice Biennale\n© Miguel Fernández-Galiano\n",60,{"image":250,"text":251,"number":252},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.61.png","C 07 59\nGalardonado con el León de Oro y titulado \n‘Unfinished’, el pabellón de España es uno \nde los protagonistas de la XV Bienal de Ar-\nquitectura que se desarrolla en Venecia hasta \nnoviembre de este año. En su interior, la \ninstalación de fotos que recibe a los visitan-\ntes se ha convertido en una de las estampas \nmás icónicas de la muestra: con siete series \nfotográficas montadas sobre siete planos de \nexposición paralelos y colgados del techo, la \ninstalación conforma un mural crítico que \npromueve la reflexión sobre la crisis que ha \nsufrido el país, y que sirve de oportuna in-\ntroducción a las obras arquitectónicas que \nse muestran en las demás salas del pabellón.\nAwarded with the Golden Lion for the \nBest National Participation, the Spanish \nPavilion, under the title ‘Unfinished’, \nhas become one of the main features \nat the 15th International Architecture \nExhibition - La Biennale di Venezia, \non view until November 2016. The \nphotography installation has become one \nof the most iconic images of the show: \nthe seven photographic series set up on \nseven parallel panels that hang from the \nceiling invite to reflect on the economic \ncrisis the country has suffered, helping to \ncontextualize the works on display in the \nremaining halls of the pavilion. \n",61,{"image":254,"text":255,"number":256},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.62.png","60 C 07\nLa serie ‘Arquitectura y \nresistencia’ de Nicolás \nCombarro retrata edificios \ndonde la lógica estructural \nse mezcla con la herencia \ncultural, otorgándoles un \ncarácter independiente de \nlos condicionates sociales, \neconómicos o políticos. \nThe series ‘Architecture \nand Resistance’ by Nicolás \nCombarro shows buildings \nwhere structural logic \nis mixed with cultural \nheritage, giving them a \ncharacter independent \nfrom social, economic,  \nand political factors. \n",62,{"image":258,"text":259,"number":260},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.63.png","C 07 61\nPor su parte, las fotos de \nIñaki Bergera capturan el \nestado de deterioro de un \naparcamiento que quedó \nabandonado sin terminar \ndebido a la llegada de \nla crisis, enfatizando \nel contraste entre la \narquitectura y la ruina.\nThe photographs by \nIñaki Bergera reflect \nthe state of decay of a \nparking garage that was \nnever completed and \nfinally abandoned when \nthe crisis hit, stressing \nthe contrast between \narchitecture and ruin. \n",63,{"image":262,"text":263,"number":264},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.64.png","62 C 07\n",64,{"image":266,"text":267,"number":268},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.65.png","C 07 63\nLa impactante colección \ntitulada ‘Landscape under \nConstruction’, de Alfonso \nBatalla, retrata escenarios \nurbanos abandonados \ny cuestiona su estado \nmediante la inserción \ndigital de elementos con \nplena capacidad funcional.\nThe striking photographic \nseries titled ‘Landscape \nunder Construction,’ by \nAlfonso Batalla, portrays \nneglected urban stages, \nand ponders on their \nstate through the digital \ninsertion of elements with \nfull functional capacity. \n",65,{"image":270,"text":271,"number":272},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.66.png","64 C 07\nEl colectivo de fotógrafas \nCadelas Verdes reflexiona \ncon su proyecto ‘Spanish \nDream’ sobre la crisis \ninmobiliaria y sobre \ncómo el deseo obsesivo \npor la propiedad ha \ndevaluado el concepto y \nel sentido de habitar. \nThe collective Cadelas \nVerdes presents ‘Spanish \nDream,’ a photographic \nproject that reflects on \nthe real estate crisis and \non the obsessive yearn \nfor property, which has \ndevalued the concept and \nsense of inhabiting. \n",66,{"image":274,"text":275,"number":276},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.67.png","C 07 65\nEl grupo Nación Rotonda \ntrabaja en la creación \nde un amplio inventario \nde imágenes satélite de \ngrandes promociones \nurbanas en diferentes \nestados de desarrollo \npara ilustrar el consumo \ndesmedido del suelo.\nThe group Nación \nRotonda works in the \ncreation of an inventory \nof satellite images  \nof urban residential \nprojects in different \ndevelopment phases, \nillustrating how land is \nwastefully consumed.\n",67,{"image":278,"text":279,"number":280},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.68.png","66 C 07\n",68,{"image":282,"text":283,"number":284},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.69.png","C 07 67\nMiguel Fernández-Galiano  \ncaptura en ‘Landscapes \nunder 30’ los procesos de \ntransformación de varias \nviviendas que sirven como \nlaboratorio de aprendizaje \npara jóvenes arquitectos \nque han permanecido en \nEspaña durante la crisis. \nIn ‘Landscapes under 30’ \nMiguel Fernández-Galiano \ndocuments the processes \nof transformation in \nseveral houses, which \nhave become learning \nlaboratories for young \narchitects who have stayed \nin Spain during the crisis. \n",69,{"image":286,"text":287,"number":288},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.70.png","68 C 07\nEl fotógrafo Adrià Goula  \ninvestiga en su serie \n‘Re-edificatoria’ sobre las  \nobras que se retoman \ntiempo después de su inicio \ny la intersección que se \nproduce entre dos épocas, \ndos arquitectos y diferentes \ntécnicas constructivas.