[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-cosentino-architecture-and-everything-else-08":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":341},{"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":336,"matched_pages":337,"match_count":338,"two_pages":339,"show_text":340},24476,"Architecture & Everything Else 08","cosentino-architecture-and-everything-else-08","\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002F3d\u002Fbbb9e187e0076e74f3de3ff74b5966-28f77dabff.pdf","Cosentino",2482,"cosentino","242.3 MB",[14,17,21,25,29,33,36,40,44,48,52,56,60,64,68,72,76,80,83,87,91,95,99,103,107,111,115,119,122,126,130,133,137,141,145,149,152,156,160,164,168,172,176,180,184,188,192,196,199,203,207,211,215,219,223,227,230,234,238,242,246,250,254,258,262,266,270,274,277,281,285,289,293,297,301,305,309,313,317,321,324,327,331,334],{"image":7,"text":15,"number":16},"c \n08 \narchitecture &  \neverything else \n",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.2.png","",2,{"image":22,"text":23,"number":24},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.3.png","c\ncontents\n18\n06\n28\n36\n48\n56\n68\n  Architecture\n 06 BIG’S TRIANGLE IN NEW YORK  VIA West 57th Street \n \n Las viviendas son un híbrido entre un bloque perimetral europeo y un rascacielos neoyorquino. \n \n The design is a hybrid of European courtyard block and New York high-rise.\n \n Innovation\n 28 DRONES FOR AFRICA  Norman Foster Foundation\n \n La fundación del arquitecto británico muestra su ambicioso plan para África.\n \n The foundation of the British architect shows its ambitious plan for Africa.\n \n Dekton\n 36 RAFA NADAL ACADEMY BY MOVISTAR  A Sports Center Clad in Dekton\n \n El tenista español da a conocer su centro deportivo de alto rendimiento.\n \n The Spanish tennis player inaugurates his high-performance sports center.\n \n Style\n 48 UPCYCLING THE OCEANS  ECOALF Clothes\n \n La marca de ropa y complementos crea sus prendas a partir de plásticos recogidos del mar.\n \n The brand makes its clothes and accessories from plastic residues collected from the seabed.\n  Interview\n 56 LIBESKIND & NIETO SOBEJANO  In dialogue\n \n Los arquitectos se encuentran en Frankfurt para dialogar sobre música y memoria.\n \n The architects meet in Frankfurt to talk about music and memory.\n  Travel\n 68 MADRID  Spain\n \n Un repaso de los atractivos lugares de la capital española.\n \n A guide of interesting places in the Spanish capital.  \n 78 COSENTINO CITY  Flagship Stores\n \n Diseñado para ser el lugar de encuentro de arquitectos, diseñadores y paisajistas.\n \n Designed to be a destination for architects, designers and landscapers. \n 80 ON SITE  Skolkovo Institute of Science and Technology by Herzog & de Meuron\n \n Los arquitectos suizos construyen un gran centro de investigación en Moscú.\n \n The Swiss architects build a large research center in Moscow.\n  Arts\n 18 SWIMMING POOL BLUE  Maria Svarbova\n \n La fotógrafa eslovaca presenta su colección de piscinas de la época soviética.\n \n The Slovakian photographer presents her series of swimming pools from the Soviet era.\n",3,{"image":26,"text":27,"number":28},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.4.png","Depósito Legal: M-14282-2014\nISSN: 2341-3867 \nCubierta Cover\nRafa Nadal Academy by Movistar, Manacor (Spain) \n© Miguel Fernández-Galiano\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 \nMar Pérez-Ayala \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\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.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\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.6.png",6,{"image":37,"text":38,"number":39},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.7.png","Architecture\nBIG’s Triangle in New York\nVIA West 57th Street \n",7,{"image":41,"text":42,"number":43},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.8.png","6 C 08\nArchitecture\nBuilding\n1\nA orillas del río Hudson, el número 625 de la West 57th Street se \nplantea como un híbrido entre un bloque perimetral europeo y un \nrascacielos neoyorquino. Gracias a su alzado triangular, el proyecto \ncombina las ventajas de ambos: la compacidad del patio proporciona \ndensidad, intimidad y seguridad, al tiempo que se conservan las am-\nplias vistas y la ligereza propias de una torre. Manteniendo tres de las \nesquinas del bloque a ras de suelo y elevando la cuarta a una altura \nde 142 metros se consigue una potente conexión visual del patio con \nel río, a la vez que se permite la entrada de luz natural al interior del \nedificio. Además preserva generosamente las vistas de la adyacente \nHelena Tower. La forma del edificio cambia dramáticamente depen-\ndiendo del punto de vista del espectador, pareciendo una empinada \npirámide desde la autopista del Oeste, o una sorprendente espiral de \nvidrio desde West 58th Street. El patio, que se inspira en los oasis \nurbanos característicos de Copenhague (ciudad natal del arquitecto), \nse puede ver desde la calle y sirve para dar continuidad al parque del \nrío Hudson hacia el interior del edificio. La llamativa cubierta en pen-\ndiente consiste en una superficie reglada que se perfora con terrazas \nde distinto tamaño, todas ellas orientadas al Sur. Cada apartamento \ncuenta con una ventana en voladizo que permite aumentar la entra-\nda de luz natural y conseguir vistas sobre el río. Además, todas las \nviviendas están provistas de uno o varios balcones que promueven \nla interacción entre los habitantes del inmueble y los transeúntes.\nRising on the banks of the Hudson River, 625 West 57th Street is \na hybrid between a European courtyard building and a New York \nskyscraper. Through its triangular section, the design combines \nthe advantages of both: the compactness of the courtyard typology \nmakes for density, privacy, and security, and the tallness of the \ntower provides broad views and a slender silhouette. Keeping three \nof the corners at ground level and raising the fourth to a height \nof 142 meters creates a powerful visual connection between the \ncourt and the river, letting natural light into the interior spaces \nand graciously preserving the adjacent Helena Tower’s views of \nthe river. The form of the building shifts depending on the viewer’s \nvantage point. While appearing like a pyramid from the West-Side-\nHighway, it turns into a dramatic glass spire from West 58th Street. \nThe courtyard, which is inspired by the classic urban oasis of \nCopenhagen (the architect’s home town), can be seen from the \nstreet and serves to extend the adjacent greenery of the Hudson \nRiver Park into VIA. The striking roof presents a checkered slope \nwith rectangular holes which are terraces of varying size, all of \nthem facing south. Each condominium has a cantilevering window \nthat increases the amount of incoming daylight and enhances the \nalready generous views over the river. In addition, all the apart-\nment units are provided with one or more balconies, encouraging \ninteraction between residents and passers-by.\nBIG’s Triangle in NY\nVIA West 57th Street\nLa última obra del \nestudio del arquitecto \ndanés Bjarke Ingels en \nNueva York fusiona la \nconstrucción en altura \ntípica de esta ciudad con \nla compacidad del bloque \neuropeo en una novedosa \ntipología arquitectónica.\nThe latest work in New \nYork by the Danish \narchitect Bjarke Ingels \nproposes an innovative \narchitectural type that \ncombines the city’s high-\nrise construction with the \ncompactness of housing \nblocks in Europe.\n",8,{"image":45,"text":46,"number":47},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.9.png","C 08 7\n",9,{"image":49,"text":50,"number":51},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.10.png","8 C 08\nComo se puede ver \nen estos gráficos, \nBjarke Ingels mantiene \nsu metodología de \ntrabajo también en \neste encargo, donde las \noperaciones formales y \narquitectónicas parecen \nde una lógica irrefutable.\nAs can be seen in  \nthe graphics here  \nshown, Bjarke Ingels \napplies his work  \nmethod also in this \nproject, where the \nformal and architectural \noperations applied seem \nirrefutably logical. \nÁrea del solar Site area\nExposición solar Sunlight exposure\nLa esquina NE se eleva Pulling up the NE corner\nEl zócalo se eleva Raising the podium\nSe preservan las vistas Preserves the views\n",10,{"image":53,"text":54,"number":55},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.11.png","C 08 9\n",11,{"image":57,"text":58,"number":59},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.12.png","10 C 08\n",12,{"image":61,"text":62,"number":63},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.13.png","C 08 11\nFuncionando como un \nhíbrido de fachada y \ncubierta que dota de \ncontinuidad al conjunto, \nla envolvente adopta la \nforma de una superficie \nreglada en la que \nconviven balcones y \nparamentos de vidrio.\nFunctioning as a hybrid \nbetween a facade and  \na roof and serving to  \ngive continuity to the \ncomplex, the envelope \nadopts the form of a \ncheckered slope where \nbalconies and glass \nsurfaces alternate.