[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-cosentino-architecture-and-everything-else-13":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":346},{"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":341,"matched_pages":342,"match_count":343,"two_pages":344,"show_text":345},24485,"Architecture & Everything Else 13","cosentino-architecture-and-everything-else-13","\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002F9f\u002F9a3d642433e11958ed6e452ed10aa5-28f788a8a1.pdf","Cosentino",2482,"cosentino","257.2 MB",[14,17,21,25,29,33,37,41,45,49,53,57,61,65,69,73,77,81,85,89,93,97,101,105,109,113,116,120,124,127,131,135,139,143,147,151,155,159,163,167,171,175,179,183,187,191,195,199,203,207,211,215,219,223,227,231,235,239,243,246,250,254,258,262,266,270,274,278,282,286,290,294,298,302,306,310,314,318,322,326,329,332,336,339],{"image":7,"text":15,"number":16},"c \n13 \narchitecture &  \neverything else \n",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.2.png","",2,{"image":22,"text":23,"number":24},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.3.png","c\ncontents\n18\n06\n26\n34\n44\n56\n68\n  Architecture\n 06 MUSEUMSINSEL  David Chipperfield Architects in Berlin \n \n La James Simon Galerie culmina la intervención del británico en la Isla de los Museos.\n \n The James Simon Galerie is the latest work of the British architect on the Museum Island. \n \n Innovation\n 26 MARS 2117  Science City by BIG\n \n El arquitecto danés imagina una ciudad autosuficiente para habitar el planeta rojo. \n \n The Danish architect envisions a self-sufficient city for planet Mars. \n \n Cosentino\n 34 KNITTED IN DEKTON  ToHa by Ron Arad and Avner Yashar in Tel Aviv\n \n 28.000 metros de Dekton revisten las superficies del edificio de oficinas en Israel.  \n \n 28,000 meters of Dekton clad the surfaces of this office building in Israel. \n \n Style\n 44 ARCHITECTURE ON THE ROAD  Norwegian National Scenic Routes\n \n Una serie de hitos enfatizan la belleza del paisaje a lo largo de las carreteras nacionales.\n \n A series of milestones amplify the beauty of the landscape along the national roads. \n  Interview\n 56 KÉRÉ & KUNDOO  In dialogue\n \n Los arquitectos conversan en Madrid sobre sus trayectorias profesionales.\n \n The two architects sit down in Madrid for a conversation on their careers.\n  Travel\n 68 LOS ANGELES  USA\n \n Un recorrido por los principales escenarios de la extensa ciudad californiana. \n \n A guide through the main destinations in this spread-out Californian city.\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 MAGACEEN  C Magazine’s Digital Platform\n \n La revista muestra su web dedicada a la arquitectura, el arte y el diseño.\n \n The magazine shows its website devoted to architecture, art, and design.\n  Arts\n 18 ARTIFICIAL REALISM  Beyond Architectural Design\n \n Una colección de paisajes oníricos que transcienden las funciones del diseño. \n \n A collection of oneiric landscapes that go beyond the functions of design. \n",3,{"image":26,"text":27,"number":28},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.4.png","Depósito Legal: M-14282-2014\nISSN: 2341-3867 \nCubierta Cover\nToHa by Ron Arad and Avner Yashar \n© Fernando Alda\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 \nSandra Borge \nPablo Canga \nCuca Flores \nLaura González \nClara Molero \nJesús Pascual \nTeresa Pastor \nElena Pellegero \nAntonio Plaza \nRaquel Vázquez \nTraducción Translations\nGina Cariño, Laura Mulas\nImpresión Printing\nArtes Gráficas Palermo S.L.\n",4,{"image":30,"text":31,"number":32},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.5.png","L\na famiLia Martínez Cosentino ha te-\nnido siempre la vocación de superar \nlos desafíos más ambiciosos. A partir de \n2014, con la revista C, Cosentino se propu-\nso hacer una nueva aportación al ámbito \nde la arquitectura, en esta ocasión desde \nel campo de la comunicación, con la difu-\nsión de las mejores innovaciones, diseños \ny proyectos que contribuyen a hacer el \nmundo más sostenible y bello. \nT\nhe marTínez CosenTino family has al-\nways applied itself to meeting the most \nambitious challenges. From 2014, with C \nmagazine, Cosentino set out to contribute \nanew to the world of architecture but from \na different field, that of communications, \nthrough information on the best and lat-\nest innovations, designs, and projects that \nmake for a more sustainable and more \nbeautiful world. \n",5,{"image":34,"text":35,"number":36},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.6.png","© Roland Halbe\n© Ute Zscharnt\n",6,{"image":38,"text":39,"number":40},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.7.png","Architecture\nMuseumsinsel\nDavid Chipperfield Architects in Berlin\n",7,{"image":42,"text":43,"number":44},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.8.png","6 C 13\nArchitecture\nBuilding\n1\nLa inauguración de la James Simon Galerie marca un hito en la Isla \nde los Museos de Berlín, al ofrecer una nueva puerta de entrada \nque da la bienvenida a los visitantes y organiza los recorridos a lo \nlargo de los cinco edificios que conforman el conjunto histórico. \nDiseñado por David Chipperfield Architects, el proyecto evoca el \ncarácter clásico de la ‘acrópolis cultural’ imaginada en 1841 por el \nrey Federico Guillermo iv de Prusia, que aspiraba a convertir la isla \nen un santuario para el arte y la ciencia. Esta nueva construcción \ncontinúa la intervención —también desarrollada por Chipperfield— \nen el Neues Museum, que tras ser bombardeado durante la ii Guerra \nMundial se mantuvo durante décadas en estado de ruina. La postura \ndel arquitecto británico frente a esta obra —diseñada en 1843 por \nFriedrich August Stüler— se aleja de las tendencias historicistas. Tras \nun minucioso proceso de documentación de los diferentes grados de \ndestrucción del edificio, que aún conservaba algunos de sus ricos \nacabados y frescos prácticamente intactos, la restauración se llevó a \ncabo procurando realzar la materialidad de los restos y la estructura \noriginal sin pretender imitarla. Esta misma sensibilidad se lleva a la \nJames Simon Galerie que, a pesar de ser de nueva planta, se integra \nperfectamente en el contexto a través de una sobria reinterpreta-\nción de la columnata monumental. Así, las envolventes, acabadas \nen piedra reconstituida y mármol, buscan fundirse con la paleta \npolicromática del conjunto decimonónico.\nThe inauguration of the James Simon Galerie marks a key mo-\nment in the history of the Museumsinsel, creating a new entrance \nthat welcomes visitors and organizes the circulations throughout \nthe five buildings that make up the ensemble. Designed by David \nChipperfield Architects, the project evokes the classical character \nof the ‘cultural acropolis’ imagined in 1841 by Friedrich Wilhelm \niv of Prussia, who hoped to turn the ‘island’ into a sanctuary \nfor art and science. This new building continues the restora-\ntion – also developed by Chipperfield – of the Neues Museum, \nwhich after being bombarded during World War ii remained for \ndecades in a state of ruin. Upon establishing a connection with \nthis work – designed in 1843 by Friedrich August Stüler – the \nnew building departs from historicist trends yet remains silent. \nAfter a careful study of the different degrees of destruction of the \nbuilding, which still preserved some of its detailed finishes and \nfrescoes, the restoration was carried out trying to enhance the \noriginal structure and the materiality of the remains: the new \nreflects what was lost without imitating it. This same sensibility \nis taken to the James Simon Galerie which, despite being new, \nblends perfectly in its context through a sober reinterpretation of \nthe monumental colonnade. In this way, the envelopes, finished \nin reconstituted stone and marble, merge with the polychromatic \npalette of the 19th century complex.\nMuseumsinsel\nDavid Chipperfield Architects in Berlin\nSituada entre el canal y \nel río Spree, en el centro \nde Berlín, la Isla de los \nMuseos está formada \npor cinco edificios \nhistóricos construidos \nentre 1824 y 1930, a los \nque ahora se añade la \nJames Simon Galerie.\nLocated between the canal \nand the River Spree, in \nthe center of Berlin, the \nMuseumsinsel comprises \nfive historic buildings \nraised between 1824 and \n1930, and has now just \nopened a new addition, \nthe James Simon Galerie.\n",8,{"image":46,"text":47,"number":48},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.9.png","C 13 7\n",9,{"image":50,"text":51,"number":52},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.10.png","8 C 13\n10 m\n0\n-1\nA\nB\nA\nB\n",10,{"image":54,"text":55,"number":56},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.11.png","C 13 9\nTras permanecer décadas \nen ruinas después de la \nSegunda Guerra Mundial, \nel Neues Museum se \nsometió a una restauración \nen la que se reconstruyen \nlos fragmentos necesarios \npara ofrecer una lectura \ncoherente del proyecto.