\nIn ‘Re-edificatoria’ Adrià \nGoula explores works that \nare reactivated years after \nthey were first begun, and \nhow two moments, two \narchitects, and different \nconstruction techniques \nconverge and coexist in \nsuch circumstances. \n",70,{"image":290,"text":291,"number":292},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.71.png","C 07 69\n",71,{"image":294,"text":19,"number":295},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.72.png",72,{"image":297,"text":298,"number":299},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.73.png","interview\nIñaqui Carnicero & Carlos Quintáns \n in dialogue \n",73,{"image":301,"text":302,"number":303},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.74.png","72 C 07\nInterview\nConversation\n5\nIñaqui Carnicero \n& Carlos Quintáns  \nin dialogue\nLos comisarios del pabellón \nespañol en la Bienal de Venecia \nconversan sobre su exposición.\nThe curators of the Spanish \nPavilion at the Venice Biennale \ntalk about their exhibition.\n",74,{"image":305,"text":306,"number":307},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.75.png","C 07 73\n",75,{"image":309,"text":310,"number":311},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.76.png","74 C 07\nEl optimismo define así la muestra española, \nuna instalación sobria y atractiva en la que se \nrecogen más de cincuenta obras de presupues-\nto reducido y vocación evolutiva, clasificadas \nen nueve categorías con las que se radiografía \nel panorama reciente de la arquitectura en \nnuestro país. En este contexto, Carnicero y \nQuintáns —con la alegría indisimulable que \naún les queda tras haber recibido la flamante \nestatuilla del León de Oro— dialogan sobre el \nsentido de su exposición, y sobre los retos \nque tuvieron que enfrentar para transmitir \nun mensaje crítico y a la vez esperanzador \nsin caer en los tópicos, ya manidos, que viene \nproduciendo la crisis.\nCarlos Quintáns (CQ): La verdad es que venir \na Venecia es una aventura bonita. En mi opi-\nnión, de las tres bienales en las que partici-\npa España (la española, la iberoamericana \ny la de Venecia), esta es la más intensa y \nestimulante, porque te da pie a comunicar \nel mensaje más allá de las fronteras locales. \nHemos tenido la suerte, además, de que en \neste momento haya un coordinador general \nde las tres bienales que hace el esfuerzo de \nordenar los contenidos, buscando la forma \nEl Pabellón de España, comisariado por Iña-\nqui Carnicero (Madrid, 1973) y Carlos Quin-\ntáns (Muxía, 1962), ha sido galardonado con \nel León de Oro a las exposiciones nacionales \nen la última Bienal de Arquitectura de Ve-\nnecia. Su título, ‘Unfinished’, y su tema, la \nprofesión tras la crisis, parecían anticipar, \nde nuevo, una mirada crítica, si no maso-\nquista, sobre la situación de la arquitectura \nespañola. Afortunadamente no ha sido así, \ny con gran economía de medios, Carnicero \ny Quintáns no sólo han conseguido refor-\nzar el tema general de la xv edición  de la \nBienal comisariada por el reciente Pritzker \nAlejandro Aravena —con su énfasis en los \nproyectos modestos, su defensa de la dimen-\nsión social del arquitecto, y su inevitable \natención al mundo latinoamericano—, sino \nque han logrado que comience a calar in-\nternacionalmente un mensaje positivo sobre \nEspaña: el mensaje de que, más allá de la \ndenuncia de los excesos, los arquitectos han \nsabido adaptarse al contexto en principio \npoco agradecido de las pequeñas obras de \nrehabilitación, consolidación o injerto, sin \nrenunciar a la calidad que antaño parecían \nmerecer sólo los grandes edificios públicos. \nPhotos: Miguel Fernández-Galiano \nEnvuelta por la \npoderosa carcasa de \nladrillo del Pabellón de \nEspaña, la contenida \ne intuitiva instalación \nde montantes de acero, \nfotos y axonometrías es \nel escenario del diálogo \nentre los dos comisarios. \nWrapped by the mighty \nbrick shell of the \nSpanish Pavilion, the \ncontained and intuitive \ninstallation of steel \nframes, photos, and \naxonometric drawings \nprovides the backdrop \nfor the conversation. \n",76,{"image":313,"text":314,"number":315},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.77.png","C 07 75\nThe Spanish Pavilion, curated by Iñaqui Car-\nnicero (Madrid, 1973) and Carlos Quintáns \n(Muxía, 1962), has won the Golden Lion \nto the Best National Pavilion at the 15th \nInternational Architecture Exhibition of La \nBiennale di Venezia. Its title, ‘Unfinished,’ \nand its central theme, architecture after the \ncrisis, seemed to announce another critical, \nif not masochistic, analysis of Spanish ar-\nchitecture today, but fortunantely it hasn’t \nbeen so. On a shoestring budget Carnicero \nand Quintáns have managed to highlight the \ngeneral theme of the Biennale directed by \nthe latest Pritzker Prize