\n",13,{"image":65,"text":66,"number":67},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.14.png","12 C 08\nCon sus facetas que \nse abren para buscar \nla luz y las vistas de \nNueva York, el edificio \naprovecha las ventajas \ndel bloque perimetral \ntípico de Europa y \nlas del rascacielos \nnorteamericano.\nWith its facets opening  \nto bring in light and \nsearch for views of \nNew York, the building \nmakes the most of the \nadvantages of the \ntypical European \ncourtyard block and the \nAmerican skyscraper.\n",14,{"image":69,"text":70,"number":71},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.15.png","C 08 13\n",15,{"image":73,"text":74,"number":75},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.16.png","14 C 08\n",16,{"image":77,"text":78,"number":79},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.17.png","C 08 15\nArquitectos Architects\nBIG - Bjarke Ingels Group\nBjarke Ingels, Thomas Christoffersen (socios \nresponsables partners in charge);\nBeat Schenk (jefe de proyecto project leader); David Brown, \nSören Grünert (arquitecto project architect) \nEquipo Team \nAleksander Tokarz, Alessandro Ronfini, Alessio Valmori, \nAlvaro Mendive, Benjamin Schulte, Birk Daugaard, Celine \nJeanne, Christoffer Gotfredsen, Daniel Sundlin, Dominyka \nMineikyte, Eivor Davidsen, Felicia Guldberg, Florian \nOberschneider, Gabrielle Nadeau, Gül Ertekin, Ho Kyung \nLee, Hongyi Jin, Julian Liang, Julianne Gola, Laura Youf, \nLucian Racovitan, Marcella Martinez, Maria Nikolova, Maya \nShopova, Mitesh Dixit, Nicklas A. Rasch, Ola Hariri, Riccardo \nMariano, Steffan Heath, Stanley Lung, Tara Hagan, Thilani \nRajarathna, Tyler Polich, Valentina Mele, Valerie Lechene, \nXu Li, Yi Li\nInteriores Interiors\nAaron Hales, Alessandro Ronfini, Brian Foster, Christoffer \nGotfredsen, Ho Kyung Lee, Hongyi Jin, Ivy Hume, Jenny \nChang, Lauren Turner, Mina Rafiee, Rakel Karlsdottir, Tara \nHagan, Thomas Fagan, Tiago Barros, Valentina Mele\nConsultores Consultants\nSLCE Architects, Starr Whitehouse Landscape, Thornton \nTomasetti, Dagher Engineering, Langan Engineering, Hunter \nRoberts, Enclos, Philip Habib & Assoc, Israel Berger & Assoc, \nNancy Packes, Van Deusen & Assoc, Cerami & Assoc, CPP, \nAKRF, Glessner Group\nFotos Photos\nIwan Baan, Fernando Alda (pp. 10, 11 arriba top)\n",17,{"image":81,"text":19,"number":82},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.18.png",18,{"image":84,"text":85,"number":86},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.19.png","Arts\nSwimming Pool Blue\nMaria Svarbova\n",19,{"image":88,"text":89,"number":90},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.20.png","18 C 08\nSwimming  \nPool Blue \nMaria Svarbova\nArts\nPhotography\n2\n‘In the Swimming Pool’ is Maria \nSvarbova’s largest and most comprehensive \nseries yet. Originating in 2014 and \ncontinuing to develop to date, this series \nby the 28-year-old Slovakian artist – who \nstudied Restoration and Archaeology – has \nbeen published in prominent international \nmagazines. The photographer’s fascination \nwith the space of public swimming pools \ncontributed to developing her distinctive \nvisual style. Located in several sites in \nSlovakia, each image shows a different \npool, usually built during the Soviet era, \nand the sterile, geometric beauty of these \nold pools sets the tone for the photographs. \nThere is an almost cinematographic \nquality to the images, stressed by the \nartificial postures of the swimmers, filling \nthe sceneries with dramatism and color. \nThe apparently retro tones of the images \nevoke a futuristic atmosphere, almost \notherworldly, further emphasized by their \nclarity and the bright pool tiles, that \nseem to have been placed ex profeso for \nthese photographic shoots. The palette of \npastel tones brings chromatic coherence \nto the whole series and to the very \ndifferent pools, composing a consistent \nand heterogeneous collection despite the \nresemblance among takes. \nMaria Svarbova was \nborn in Slovakia in 1988. \nThough she studied \nArchaeology, she soon \ndeveloped an interest in \nphotography. Svarbova \nhas won the 2016 edition \nof the International \nPhotography Awards. \n‘In the Swimming Pool’ es la serie \nfotográfica más larga y completa de Maria \nSvarbova hasta el momento. Comenzada \nen 2014 y todavía abierta, esta serie de \nla joven eslovaca de sólo 28 años ya ha \nsido publicada en revistas de prestigio \nde todo el mundo. La fascinación de la \nfotógrafa —que estudió Restauración y \nArqueología— por los espacios de las \npiscinas públicas la ayudó a desarrollar \nun estilo personal que es hoy su seña de \nidentidad. Las diferentes piscinas, situadas \nen varias localizaciones de Eslovaquia \ny construidas en la época soviética, y \ntienen una calidad casi cinematográfica \nenfatizada por las artificiales posturas de \nlas nadadoras, que aportan dramatismo \ny color a las instantáneas. Estos colores \nde tonos aparentemente antiguos \nevocan unas atmósferas futuristas y casi \nextraterrestres, que se acompañan de \nreflejos casi imposibles por su nitidez \ny brillantes azulejos que bien podrían \nhaber sido colocados ex profeso para \nestas fotografías. La paleta de tonos pastel \naporta una coherencia cromática que, a lo \nlargo de toda la serie y las muy diferentes \npiscinas, construye una colección \nfotográfica consistente y muy heterogénea \npese a la similitud de las tomas entre sí.\nMaria Svarbova \nnace en Eslovaquia \nen 1988 y, aunque \nestudia Arqueología, \npronto se interesa \npor la fotografía. En \n2016 resulta ganadora \nen los International \nPhotography Awards.\n",20,{"image":92,"text":93,"number":94},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.21.png","C 08 19\n",21,{"image":96,"text":97,"number":98},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.22.png","20 C 08\n",22,{"image":100,"text":101,"number":102},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.23.png","C 08 21\n",23,{"image":104,"text":105,"number":106},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.24.png","22 C 08\n",24,{"image":108,"text":109,"number":110},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.25.png","C 08 23\nThe perfect scenes seem \nto have been created \nartificially to satisfy the \nneeds of the image, but \nwhat they reflect is the \nphotographer’s shrewd \neye, and the chromatic \nprecision in the design  \nof the bathing suits. \nLas perfectas escenografías \nparecen construidas \nartificialmente para \nsatisfacer las necesidades \nde la imagen y son, sin \nembargo, resultado del  \nojo astuto de la fotógrafa \ny la precisión cromática  \nen la elección de vestuario.\n",25,{"image":112,"text":113,"number":114},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.26.png","24 C 08\nThe images highlight \nthe visual cleanliness \nof the pools, where \nthe few signs dialogue \nwith the context, unlike \nwhat happens today in \nbuildings and cities, too \noften overloaded with \nunnecessary signage. \nLas instantáneas \nresaltan la limpieza \nvisual de estas piscinas \ndonde, a diferencia de \nla tendencia actual de \nsobrecargar edificios y \nciudades con letreros \ninnecesarios, la cartelería \ndialoga con su entorno.\n",26,{"image":116,"text":117,"number":118},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.27.png","C 08 25\n",27,{"image":120,"text":19,"number":121},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.28.png",28,{"image":123,"text":124,"number":125},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.29.png","Innovation\nDrones for Africa\nNorman Foster Foundation\n",29,{"image":127,"text":128,"number":129},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.30.png","28 C 08\nA droneport project for Africa with an initial plan for three buildings \nto be completed by 2020, and a larger network so that every small \ntown in Africa can have its own droneport by 2030: this is the \nambition of the first project of the foundation created by Norman \nFoster and recently established in Madrid. The EPFL approached \nFoster with the concept because of his combination of airport \ndesign experience and knowledge of flight as a pilot of sailplanes, \nhelicopters, and aircraft. The Droneport is devised as a ‘kit-of-parts’ \nincluding the basic formwork and brick-press machinery. Built by \nthe communities, the raw materials are locally sourced, reducing \ntransport costs and making it more sustainable. Combining the latest \ndrone technology with traditional vault construction, the Norman \nFoster Foundation proposes building a network of droneports to \ndeliver medical supplies and other necessities to areas of Africa \nthat are difficult to access due to a lack of infrastructure. The pilot \nproject is based in Rwanda. The structures rest on four stone bases \nand are built using two layers of brick. The elements are modular, so \nmultiple vaults can also link together to form flexible spaces based \non demand and needs.