\nAfter decades in state  \nof neglect after the \nWorld War ii bombings, \nthe Neues Museum has \nundergone a careful \nprocess to restore  \nthe fragments needed  \nto offer a coherent  \nreading of the project. \n",11,{"image":58,"text":59,"number":60},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.12.png","10 C 13\nEn el vestíbulo principal \nse ha restituido la escalera \nmonumental con una \npropuesta que reinterpreta \nel modelo histórico en \nclave contemporánea, de \nmodo que ha recobrado su \nfunción original como eje \nvertebrador del museo.\nThe main foyer and its \nsplendid staircase have \nbeen restored with a \nproposal that reinterprets \nthe historical model in \ncontemporary key, thanks \nto which they recover \ntheir articulating role  \nin the museum.\n",12,{"image":62,"text":63,"number":64},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.13.png","C 13 11\n",13,{"image":66,"text":67,"number":68},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.14.png","12 C 13\nDiseñada por David \nChipperfield Architects, \nla galería James Simon \n—que debe su nombre \nal mecenas que legó sus \ncolecciones a los Museos \nEstatales de Berlín— \nservirá de entrada al \nconjunto cultural. \nThe James Simon \nGalerie, named after the \nimportant patron of the \narts who bequeathed his \ncollections to the Berlin \nState Museums in the \nearly 20th century,  \nwill be the gateway  \nto the Museum Island.\n",14,{"image":70,"text":71,"number":72},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.15.png","C 13 13\n",15,{"image":74,"text":75,"number":76},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.16.png","14 C 13\nArquitecto Architect\nDavid Chipperfield Architects London & Berlin in \ncollaboration with Julian Harrap —Neues Museum—\nDavid Chipperfield Architects Berlin —James Simon Galerie—\nConsultores Consultants\nNanna Fütterer (mediciones quantity surveyor); Lubic & \nWoehrlin (ejecución executive architect); Pro Denkmal \n(restauración restoration consultant); IGB Ingenieurgruppe \nBauen (estructura structural engineer); Jaeger,  \nMornhinweg + Partner Ingenieurgesellschaft, \nKunst und Museumsschutz Beratungs- & Planungs \n(instalaciones services engineer); Ingenieurbüro Axel C. Rahn \n(acústica building physics,acoustics); Kardorff Ingenieure \nLichtplanung (iluminación lighting consultant); Michele \nde Lucchi (diseño expositivo exhibition planning); Levin \nMonsigny Landschaftsarchitekten (paisajismo landscape \narchitect) —Neues Museum—\nChristine Kappei (mediciones quantity surveyor); \nWenzel+Wenzel Freie Architekten (ejecución executive \narchitect); Christoph-Phillip Krinn (project manager); IGB \nIngenieurgruppe Bauen (estructura structural engineer); \nINNIUS DÖ, Inros Lackner (instalaciones services engineer); \nMüller-BBM (acústica building physics, acoustics); Arge \nBrandschutz NEG (incendios fire consultant); Matí, \nConceptlicht (iluminación lighting consultant); Levin \nMonsigny Landschaftsarchitekten (paisajismo landscape \narchitect) —James Simon Galerie—\nCliente Client\nStiftung Preußischer Kulturbesitz represented by the \nBundesamt für Bauwesen und Raumordnung\nFotos Photos\nUte Zscharnt (pp. 7, 8, 9 derecha right,11, 15); Candida \nHöfer (p. 9 izquierda left); Jörg von Bruchhausen (p. 10 \nabajo bottom); Simon Menges (pp. 12-13, 14)\nLevel 0, Basement 1. Archaeological Promenade 2.Temporary exhibitions 3. Exhibition preparation area 4. Auditorium 5. Deliveries\n1\n2\n5\n3\n4\n",16,{"image":78,"text":79,"number":80},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.17.png","C 13 15\n",17,{"image":82,"text":83,"number":84},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.18.png","© Six N. Five\n",18,{"image":86,"text":87,"number":88},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.19.png","Arts\nArtificial Realism\nBeyond Architectural Design\n",19,{"image":90,"text":91,"number":92},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.20.png","18 C 13\nArtificial Realism \nBeyond Architectural Design \nArts\nIllustration\n2\nDesde que la ilustración 3D irrumpió en el \npanorama del diseño, la arquitectura y los \nespacios interiores, muchos profesionales \ny clientes apuestan por introducirla tanto \nen sus campañas publicitarias como en \nsu imagen corporativa. A través de la \nsimulación digital de volúmenes, materiales, \ntexturas, luces y sombras, el sistema permite \nsituar al espectador en la frontera entre la \nrealidad y la ficción fabricando escenarios \naparentemente posibles que remiten al \nmundo de los sueños. Por su capacidad \nexpresiva, muchas de estas creaciones \ntraspasan la funcionalidad del diseño y se \nconvierten en verdaderas piezas de arte. \nEstudios de diseño y \ncomunicación como \nHunky-dunky, Serial Cut \no Six N. Five exploran las \nposibilidades expresivas \nde la ilustración digital \nmediante composiciones \ngráficas que recrean \nescenas oníricas. \nSince the inrush of 3D illustration in the \nworld of design, architecture, and interior \nspaces, many professionals and clients \nhave chosen to use it for their advertising \ncampaigns and to create their corporate \nimage. Through digital simulation of \nvolumes, materials, textures, lights, and \nshadows, the system permits placing \nspectators at the frontier of reality and \nfiction by producing apparently possible \nbut at the same time incredible spaces, \nwhich evoke the world of dreams. For \ntheir expressive strength, many of these \ncreations go beyond the funcionality of \ndesign and become true artworks.  \nCommunication and \ndesign studios like \nHunky-dunky, Serial \nCut, and Six N. Five \nexplore the expressive \npossibilities of digital \nillustration through \ngraphic compositions that \nrecreate oneiric scenes. \n‘Summer Diary’ (2017), Hunky-dunky\n",20,{"image":94,"text":95,"number":96},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.21.png","C 13 19\n‘Summer Diary’ (2017), Hunky-dunky\n",21,{"image":98,"text":99,"number":100},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.22.png","20 C 13\nThrough the digital \nrecreation of 3D objects, \nthe studio Hunky-dunky \ncreates imaginary \nsettings like the small \ntown that appeared on \nthe poster design for the \nfestivities of Llombai \n(Valencia) in 2016. \nA través de la recreación \ndigital de objetos \ntridimensionales, el estudio \nHunky-dunky compone \nescenarios ilusorios, como \nel pequeño pueblo que \napareció en el cartel  \nde fiestas del municipio  \nde Llombai en 2016. \n",22,{"image":102,"text":103,"number":104},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.23.png","C 13 21\nThe P that provided the \ngraphic image of the \nParaíso festival in 2018 \n– designed by the Madrid \nteam Serial Cut – is  \nmade up of the icons \nof the event’s different \nsections: music, arts, \ngastronomy, leisure...\nLa P que protagonizó \nla imagen gráfica del \nfestival Paraíso en 2018 \n—diseñada por el equipo \nmadrileño Serial Cut— está \nformada por los iconos de \nlas diferentes secciones \ndel evento: música, arte, \ngastronomía, ocio...\nMusic\nLeisure\nArts\nGastronomy\n",23,{"image":106,"text":107,"number":108},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.24.png","22 C 13\n",24,{"image":110,"text":111,"number":112},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.25.png","C 13 23\nEl estudio de diseño \nafincado en Barcelona \nSix N. Five identifica \nsu trabajo con el \nconcepto de ‘realismo \nartificial’, un oxímoron \nque define su posición \nambigua entre el arte de \nrepresentar y el de crear. \nThe work of the \nBarcelona-based design \nstudio Six N. Five \nidentifies with the concept \nof ‘artificial realism,’ an \noxymoron that defines its \nambiguous stance between \nthe art of representing \nand the art of imagining. \n",25,{"image":114,"text":19,"number":115},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.26.png",26,{"image":117,"text":118,"number":119},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.27.png","Innovation\nMars 2117\nScience City by BIG\n",27,{"image":121,"text":122,"number":123},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.28.png","26 C 13\nThe government of the United Arab Emirates is developing the \n‘Mars 2117’ project, the objective of which is to build the first \nstable human settlement on the Red Planet within a time frame of \n100 years. Part of this ambitious program is Mars Science City, a \ncampus for outer space simulation located outside Dubai, formed \nby interconnected domes covering 17.5 hectares of desert, where \nconditions on planet Mars are recreated. A group of scientists \nwill live during one year in this ‘city,’ conducting researches on \nself-sufficiency in energy, water, and food. Meanwhile, a museum \nbuilt with walls made of desert sand and 3D-printed, will show \nthe progress of the space conquest. \nIf architecture is the art and science of making the world fitter \nfor human