laureate Alejandro \nAravena – with his emphasis on modest \nprojects, his defense of the social role of \narchitects, and an inevitable focus on Latin \nAmerica –, but most importantly, they have \nmanaged to spread a positive message about \nSpain, and make it get through: the idea that \nbeyond the critique of excess, architects have \nadapted to the at first glance unrewarding \ncontext of small refurbishments, adapta-\ntions, or grafts, without giving up the quality \nthat once seemed to be exclusive to large \npublic buildings. \nOptimism has in this way made its way \ninto the Spanish exhibition, a sober and \nattractive installation featuring fifty works \ncarried out with a tight budget and an evolu-\ntionary purpose, grouped into nine catego-\nries that take stock of the recent architec-\ntural scene in our country. With the pavilion \nas backdrop, and still showing undisguised \njoy after winning the golden statuette, Car-\nnicero and Quintáns talk about the purpose \nof their exhibition, and about the challenges \nthey had to face to convey an at once critical \nand hopeful message without falling back \non the clichés associated with the crisis. \nCarlos Quintáns (CQ): The truth is that com-\ning to Venice is a beautiful adventure. Of \nthe three biennials Spain takes part in (the \nSpanish one, the Ibero American one and the \nVenice Biennale), I think this one is the most \nintense and stimulating, because it allows to \nconvey the message beyond local frontiers. \nIn this particular edition we were fortunate \nto have a general coordinator for the three \nbiennials, one who has made the effort of \narranging the contents, trying to find the way \nof offering an original and complementary \nmessage in each one of them. \nIñaqui Carnicero (IC): Pachi Mangado \nhas managed to construct a fitting argument \nfor three very different biennials, and we \nmust also mention the role of the Biennale’s \ndirector, Alejandro Aravena, who has cho-\nsen to share rather than to display his own \nwork, and has invited us all to do the same. \nThanks to this we have been able to hear \nabout the problems in each country over the \npast years, learning a lot in the process. The \ncollective has prevailed over the individual \nin this exhibition. In all areas. \nCQ: The primary focus was to show a \ncollective project, to transform all those sad \nyears into a ray of optimism. This is, I think, \nwhat has drawn more attention in our in-\nstallation: how it shows the potential of so \nmany Spanish architects, of so many works. \nWe wanted the world to discover buildings \nthat we know well, all works of high qual-\nity, which in Spain we take for granted. \nThe Venice Biennale had to be a showcase \nof this effort. \nThis showcase is a simple structure of \ngalvanized steel frames that take up the \nspace provided by the powerful architec-\nture of the existing pavilion, creating a grid \nwhere photographs and plans are placed (one \nphotograph and one axonometric drawing \nper work). The result is a sort of chaotic \n«The most important \nthing was to show a \ncollective project to \ntransform these sad years \ninto a ray of optimism»\n",77,{"image":317,"text":318,"number":319},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.78.png","76 C 07\nde ofrecer en cada una de ellas un mensaje \noriginal y complementario. \nIñaqui Carnicero (IC): Pachi Mangado ha \nconseguido construir un argumento apropia-\ndo para tres bienales muy diferentes entre sí. \nA ello debe sumarse el papel del comisario \nde la Biennale, Alejandro Aravena, que en \ntodo momento ha procurado compartir más \nque exhibirse a sí mismo, y nos ha invitado a \nhacer lo mismo. Gracias a esto hemos podido \nescuchar los problemas de cada país durante \nlos últimos años y hemos aprendido mucho \nen el proceso. Es una bienal en la que lo \ncolectivo se ha premiado por encima de lo \nindividual. En todos los ámbitos. \nCQ: Lo más importante era mostrar un tra-\nbajo colectivo, convertir todos estos años \ntristes en un rayo de optimismo, y exhibir \nel potencial de tantos arquitectos españo-\nles, de tantas obras (y esto creo que es lo \nque ha llamado más la atención de nuestra \ninstalación). Queríamos mostrar al exterior \ntrabajos que para nosotros son muy conoci-\ndos, de una calidad que en España ya hemos \nasumido. La Bienal de Venecia tenía que ser \nel escaparate de este esfuerzo. \nEste escaparate consiste en una sencilla \nestructura de pórticos paralelos de montantes \nde acero galvanizado que ocupan el vacío \nconformado por la poderosa arquitectura \npreexistente del pabellón, y delinean una re-\ntícula donde se colocan cuidadosas fotos y \naxonometrías —una imagen y un dibujo por \ncada obra—. El resultado es una especie de \ncartografía caótica que, al mismo tiempo que \nbombardea al espectador, lo atrapa.