\nInnovation\nCooperation\n3\nCrear una red de hangares para drones en África que entre en \nfuncionamiento en 2020, con el objetivo de que todas las aldeas \ndel continente dispongan de un droneport propio en 2030: es el \nambicioso primer proyecto de la fundación creada por Norman \nFoster y recién establecida en Madrid. La EPFL planteó a Foster \nel reto de diseñar estos pequeños hangares por su experiencia \nen aeropuertos y sus conocimientos como piloto. El hangar está \nconcebido como un kit compuesto por el encofrado básico y la \nmaquinaria para fabricar ladrillos. Construido por las comunidades \nlocales, las materias primas se obtienen en la zona, lo cual reduce \nel coste del transporte y lo hace más sostenible. Combinando la \núltima tecnología de los drones con la construcción tradicional de \nlas bóvedas, la Fundación Norman Foster propone crear una nueva \ninfraestructura en el continente africano, que permita distribuir \nmaterial médico y otros suministros en zonas de difícil acceso. El \nproyecto piloto tiene su base en Ruanda. Las estructuras se apoyan \nsobre cuatro bases de piedra y se levantan con dos capas de ladrillo; \nal tratarse de elementos modulares, las cúpulas pueden unirse para \ncrear espacios flexibles en función de las necesidades.\nDrones for Africa\nNorman Foster Foundation\n",30,{"image":131,"text":19,"number":132},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.31.png",31,{"image":134,"text":135,"number":136},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.32.png","30 C 08\n",32,{"image":138,"text":139,"number":140},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.33.png","C 08 31\nEn la actual edición de \nla Bienal de Venecia la \nFundación del arquitecto \nbritánico construyó \nun prototipo del \nDroneport para el que se \ndesarrolló y fabricó un \nladrillo especial de alta \nresistencia: el Durabric.\nAt the 2016 Venice \nArchitecture Biennale \nthe Norman Foster \nFoundation built a \nDroneport Prototype \nfor which it has \nmanufactured a highly \nresistant type of block \ntermed ‘Durabric.’\n",33,{"image":142,"text":143,"number":144},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.34.png","32 C 08\n",34,{"image":146,"text":147,"number":148},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.35.png","C 08 33\nAutor Author \nThe Norman Foster Foundation\nColaboradores Collaborators \nSwiss Federal Polytechnic School, Lausanne EPFL: Future \nAfrica, Blue Line, Red Line, Jonathan Ledgard, Lorenz \nMeier (ETH) \nODB Engineering: John Ochsendorf (Cambridge, USA), \nMatthew Dejong (Cambridge, UK), Philippe Block (Zurich), \nGiorgia Giardina \n \nSwiss Federal Institute of Technology, Zurich ETH: Block \nResearch Group, Philippe Block, Tom van Mele, Hannes \nHofmann, Tomás Méndez Echenagucía, Noelle Pavison \nPolytechnic University, Madrid: Santiago Huerta \nFernández, Esther Redondo, Paula Fuentes, Ignacio J. Gil; \nConstruction Team: Carlos Martín, Sixto Cordero, Luisel \nZayas \nConstruction Team Venice: Carlos Martín Jiménez, \nSegundo Víctor Simba, Luis Alfonso Tituania Male, Sixto \nCordero (MIT), Luisel Zayas (MIT) \n \nLafargeHolcim Foundation for Sustainable Construction, \nZurich: LafargeHolcim Research Centre (Lyon) \n \nAirbus Group: Olafur Eliasson (Berlin), Little Sun \n \nFoster + Partners, London and Madrid: Norman Foster, \nNarinder Sagoo, Roger Ridsdill Smith, Emma Gibb, Tom \nBudd, Tom Cubitt, Andy Coward, Jonathan Cox, Taba Rasti\n",35,{"image":150,"text":19,"number":151},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.36.png",36,{"image":153,"text":154,"number":155},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.37.png","Dekton\nRafa Nadal Academy by Movistar\nA Sports Center Clad in Dekton\n",37,{"image":157,"text":158,"number":159},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.38.png","36 C 08\nRAFA NADAL  \nACADEMY  \nBY MOVISTAR\nA Sports Center Clad in Dekton\nDekton\nBuilding\n4\n",38,{"image":161,"text":162,"number":163},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.39.png","C 08 37\nCiudad natal de Rafa Nadal, Manacor ha sido \nel lugar elegido por el tenista para emplazar un \nenorme centro deportivo de alto rendimiento \nespecializado en la tecnificación de jóvenes de-\nportistas. La Rafa Nadal Academy by Movistar, \nestratégicamente situada entre el casco urbano \ny la principal zona de dotaciones deportivas del \nmunicipio mallorquín, es un amplio complejo de \n5 hectáreas con dos edificios en los que el Dekton \nha sido el producto más empleado para revestir \nsuperficies. Más de 40.000 m2 de este material \nhacen de acabado final de espacios de diferentes \nusos, desde las fachadas hasta los pavimentos, \npasando por las piscinas y el conjunto del spa, \ndemostrando la alta resistencia y la gran versati-\nlidad de estas placas ultracompactas que pueden \nllegar a espesores de 8 mm. \nRafa Nadal has chosen his home town of \nManacor, on the island of Mallorca, to build a \nlarge complex for high performance in sports, \nspecializing in the technical training of young \ntennis players. The Rafa Nadal Academy by \nMovistar is strategically situated between the \ntown center and the main sports amenities \nof the municipality. The Academy is a large, \n5-hectare site with two buildings where \nDekton is the principal cladding material. \nOver 40,000 square meters of Dekton  \nprovide the final finish for different  \nareas, from facades to walls and floors  \nvia swimming pools and the spa, showing  \nthe high resistance and huge versatility  \nof these ultracompact surfaces that can be  \nas thin as 8 millimeters. \n",39,{"image":165,"text":166,"number":167},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.40.png","38 C 08\n",40,{"image":169,"text":170,"number":171},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.41.png","C 08 39\nAdemás de las pistas de \nentrenamiento, la academia \nalberga un edificio para \nlos jóvenes deportistas \ncon residencia y escuela, \ny un edificio en L que \nalberga otras instalaciones \ndeportivas, museo, centro \nmédico, restaurante y spa.\nAside from the courts for \ntraining, the Academy \nalso includes a residence \nand school for young \ntennis players, as well as \nan L-shaped building with \nother sports facilities, \nmuseum, health center, \nrestaurant, and spa.\n",41,{"image":173,"text":174,"number":175},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.42.png","40 C 08\n",42,{"image":177,"text":178,"number":179},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.43.png","C 08 41\n 1 losa de hormigón armado\n 2 muro de bloque de \nhormigón 15x40x20 cm\n 3 U de aluminio 10x2 cm \nsobre estructura de soporte \nde aluminio\n 4 separador, lámina geotextil\n 5 Dekton Strato e=1,2 cm de \nCosentino\n 6 Dekton Strato e=1,2 cm de \nCosentino antideslizante\n 7 aislamiento de poliuretano \nproyectado e=5 cm\n 8 estructura de carpintería \ncon perfiles acero galvan. \n 9 marco de aluminio \nanodizado e=7 mm \n 10 estructura de aluminio \npara anclaje oculto Hilti \n 11 luminaria empotrada \n 12 recrecido de mortero \n 13 canal de hormigón \npolimérico con perfil de \nacero inoxidable y reja \npara empotrar \n 14 remate de chapa \ngalvanizada\n 1 reinforced concrete slab\n 2 wall of 15x40x20 cm \nconcrete blocks\n 3 10x2 cm aluminum \nU-profile over aluminum \nsupport structure\n 4 geotextile sheet divider\n 5 Dekton Strato t=1.2 cm \nby Cosentino\n 6 Dekton Strato t=1.2 cm  \nslip-resistant by \nCosentino \n 7 projected polyurethane \nthermal insulation t=5 cm\n 8 window frame structure of \ngalvanized steel profiles\n 9 galvanized aluminum \nframe t=7 mm\n 10 aluminum structure for \nhidden Hilti anchorage\n 11 embedded luminaire\n 12 mortar layer\n 13 polymeric channel with \nstainless steel profile and \nembedded grid\n 14 galvanized metal plate \nfinishing\nSección de fachada ciega de Dekton Section of Dekton opaque facade\nSección de balcón (vidrio y Dekton) Balcony section (glass and Dekton)\n 2\n 7\n 3\n 1\n 10\n 3\n 2\n 5\n 7\n 10\n 7\n 10\n 14\n 12\n 4\n8\n9\n 13\n 6\n 5\n 7\n 1\n 8\n 9\n 11\n 5\nLas fachadas de los \nedificios se realizan \nenteramente con vidrio \ny paneles de Dekton \nde gran formato, que \ntambién se extiende por \nel suelo de los balcones \ngracias a su acabado \nantideslizante.\nThe facades of the \nbuildings are constructed \nentirely with glass and \nlarge-format Dekton \nslabs. Because of its  \nnon-slip finish, Dekton  \nis also used to clad  \nthe floor surfaces of  \nthe balconies. \n",43,{"image":181,"text":182,"number":183},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.44.png","42 C 08\nPiezas de Dekton a medida  \nMade-to-measure Dekton tiles\nDetalle de pavimento en la zona de acceso Flooring detail of Dekton in access area\nDekton Strato\nDekton Alba\npanel fenólico phenolic panel\nCuerpo circular de acceso  \nCircular volume of access\nGracias a su dureza, \nimpermeabilidad y alta \nresistencia al desgaste, el \nDekton se emplea como \npavimento en muchas \nsuperficies a lo largo del \nedificio con piezas que \npueden ser diseñadas a \nmedida; es el caso del \ncuerpo circular de acceso \ny de los vasos y el \nperímetro de las piscinas.