life, this becomes even more evident as we venture \nbeyond Earth. Designing for low gravity, low pressure, extreme \ncold, and high radiation levels radically changes the architect’s \ntools, as well as the resulting forms and spaces. In this sense, the \nproject studies the possibilities of inflatable architecture, robotics, \nand 3D printing to create a vernacular Martian architecture using \nlocal materials. With the prospect of inhabiting a world that \nhas no existing ecosystem, the word ‘environment’ takes on new \nmeaning. The challenge is no longer to preserve the environment, \nbut to design and build an altogether new one created by human \nbeings, which go from keepers of the Earth to creators of their \nsmall cycle of life on Mars. \nInnovation\nTechnology\n3\nEl gobierno de los Emiratos Árabes Unidos está desarrollando el pro-\nyecto ‘Mars 2117’, cuyo objetivo es llegar a construir —en un plazo de \ncien años— el primer asentamiento humano estable en el planeta rojo. \nDentro de este ambicioso programa, Mars Science City es un campus \nde simulación espacial, ubicado a las afueras de Dubái, formado por \nuna serie de cúpulas interconectadas, que cubren 17,5 hectáreas de \ndesierto, donde se recrean las condiciones de vida de Marte. Un grupo \nde científicos habitará durante un año esta ‘ciudad’, investigando \nsobre autosuficiencia en energía, agua y alimentos; mientras que un \nmuseo de muros impresos en 3D con arena del desierto mostrará el \nprogreso de la conquista del espacio. \nSi la arquitectura es el arte de hacer el mundo más adecuado \npara la vida humana, esto se hace aún más patente al aventurarnos \nmás allá de la Tierra. La falta de gravedad, la baja presión, el frío \nextremo y los altos niveles de radiación cambian radicalmente las \nherramientas de diseño, así como las formas y los espacios resul-\ntantes. En este sentido, el proyecto investiga las posibilidades de \nlas estructuras inflables, la robótica y la impresión 3D para la crea-\nción de una arquitectura vernácula marciana a partir de materiales \nlocales. Cuando se comienza a habitar un mundo que no tiene un \necosistema existente, el medio ambiente toma un nuevo significado. \nEl reto no es preservar el entorno, sino diseñar y construir uno com-\npletamente nuevo creado por el hombre, que pasa así de guardián \na creador de su pequeño ciclo de la vida en Marte.\nMars 2117\nScience City by BIG\n",28,{"image":125,"text":19,"number":126},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.29.png",29,{"image":128,"text":129,"number":130},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.30.png","28 C 13\n",30,{"image":132,"text":133,"number":134},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.31.png","C 13 29\n",31,{"image":136,"text":137,"number":138},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.32.png","30 C 13\n1  SINGLE DOME\n5  DOME VILLAGE\n6  TORUS \u002F RING-SHAPED LINEAR CITY\n2  TUBE\n3  TUBE - FIELD\n4  DOME - FIELD\n",32,{"image":140,"text":141,"number":142},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.33.png","C 13 31\nCreating the pressurized space to be occupied by humans will require a material able \nto resist great tension forces. \nExcavating underground spaces will provide maximum protection from dangerous \nradiation events, such as solar flares. \n3D printing with local materials will be one of the key technologies to ensure reduced \ntotal payload for the mission and flexibility for future expansions. \nRADIATION SAFE\nTHERMAL INSULATION \nPRESSURIZATION\nDAYLIGHT\nFUNCTIONAL SPACES \nSPATIAL COMFORT\nThese forces will need to be tied to the ground in order to create a more  \nusable area.\nAfter a safe environment can be established, robots can finish the remaining \nconstruction work. \n",33,{"image":144,"text":145,"number":146},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.34.png","© Fernando Alda\n",34,{"image":148,"text":149,"number":150},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.35.png","Cosentino\nKnitted in Dekton \nToHa by Ron Arad and Avner Yashar in Tel Aviv\n",35,{"image":152,"text":153,"number":154},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.36.png","34 C 13\nKNITTED IN DEKTON \nToHa by Ron Arad and Avner Yashar in Tel Aviv\nCosentino\nArchitecture\n4\nSituado en el centro de Tel Aviv, en la intersección entre dos calles \ncomerciales, el edificio ToHa se eleva hasta alcanzar una altura de \n29 plantas. Su singular volumen facetado, inspirado en la geometría \nde un iceberg, ha sido diseñado por Ron Arad junto al equipo local \nde Avner Yashar para albergar un complejo de oficinas que cuenta \ntambién con un jardín público, un mirador y un restaurante. \nMás de 28.000 metros cuadrados de Dekton revisten el conjunto, \nrepartidos en la fachada, el pavimento, los ascensores, los techos y las \ndivisiones interiores. Las piezas, formadas por más de 10.000 tipos, \nhan sido fabricadas y cortadas en la sede de Cosentino en España, y \ntransportadas por barco hasta Israel. \nUna de las principales estrategias del proyecto consiste en \nreducir la superficie construida a nivel de calle para crear un \ngran parque que aporte calidad cívica al entorno. El edificio \nemerge, por tanto, sobre dos grandes patas que se ensanchan \nprogresivamente delimitando un volumen de perfil contorsionado. \nPor su versatilidad geométrica, Dekton se adapta con precisión a \nesta complejidad formal gracias a su infinito rango de formatos que \nabarca espesores mínimos y superficies máximas. En los niveles \nintermedios, el perímetro quebrado de las losas de hormigón se \nreviste con paneles de 12 milímetros de espesor y hasta 2 metros de \nancho que, debido a su minucioso despiece, definen con exactitud \nlos vértices y las aristas transmitiendo una imagen de perfección.  \nIn the center of Tel Aviv, at the intersection of two business streets, \nthe ToHA building rises until reaching 29 storeys. Its unique \nfaceted volume, shaped like an iceberg, was designed by Ron Arad \nwith the local team of Avner Yashar. The ToHa building offers a \nunique office complex fit out with a public garden, an observation \ndeck, and a restaurant. \nMore than 28,000 square meters of Dekton clad the ensemble, \nand appear on the ventilated facades, flooring, elevators, ceilings, \nand the interior partitions. The Dekton pieces, of 10.000 different \ndimensions and types, were produced and cut at the Cosentino \nheadquarters in Spain, and then transported by sea to Israel. \nOne of the main strategies in the design of the project was \nthat of reducing the built area at street level to create a large \npark with the idea of giving the surroundings a public character. \nThe building emerges, therefore, atop two large legs that widen \ngradually and create a twisting volume. Because of its geometric \nversatility, Dekton manages to adapt with precision to this \nformal complexity thanks to its endless range of formats, with \nminimum thicknesses and maximum areas. In the building’s \nintermediate levels, the jagged perimeter of the concrete slabs is \nclad with panels measuring 12 millimeters thick and 2 meters \nwide that, with their careful detailing, define the vertices and \nedges, conveying an image of perfection. \nArquitectos Architects:  \nArad Architects,  \nYashar Architects (ejecución \nexecutive architect)\nColaboradores Collaborators:  \nBuro Happold Engineering, \nIsrael David Engineering \n(estructura structural engineer)\nCliente Client: Gav-Yam Amot \nTotseret Ha-Aretz\nFotos Photos: Fernando Alda\n",36,{"image":156,"text":157,"number":158},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.37.png","C 13 35\n",37,{"image":160,"text":161,"number":162},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.38.png","36 C 13\nEn el interior, el uso de \nDekton en suelos, paredes \ny techos busca transmitir \nuna imagen de solidez \ny continuidad, gracias a \nformatos máximos que \nsuperan los 3 metros de \nancho y espesores mínimos \na partir de 4 milímetros. \nThe use of Dekton on \nfloors, walls, and ceilings \nseeks to convey an \nimage of solidness and \ncontinuity, thanks to \nmaximum formats of more \nthan 3 meters in width \nand minimum thicknesses \nof 4 millimeters. \n",38,{"image":164,"text":165,"number":166},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.39.png","C 13 37\n",39,{"image":168,"text":169,"number":170},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.40.png","38 C 13\n",40,{"image":172,"text":173,"number":174},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.41.png","C 13 39\nDesde el punto de vista funcional, este ambicioso proyecto \ninvierte la organización del bloque de oficinas convencional, \nsituando las instalaciones en las primeras plantas para liberar \nla cubierta. Así, los últimos niveles se pueden dedicar a usos \nrecreativos y las oficinas se distribuyen a partir de la séptima altura, \nlo que optimiza el acceso de luz natural y las vistas. El basamento \ntécnico se reviste mediante un singular sistema de fachada ventilada \nen el que los paneles Dekton alternan su inclinación de forma \nentrecruzada. Esta disposición permite que el aire pase entre las \nplacas de gran formato (320 x 70 cm) y crea un frente uniforme que \naporta textura y profundidad al alzado. Cosentino ofreció además \nla posibilidad de producir una gama de seis colores personalizados \ncustom, basados en el modelo Strato, que generan un degradado \nprogresivo desde la parte inferior a la superior. \nEn el interior, un gran atrio de 30 metros de altura funciona como \nvestíbulo y lugar de encuentro. Los espacios de oficina se vuelcan \ntanto al exterior, a través de la fachada acristalada, como al patio \ncentral iluminado por un gran tragaluz. Los acabados han sido \ncuidadosamente seleccionados para crear un ambiente de trabajo \nconfortable y una imagen corporativa coherente. La posibilidad \nde fabricar piezas de Dekton de grandes dimensiones para suelos, \nparedes y techos permite reducir al mínimo el número de juntas y \ngenerar una sensación de continuidad máxima. \nFrom the functional point of view, this ambitious project inverts \nthe organization of the conventional office block, placing all the \ninfrastructure and machinery on the first floors to clear the roof, \nwhich becomes a public space and accommodates an upscale \nrestaurant with views of Tel Aviv and the Mediterranean Sea. In \nthis way, the top floors are freed up and can be dedicated only to \nrecreational uses and the offices start at the seventh floor, which \nfavors sunlight and views. The technical levels are clad with a \nunique permeable facade of cross-mounted panels, creating an \n‘X’ pattern. This arrangement allows air to pass through the gaps \nbetween the large slabs (320 x 70 cm) and produces a uniform \nfront that gives the facade texture and depth. Cosentino also \noffered the option of producing a range of six custom colors based \non the Strato model, creating a striking color gradient from the \nbottom to the top. \nInside, a large 30-meter atrium functions as lobby and \ngathering place. The office spaces look outside towards the city, \nthrough the glass facade, and also enjoy views of the central \ncourtyard illuminated by a large skylight. The finishes have \nbeen carefully selected to create a comfortable workspace and a \ncoherent corporate image. The possibility of manufacturing large-\nscale Dekton pieces for floors, walls, and ceilings permits reducing \nthe number of joints to a minimum, creating a smooth continuity. \nCEILING\nMaterial: Dekton\nColor: Strato\nThickness: 4 mm\nQuantity: ~1800 m2  \nFormats: 140x30\nINTERIOR WALL CLAD \nBONDED FACADE\nMaterial: Dekton \nColor: Zenith, Sirius,  \nKadum, Spectra, Strato \nThickness: 8 mm \nQuantity: ~2,000 m2  \nFormats: Changing  \n(80x270, 70x300)\nVENTILATED FACADE\nMaterial: Dekton\nColor: Strato, Totzeret1,  \nTotzeret2, Totzeret3, Totzeret4, \nTotzeret5, Totzeret6 (custom \ncolors), Spectra\nThickness: 12 mm\nQuantity: ~20,000 m2 \nFormats: Changing\nFLOORING\nMaterial: Dekton\nColour: Soke, Sirius, Strato\nThickness: 8mm, 20 mm\nQuantity: ~3,500 m2 \nFormats: Changing (320x144, \n140x80, 80x170)\n",41,{"image":176,"text":177,"number":178},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.42.png","40 C 13\nInstalados en forma de X, \nlos paneles Dekton de  \n320 x 70 cm que \ncomponen la fachada \nventilada generan una \nimagen singular de \naspecto entretejido que \naporta unidad visual al \nbasamento técnico.\nThe large-format Dekton \npanels (320 x 70 cm) \ncladding the permeable \nfacade are cross-\nmounted, creating an \ninterwoven ‘X’ pattern \nthat gives the seven \nlower technical levels  \na uniform image.\nhormigón de pendiente 1,5% sloping concrete 1.5% \nperfil percha inserted profile \nperfil percha inserted profile \nperfil horizontal horizontal profile \nespuma de vidrio foam glass \nvidrio templado tempered glass \nperfil horizontal horizontal profile \nperfil vertical vertical profile \ncapa de sellado sealing \nescuadra de aluminio aluminum bracket\nDEKTON (t=12 mm) \nDEKTON (t=12 mm) \nDEKTON (t=12 mm) \nDEKTON (t=12 mm) \nmarco de aluminio aluminum frame\n",42,{"image":180,"text":181,"number":182},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.43.png","C 13 41\n",43,{"image":184,"text":185,"number":186},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.44.png","© Miguel Galiano \n",44,{"image":188,"text":189,"number":190},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.45.png","Style\nArchitecture on the Road\nNorwegian National Scenic Routes\nStyle\n",45,{"image":192,"text":193,"number":194},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.46.png","44 C 13\nARCHITECTURE  \nON THE ROAD\nNorwegian National Scenic Routes  \nStyle\nTravel\n5\nEl desarrollo de las autopistas en \nNoruega conllevó un abandono de \nlas rutas vernáculas que discurrían a \ntravés de las carreteras nacionales. Esta \ncircunstancia, común al resto de Europa, \nfue especialmente grave en el país nórdico \ndebido a los espectaculares paisajes que \nasí se dejaban atrás. Por eso, mediante una \niniciativa que comienza en 1993 y que hoy \nsigue en marcha, se emprende el proyecto \nde recuperar 18 de estas carreteras a \ntravés de intervenciones arquitectónicas, \nartísticas o paisajísticas que buscan dotar \nel camino de servicios y marcar hitos \nnaturales. De esta forma, no sólo se sigue \napoyando a los pueblos remotos que \nquedan desconectados de la red viaria \nprincipal, sino que se lleva a cabo un \nprograma totalmente novedoso que es \nademás un reclamo turístico y cultural.\nLas 18 rutas y más de 1.600 kilómetros \nque recorren el país de norte a sur \ntendrán, en 2024, alrededor de 250 áreas \nde descanso y miradores cuidadosamente \ndiseñados por distintos estudios de \narquitectura. Hoy en día el proyecto ya \ncuenta con el 60% de las instalaciones, \nen su mayor parte firmadas por equipos \nde origen local como Snøhetta o Reiulf \nRamstad pero también por estudios \ninternacionales como el de Peter Zumthor.\nThe development of the highways in \nNorway left the vernacular routes that \nran along national roads in disuse. This \ncircumstance is common to the rest of \nEurope, but was especially dramatic \nin the Nordic country because of the \nextraordinary landscapes that were \nbeing left behind. The project launched \nin 1993, and still in progress today, set \nout to recover 18 of theses routes with \nthe addition of architectural, artistic, or \nlandscaping projects that equip the roads \nwith the necessary services and establish \nnatural milestones. This initiative \nhelps to support far-off towns that are \ndisconnected from the main roads while \ndeveloping a completely innovative \nprogram that becomes a touristic and \ncultural magnet. \nThe 18 routes and more than 1.600 \nkilometers that cross the country \nfrom north to south will have around \n250 resting areas, parking lots, and \nviewpoints in 2024, spaces carefully \ndesigned by different architecture and \ndesign studios. Today 60% of the \nfacilities have already been completed, \nin most cases by Norwegian firms, \namong which Snøhetta or Reiulf Ramstad \nArkitekter, but also by international \nstudios like that of Peter Zumthor. \n01. VARANGER\n02. HAVØYSUND\n03. SENJA\n04. ANDØYA\n05. LOFOTEN\n06. HELGELANDSKYSTEN\n07. ATLANTERHAVSVEGEN\n08. GEIRANGER-TROLLSTIGEN\n09. GAMLE STRYNEFJELLSVEGEN\n10. RONDANE\n11. SOGNEFJELLET\n12. VALDRESFLYE\n13. GAULARFJELLET\n14. AURLANDSFJELLET\n15. HARDANGER\n16. HARDANGERVIDDA\n17. RYFYLKE\n18. JAEREN\n©Miguel Galiano\n01\n02\n03\n04\n05\n06\n07\n10\n13\n09\n14\n15\n17\n18\n16\n11\n08\n12\n",46,{"image":196,"text":197,"number":198},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.47.png","C 13 45\n",47,{"image":200,"text":201,"number":202},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.48.png","46 C 13\n©Andrew Meredith\n©Andrew Meredith\nVARANGER (01). Steilneset. Atelier Peter Zumthor & Partner + Louise Bourgeois\nSENJA (03). Ersfjordstranda. Tupelo Arkitekter\nANDØYA (04). Bukkekjerka. Morfeus Arkitekter\nHELGELANDSKYSTEN (06). Ureddplassen. Haugen\u002FZohar Arkitekter\n©Reiulf Ramstad Arkitekter As - Rra\n©Harald Christian Eiken\n©Jarle Wæhler \u002F Statens vegvesen\nEn la ruta ártica de \nVaranger, Peter Zumthor \nconstruye un memorial a \nlas víctimas de los juicios \npor brujería que se dieron \nen la zona en 1621. En \nsu interior aparece una \ninstalación artística de la \nfrancesa Louise Bourgeois. \nOn the Arctic route of \nVaranger, Peter Zumthor \nbuilt a memorial for the \nvictims of the witchcraft \ntrials that took place in \nthe area in 1621. The \nmonument contains an \nartistic installation by \nLouise Bourgeois. \n",48,{"image":204,"text":205,"number":206},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.49.png","C 13 47\nHAVØYSUND (02). Selvika: Reiulf Ramstad Arkitekter\nLOFOTEN (05). Eggum. Snøhetta\nSENJA (03). Bergsbotn. Code arkitektur\n©Reiulf Ramstad Arkitekter As - Rra\n©Jarle Wæhler \u002F Statens vegvesen\n",49,{"image":208,"text":209,"number":210},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.50.png","48 C 13\n©Steinar Skaar \u002F Statens vegvesen\n©Jarle Wæhler \u002F Statens vegvesen\nATLANTERHAVSVEGEN (07). Askevåge. 