\nIC: Mucha gente al principio no lo en-\ntendía. Pensaban que estábamos criticando \n«Lo más importante \nera mostrar un trabajo \ncolectivo para convertir \nestos años tristes en un \nrayo de optimismo»\n",78,{"image":321,"text":322,"number":323},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.79.png","C 07 77\ncartography that bombards visitors, but also \ncaptures their attention. \nIC: Many people didn’t understand it at \nfirst. They thought we were criticizing the \nsituation, when it was quite the opposite. \nThe selection of photographs, aside from \ndocumenting a harsh reality, is filled with \noptimisim and highly suggestive visions. The \nimages call to action, they are innovative \nproposals that have managed to discover \nrevealing actions in these architectures.\nCQ: At first we feared that handling so \nmany works and projects could produce a \ncomplete cacophony with no sense of unity. \nThe challenge was to convey a sense of unity. \nIC: Yes, this was the most complicated \nthing. I remember that the first thing we did \nwas to visit the pavilion in order to establish \na dialogue with the existing and a balance \nbetween the amount of architecture we had \nto produce and what was already there. What \npeople understand after visiting the pavilion \nis that it is a very good building, a space \nthat works as it should, and also, that the \nexhibition is carried out with very few means. \nCQ: It was surprising to hear someone \ncomment that this exhibition had managed \nto give the building, or the perception of the \nbuilding, a dignity that in other exhibitions \nhad remained hidden. In our view it was the \nbest container possible for this exhibition. \nIC: It is fantastic because it is very ver-\nsatile. I remember when we decided that we \ndidn’t want a static exhibition, so we brought \nin the idea of movement in some components, \nand added the small motor that lifts the \nwhole structure of the photographs. Today, \nthe exhibitions hall is transformed into an \nimpromptu assembly room for debates, talks \nor roundtables, favoring the exchange of \nideas that this biennial encounter promotes. \nCQ: The height of the central space is ex-\ntraordinary. We were lucky to find it com-\npletely bare and have the opportunity to dis-\ncover its possibilities. \n",79,{"image":325,"text":326,"number":327},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.80.png","78 C 07\nuna situación, cuando en realidad era todo \nlo contrario. La selección fotográfica, además \nde documentar una realidad que es muy dura, \nestá llena de optimismo y de visiones tremen-\ndamente sugerentes. Las imágenes invitan a \nla acción, son propuestas innovadoras que \nhan sabido descubrir en estas arquitecturas \nacciones reveladoras. \nCQ: Es verdad que en un momento nos \nasustó que, al trabajar con tantas obras y \nproyectos, la muestra se convirtiese en una \nabsoluta cacofonía y que no hubiese una \nsensación de unidad. El reto era dar una \nsensación de unidad al conjunto.\nIC: Sí, eso ha sido lo más complicado. Re-\ncuerdo que lo primero que hicimos fue visitar \nel pabellón para encontrar un diálogo con lo \nya existente y un balance de medios entre la \ncantidad de arquitectura que teníamos que \nproducir frente a la que ya existía. Lo que \nla gente entiende después de ver el pabellón \nes que es un muy buen edificio, un espacio \nque funciona como debe y, al mismo tiempo, \nque la exposición está construida con muy \npocos recursos. \nCQ: A mí me sorprendió mucho cuando se \ncomentó que esta exposición había conse-\nguido devolver al edificio, o a la percepción \ndel mismo, una dignidad que en otras mues-\ntras había quedado oculta. Para nosotros \nera el mejor contenedor posible para esta \nexposición.\nIC: Es fantástico porque es muy versátil. \nMe acuerdo cuando decidimos que no que-\nríamos una exposición estática, lo que nos \nllevó a la idea del movimiento de ciertas \nestructuras, y por eso incorporamos el pe-\nqueño motor que elevaba toda la estructura \nde las fotos. Hoy, la sala de exposiciones se \ntransforma en un salón de actos improvisado \npara debates, coloquios o mesas redondas, \ny permite así ese intercambio de ideas que \ntanto se persigue en esta bienal. \nCQ: La altura del espacio central es ex-\ntraordinaria; fue una suerte encontrarlo des-\nnudo y poder descubrir sus posibilidades.\nIC: Esto enlaza con un tema que estos \ndías se ha comentado bastante y que es el \npeligro de caer en la estética de lo pobre, de \nlo destruido, en algo quizá más banal. En un \nprincipio quisimos desnudar los muros para \nsacar a la luz el ladrillo, pero ahora, después \nde estos meses, creo que hubiese sido una \nequivocación, ¿no te parece?\nCQ: Hubiese sido un error, además de \nuna ficción: los pantalones se tienen que \ndesgastar por el uso, no hay que forzarlos \npara que parezcan usados. \nLa exposición de fotos y axonometrías \npodría pecar de escueta, pero en realidad, la \ninformación presentada físicamente al modo \nde una instalación artística es sólo la punta \ndel iceberg de una gran colección de datos \ny obras recopiladas tras un proceso abierto \nde selección y que se pueden indagar en la \npágina web del pabellón, de manera que se \nproducen varios niveles de lectura y hace \nque tenga un carácter sintético y directo, \nvolviéndola muy intuitiva.