\nThanks to its strength, \nimpermeability, and \nhigh-resistance, Dekton \nfloor coverings are \nused on many surfaces \nthroughout the building, \ncombined with other \ncustom-designed Dekton \nelements, as found in the \nround volume of access \nand the swimming pools. \n",44,{"image":185,"text":186,"number":187},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.45.png","C 08 43\n",45,{"image":189,"text":190,"number":191},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.46.png","44 C 08\n",46,{"image":193,"text":194,"number":195},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.47.png","C 08 45\nDekton Trilium\npanel fenólico RAL Trilium  \nphenolic panel RAL Trilium\nvidrio pintado RAL Trilium  \npainted glass RAL Trilium\nmadera natural natural wood\nespejo mirror\nvidrio transparente  \ntransparent glass\nAA\nDetalle de piscina y ducha acabadas con Dekton Details of pool and shower clad in Dekton \nPlanta de acabados y replanteo del spa Finish and layout plans of the spa area\nBB\nAA\nBB\nAplicada de forma \ncontinua sobre suelos, \nparedes y techos, la \nnueva variedad Trilium \nde Dekton reviste el spa \ncreando un ambiente \níntimo y acogedor que \nevidencia las cualidades \nestéticas de este material.\nApplied continuously  \non floor, wall, and \nceiling surfaces, Dekton,  \nin its new color Trilium, \nclads the spa creating \na private and warm \natmosphere that reflects \nthe aesthetic qualities  \nof this material. \n",47,{"image":197,"text":19,"number":198},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.48.png",48,{"image":200,"text":201,"number":202},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.49.png","Style\nUpcycling the Oceans\nECOALF Clothes\n",49,{"image":204,"text":205,"number":206},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.50.png","48 C 08\nUPCYCLING \nTHE OCEANS\nECOALF Clothes\n‘Upcycling the Oceans’ es la propuesta \nde la marca de ropa y complementos \nECOALF para limpiar los océanos de \nbasura con la ayuda de pescadores \nlocales –buscando así un proyecto que \npodría exportarse a cualquier lugar–. El \nobjetivo es recuperar los residuos que \ndestruyen el Mediterráneo y su hábitat \ny transformarlos en hilo de calidad para \nla producción de tejidos y la confección \nde prendas. A diferencia de lo que se \nha conseguido hasta ahora reciclando \nresiduos terrestres, la complejidad del \nproyecto reside en la desigual calidad de \nestos plásticos, casi siempre en mal estado \ndebido a la exposición del sol, la sal o \nel agua. El proyecto se articula en tres \nfases. La primera de ellas es la formación \nde los pescadores y la colaboración con \nsus cofradías. Actualmente 165 barcos \nde arrastre sacan entre cuatro y seis \nkilogramos de basura cada uno al día. \nAproximadamente un 60 % es plástico.  \nEn la segunda fase se convierten los \nresiduos de plástico en escama y granza \ngracias a la integración de sofisticados \nprocesos tecnológicos. Por último, se \ntransforma la granza en hilo y se crean los \ntejidos con los que ECOALF confecciona \nsus prendas.\n‘Upcycling the Oceans’ is the proposal \nlaunched by the clothes and accessories \nbrand ECOALF to remove trash from the \noceans with the help of local fishermen, \ncreating in this way a project that can \nbe exported to any place in the world. \nThe objective is to recover the residues \nthat are destroying the Mediterranean \nand its habitat, and to transform them \ninto quality threads to produce fabrics \nand clothing. In contrast to what has \nbeen achieved up to now recycling ground \nwaste, this initiative is particularly \ncomplex because of the different quality \nof these plastics, almost always in a bad \nstate due to exposure to the sun, salt, \nand water. The project is developed in \nthree phases. The first one is seeking the \ncollaboration of fishermen and training \nthem. Currently each one of the 165 boats \nparticipating in the project is removing \ndaily between four and six kilograms of \nwaste from the seabed. Approximately \n60% is plastic. During the second phase, \nthe plastic residues are converted into \nflakes and pellets through the integration \nof sophisticated technological processes. \nLastly, the pellets are transformed into \nthread to manufacture the fabrics used by \nECOALF to make clothes. \nStyle\nClothes\n5\nECOALF crea su ropa \ncon un hilo que fabrica \nreciclando residuos \nplásticos del mar. Para \neso ha establecido \nuna red de pescadores \nlocales que colaboran \ncon ellos limpiando los \nfondos marinos.\nECOALF clothes are made \nof thread manufactured \nwith recycled plastic \ncollected from the ocean. \nThe collaboration of local \nfishermen, who recover \nwaste daily from the \nseabed, is essential to \nmake the project possible. \n",50,{"image":208,"text":209,"number":210},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.51.png","C 08 49\n",51,{"image":212,"text":213,"number":214},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.52.png","50 C 08\n",52,{"image":216,"text":217,"number":218},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.53.png","C 08 51\nCon la colaboración de \npescadores de Levante \npreviamente formados, se \nrecogen los residuos del \nmar (plástico, vidrio...), \nse clasifican y se mandan \na reciclar. ECOALF \naprovechará los plásticos \npara convertirlos en hilo.\nFishermen of Levante \ncollaborate in the \ncollection of waste \n(plastic, glass...) from \nthe seabed. The residues \nare then classified and \nrecycled, and ECOALF \nprocesses the plastic and \ntransforms it into thread.  \n",53,{"image":220,"text":221,"number":222},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.54.png","52 C 08\nToda la ropa incluye \nlos porcentajes de \ntejidos utilizados para \nsu confección, con la \nparticularidad de que \nademás indica el número \naproximado de botellas \nque se han reciclado para \nsu producción. \nAll clothing includes the \npercentages of fabric used \nin the manufacturing \nprocess, with the \npeculiarity that it also \nindicates the approximate \nnumber of bottles that \nhave been recycled to \nproduce the item.\n",54,{"image":224,"text":225,"number":226},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.55.png","C 08 53\nLa tienda principal \nde la marca, en el \ncentro de Madrid, \ntambién presume \nde ser totalmente \nsostenible, habiendo \nsido diseñada, junto \ncon su mobiliario, con \nelementos reciclados.\nThe flagship store of  \nthe brand, located in  \nthe center of Madrid, \nalso takes pride on  \nbeing completely \nsustainable, and has \nbeen designed, including \nits furniture pieces, \nusing recycled elements. \n",55,{"image":228,"text":19,"number":229},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.56.png",56,{"image":231,"text":232,"number":233},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.57.png","Interview\nLibeskind & Nieto Sobejano\nIn Dialogue\n",57,{"image":235,"text":236,"number":237},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.58.png","56 C 08\nInterview\nConversation\n6\nLibeskind &\nNieto Sobejano \nin dialogue\nLos arquitectos coinciden en Frankfurt \ncon motivo de la inauguración de la \ninstalación ‘Musical Labyrinth.’\nThe architects meet in Frankfurt \nduring the inauguration of the \n‘Musical Labyrinth’ installation.\n",58,{"image":239,"text":240,"number":241},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.59.png","C 08 57\n",59,{"image":243,"text":244,"number":245},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.60.png","58 C 08\nPhotos: Miguel Fernández-Galiano \nque realmente está detrás, lo que a veces no \npodemos explicar.\nDaniel Libeskind: Definitivamente com-\npartimos esta percepción. No habría ningún \ntipo de conexión entre ninguna obra, ya sea \nliteraria, musical o teatral, si la memoria no \nestuviera presente. En la música, por ejem-\nplo, sería inimaginable. \nFuensanta Nieto: Nosotros aprendimos \nmucho trabajando para Arvo Pärt. Cuando \nveías sus anotaciones musicales, que funda-\nmentalmente eran dibujos, podías en verdad \nver que había arquitectura detrás. \nDL: Totalmente. Esta conexión entre la \nmúsica y la arquitectura no es metafórica, \ncomo muchas veces se dice, sino real. \nES: De hecho, los arquitectos y los músicos \nhacemos dibujos para que otro los interprete. \nHablando de Arvo Pärt, recuerdo que un día \nnos dijo: «Mi música es como la luz blanca, \nporque la luz blanca sólo se puede dividir \npor un prisma. Y ese prisma es el espíritu \ndel espectador.» Fíjate qué comparación más \nmaravillosa.\nDL: Su música, además de tranquila, es \nmuy estructural, que para mí es lo que real-\nmente la música comparte con la arquitectu-\nAprovechando la inauguración de la instala-\nción formada por piezas de Dekton Musical \nLabyrinth, fruto de la colaboración entre \nDaniel Libeskind y Cosentino, reunimos al \narquitecto norteamericano con los espa-\nñoles Nieto y Sobejano en la Alte Oper de \nFrankfurt. La conversación gira en torno a \ntemas cercanos para ambos, como la música \n—Enrique Sobejano y Fuensanta Nieto son \namantes de este arte y, además, han ganado \nrecientemente el concurso para construir el \ncentro para el músico estonio Arvo Pärt, y \nDaniel Libeskind fue un virtuoso intérprete \nen su juventud—o sobre la memoria, dado \nque ambos estudios coincidieron en la ex-\nposición ‘Childhood Recollections: Memory \nin Design’ en el London Design Festival este \nmismo año.