3RW Arkitekter\nGEIRANGER-TROLLSTIGEN (08). Trollstigen. Reiulf Ramstad Arkitekter\n",50,{"image":212,"text":213,"number":214},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.51.png","C 13 49\n© Steinar Skaar \u002F Statens vegvesen\n©Werner Harstad \u002F Statens vegvesen\n©Jørn Hagen\u002F Statens vegvesen\nLa mayor parte de \nlas intervenciones \narquitectónicas se han \nllevado a cabo por \nestudios residentes en \nNoruega, ofreciendo \noportunidades en \nmuchas ocasiones a las \noficinas más jóvenes.\nMost of the architectural \ninterventions have  \nbeen carried out by  \nfirms based in Norway, \nin many cases young \nstudios that were  \noffered an opportunity \nto launch their career \nthrough this initiative. \nGAMLE STRYNEFJELLSVEGEN (09). Askevåge. 3RW Arkitekter\nRONDANE (10). Sohlbergplassen. Carl-Viggo Hølmebakk\n©Roger Ellingsen \u002F Statens vegvesen\nSOGNEFJELLET (11). Sognefjellshytta. Jensen & Skodvin Arkitektkontor\n",51,{"image":216,"text":217,"number":218},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.52.png","50 C 13\nLas nuevas estructuras \nconstruidas en el \npaisaje noruego juegan \nun doble papel, ya que \nno sólo enmarcan las \nimpresionantes vistas, \nsino que se convierten \nellas mismas en reclamo \nturístico para visitantes. \nThe new structures \ntake on a double role, \nbecause they not only \nprovide a frame for \nthe extraordinary \nNorwegian landscapes, \nbut also become a \ntouristic and artistic \nattraction for visitors. \n",52,{"image":220,"text":221,"number":222},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.53.png","C 13 51\nGAULARFJELLET (13). Utsikten. Code arkitektur. ©Miguel Galiano\n",53,{"image":224,"text":225,"number":226},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.54.png","52 C 13\nGracias a estas rutas, \nlas antiguas carreteras \nnacionales que quedaron \nen desuso con la llegada \nde las autopistas vuelven \na tener una función \nque potencia además \nla economía local y el \nrespeto por la Naturaleza. \nThanks to these routes,  \nthe old national roads  \nthat were abandonded \nwith the construction of \nhighways become useful \nonce again, and have  \na role in boosting the  \nlocal economy, always \nrespecting nature. \n©Helge Stikbakke \u002F Statens vegvesen\n© Vegar Moen \u002F Statens vegvesen\n© Roger Ellingsen \u002F Statens vegvesen\n© Silja Lena Løken \u002F Statens vegvesen\n© Aldo Amoretti \n© Roger Ellingsen \u002F Statens vegvesen\nAURLANDSFJELLET (14). Stegastein. Todd Saunders, Tommie Wilhelmsen\nVALDRESFLYE (12). Rjupa. Knut Hjeltnes Sivilarkitekter MNAL\nHARDANGERVIDDA (16). Vøringsfossen. Carl-Viggo Hølmebakk\nHARDANGER (15). Steinsdalsfossen. Jarmund\u002FVigsnaes\nJÆREN (18). Orre Friluftshus. Arkitektkontoret Schjelderup & Gram\n",54,{"image":228,"text":229,"number":230},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.55.png","C 13 53\nRYFYLKE (17). Allmannajuvet. Atelier Peter Zumthor & Partner\n",55,{"image":232,"text":233,"number":234},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.56.png","© Miguel Galiano\n",56,{"image":236,"text":237,"number":238},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.57.png","Interview\nKéré & Kundoo\nIn Dialogue\n",57,{"image":240,"text":241,"number":242},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.58.png","Interview\nConversation\n6\nKéré &  \nKundoo \nin dialogue\nThe architects sit down in Madrid \nfor a conversation on their careers. \nLos arquitectos conversan sobre \nsus trayectorias en Madrid. \n",58,{"image":244,"text":19,"number":245},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.59.png",59,{"image":247,"text":248,"number":249},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.60.png","58 C 13\nPhotos: Miguel Galiano \nA continuación se recoge, extractado, el diá-\nlogo que, con ocasión de la muestra en el \nMuseo ICO, mantuvieron en Madrid Francis \nKéré y la arquitecta india Anupama Kundoo, \ncuya obra expresa una sensibilidad muy cer-\ncana a la del africano.\nAnupama Kundoo: Hay algo que nunca \nte he preguntado. Tú y yo tenemos muchas \ncosas en común e incluso suelen agrupar \nnuestra obra en el mismo tipo de arquitec-\ntura, pero tenemos bastantes diferencias. \nYo estudié en India y empecé a trabajar \nallí, con la educación que había recibi-\ndo. Procedo de un barrio muy poblado de \nBombay, aunque luego me trasladé a una \nzona rural donde, por necesidad, aprendí \nformas tradicionales de construcción, que \nrespetaban los recursos locales. Después \nviajé a Alemania, donde empecé mi carrera \nacadémica y decidí hacer el doctorado. Tú, \nsin embargo, estudiaste en Alemania, por \nlo que debe haber una influencia germana \nen tu identidad africana. Puedo ver clara-\nmente tus raíces y emociones burkinesas, \nsobre todo por la forma en la que intentas \nayudar a la comunidad de la que procedes, \npero, ¿cómo es tu parte alemana?\nFrancis Kéré: En lo que a educación \nrespecta, yo soy un arquitecto alemán, \naunque inicialmente me trasladé a Berlín \npara aprender a ser carpintero, que era \nmi vocación, con la intención de volver a \nmi país y ayudar al desarrollo de la zona. \nPero Burkina es demasiado seco, no hay \nmadera ni carpintería, y la que hay es de-\nmasiado primitiva. Como no hay madera, \nno hay mobiliario de madera, y la gente \nno puede permitirse ese lujo. Por eso quise \nseguir aprendiendo y, como ya estaba en \nAlemania, empecé a pensar en cómo podía \nestudiar Arquitectura. Esto fue en 1989, \njusto antes de la caída del Muro. Yo tenía \n18 años. Hice lo que en Alemania se llama \nAbitur, un grado escolar de cinco años, que \ncompaginaba con el trabajo yendo a clases \nnocturnas todos los días. \nAK: Eso es impresionante, me puedo ima-\nginar la lucha que debió ser enfrentarte a un \nsistema tan diferente. \nFK: Mucho. Libros y libros, y además esta-\nba la lucha personal. En Burkina, mi familia \nesperaba que volviese con maletas llenas de \ndinero alemán —que no tenía— o con regalos; \npero yo lo que quería era seguir acumulando \nconocimiento. De hecho, empecé a traba-\njar mientras estudiaba, y mis profesores no \nentendían por qué luchaba de esa manera: \ntrabajando por el día y estudiando por la \nnoche, pero siempre pensando en volver a \nÁfrica. Años después, cuando entré en la \nescuela de Arquitectura, empecé un proyecto \npara construir un colegio en mi propio país, y \ncasualmente fueron mis antiguos profesores \nlos primeros en ofrecer financiación. Así es \ncomo empieza la mayoría de las cosas. \nAK: ¿Tu intención era volver?\nFK: Mi propósito siempre fue volver a \ncasa. Usaba Alemania como una plataforma \npara recaudar dinero y aprender. No que-\nría trabajar en Europa, sólo quería volver \na Burkina. \nAK: Eso es muy interesante porque \ncuando nos conocimos y éramos colegas \nEl burkinés afincado \nen Berlín Francis Kéré \ny la arquitecta de \norigen indio Anupama \nKundoo repasan las \ncoincidencias de sus \nrecorridos vitales, desde \nsu formación hasta su \npráctica profesional.  \nThe Berlin-based \nBurkinabé Francis  \nKéré and the Indian \narchitect Anupama \nKundoo talk about \nthe coincidences and \ndifferences that have \nmarked their lives  \nand their careers.\n«Soy un arquitecto alemán, \naunque fui a Berlín para \naprender a ser carpintero, \nque era mi vocación»\n",60,{"image":251,"text":252,"number":253},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.61.png","The following is an excerpt of a conver-\nsation that took place in Madrid, on the \noccasion of the Museo ICO exhibition, be-\ntween Francis Kéré and the Indian architect \nAnupama Kundoo, whose work expresses \na sensitivity much akin to the African’s.\nAnupama Kundoo: There is something \nI never asked you before. You and I have \ndone things that point to a certain grouping \nor commonality. But one of the differences \nbetween us is this: I studied architecture \nin India and I started working there with \nthe education I had received. I come from a \nvery populated area in Bombay but I moved \nto a rural zone, where, out of necessity, I \nexplored low-tech ways of building, re-\nspecting the resources the locals have. Later \nI went to Germany, taught with the head of \nthe department, and decided to do my PhD. \nYou, in contrast, studied in Germany, so \nthere has to be a German influence on the \nAfrican imprint you carry inside. I see your \nunderlying emotions and roots clearly, also \nin the way you try to help the community \nyou came from. I know the Burkina part, \nbut what would you say is the German part?