\nIC: Queríamos que el mensaje se pudie-\nse leer a varias velocidades: hay gente que \nquiere quedarse con un mensaje claro desde \nel principio, intuible en menos de treinta \nsegundos, pero hay otros que prefieren pro-\nfundizar en las obras y aprender de ellas. Yo \nestoy bastante satisfecho de los tres niveles \nde percepción, que empiezan en el pabellón \ny terminan en la página web. \nCQ: Había mucha información, es cierto, \ny había que ser muy generoso con esa infor-\nmación. Por ello tenemos que revisar cómo \nha funcionado la web estos días, para enten-\nder así cómo ha funcionado la exposición. \nIC: Hay temas polémicos y difíciles, quizá \nsin una respuesta clara. Cuando estuvo vi-\nsitando el pabellón, Rafael Moneo dudaba \nde algo que para nosotros había sido muy \nimportante desde el principio: encontrar un \nformato en el que todas las obras se exhi-\nbiesen al mismo nivel. Nosotros elegimos \nuna fotografía y una axonometría. Él se pre-\nguntaba hasta qué punto esta información \nresulta suficiente para entender una obra. Y, \nsin embargo, nosotros teníamos claro que \nera más importante la unidad del conjunto \nque la jerarquía. \nCQ: Exacto, tener la sensación de que \nhabía una forma de actuar compartida. \nIC: No queríamos mostrar a un arquitecto \nen concreto, o a una escuela en particular, \nsino transmitir un mensaje. Un mensaje po-\nsitivo y abierto a este presente que tenemos \ny al futuro que se presenta tan complejo.\n«La selección de obras \ndocumenta una realidad \nmuy dura, pero al \nmismo tiempo está llena \nde visiones sugerentes»\n",80,{"image":329,"text":330,"number":331},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.81.png","C 07 79\n",81,{"image":333,"text":334,"number":335},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.82.png","80 C 07\n",82,{"image":337,"text":338,"number":339},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.83.png","C 07 81\nIC: This links up with a subject that comes \nup often of late: the danger of falling on a \npovera aesthetic, an aesthetic of ruin, on \nsomething more banal. At the beginning we \nwanted to bare the walls to expose the brick, \nbut now, months later, we feel it would have \nbeen a mistake, don’t you think?\nCQ: It would have been a mistake, and a \nfiction: jeans are best worn out by use, not by \ntrying to make them look used. \nPowerful and intuitive thanks to is syn-\nthetic and direct character, the exhibition of \nphotographs and drawings might seem a bit \nsuccinct, but in fact the information physi-\n«The selection of works \ndocuments a very harsh \nreality, but also one  \nthat is filled with \nsuggestive visions»\ncally presented in the artistic installation \nis only the tip of the iceberg, and there is \nactually a huge amount of data and works \ngathered after an open selection process that \ncan be explored on the pavilion’s website, so \nthere are several reading levels. \nIC: We wanted the message to be read at \ndifferent speeds: some people want a clear \nmessage from the beginning, graspable in \nless than thirty seconds, but others prefer to \ndelve into the works and learn from them. \nI am quite pleased with the three levels of \nperception, which begin at the pavilion and \nend on the website. \nCQ: There was a lot of information, that \nis true, and we had to be very generous with \nthat information. That is why we have to \nanalyze how the website has worked over \nthese days, to understand how the exhibition \nhas worked. \nIC: There are controversial and tough sub-\njects, perhaps without a clear answer. While \nvisiting the pavilion Rafael Moneo pondered \non an issue that had been very important \nfor us from the beginning: finding a format \nin which all the works are displayed at the \nsame level. We chose a photograph and an \naxonometric drawing. He wondered to what \nextent this information could be enough to \nunderstand a project, and we on the other \nhand had not doubt that overall unity was \nmore important than hierarchy. \nCQ: Exactly, feeling that there was a shared \ncourse of action. \nIC: We didn’t want to show a specific \narchitect or school, but to convey a message: \na positive message, open to our present time \nand to the complex future ahead. \n",83,{"image":341,"text":342,"number":343},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.84.png","© Susanne Gawlyta\n",84,{"image":345,"text":346,"number":347},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.85.png","© Susanne Gawlyta\nLondon \nEngland\ntravel\n",85,{"image":349,"text":350,"number":351},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.86.png","01\nThe iconic Clock Tower \nor Big Ben is the most \nvisible element of the  \nPalace of Westminster, \nwhere the meetings  \nof the House of Lords \nand the House of \nCommons of the British \nParliament take place.\nParliament \nPalace of Westminster\n02\nLa icónica Torre del \nReloj o Big Ben, es \nel elemento más \nvisible del Palacio de \nWestminster, donde se \nreúne actualmente la \nCámara de los Lores y \nla de los Comunes del \nParlamento Británico. \nEn la entrada principal del \nPalacio de Buckingham \n(la residencia oficial \ndel monarca británico) \nse puede presenciar a \nlas 11:30 de la mañana \nel Cambio de Guardia, \nacompañado de una \nbanda musical militar. \nThe main entrance to \nBuckingham Palace (the \nofficial London residence \nof the UK’s sovereigns) is \nthe stage of the Changing \nof the Guard ceremony, \nwhich takes place daily at \n11:30, with the musical \nsupport of a band.