\nEnrique Sobejano: La arquitectura está \níntimamente relacionada con la memoria, \ny ésta no es una característica de la que se \nhable habitualmente. Los recuerdos están \nen el fondo de todo lo que hacemos. Cuan-\ndo alguien explica su arquitectura desde un \npunto de vista muy racional, siempre tengo \nla impresión de que es un análisis que  puede \nayudar, pero que en esa explicación falta lo \nLa Ópera Antigua de \nFrankfurt, coincidiendo \ncon la instalación \norganizada por Cosentino, \nacoge la conversación \nentre los madrileños \nNieto y Sobejano, y el \nnorteamericano de origen \npolaco Lisbeskind.\nCoinciding with the \ninstallation organized by \nCosentino, the Alt Oper  \nof Frankfurt was the \nscene of a dialogue \nbetween the Madrid \npartners Nieto & \nSobejano and the Polish-\nAmerican Libeskind.\n",60,{"image":247,"text":248,"number":249},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.61.png","C 08 59\nTaking advantage of the inauguration of \nMusical Labyrinth, an installation made of \nDekton pieces that is a fruit of the collabora-\ntion between Daniel Libeskind and Cosentino, \nwe bring the Polish-American architect and \nthe Spanish partners Nieto and Sobejano \ntogether at the Alte Oper in Frankfurt. The \nconversation revolves around themes close to \nthe hearts of all three. Music, for one. Enrique \nSobejano and Fuensanta Nieto are lovers of \nthis art – and recent winners of the competi-\ntion for a center devoted to the Estonian com-\nposer Arvo Pärt – and Daniel Libeskind was \na virtuoso performer in his youth. Another \nshared theme is memory, the two practices \nhaving coincided in the exhibition ‘Child-\nhood Recollections: Memory in Design’ at the \nLondon Design Festival this year.\nEnrique Sobejano: Architecture is closely \nlinked to memory, and this not something \nthat is frequently discussed. Memories are in \nthe background of everything we do. When \npeople explain architecture rationally, I think \nit’s a genuinely useful analysis, but there is \nalways something missing in the explana-\ntion, something lying behind which is not \nalways explainable.\nDaniel Libeskind: We definitely share this \nview. Without memory, there wouldn’t be any \nconnection made in any kind of work, wheth-\ner in literature, music, or theater. In music, \nfor example, it would be unimaginable.\nFuensanta Nieto: We learned a lot work-\ning for Arvo Pärt. You look at his musical \nnotations, which are basically drawings, and \nyou can really see architecture behind them.\nDL: Absolutely. The connection between \nmusic and architecture is not metaphorical. \nIt’s real. Architects also draw.\nES: In fact architects and musicians do the \nsame thing: make drawings to be interpreted \nby others. Speaking of Arvo Pärt, one day he \ntold us: “My music is like white light because \nwhite light can only be divided by a prism. \nAnd the prism is the spirit of the listener.” \nWhat a beautiful comparison!\nDL: His music, moreover, is peaceful but \nalso structural, which I think is what archi-\ntecture shares with music. On the one hand \nit is tremendously creative, and on the other \nhand it is scientific, and has to be very pre-\ncise. An approximation won’t do, it has to \nbe exact, like architecture. It can’t be almost \nthe right tone or height. It’s not negotiable.\nFN: I know you studied music, and were \ngood at it. Do you still play?\nDL: I do not. It’s very hard to be a hobbyist \nwhen you’re a professional. At fifteen I was \nperforming with top classical musicians in \nthe big venues of New York. If you read the \nreviews of that time in The New York Times, \nfor instance, they are hardly mentioned, be-\ncause I was a phenomenon! I was very short \nand I had a very large accordion, so large \nyou could hardly see my head and feet. In \nthose days the accordion was considered a \nfolk instrument, not for Baroque pieces of \nmusic. It was often associated with gypsies \nor with poor people, or beggars. But it’s re-\nally a highly complex instrument, like a small \norchestra. It’s a pity I stopped playing, but \nI am very grateful I did once play, because \nif it weren’t for the accordion, I would never \nhave become an architect.\n“Architecture is closely \nlinked to memory, and this \nis not something that is \nfrequently discussed”\n",61,{"image":251,"text":252,"number":253},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.62.png","60 C 08\nra: por un lado, es tremendamente creativa, \npero por el otro es muy científica, y debe ser \nmuy precisa. No valen las aproximaciones, \ntiene que ser exacta. Como la arquitectura. \nNo vale el tono casi correcto, o la altura casi \nexacta. No es negociable. \nFN: Sé que estudiaste música y que ade-\nmás se te daba muy bien. ¿Todavía tocas?\nDL: No. Es muy difícil ser aficionado \ncuando eres profesional. Cuando tenía \nquince años actuaba con los mejores mú-\nsicos clásicos en los sitios más importantes \nde Nueva York. Si lees las reseñas de aquella \népoca en el New York Times, por ejemplo, \nmuy pocas veces hablaban de ellos, porque \nyo era un fenómeno. Era muy pequeño y \ntenía un acordeón enorme, que me tapaba \nde los pies a la cabeza. Entonces el acordeón \nera un instrumento que la gente asociaba \ncon la música popular, no con el Barroco \nque yo tocaba. Muchas veces se lo asociaba \nincomprensiblemente con los gitanos o po-\nbres que pedían por la calle, y es en realidad \nun instrumento muy complejo, como una \npequeña orquesta. Aunque me da pena no \ntocar, estoy muy agradecido al acordeón: si \nno hubiese sido por él, no creo que hubiese \nacabado siendo arquitecto. \nES: Es interesante. Yo estudié cuatros años de \nsolfeo y dos de piano. Luego paré y lo olvidé \ntodo: lo podía leer, pero no tocar. Ahora, \ncuriosamente, todo me ha vuelto. Y eso no \nquiere decir que pueda tocar, pero cuando \ncreces como arquitecto empiezas a ver mu-\nchas relaciones que, como decías antes, no \nson metáforas, sino ritmos, espacios, tiem-\npos… Lo que me recuerda de nuevo a Arvo \nPärt. Era muy callado, muy callado, pero con \nsus silencios lo decía todo. \nFN: Cuando hicimos el edificio para él \nen medio de este fantástico bosque estonio, \nun entorno maravilloso de enormes pinos, \nqueríamos ser muy cuidadosos con la natu-\nraleza, y eso nos obligaba a ser muy precisos. \nRecuerdo un día que estábamos replantean-\ndo el edificio en el bosque, y estaban Arvo \ny gente del equipo, y cada vez que hacíamos \nalgo, todos le miraban, buscando su aproba-\nción. Entonces se acercó a nosotros y nos dijo \nmuy educadamente que, quizá, estábamos \ndemasiado cerca de una casa, y que preferiría \nno verla. Empezamos de nuevo y movimos \nel proyecto casi nada, apenas cinco metros, \nhasta que le pareció que ya era suficiente. \nVolvió y nos dijo, lo recuerdo perfectamente: \n«Escucha, ahora me doy cuenta de que somos \nexactamente lo mismo. Yo nunca termino \nmi música porque siempre quiero precisarla \n«La arquitectura está \níntimamente relacionada \ncon la memoria, y no es \nuna característica de la que \nse hable habitualmente»\n",62,{"image":255,"text":256,"number":257},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.63.png","C 08 61\n",63,{"image":259,"text":260,"number":261},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.64.png","62 C 08\n",64,{"image":263,"text":264,"number":265},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.65.png","C 08 63\nES: That’s interesting. I also studied music: \nfour years of theory, two years of piano. Then \nI stopped, and forgot everything. I could read \nnotes, but not play them. Now, curiously, it \nhas all come back. This is not to say that I can \nplay again, but when you grow as an archi-\ntect you start seeing connections and, as you \nwere saying before, they’re not metaphors, but \nrhythms, spaces, tempos… Which brings me \nback to Arvo Pärt. He was quiet, very quiet, \nbut his silences expressed so much.\nFN: When we did his building – in the \nmiddle of this Estonian forest, a wonderful \nenvironment of huge pine trees – we wanted \nto be very careful with nature, which forced \nus to act with precision. I remember being \nthere with Arvo and others from the team, \ndrawing the building on the ground, and \nas we worked, everyone would look at him, \nsearching for his approval. Then he came \nto us and said, well, maybe we are too near \nthat house, I would prefer not to see it. We \nsaid, okay, don’t worry, we’ll start anew. We \nmoved the building – maybe just five meters \n– and he came back, I remember well, say-\ning: “Listen, now I understand that we are \nexactly the same. I never finish my music. I \nkeep wanting to make it more exact. I think \nit’s the same with your architecture, you’re \nnever finished.\nES: What a privilege! Nowadays there \naren’t many opportunities to visit a building \nwith the client and change things on the fly.