\nFrancis Kéré: Education-wise for sure I \nam a German-trained architect, but I came \nto Berlin just to do vocational training. I \ncame to Germany as a carpenter, and I was \nto be trained so that I could go back to be-\ncome a development activist. But Burkina \nis very dry. There is no wood and carpentry \nis until now very primitive. Because there \nis no wood, there is no furniture made \nof wood, no one can afford quality. So I \nwanted to learn more, and being already in \nGermany, I started to think of how I could \nstudy architecture. This was 1989, just \nbefore the Wall collapsed. I was 18. I did \nwhat in Germany they call Abitur, a high \nschool degree, and that took me five years, \ngoing to night school every day. \nAK: That’s very impressive. I imagine \nalso your struggle in a different system.\nFK: Oh yes. Books and books, but also the \npersonal struggle. In Burkina, my family \nwas expecting me to return with bags full \nof German money – which I didn’t have – \nor with presents, but what I wanted was \nto gain more knowledge. In fact I started \nworking while at school and many of my \nteachers wondered why I was fighting like \nthat, working during the day, at school at \nnight, always with Africa on my mind. \nLater, when I was already at architecture \nschool, I started this project to build a \nschool in my own country. You have to \nknow that this school was the first proj-\nect to support me financially. This is how \nthings started.\nAK: But was it your intention to go back?\nFK: My intention was always to go home. \nI was just using Germany as a platform \nfrom which to raise money and collect \nideas. I didn’t want to do any work in \nEurope, I just wanted to return to Burkina.\nAK: It’s interesting because when we \nmet and were colleagues in the depart-\nment at the university of Berlin, we didn’t \nknow how our futures would unfold, so I \ndidn’t think about your mixed identity. I \nhave similar issues because I have children \nwho are half-Indian, half-Spanish, and \n“I am a German-trained \narchitect, but I came to \nBerlin as a carpenter,  \nwhich was my vocation”\n",61,{"image":255,"text":256,"number":257},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.62.png","60 C 13\n",62,{"image":259,"text":260,"number":261},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.63.png","C 13 61\nyours are half-German, half-Burkinabe. \nSo in both our cases, the next generation is \nmixed, and we each have to think about our \nown identity. I’m just kind of putting some \nlandmarks in our parallel journeys. I grew \nup in a really busy and crowded megacity, \nBombay. I studied in a very regular way, \nin fact I finished architecture very quickly \nand set up an office immediately. By 1990 \nI had already moved out of Bombay. It was \nnot very common in the Indian world for \na woman to go off on her own and all the \nrest of it, like going on a motorbike, what-\never. So I did things which looked bold \nto people there, but I never cared much \nabout social opinions because I was very \nfree-spirited. I felt that no matter what I \ndid, no matter how small the thing, such \nas smoke a cigarette, I would be criticized \njust the same, so it really didn’t matter \nwhat I did. I knew what I was doing for \nself-development, I wanted to serve society, \nand everything would follow, I didn’t have \nto be in a hurry to be popular, I would be \nfree from that trap. \nFK: I started building while still a stu-\ndent. I didn’t have to wait. By the time I \ngraduated, I was already an architect.\nAK: I remember you as a very simple \nFrancis in the pre-Aga Khan period. How \ndid the award affect you? I mean to get so \nmuch attention is something like a test, no? \nAnd also a challenge because along with \nall the recognition comes something you \nhave to carry. How do you feel about this?\nFK: If I look back, I think it was for me \nvery important to win the Aga Khan. Some \npeople may say that prizes bring nothing, \nbut that’s not true in my case. It created \nan awareness, people began to know of my \nwork. That’s how, for example, I know Luis \nFernández-Galiano, curator of this exhibi-\ntion. But later it became a responsibility, \nbecause all these great people would tell \nme that if I kept pushing, I would be the \nfirst person in history to really deal with \npeople. But I just stayed focused and said \nto myself: okay, what are they telling me? \nWhat they tell me is nice to know, but \nwhat’s important is that something in my \nwork may be of interest, so just keep going, \ndon’t wait, don’t stop. I kept going, I kept \npushing. So the Aga Khan was important \nbecause it was a push.\nAK: When did you decide to live in Ger-\nmany instead of going back?\nFK: No, I never decided. I still go back \nand forth. I stay in Ouagadougou, at the \nplace of a brother of mine where my mother \nis living. He takes care of my mother be-\ncause my father passed away. In the village \nit’s not easy to feed old people if the family \nsituation is not traditional. By tradition \nI would have had to stay home and have \na lot of kids, and take care of my mother \nin lieu of my father. I have brothers and \nsisters but they have their own families to \ncare for. And the food situation is not all \nthat good and of course I don’t want my \nmother to suffer. In Ouagadougou I see her \nfor half an hour, very intense, then I am \nin Burkina already. Upon arrival, that is \nwhat I need. Then I go for the project. And \nevery night I am back.\n“In India it was not very \ncommon for a woman to set \nup an office on her own, but \nI wanted to serve society“\n",63,{"image":263,"text":264,"number":265},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.64.png","62 C 13\nde departamento en la universidad de Berlín \nno sabíamos qué iba a ser de nuestro futu-\nro, y entonces nunca pensé sobre nuestra \nidentidad mestiza. Yo tengo hijos que son \nmedio indios, medio españoles, y tú medio \nalemanes, medio burkineses. En ambos casos \nnuestra próxima generación será mixta y \ndebemos pensar en nuestra identidad. Digo \nesto por encontrar hitos en nuestros via-\njes paralelos. Yo estudié en Bombay, y muy \npronto terminé la carrera de arquitectura y \nmonté mi propio estudio. En 1990 ya me \nhabía ido de Bombay y eso era muy raro \nen la India, que una mujer crease su propio \nestudio, que emprendiese algo por su cuenta \ny hasta que fuese en moto… Hice cosas que \na la gente le parecían demasiado atrevidas, \naunque nunca me preocupó demasiado su \nopinión. Siempre me vi como un espíritu \nlibre. Pensaba que independientemente de \nlo que hiciese, por muy pequeño que fuera, \nincluso fumar un cigarrillo, me criticarían \nigualmente. Yo sabía que lo hacía como \nforma de desarrollo personal; quería ayu-\ndar a la sociedad y ser útil, y no tenía prisa \npor ser popular. \nFK: Yo empecé a construir cuando aún \nera estudiante. No sentía que tuviera que \nesperar. Cuando me gradué, yo ya era ar-\nquitecto. \nAK: Te recuerdo como un Francis muy \nsencillo, de tu época pre-Aga Khan. ¿Cómo \nte afectó ese premio? Recibir tanta atención \nde golpe debió ser casi como una prueba, y \nun reto porque con el reconocimiento hay \nuna carga asociada.\nFK: Cuando miro atrás me doy cuenta \nde que fue muy importante para mí ganar \nel Aga Khan. Hay gente que dice que los \npremios no sirven para nada, pero en mi \ncaso no es verdad. Generó atención sobre \nmi trabajo y gracias a eso conozco a gente \ncomo Luis Fernández-Galiano, comisario de \nla exposición en la que nos encontramos. \nDespués se convirtió en una responsabili-\n",64,{"image":267,"text":268,"number":269},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.65.png","C 13 63\nAK:  My case is quite similar. Few people \nknow this, but while I was working, my \nmother was paralyzed and she was not well. \nThis went on for many years and that’s why \nmy own children, my own family, came \nmuch later. In our societies we are at some \npoint the nurturers of our parents. It was \nvery natural. So for many years I had that \ncommitment, and I did not travel much. \nI was fully dedicated to my mother, who \nneeded to be moved around in a wheelchair. \nI brought my parents to stay with me, so \nfor years I had everything revolving around \nthem. Let me tell you something about my \nhouse, the Wall House, which became so \nwell-known – in fact the MoMA has ac-\nquired the drawings and models. Well, I \nhave a photograph of a horse that used to \ncome. It was the highlight of my mother’s \nday. A horse could actually enter the house \nand go to her bedside because I had made the \nspace so open, to animals and everything.\nFK: I love that story. I was wondering, \nare you still bringing students to India? \nAnd how are you financing your projects?\nAK: That’s a really good question. Ac-\ntually my projects were not often funded \nlike yours. I’m doing many social projects, \nbut I’m not the only one responsible for \nfinancing them, whereas I think you bear \na lot of that responsibility yourself. If the \nfunds come together, we do it. I like to take \nstudents with me. In fact there is a demand. \nStudents are always demanding, they love \nto go to India, and they benefit… What kind \nof projects are you doing right now?