\nMonarch’s Residence \nBuckingham Palace\n84 C 07\nLondon\nTravel\nCity Guide\n6\nCrisol de razas y culturas, la \ncapital de Inglaterra exhibe \na lo largo del río Támesis su \ncapacidad creativa  \ny su primacía financiera. \nA melting pot of races and \ncultures, England’s capital  \ndisplays its creative capacity \nand financial primacy with \nthe River Thames as backdrop. \n© A. Aleksandravicius\nfotoseimagenes.net\n",86,{"image":353,"text":354,"number":355},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.87.png","C 07 85\n03\nInfraestructure\nTower Bridge\nPara no interrumpir \nel tráfico fluvial hasta \nel puerto central, se \nconstruyó en 1894 un \npuente levadizo con un \ngálibo de 42,5 metros \nque enlaza la Torre de \nLondres con la orilla \nsur del río Támesis. \nThe drawbridge, built \nin 1894 to permit boat \ntraffic to the central \nport, has a clearance \nof 42.5 meters. The \ncrossing connects the \nTower of London with \nthe south bank of the \nThames River. \n© Iakov Kalinin\n",87,{"image":357,"text":358,"number":359},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.88.png","La Catedral de Saint Paul \nfue diseñada por el inglés \nChristopher Wren después \ndel gran incendio de 1666. \nSu colosal cúpula domina \nla perspectiva desde \nel Puente del Milenio, \nconstruido en el año 2000 \npor Foster + Partners.  \nSt Paul’s Cathedral was \ndesigned by Christopher \nWren after the Great Fire \nof 1666. Its huge dome has \na magnificent view over \nMillennium Bridge, which \nlinks with prominent sites \nand was built by Foster + \nPartners in the year 2000.\n86 C 07\nmymilliontoone.wordpress.com\nlondonbylondon.blogspot.com\n05\n04\n06\nInaugurado en 1871, \neste auditorio acoge los \nprincipales conciertos y \nespectáculos de la ciudad. \nInaugurated in 1871, \nthis theater is the venue \nof the main concerts and \nshows in the city. \nSituada en el extremo \nnorte de Trafalgar \nSquare, la National \nGallery alberga una \ncolección de más de \n2.300 pinturas europeas \nde un amplio periodo \nque abarca desde el siglo \nXIII hasta el XIX. \nLocated in the northern \nend of Trafalgar Square, \nthe National Gallery \nhouses a collection of \nover 2,300 European \npaintings encompassing \na broad period from \nthe thirteenth to the \nnineteenth century. \nThe home of architect \nSir John Soane (1753-\n1837), transformed today \ninto a museum, contains \nan impressive collection \nof art and antiques that \nwraps the visitor in an \natmosphere marked by \nhorror vacui. \nLa casa del arquitecto \nSir John Soane (1753-\n1837), convertida hoy \nen museo, contiene una \nimpresionante colección \nde arte y antigüedades \nque envuelve al visitante \nen una atmósfera marcada \npor el hórror vacui. \nConcert Hall \nRoyal Albert Hall\nPicture Museum \nThe National Gallery\nAntiques \nSoane Museum\nReligious \nSt Paul’s Cathedral\n07\nsusiripa.blogspot.com\nblog.onefinestay.com\n",88,{"image":361,"text":362,"number":363},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.89.png","C 07 87\n© pio3 \u002F Shutterstock.com\n© Nigel Young \u002F Foster+Partners\npottoingaround.wordpress.com\n08\n09\nBuilt in 1852, this \nmuseum of sculpture \nand the decorative arts \nfrom around the world \nis located in the cultural \ndistrict promoted by \nPrince Albert (husband \nof Queen Victoria) in \nSouth Kensington. \nLocated in the Royal \nBotanic Gardens in Kew, \nthis greenhouse filled  \nwith palm trees, designed \nin 1841 by Decimus \nBurton and Richard \nTurner, was the first  \nlarge cast iron structure \nto be built in England. \nConstruido en 1852, \neste museo dedicado a \nla escultura y las artes \ndecorativas forma parte \ndel distrito cultural \nideado por el príncipe \nAlberto (consorte de la \nReina Victoria) en el área \nde South Kensington.\nUbicado en el Real \nJardín Botánico de Kew, \neste invernadero de \npalmeras, diseñado en \n1841 por Decimus Burton \ny Richard Turner, fue la \nprimera gran estructura \nde vidrio y hierro \nfundido de Inglaterra.  \nMuseum \nVictoria & Albert\nBotanic Garden \nPalm House\nArcheology\nBritish Museum \nThe British Museum \ntreasures a vast collection \nof drawings and \narchaeological objects, \nand was built in 1846 \nby Robert Smirke. In the \nyear 2000, the interior \ncourtyard was refurbished \nby Foster + Partners. \nEl Museo Británico, que \nexhibe una inmensa \ncolección de dibujos y \nobjetos arqueológicos, \nfue construido en 1846 \npor Robert Smirke. En \nel año 2000, su patio \ninterior fue rehabilitado \npor Foster + Parners.\n10\n",89,{"image":365,"text":366,"number":367},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.90.png","14\nDiseñado por el británico \nRichard Rogers, este edificio \nde 88 metros de altura \ndestaca por situar los \nservicios y los núcleos de \ncomunicación en el exterior, \nliberando en el centro un \nespacio diáfano que se \nvuelca sobre un gran atrio.