\nDL: Indeed a privilege. It’s fascinating how \nin that part of the world, there is such sensi-\ntivity toward nature and architecture. I lived \nin Helsinki for some time and things are very \nsimilar there. In a way, it’s very close to the \nJapanese sensibility – silent, not too many \nwords said. But there’s a certain spirituality \nin things that we tend to take for granted.\nES: I agree. How different from the Medi-\nterranean way of seeing things.\nFN: There’s something else we have in \ncommon. In 1983, we were studying at Co-\nlumbia and one day found ourselves at Coo-\nper Union for a lecture by someone called \nDaniel Libeskind, with John Hejduk. This \nyear we were invited to speak there and we \nwere reminded of you. And, talking about \nmemories, I remember the impression I had \nof the auditorium that first time, including \nhow white it was. Returning there brought \nme the same feelings.\nDL: True. People think memories come \nfrom the past, but they come from another \nplace, one not necessarily part of the past.\nES: Last year we published a monograph \ntitled Memory and Invention, and shortly \nafterwards I came across a line by John Ban-\nville in his book Ancient Light. It goes: “I do \nnot know whether I am telling memories or \ninventions, if indeed there is any difference \nat all.” That’s exactly what happens. When \nyou remember something, it’s not just what \nyou experienced, but also what you have been \ntold and what you have read about it… so at \nsome point, memories become inventions.\nDL: It’s complex, like the brain itself. And \nthere is also memory that’s involuntary, or \nundesired, which just comes to you, against \nyour will. I think that real experiences are \nnot based on observation. In science, maybe. \nBut I don’t believe anything new comes from \nobservation. It’s there, but not yet molded. \nThe future doesn’t come from the past either, \nor it wouldn’t be a future. The future has \nto come from somewhere we know nothing \nabout. That’s why it’s the future.\nES: Which is why architecture has such \n“Architects make \nfoundations, dig up  \nthe earth, and this is a \ntruly violent act”\n",65,{"image":267,"text":268,"number":269},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.66.png","64 C 08\nun poco más, y me parece que vosotros sois \nigual con vuestra arquitectura.»\nES: Entonces nos dimos cuenta del pri-\nvilegio que era trabajar con él. Hoy en día \nes muy difícil poder ir a un edificio con el \ncliente, y cambiar cosas sobre la marcha. \nDL: Es verdaderamente un privilegio. A \nmí me fascina la sensibilidad que tienen \ncon la naturaleza y la arquitectura en esa \nparte del mundo. Viví en Helsinki algún \ntiempo, y es muy parecido. Es de alguna \nforma cercana a la sensibilidad japonesa. \nEs muy callada, nunca hay muchas palabras \nque decir. Pero hay una espiritualidad en las \ncosas que normalmente damos por hecho.\nES: Estoy de acuerdo, es muy diferente a \nla percepción mediterránea. \nFN: Tenemos otra cosa en común. Hacia \n1983, nosotros estábamos estudiando en \nColumbia y por casualidad fuimos a una \nconferencia en la Cooper Union que daba \nun tal Daniel Libeskind junto con John  \nHejduk. Hace poco nos llamaron para dar \nuna charla allí, y me vinieron muchos re-\ncuerdos a la mente, entre ellos que la sala \nera muy blanca. Cuando fuimos tuve exac-\ntamente la misma sensación.\nDL: Es verdad. La gente cree que la me-\nmoria viene del pasado, pero viene de algu-\nna otra parte, porque no es necesariamente \nparte del pasado. Está siempre viva. \nES: El año pasado publicamos una mono-\ngrafía que se llamaba Memoria e invención, \ny poco después me encontré con una cita \nde John Banville, en su libro Ancient Light, \nque decía: «No sé si estoy contando recuer-\ndos o invenciones, o si acaso existe alguna \ndiferencia en absoluto.» Y es precisamente \neso. Cuando recuerdas algo no es sólo lo \nque has vivido, sino todo lo que lo rodea, \nlo que te han contado, lo que has leído al \nrespecto… de forma que en algún momento \nlas memorias se vuelven invenciones. \nDL: Es un tema complejo, como el propio \ncerebro. También existe una memoria invo-\nluntaria, o una memoria no deseada, que \nviene a ti, incluso si no quieres. Yo creo que la \nexperiencia real no se basa en la observación.  \nEn la ciencia quizá. Pero en el pensamiento, \nno creo que nada nuevo venga de la obser-\nvación, es algo que está ahí, pero que aún \nno ha sido modelado. El futuro tampoco \npuede venir del pasado. No habría un futuro \nsi viniera del pasado. Ha de venir de alguna \nparte desconocida, que no sabemos dónde \nestá. Por eso es el futuro. \nES: Esa es la razón por la que los arqui-\ntectos tenemos esa palabra tan bonita: ‘pro-\nyecto’. Imaginamos el futuro, proyectamos \npara el futuro. Podríamos decir que todo \nel mundo lo hace, pero en arquitectura se \nhace evidente. \nDL: Además manipulamos la cimenta-\nción. Tenemos que excavar la tierra, y no \nsiempre se habla de ello, pero es un acto \nverdaderamente violento. \nES: Últimamente hemos estado traba-\njando en muchas obras bajo tierra, y en \notras en los tejados. Me hace gracia porque \nme recuerda lo que Gaston Bachelard decía \nsobre las casas, que eran objetos muy ver-\nticales cuyos elementos principales eran el \nsótano y el tejado, donde a los niños les \ngustaba jugar. \nDL: Es cierto. Cuando propuse conservar \ntodo el subterráneo de la Zona Cero, la gente \nme decía que estaba loco, que además en esa \nzona el suelo era muy caro y, por lo tanto \nlucrativo. Y creo que por eso mismo que \ndices de Bachelard, de estar donde nunca \nnadie antes ha estado, excepto los obreros \nsi acaso, es una sensación extraordinaria. Es \nimportante que la gente tenga acceso a la \nroca subterránea de Nueva York, porque es \nuno de los lugares más increíbles. Y ha sido \nuna intervención muy popular porque tiene \nque ver con bajar en la ciudad en la que todo \nel mundo sube. Es un movimiento invertido \nque atrae a la gente. Yo he estado muchas \nveces y es fascinante ver cómo la gente se \nqueda impresionada, es casi infantil, como \nuna memoria. Es un lugar algo sagrado, un \npoco como el cielo.\nFN: Es una idea bonita, hay muchas veces \nque miramos al cielo, y cuando es lo único \nque se ve, se vuelve incluso más interesante, \ncomo en las obras de James Turrell. \nDL: Sí, o como cuando Albert Camus dice \nque aunque seas muy pobre, y no tengas \nnada, el cielo siempre es gratis. \nES: Me gusta la idea de que el cielo sea \ngratis, pero la tierra muy cara. Es una di-\nvisión total, una forma distinta de sepa-\nrar los dos mundos. Yo siempre pienso que \ncuando hablas de arquitectura existe una \nlucha constante entre la tierra y el cielo. La \narquitectura más antigua está conectada a \nla tierra, y la contemporánea siempre quiere \nvolar, pero nunca se me había ocurrido inter-\npretarlo desde un punto de vista económico.\n«Los arquitectos \ncimientan, excavan la \ntierra, y eso es un acto \nverdaderamente violento»\n",66,{"image":271,"text":272,"number":273},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.67.png","C 08 65\na beautiful word: project. We imagine the \nfuture, we project to the future. One could \nsay that this is what everybody does, but in \narchitecture it’s especially clear.\nDL: It is, and for foundations we have to \ndig up earth. This is not often talked about, \nbut it’s a very violent act. \nFN: You are substantially modifying the \nplace in which you are going to work,  modify-\ning the world, and that is a hard thing to do.\nES: We have been working a lot under-\nground, also on rooftops. I’m reminded of \nwhat Gaston Bachelard said about houses: \nthat they are very vertical objects whose main \nelements are the basement and the roof, places \nwhere children like to play.\nDL: True. When I proposed, at Ground \nZero, to preserve the entire underground, peo-\nple thought I was crazy because it was very \nexpensive and lucrative, real estate. Maybe \nthis is what you are saying about Bachelard. \nBeing where hardly anybody has ever been, \nexcept perhaps construction workers, is an \nextraordinary experience. It’s important for \npeople to have access to the bedrock of New \nYork because it’s one of the most incredible \nplaces. And this has been a very successful \nintervention because it has to do with going \ndown, in a city where everybody goes upward. \nIt attracts a lot of people. I have been there \nmany times and seen how people are amazed. \nIt’s almost childlike, like a memory. It’s as if \nit were sacred, a bit like heaven. \nFN: A beautiful idea. We often look at the \nsky and when we only see sky, it’s interesting, \nlike in some of James Turrell’s works.\nDL: Yes, or like when Albert Camus said \nthat even though you are very poor and have \nnothing, you have the sky for free.\nES: It’s interesting that the sky is free but \nthe earth very expensive; a total division, \nanother way of separating two worlds. I’ve \nalways thought that when you talk about ar-\nchitecture, there’s a constant struggle between \nearth and sky. The most ancient architectures \nwere bound to the earth, and the most con-\ntemporary architecture tries to fly. But I have \nnever thought of it from a money point of view. \n",67,{"image":275,"text":19,"number":276},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.68.png",68,{"image":278,"text":279,"number":280},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.69.png","Travel\nMadrid\nSpain\n",69,{"image":282,"text":283,"number":284},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.70.png","01\nFounding site of Madrid, \nthe ‘cornice’ over the \nManzanares River harbors \nthe city’s monumental \ncomplex with the Royal \nPalace, the Almudena \nCathedral, and the recent \nRoyal Collections Museum \nby Mansilla & Tuñón.\nRoyal Monuments \nRoyal Palace & Cathedral\n02\nLugar de fundación de \nMadrid, la cornisa sobre \nel río Manzanares alberga \nel conjunto monumental \nformado por el Palacio Real, \nla Catedral de La Almudena \ny el reciente Museo de \nlas Colecciones Reales de \nMansilla y Tuñón.\nMain Square\nPlaza Mayor\nUn perímetro homogéneo \nde cuatro alturas \npresidido por la Casa de \nla Panadería envuelve la \nPlaza Mayor, un amplio \nvacío rectangular abierto \nen el casco histórico \nmadrileño, siempre lleno \nde gente y actividad.\nA four-level building \npresided by the  \nCasa de la Panadería \nwraps the Plaza Mayor, \na large rectangular \npublic square in the \nhistoric center of \nMadrid, always full of \npeople and activity. \n68 C 08\nMadrid\nTravel\nCity Guide\n7\nLa capital española es una \nurbe internacional donde la \nactualidad cultural se mezcla \ncon el carácter tradicional  \nde sus barrios históricos.\nThe Spanish capital is a  \nworld metropolis where the \ncurrent cultural scene coexists \nwith the traditional character \nof its historic quarters. \n© Luis Asín\n© Ayuntamiento de Madrid\n",70,{"image":286,"text":287,"number":288},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.71.png","C 08 69\nAvenue\nLa Gran Vía\nEl crecimiento de Madrid \nalrededor de su núcleo \nhistórico motivó, a \nprincipios del siglo xx, la \nconstrucción de una «Gran \nVía» que conectase el este \ny el oeste de la ciudad, \nestableciendo así su eje \nurbano más emblemático.\nThe growth of Madrid \naround its historic center \nencouraged to build, at \nthe beginning of the 20th \ncentury, a ‘Gran Vía’ (main \nstreet) connecting the \neast and west of the city, \nand establishing its most \nemblematic urban axis. \nnewartgaze.com\n03\n",71,{"image":290,"text":291,"number":292},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.72.png","La nave de ensayos \ndel Centro de Estudios \nHidrográficos —visitable \nlos jueves bajo petición \nprevia— es un espacio \ndiáfano y sobrecogedor de \n80x22 m para el cual el \nmaestro Miguel Fisac ideó \nlas llamadas ‘vigas-hueso’.\nThe test hall of the Centro \nde Estudios Hidrográficos \n(which can be visited on \nThursdays by appointment) \nis a breathtaking, open-\nplan space of 80x22 meters \nfor which the master \nMiguel Fisac designed his \nfamed ‘bone-beams.’\n70 C 08\n05\n© Instituto Eduardo Torroja\noei.es\n04\n06\nLas tribunas del hipódromo \nde Arniches, Domínguez y \nTorroja son un bello ejemplo \ndel racionalismo madrileño.\nThe racetrack grandstand by \nArniches, Domínguez, and \nTorroja is a splendid example \nof rationalist architecture. \nCon su mezcla de usos, el \nCBA (1926) de Antonio \nPalacios se convirtió en un \nsímbolo de modernidad.\nWith its wide range of  \nuses, the CBA (1926) by \nAntonio Palacios became  \na symbol of modernity. \nAlejandro de la Sota \nenlarged the Colegio \nMaravillas in 1962 with \nan inventive project that \nuses an inverted truss to \naccommodate classrooms, \ncover the sports court, \nand extend the courtyard \non the roof. \nAlejandro de la Sota \namplió el Colegio \nMaravillas en 1962 con \nun ingenioso proyecto \nque emplea una cercha \ninvertida para albergar \naulas, cubrir una pista \ndeportiva y prolongar el \npatio en la cubierta.\nSports Building \nHipódromo de la Zarzuela\nArts Center \nCírculo de Bellas Artes\nSports Hall \nGimnasio Maravillas\nResearch Building \nCentro Est. Hidrográficos\n07\n© Fundación Alejandro de la Sota \n",72,{"image":294,"text":295,"number":296},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.73.png","C 08 71\nseleccionarte.blogspot.com.es\n10\nTorres Blancas is one \nof the most emblematic \nbuildings by Sáenz de \nOíza, which stands out \nfor its organic order \ncomposed of cylindrical \nstructures that contain \napartments with \nperimetral balconies. \nEl edificio de Torres \nBlancas es una de las \nobras más emblemáticas \nde Sáenz de Oíza, que \ndestaca por su orden \norgánico compuesto por \nestructuras cilíndricas que \nalbergan viviendas con \nbalcones perimetrales.\nHousing Tower \nTorres Blancas\n08\n09\n11\nOne of the few works by \nJosé Antonio Coderch \nin Madrid, the Girasol \napartments, is located in \nthe Salamanca district.\nA work by Fernando \nHigueras and Antonio \nMiró, the Instituto de \nPatrimonio Cultural is \nnicknamed ‘the crown of \nthorns’ for its distinctive \nround shape fragmented \ninto 30 sections or \nsegments topped by spires. \nThe Bankinter building \non Paseo de la Castellana \nis a work of 1976 \nwhere a young Rafael \nMoneo, together with \nRamón Bescós, creates \nan elegant formal and \nmaterial dialogue with \nthe historic heritage. \nEn el barrio de Salamanca \nse sitúa una de las pocas \nobras de José Antonio \nCoderch en Madrid, las \nviviendas Girasol.\nObra de Fernando Higueras \ny Antonio Miró, el Instituto \nde Patrimonio Cultural se \nconoce coloquialmente \ncomo ‘la corona de espinas’ \npor su característica forma \ncircular fraccionada en \n30 sectores o gajos que se \nrematan con agujas.\nLa sede social de \nBankinter en el Paseo \nde la Castellana es una \nobra de 1976 donde un \njoven Rafael Moneo, \njunto con Ramón Bescós, \ncrea un elegante diálogo \nformal y material con el \npatrimonio histórico.\nHousing  \nEdificio Girasol\nPublic Building  \nInst. Patrimonio Cultural\nBuilding\nEdificio Bankinter\n",73,{"image":298,"text":299,"number":300},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.74.png","Exhibition Center \nCaixaForum Madrid\n72 C 08\n13\n15\nArt Center\nReina Sofía Museum\nEl museo nacional de \narte contemporáneo \ncompleta el llamado \n‘Triángulo del Arte’ \nde Madrid, donde la \nampliación del francés \nJean Nouvel, inaugurada \nen 2005, establece el \nvértice Sur del mismo.\nThe contemporary  \nart museum wraps up \nthe ‘Art Triangle’ of \nMadrid, the southern \nvertex of which is filled \nby the extension carried \nout by the French \narchitect Jean Nouvel \nand opened in 2005.\nMuseum \nEl Prado\nThe Prado Museum \ncontains one of the \nbest art collections in \nthe world, housed in  \nthe building by Juan \nde Villanueva and the \nrecent extension by \nRafael Moneo, who also \nenlarged Atocha Station. \nUna de las mejores \ncolecciones de arte del \nmundo se cobija en el Museo \ndel Prado, formado por el \ngran edificio de Juan de \nVillanueva y la ampliación \ndiseñada por Rafael Moneo \n—autor también de la \nextensión de Atocha—.\n© Manuel Renau\n© Duccio Malagamba\n© Duccio Malagamba\n© Aeronor\n14\nDiseñada por el británico \nRichard Rogers en \ncolaboración con Estudio \nLamela, la terminal 4 del \naeropuerto madrileño \nes una gran nave de \ncubierta ondulante que \nemplea el color para \nguiar a los pasajeros.\nDesigned by the British \narchitect Richard Rogers \nwith the Madrid firm \nEstudio Lamela, Terminal \n4 of Madrid’s airport is \na large structure with \nan undulating roof that \nuses color to improve \npassenger circulation. \n12\nIzándola del suelo y \ncreando una plaza \ndelimitada por un muro \nverde, los suizos Herzog & \nde Meuron intervinieron \nsobre una antigua central \neléctrica del Paseo del \nPrado para dar forma al \nCaixaForum Madrid.\nLifting it from the ground \nand opening up a public \nsquare bound by a green \nwall, the Swiss practice \nHerzog & de Meuron \nintervened in the old \npower station on Paseo \ndel Prado to create the \nCaixaForum Madrid. \nAirport\nBarajas Terminal 4\n",74,{"image":302,"text":303,"number":304},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.75.png","C 08 73\n© Fernando Guerra\nAyuntamiento de Madrid\n© Iwan Baan\n© Miguel de Guzmán\nBusiness District\nCuatro Torres Area\nThe Cuatro Torres \nBusiness Area – with  \nskyscrapers by César \nPelli, Foster and Partners, \nRubio & Álvarez-Sala, \nand Pei Cobb Freed – \ngoes up on the grounds  \nof the Real Madrid’s  \nold sports complex. \nEn los terrenos de la \nantigua Ciudad Deportiva \ndel Real Madrid se \nlevanta hoy el parque \nempresarial de las Cuatro \nTorres, cuyos autores son \nCésar Pelli, Foster and \nPartners, Rubio Álvarez-\nSala y Pei Cobb Freed.\n18\n16\nUrban Park \nMadrid Río\nBuilt between 2006 and \n2011, the Madrid Río \nlinear park stretches \nalong the banks of the \nManzanares River and \non top of the now buried  \nM-30 roadring, sowing \nthe city with new green \nareas and amenities.   \nConstruido entre 2006 \ny 2011, el parque lineal \nde Madrid Río cosió la \nciudad con nuevas zonas \nverdes a lo largo de la \nribera del río Manzanares \nsobre el antiguo trazado \nde la autopista M30,  \nhoy soterrada.