\nBritish architect Richard \ndesigned this 88-meter-\ntall building that places \nservices and circulation \ncores outside the \nbuilding, freeing up at \nthe center a large open-\nplan space that flows out \nonto an atrium. \n11\n12\n13\n88 C 07\nSkyscraper \nThe Shard\nViews\nLondon Eye\nConcebida por el italiano \nRenzo Piano como una \nciudad vertical, esta \ntorre combina a lo largo \nde sus 306 metros de \naltura un hotel, tiendas, \napartamentos privados, \noficinas, restaurantes, \nbares y un mirador. \nInspirada en la rueda \nde una bicicleta, esta \ngran noria que llega \nhasta los 135 metros de \naltura se construyó en \nplataformas flotantes \nsobre el río Támesis y \ndespués se elevó hasta la \nposición vertical. \nItalian architect Renzo \nPiano envisaged the \ntower as a vertical city, a \nbuilding that today soars \nup to 306 meters and \ncontains a hotel, shops, \napartments, offices, \nrestaurants, bars, and an \nobservation deck.  \nResembling a bicycle \nwheel structure, this giant \nferris wheel is one of the \nworld’s tallest, rising 135 \nmeters. It was built on \nfloating platforms on the \nThames River and then \nlifted by cranes to  \nits vertical position. \nHigh-Rise Offices \n30 St Mary Axe Tower\nIn the heart of London’s \nfinancial district, the \noval-shaped office \nbuilding designed by \nFoster + Partners rises \n180 meters high and is \ncrowned by a glass dome \nthat offers panoramic \nviews of the city.  \nEn el corazón financiero \nde Londres, la torre \nfusiforme construida \npor Foster + Partners \nllega hasta los 180 \nmetros de altura y está \ncoronada por una cúpula \nacristalada con una vista \npanorámica de la ciudad. \nHigh-Rise Offices\nLloyd’s Building\n© Daniel Chapma\nbrookfielddonovan.com\n© Dennis Gilbert\nbeta.travellingassistant.com\n",90,{"image":369,"text":370,"number":371},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.91.png","C 07 89\n© Dennis Gilbert \u002F VIEW\n© Iwan Baan\n© RubinowaDama \u002F Shutterstock.com\nCreative Commons\n17\n18\nArt Gallery \nTate Modern \nThe Tate Modern \nextension has been \ncarried out by the Swiss \narchitects Herzog & de \nMeuron, who in 2000 \nalso transformed the  \nold Bankside Power \nStation into the main \nvenue of the museum.\nLa ampliación de la  \nTate Modern ha sido \ndiseñada por los suizos  \nHerzog & De Meuron, que \nya fueron los encargados \nde transformar en el año \n2000 una antigua central \neléctrica en el edificio \nprincipal de este museo. \nArchitecture \nStudent Centre LSE\nLondon Zoo\nNorthern Aviary\nSporting Complex \nOlympic Park\nThe 2012 Olympic Games \nwere planned to meet \nsustainability goals, so \nmany facilities built for the \nevent were dismountable \nand others reusable, like \nthe tower by Anish Kapoor \nor the Olympic Stadium  \nby Populous. \nTucked into the dense \nurban tissue of the \ncenter of London, this \nfaceted volume of brick, \nbuilt by Irish architects \nO’Donnell & Tuomey, \nis the newest Student \nCentre of the London \nSchool of Economics. \nLos Juegos Olímpicos 2012 \nse planificaron de forma \nsostenible con muchas \nde sus instalaciones \ndesmontables y otras \nreutilizables como la torre \nde Anish Kapoor y Cecil \nBalmond o el Estadio \nOlímpico de Populous.\nEncajado en la trama \nurbana del centro de \nLondres, este volumen \nfacetado de ladrillo, \nconstruido por los \nirlandeses O’Donnell y \nTuomey, alberga el centro \nde estudiantes de la London \nSchool of Economics.\n15\n16\nBasado en los principios \nde la tensegridad, este \naviario fue concebido por \nPrice y Newby en 1961. \nBased on tensegrity \nprinciples, this aviary \nwas designed by Price \nand Newby in 1961.\n",91,{"image":373,"text":374,"number":375},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.92.png","90 C 07\n19\nShopping\nBorough Market\nPor su situación \nestratégica junto al \nLondon Bridge, este \nmercado cuenta con una \nlarga tradición histórica \nque renace hoy en día \nimpulsada por las nuevas \ntendencias ligadas a la \ncocina tradicional.  \nFor its strategic location \nby London Bridge, \nthis market has a long \nhistory dating back to the \nthirteenth century, and \ntoday it is still a popular \nand busy market where \nthe latest food trends \nmeet traditional ones.  \nShopping\nBrixton Market\nShopping\nCamden Town\n22\nThe striking facade \ndecorations are one of \nmain attractions in the \npopular Camden market. \nLa decoración de las \nfachadas es uno de los \natractivos del popular \nmercadillo de Camden.\nCrafts shops, clothes \nstores, and food stalls \nare mixed with bars \nand restaurants from \ndifferent countries in \nthe passageways that \ncross the interior of three \nblocks in the district of \nBrixton, in south London. \nLas tiendas de artesanía, \nde ropa y de comida se \nalternan con bares y \nrestaurantes de diferentes \nnacionalidades en los \npasajes que recorren el \ninterior de tres manzanas \ndel distrito de Brixton, \nen el sur de Londres. \n20\ndeserter.co.uk\ntrucoslondres.com\n© Elena Rostunova \u002F Shutterstock.com\n© New York State of Mint\nShopping\nBrick Lane Market21\nEvery Sunday the streets \naround Brick Lane are \nlined with stands selling \nvintage clothes and objects.