\nCultural Center \nMatadero Madrid\nThe buildings of  \nthe old abattoir or \n‘matadero,’ in the \nsouthern section of \nMadrid Río, have been \nrevamped to house one \nof the most dynamic \ncontemporary art  \ncenters in the city. \nDesde la zona sur del \nparque de Madrid Río \nse accede al recinto del \nantiguo matadero, cuyas \nnaves de ladrillo han sido \nrenovadas para albergar \nuno de los centros de \ncreación artística más \ndinámicos de la ciudad.\n17\n19\nBuilding\nBBVA Headquarters\nHerzog & de Meuron firman \nla nueva sede del BBVA: \nuna torre ovoide sobre una \ndensa trama horizontal.\nHerzog & de Meuron have \ndesigned the new BBVA \nbuilding: an ovoid tower \non a dense horizontal base. \n",75,{"image":306,"text":307,"number":308},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.76.png","74 C 08\nUrban Park\nParque del Buen Retiro\n20\nWith 125 hectares  \nand over 15.000 trees, \nthe Retiro is a historic \npark in the center of \nMadrid with classicist \ngardens, ponds, \nsculptures, and beautiful \nstructures such as the \nPalacio de Cristal.\nCon 125 hectáreas y \nmás de 15.000 árboles, \nel Retiro es un parque \nhistórico del centro de \nMadrid con jardines \nclasicistas, estanques, \nesculturas y bellas \nconstrucciones como  \nel Palacio de Cristal.\nbing maps\nminube.com\nurbanity.es\nflickr.com\nFlea Market\nEl Rastro\n21\nOne of the most famous \nflea markets in the \ncountry is held every \nSunday in the La \nLatina-Embajadores \nneighorhoods, where \nhundreds of market stalls \nare set up alongside the \nantique shops of the area.\nUno de los mercadillos \nmás famosos del \npaís tiene lugar cada \ndomingo en la zona de \nLa Latina-Embajadores, \ndonde se reúnen cientos \nde puestos temporales \njunto a las tiendas de \nantigüedades de la zona.\nNeighborhood\nMalasaña\n22\nThe narrow streets  \nof Malasaña are filled \nwith original shops, \nbars, and terrazas. \nLas estrechas calles del \nbarrio de Malasaña están \nllenas de originales \ntiendas, bares y terrazas.\n24\nShopping\nCalle Serrano\nOver four kilometers \nlong, Calle de Serrano \nand the adjacent streets \nare lined with high-end \nboutiques, accessories \nstores, and beauty shops, \noffering also a broad \nchoice of restaurants  \nand cafés.   \nCon más de cuatro \nkilómetros de longitud, \nla calle Serrano y sus \ncallejuelas adyacentes \nalbergan multitud de \ntiendas de moda y \ncomplementos, además \nde una amplia oferta de \ngastronomía y belleza.\nNeighborhood\nBarrio de las Letras\n23\nThe quarter of famed  \n16th and 17th century \nSpanish writers preserves \nits quaint atmosphere. \nEl barrio de los célebres \nescritores españoles del \nSiglo de Oro mantiene su \nambiente tradicional.\n",76,{"image":310,"text":311,"number":312},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.77.png","C 08 75\nRestaurant\nDiverXo\nThe Madrid chef David \nMuñoz opened DiverXo \nin 2007, a fusion cuisine \nrestaurant that has \nrevolutionized local and \ninternational gastronomy, \nand that already has \nthree of the prestigious \nMichelin stars. \nEl chef madrileño David \nMuñoz abrió en 2007 \nel restaurante DiverXo \nde cocina fusión con el \nque ha revolucionado \nla gastronomía local e \ninternacional. Cuenta ya \ncon las tres prestigiosas \nestrellas Michelin. \n26\nmarioschumacher.com\nmadriddiferente.com\ntulollevas.com\n© Miguel Fernández-Galiano\npinterest.com\nShopping\nLas Salesas Area\n27\nLas Salesas is the new \nup-and-coming quarter in \nthe capital, with new shops \nand cafés springing up.\nEs el nuevo barrio en \nauge de la capital, con \nun enorme desarrollo \ngastronómico y comercial.\n28\nDos asturianos fundaron, \nen 1860, esta taberna \ncerca de la Puerta del Sol, \nque hoy es famosa por \nhaber sido protagonista de \nla fundación del Partido \nSocialista Obrero Español y \npor servir tapas típicas de \ncroquetas, bacalao y atún. \nCasa Labra was founded \nin 1860. Located right \nby Puerta del Sol, it is \nfamous for being the \nbirthplace of the socialist \nparty of Spain (PSOE) \nand also for its typical \ntapas of croquettes,  \ncod, and tuna. \nArtists Café \nCafé Gijón\nMarket\nSan Miguel Market\nTraditional Bar\nCasa Labra\nOriginally built in \n1916, the San Miguel \nMarket has been \nrecently transformed \ninto a specialty foods \nmarket with small stalls \nwhere visitors can try \nthe typical products of \nSpanish gastronomy.\nLocated on Paseo de \nRecoletos, the Gran Café \nde Gijón was the meeting \nplace of intellectuals, \nwriters, and artists of  \nthe Generation of ‘36, \nand has maintained  \nits atmosphere and  \nmood ever since. \nConstruido en 1916, el \nMercado de San Miguel \nha sido recientemente \ntransformado en un \nespacio culinario con \npequeños puestos donde \nse pueden probar los \nproductos típicos de la \ngastronomía española.\nSituado en el Paseo \nde Recoletos, el Gran \nCafé de Gijón fue el \nlugar de reunión de los \nintelectuales, escritores y \nartistas de la Generación \ndel 36, y ha mantenido \nsu ambiente y vocación \ndesde entonces.\n25\n29\n",77,{"image":314,"text":315,"number":316},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.78.png","76 C 08\n01\n09\n05\n16\n07\n 05. Hipódromo\nCarretera A-6, Km 8, 28023 \nhipodromodelazarzuela.es\n 04. Círculo de Bellas Artes\nCalle de Alcalá, 42, 28014 \ncirculobellasartes.com\n 02. Plaza Mayor\n 06. Gimnasio Maravillas\nc\u002F Joaquín Costa, 21, 28002\narchivo.alejandrodelasota.org\n 10. Torres Blancas\nAv. de América, 37, 28002 \n 17. Matadero Madrid\nPlaza Legazpi, 8, 28045\nmataderomadrid.org\n+34 91 517 7309\n 21. El Rastro Flea Market\nSunday mornings on\nCalle de la Ribera de \nCurtidores, 28005\nmadridtourist.info\n 23. Barrio de Las Letras\nPlaza Juan Pujol, 28004\nPlaza de Matute, 28012\n 07. C. Est. Hidrográficos\nPaseo Bajo de la Virgen del \nPuerto, 3, 28005\ncedex.es\n 12. T4 Barajas Airport\nAeropuerto Adolfo Suárez \nMadrid-Barajas \nAv. de la Hispanidad, s\u002Fn\naena.es\n 18. Cuatro Torres\nPaseo de la Castellana, s\u002Fn, \n28029 Madrid\ntorresmadrid.com\n 16. Madrid Río  \nRibera del río Manzanares\nPuente de Toledo, 28019\nesmadrid.com\n 25. San Miguel Market\nPlaza de San Miguel, s\u002Fn, \n28005\nmercadodesanmiguel.es\n 27. Las Salesas Area\n 28. Casa Labra Bar\n 29. Café Gijón\nPlaza de las Salesas, 28004\nCalle Tetuán, 12, 28013\ncasalabra.es\nPaseo de Recoletos, 21, 28004\ncafegijon.com\n 08. Girasol Building\nc\u002F Lagasca, esquina con  \nc\u002F José Ortega y Gasset\n28006\n 14. CaixaForum Madrid\nPaseo del Prado, 36, 28014\nmadrid.caixaforum.com\n 20. El Retiro Park\nPlaza de la Independencia, \n7, 28001\nesmadrid.com\n 03. Gran Vía Avenue\n 01. Royal Palace, Cathedral\nCalle de Bailén, s\u002Fn, 28071\npatrimonionacional.es\nMadrid\nLocalización y datos prácticos \nLocation and useful information  \n 13. El Prado Museum\nPaseo del Prado, s\u002Fn, 28014 \nmuseodelprado.es\n 11. Bankinter Building\nPaseo de la Castellana 29, 28046\nbankinter.com\n 15. Reina Sofía Museum\nc\u002F Santa Isabel, 52, 28012\nmuseoreinasofia.es\n+34 91 774 1000\n 24. Calle Serrano\n 26. DiverXo Restaurant\nNH Eurobuilding,  \nc\u002F Padre Damián, 23, 28036\ndiverxo.com\n+34 91 570 0766\n 09. Inst. Patrimonio Cult.\nc\u002F Pintor el Greco, 4, 28040\nipce.mcu.es\n 22. Malasaña Area\n 19. BBVA Headquarters\nCalle Hayedo, 12, 28050\nbbva.es\n",78,{"image":318,"text":319,"number":320},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.79.png","C 08 77\n23\n02\n22\n28\n04\n03\n29\n27\n24\n11\n08\n10\n06\n26\n18\n19\n12\n21\n25\n15\n17\n13\n20\n14\n",79,{"image":322,"text":19,"number":323},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.80.png",80,{"image":325,"text":19,"number":326},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.81.png",81,{"image":328,"text":329,"number":330},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.82.png","80 C 08\nSituado en Moscú, el \nInstituto de Ciencia y \nTecnología Skolkovo, de \nHerzog & de Meuron, \nformará parte de un \nnuevo conjunto urbano \nconcebido como un \ncentro internacional de \ninnovación tecnológica. \nLocated in Moscow, the \nSkolkovo Institute of \nScience and Technology, \nby Herzog & de Meuron, \nis part of a new urban \ncommunity, and aims \nto become a globally \nreputed center for \ninnovative technology. \nON\nSITE\nPhoto: courtesy of Herzog & de Meuron\n",82,{"image":332,"text":19,"number":333},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.83.png",83,{"image":335,"text":19,"number":336},"\u002Fmedia\u002Fimages\u002F4a\u002F064ded044ac0b551bf6afab92ad1f3-28f77e20fa.84.png",84,[],0,false,true,{"success":340,"data":342,"meta":557,"count":558,"next":559,"previous":560,"results":593,"brand_chips":654},[343,356,368,381,391,404,416,426,436,445,455,467,477,487,496,506,519,528,538,548],{"id":344,"title":345,"slug":346,"image":347,"source":348,"brand_name":349,"brand":350,"brand_slug":351,"file_size":352,"pages":353,"pages_count":354,"matched_pages":355,"match_count":338,"two_pages":339,"show_text":340},26599,"News 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