\nCada domingo las calles \nen torno a Brick Lane se \nllenan de puestos de ropa, \nmuebles y objetos vintage. \n",92,{"image":377,"text":378,"number":379},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.93.png","C 07 91\n© Brendan Gatens and Sophie Lanfear \u002F LondonSE\nleytonstoner.london\n© Brendan Gatens and Sophie Lanfear \u002F LondonSE\nlenasblackbook.com\nhonestburgers.co.uk\nEn la orilla del Támesis, \nse encuentra, desde 1550, \nuno de los pubs más \nantiguos de Londres.\nDating as far back as \n1550, this mythical  \npub is one of the  \noldest in London. \n26\nTraditional Pub \nThe Mayflower\n23\nLos ingleses utilizan sus \npropias unidades de medida \nincluso para la cerveza, \nque se pide por pintas (568 \nmililitros). Algunos locales \ncomo el Stormbird sirven \ntambién vasos de un tercio \npara que se puedan probar \ndiferentes variedades.\nThe British use their own \nmeasurement system, with \na special unit of volume for \nbeer, which is served in pint \nglasses (568 milliliters). \nSome pubs like Stormbird \noffer a third of a pint so \nthat customers can try \ndifferent types of beer. \nBeer Pub \nStormbird\nSituado en una antigua \nestación de bomberos, este \nrestaurante ofrece platos \ncreativos a buen precio. \nLocated in an old fire \nstation, this restaurant \noffers creative dishes at \nan affordable price.\n24\nRestaurant \nChiltern Firehouse\nA los pubs tradicionales \nse unen nuevos bares con \nuna estética renovada que \nfabrican su propia cerveza. \nAlong with traditional \npubs, there are also new \n‘tank bars’ that make \ntheir own beer. \n27\nBeer Tank\nHowling Hops Brewer\nLa cadena Honest Burgers \ndestaca por la calidad de \nsus productos que incluyen \nopciones sin gluten. \nHonest Burgers stands \nout for its high-quality \nproducts, including \ngluten-free options. \n25\nFood \nHonest Burgers\n",93,{"image":381,"text":382,"number":383},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.94.png","92 C 07\n01\n22\n09\n17\n24\n10\n02\n04\n08\n05\n25\n",94,{"image":385,"text":386,"number":387},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.95.png","C 07 93\n03\n06\n18\n27\n20\n23\n21\n07\n11\n14\n26\n13\n12\n16\n15\n19\n 05. Royal Albert Hall\nKensington Gore\nroyalalberthall.com \n+44 20 7589 8212\n 04. The National Gallery\nTrafalgar Square\nnationalgallery.org.uk \n+44 20 7747 2885\n 02. Buckingham Palace\nroyalcollection.org.uk\n+44 303 123 7300\n 06. Soane Museum\n13 Lincoln’s Inn Fields\nsoane.org\n+44 20 7405 2107\n 10. The British Museum\nGreat Russell St\nbritishmuseum.org \n+44 20 7323 8299\n 17. Northern Aviary\nLondon Zoo, Regent’s Park\nzsl.org \n+44 20 7449 6200\n 21. Brick Lane Market\nbricklanemarket.com \n+44 20 7770 6028\n 23. Stormbird\n25 Camberwell Church St \n+44 20 7708 4460\n 07. St Paul’s Cathedral\nSt. Paul’s Churchyard\nstpauls.co.uk\n+44 20 7246 8350\n 12. St Mary Axe Tower\n30stmaryaxe.com\n 18. Olympic Park  \nQueen Elizabeth Olympic Park \nLondon E20 2ST\n+44 20 3288 1800\n 16. Tate Modern  \nBankside, SE1 9TG\ntate.org.uk\n+44 20 7887 8888\n 25. Honest Burgers  \n4A Meard St\nhonestburgers.co.uk\n+44 20 3609 9524\n 27. Howling Hops Brewer \nWhite Post Lane\nhowlinghops.co.uk\n+44 20 3583 8262\n 08. V & A Museum\nCromwell Rd, Knightsbridge\n+44 20 7942 2000\n 14. The Shard\n32 London Bridge St\nthe-shard.com\n+44 844 499 7111\n 20. Brixton Market \nElectric Ave, Brixton Village\nwearebrixtonvillage.london\n+44 20 7274 2990\n 03. Tower Bridge\n 01. Palace of Westminster \nWestminster, SW1A 0AA\n+44 20 7219 3000\nLondon\nLocalización y datos prácticos \nLocation and useful information  \n 13. London Eye\nLondon SE1 7PB\nlondoneye.com\n+44 871 781 3000\n 11. Lloyd’s Building\n12 Leadenhall St\n 15. Student Centre LSE\n1 Sheffield St, WC2A 2AP\nlsesu.com\n+44 20 7955 7158\n 24. Chiltern Firehouse\n1 Chiltern St, Marylebone\nchilternfirehouse.com\n+44 20 7073 7676\n 26. The Mayflower\n117 Rotherhithe St, SE16 4NF\nmayflowerpub.co.uk\n+44 20 7237 4088\n 09. Palm House\nKew, Richmond, Surrey \nkew.org \n+44 20 8332 5655\n 22. Camden Town\n 19. Borough Market\n8 Southwark St, SE1 1TL\nboroughmarket.org.uk\n+44 20 7407 1002\n",95,{"image":389,"text":19,"number":390},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.96.png",96,{"image":392,"text":19,"number":393},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.97.png",97,{"image":395,"text":396,"number":397},"\u002Fmedia\u002Fimages\u002Fc4\u002Fc04352b8d938ee99421c682252baaa-28f77e9657.98.png","96 C 07\nEl centro King Abdulaziz  \nen Dhahran (Arabia Saudí), \nde Snøhetta, es un grupo de \nvolúmenes independientes \nque acogerán diferentes \nprogramas culturales en \n100.000 m² de superficie. \nSe prevé que terminará de \nconstruirse en 2016.\nSnøhetta’s King Abdulaziz \nCenter for World Culture, \nto be completed in 2016 in \nDhahran (Saudi Arabia), is \na complex of independent \nvolumes which will house \ndifferent cultural activities \nand programs in its \n100,000 square meters. \nON\nSITE\nPhoto: courtesy of 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