\nFK: We’re working on many, including \nin the USA. We also have a sort of African \npavilion in Edmonton, Canada. And some \npotentially good projects might be com-\ning in from Munich, including a Waldorf \nschool. And two potentially major projects \n– one for the university, and another one I \ncan’t say because we have to wait for elec-\ntions. It’s for the Kunstareal…\n",65,{"image":271,"text":272,"number":273},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.66.png","64 C 13\ndad y mucha gente importante se acercaba \na decirme que, si seguía luchando, podría \nser el primer arquitecto que realmente tra-\nbajase con la gente. Me di cuenta de que \nera agradable oír lo que me decían, pero lo \nrealmente importante era que mi obra fuese \ninteresante, por lo que tenía que seguir tra-\nbajando. Y eso hice, seguí trabajando. Seguí \nluchando, pero sin duda el Aga Khan fue un \nbuen empujón a mi carrera.    \nAK: ¿Cuándo decidiste vivir en Alemania \nen lugar de volver?\nFK: Nunca decidí, en realidad. Sigo yendo \ny viniendo. Cuando voy a Uagadugú voy a \ncasa de mi hermano, donde vive mi madre. \nÉl cuida de ella desde que mi padre murió. \nEn nuestra aldea no es fácil mantener a \ngente mayor si la situación de la familia no \nes tradicional. Por tradición yo tendría que \nhaberme quedado en casa y haber tenido \nun montón de niños, y haber cuidado de mi \nmadre cuando mi padre falleció. Tengo her-\nmanos, pero ellos tienen sus propias familias \na las que cuidar. Cuando viajo a Burkina \nvoy a ver a mi madre, es lo que necesito al \nllegar. Estoy media hora con ella, un rato \nmuy intenso, luego me voy a trabajar, y \nvuelvo cada noche. \nAK: Mi caso es similar. Poca gente sabe \nesto, pero mientras trabajaba mi madre se \nquedó paralítica y tuve que cuidar de ella. \nPor eso mi propia familia tardó muchos años \nen llegar. En nuestra cultura nosotros somos \nresponsables de nuestros padres, es natural. \nPor eso, durante muchos años yo tuve esa \nocupación y no viajé mucho. Estaba dedicada \nplenamente a mi madre, que me necesitaba \npara que la moviese en su silla de ruedas. Traje \na mis padres a que se instalasen conmigo en \ncasa y durante años me centré en ellos. Me \nhabía construido una casa que se hizo muy \nfamosa –hasta el MoMA compró los dibujos \ny maquetas–. Era una casa muy abierta, los \nanimales podían pasearse por dentro, y había \nun caballo que se metía en la casa y que se \nquedaba parado al lado de mi madre, recuerdo \nque era su momento favorito. \nFK: Me encanta esa historia. ¿Aún llevas \na los estudiantes a India? ¿Cómo haces para \nfinanciar los proyectos?\nAK: Es una buena pregunta. En realidad, \nmis proyectos se financian de forma diferente \na los tuyos. Estoy haciendo varios proyectos \nsociales, pero no soy la única responsable de \nconseguir financiación, mientras que veo que \ntú siempre asumes la carga de hacerlo. Si se \nreúnen los fondos, lo hacemos, y llevo a los \nestudiantes conmigo. De hecho, existe la de-\nmanda, los estudiantes siempre quieren venir \na India, y yo creo que se benefician mucho de \nello. ¿Qué proyectos estás haciendo tú ahora?\nFK: Tenemos muchas cosas en marcha, \nhasta en Estados Unidos. También estamos \ndiseñando una especie de pabellón africano \nen Edmonton, Canadá. Y otros dos proyec-\ntos posibles, uno para la universidad y otro \ndel que no puedo hablar hasta que no haya \nelecciones en Alemania, es para el Kunstareal.\n«En India, que una mujer \ncrease su propio estudio era \nmuy raro, pero quería ayudar \na la sociedad y ser útil»\n",66,{"image":275,"text":276,"number":277},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.67.png","C 13 65\n",67,{"image":279,"text":280,"number":281},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.68.png","© Klotz  \n",68,{"image":283,"text":284,"number":285},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.69.png","Travel\nLos Angeles\nUSA\n",69,{"image":287,"text":288,"number":289},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.70.png","01\nLocated on a hill  \nin Griffith Park, the \nworld’s most famous  \nsign was installed \nin 1923 as an \nadvertisement for a \nhousing development. \nEach one of the nine \nletters is 13 meters tall. \nUrban Icon \nHollywood Sign\n02\nLa mítica ruta 66 \ntermina en el muelle \nde Santa Mónica, a 30 \nkilómetros del centro \nde Los Ángeles, donde, \nademás de un soleado \ndía de playa, se puede \ndisfrutar de todo tipo de \natracciones clásicas. \nThe mythical Route  \n66 ends 30 kilometers \nfrom the center of  \nLos Angeles, at the  \nSanta Monica Pier,  \nwhere visitors can enjoy \na sunny day at the \nbeach and all sorts of \namusements. \nAmusement Park\nSanta Monica Pier\nSituado sobre una colina \nen el parque Griffith, el \nletrero más famoso del \nmundo se instaló en 1923 \ncomo imán publicitario \nde una promoción \ninmobiliaria. Cada una \nde sus 9 letras mide 13 \nmetros de altura.  \n68 C13\nLos Angeles\nTravel\nUSA\n7\nEscenario y fábrica de \nsueños, la ciudad de las \nestrellas se extiende entre \ncasas de autor, alfombras \nrojas y nudos de carretera. \nThe ‘city of stars’ is a stage  \nand a dream factory that \nspreads between signature \nhouses, red carpets, and \nhighway junctions. \n© Fabio Formaggio \n© emerictimelapse \n",70,{"image":291,"text":292,"number":293},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.71.png","C13 69\n©  Songquan Deng \n03\nHighway\nRoute 101\nEl coche es la forma \nnatural de circular por \nla extensa ciudad de \nLos Ángeles, donde \nuna red de amplias \nautopistas converge en \nun núcleo urbano con \nlos rascacielos más altos \nde la costa oeste.  \nThe car is the natural \nway of moving around \nin the spread-out city \nof Los Angeles, where \na network of large \nhighways converges in \na city center with the \ntallest skyscrapers on \nthe West Coast. \n",71,{"image":295,"text":296,"number":297},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.72.png","Religious \nLos Angeles Cathedral \nPostmodernism\nTeam Disney Building\nLa alusión desenfadada a \nelementos clásicos típica \ndel posmodernismo se \nlleva al límite en la sede \nde Disney ideada por \nMichael Graves en 1990, \ndonde los siete enanitos \nde Blancanieves actúan \nen el papel de cariátides. \nThe carefree allusion \nto classical elements \ntypical of postmodernism \nis taken to the limit at \nthe Disney headquarters \ndesigned by Michael \nGraves in 1990, where \nSnow White’s seven \ndwarfs act as caryatids. \nArchitectural Landmark \nBradbury Building\nThe Bradbury Building \natrium has provided the \nsetting for many films, \namong which Blade \nRunner, and was one of \nLA’s first architectural \nicons thanks to its \npioneering construction in \niron, brick, and glass.\nEscenario de multitud de \npelículas, entre las que \ndestaca Blade Runner, el \natrio del edificio Bradbury \nfue uno de los primeros \nemblemas arquitectónicos \nde Los Ángeles por su \npionera construcción en \nhierro, ladrillo y vidrio. \nRevestido con más de \n16.000 toneladas de \ntravertino italiano, este \ncampus cultural fue \ndiseñado por Richard \nMeier en 1997 para \nalbergar la colección \nde arte del empresario \npetrolero J. Paul Getty.  \nClad with more than \n16,000 tons of Italian \ntravertine stone, this \ncultural campus in the \nSanta Monica mountains \nwas designed by Richard \nMeier in 1997 as a home \nfor the art collection of \noil tycoon J. Paul Getty. \nSituada al borde de la \nautopista de Hollywood, \nla catedral de Nuestra \nSeñora de Los Ángeles \nfue proyectada en 2002 \npor Rafael Moneo como \nun refugio sólido y \nsosegado frente a la \nvolatilidad del contexto. \nSitting on the edge of  \nthe Hollywood Freeway, \nthe Cathedral of Our \nLady of the Angels \nwas designed in 2002 \nby Rafael Moneo as a \nsolid and peaceful space \noffering shelter in a \nvolatile context. \nArt Museum \nGetty Center\n05\n06\n07\n70 C13\n04\n© Hunter Kerhart \n© Jeff Goldberg \u002F ESTO\n© Roland Halbe \n© Scott Frances \n",72,{"image":299,"text":300,"number":301},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.73.png","Designed by Diller \nScofidio + Renfro, \nthe museum houses \nthe contemporary art \ncollection of businessman \nEli Broad under a unique \nbiomorphic enclosure \nbuilt with modular \nconcrete rhombi. \nDiseñado por Diller \nScofidio + Renfro, este \nmuseo exhibe la colección \nde arte contemporáneo \ndel empresario Eli Broad, \nprotegida tras una singular \nenvolvente biomorfa \nconstruida con rombos \nmodulares de hormigón. \nMusic Center \nWalt Disney Concert Hall\nConceived as a frozen \nchoreography, the \nvolumes clad in stainless \nsteel of Frank Gehry’s \nWalt Disney Concert Hall \n– built between 1992 and \n2003 – are a reflection \nof the filmmaker’s \nfantasy world. \nConcebidos como una \ncoreografía congelada, \nlos volúmenes revestidos \nde acero inoxidable del \nauditorio Walt Disney  \n—construido por Gehry \nentre 1992 y 2003—  \nreflejan el mundo de  \nfantasía del cineasta.  \nWith an art collection \nspanning 6,000 years \nof history, the LACMA \ncomprises several buildings \nthat are unified under a \na master plan drawn up \nby Renzo Piano, who adds \na large sphere for the \nAcademy Museum. \nEl centro de arte LACMA \n—que abarca 6.000 años de \nhistoria— está formado por \nvarios edificios unificados \nsegún un master plan \nde Renzo Piano, que se \ncompletará con una gran \nesfera para alojar el Museo \nde Cine de Hollywood. \nArt Museum\n LACMA \nContemporary Art \n The Broad\n08\n09\n10\nC13 71\n© Roland Halbe \n© Nic Lehoux \n© courtesy of The Broad and Diller Scofidio + Renfro\n",73,{"image":303,"text":304,"number":305},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.74.png","72 C13\nModern Architecture\nHollyhock House\nLa Hollyhock es una de \nlas cuatro casas que Frank \nLloyd Wright construyó \nen Los Ángeles a partir de \nbloques de piedra tallados \nde inspiración maya.  \nHoy funciona como \ncentro cultural ligado al \nparque Barnsdall Art. \nHollyhock is one of \nthe four houses Frank \nLloyd Wright built in \nLos Angeles with carved \nstone blocks inspired  \nby Mayan culture.  \nToday it is a cultural \ncenter connected to \nBarnsdall Art Park. \nInternational Style\nLovell Health House \nThis house by Richard \nNeutra is a key example \nof the International  \nStyle. It explores the \nhealing capacity of \narchitecture through \ncontact with nature, \nfollowing the philosophy \nof the client, Dr. Lovell.  \nArts and Crafts \nGamble House\nAssembled using wood \nelements, the Gamble \nHouse was designed by \nthe Greene brothers. \nEnsamblada a partir de \npiezas de madera, la casa \nGamble fue diseñada por \nlos hermanos Greene.\nModern Architecture\nSchindler House \n14\nInspired in the vernacular \ncabin, Schindler designed \nthis house as an experiment \nfor living in community. \nInspirada en la cabaña \nvernácula, esta casa fue \nideada por Schindler como \nensayo de vida comunitaria. \nEjemplo emblemático \ndel Estilo Internacional, \nesta casa —firmada por \nRichard Neutra— exploró \nla capacidad sanadora de \nla arquitectura a través del \ncontacto con la naturaleza, \nde acuerdo con la filosofía \ndel cliente, el Dr. Lovell.  \n11\n12\n13\n© Arcaid Images \n© Daniel Collopy \nsource: mlmrarquitectos.com\nsource: kathyamcdonald.blogspot.com\nsource: circarq.wordpress.com\n15\nLa famosa casa de Charles \ny Ray Eames en Pasadena \nfue el número 8 de las \nCase Study Houses, un \nprograma promovido por \nJohn Entenza entre 1945 \ny 1966 para realzar la \nestética de los materiales y \nsistemas estandarizados.\nThe famed house of Charles \nand Ray Eames in Pasadena \nwas the number 8 of the \nCase Study Houses, a \nprogram developed by John \nEntenza between 1945 \nand 1966 to enhance the \naesthetic of standardized \nsystems and materials.\nCase Study Houses\nEames House\n",74,{"image":307,"text":308,"number":309},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.75.png","C13 73\nCase Study Houses\nStahl House\nCase Study Houses\nSalzman House\nFuturism\nChemosphere\nDeconstructivism\nGehry House\nSituada en el barrio de \nBel Air, la Case Study \nHouse número16, \ndiseñada por Craig \nEllwood en 1951, destaca \npor el uso pionero \nde paneles de vidrio \ntraslúcido que generan \nuna imagen etérea.   \nConocida con el nombre \nde Chemosphere, esta \ncasa de aspecto futurista \ny planta octogonal a la \nque se accede a través de \nun funicular particular \nfue diseñada por John \nLautner en 1960 para un \ningeniero aeroespacial.  \nCase Study House 16, in \nthe neighborhood of Bel \nAir, was designed  \nby Craig Ellwood in \n1951. The house stands \nout for its innovative use  \nof translucent glass  \npanels that create  \nan ethereal image. \nKnown by the name \nof Chemosphere, this \nfuturistic house with  \nan octagonal floor  \nplan and accessed  \nby private funicular  \nwas designed by John \nLautner in 1960 for an \naerospace engineer. \nThe house Frank Gehry \nremodelled for his own \nfamily in 1978 starting \nfrom an old bungalow \nbreaks with both the \nmodern and the historicist \naesthetic, placing \nunconventional materials \nand forms in conflict.\nLa casa que Frank Gehry \nremodeló para su propia \nfamilia en 1978 a partir \nde un bungaló existente \nrompe tanto con la estética \nmoderna como historicista, \nal poner en conflicto \ngeometrías y materiales \npoco convencionales. \n16\n18\n17\n19\nsource: designcafeclub.md\n© Julius Shulman  \n© Michael Locke  \nInmortalizada por las \nfotografías de Shulman, \nla casa Stahl —construida \npor Pierre Koenig— ofrece \nuna visión icónica de la \nconfianza en la tecnología \nque caracterizaba la época, \nal sobrevolar de manera \ncasi inmaterial la ciudad. \nImmortalized in the \nphotographs of Julius \nShulman, the Stahl House \nby Pierre Koenig, built \nin 1960, seems to float \nover the city, offering \nan iconic image of the \nfaith in technology that \ncharacterized the time. \n",75,{"image":311,"text":312,"number":313},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.76.png","74 C13\nConstruida en 1963, en \nsólo 6 semanas, esta cúpula \ngeodésica alberga una \npantalla panorámica curva. \nCon apariencia de buque de \nvapor, la embotelladora de \nCoca-Cola fue declarada en \n1975 Monumento Histórico.\nEl paseo de la fama de \nHollywood homenajea a \nmás de 2.000 estrellas de la \nindustria del espectáculo. \nBuilt in 1963, and in \njust six weeks, this \ngeodesic dome harbors a \ncurved panoramic screen. \nResembling a steam boat, \nthe Coca-Cola bottling \nplant was listed in 1975 \nas Historic Monument.\nHollywood’s Walk of \nFame pays tribute to \nmore than 2,000 stars  \nin the show business. \n22\n25\n23\nUnos prismáticos gigantes, \nde Oldenburg y Van Bruggen, \nfuncionan como entrada al \nedificio diseñado por Gehry. \nTwo huge binoculars, \nby Oldenburg and Van \nBruggen, are the gate to the \nbuilding designed by Gehry.\n24\nUrban Sculpture\nBinoculars Building\nAdemás de como parque \ntemático, Universal \nStudios sigue funcionando \ncomo estudio de cine. \nAside from being a \ntheme park, Universal \nStudios still runs  \nas a film studio. \n21\n Amusement Park \nUniversal Studios\nMovie Theater\nPacific’s Cinerama\nIndustrial Structure\nCoca-Cola Building\nStreet Life\nWalk of Fame\n20\nEnvisioned by Walt Disney \nhimself with the aim of \ndiversifying his business \nmodel after World War ii, \nDisneyland was the first \nexample of this new type \nof space exclusively for \nentertainment that would \nsoon spread worldwide. \n Amusement Park \nDisneyland\nIdeado por el propio Walt \nDisney para diversificar su \nmodelo de negocio tras la \nSegunda Guerra Mundial, \nDisneyland fue el primer \nejemplo de un nuevo tipo \nde programa destinado a \nla diversión que pronto se \nextendería por el mundo. \nsource: Capital Travel \nsource: blogs.getty.edu\nsource: destinationmodernism.com \nsource: revistaronda.net \nsource: es.foursquare.com\n© Carol M. Highsmith Archive\n",76,{"image":315,"text":316,"number":317},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.77.png","C13 75\nThe avant-garde and \nmulticultural atmosphere \nof Koreatown (the densest \ndistrict in Los Angeles) is \nconcentrated in The Line \nHotel, which occupies an \naesthetic industrial tower, \nwith a restaurant in an \noutdoor greenhouse.\nBuilt by John Portman \nbetween 1974 and 1976, \nthe Bonaventure is the \nlargest hotel in the city. \nThe six-story atrium, \nwith its retrofuturistic \naesthetic, has been \nchosen as setting for \nfilms like Interstellar.  \nEl clima vanguardista y \nmulticultural de Koreatown \n(el distrito más denso de \nLos Ángeles) se concentra \nen el hotel Line, que \nocupa una torre de estética \nindustrial y cuenta con un \ninvernadero exterior donde \nse sitúa el restaurante. \nConstruido por John \nPortman entre 1974 y \n1976, el Bonaventure es \nel hotel más grande de \nla ciudad. Por su estética \nretrofuturista su atrio de \nseis plantas ha sido elegido \ncomo escenario para \npelículas como Interstellar.  \nHotel & Restaurant\nThe Line \u002F Openaire\nHotel & Restaurant\nWestin Bonaventure\n26\n28\n27\nShopping & Events\nAlchemy Works\nLocated in the popular \nArts District, Alchemy \nWorks is a shop, bar, \ngallery, and events hall. \nEn el popular Arts District, \nAlchemy Works funciona \ncomo tienda, bar, galería de \narte y sala para eventos. \nsource: The Line Hotel\nsource: californiahomedesign.com\n31\nRestaurant\nRepublique\nUbicado en la antigua \noficina de Charles Chaplin, \nen el barrio de La Brea, \nel restaurante Republique \ncombina el ambiente \ndistendido que caracteriza \nlas mesas compartidas con \nlos sabores distinguidos de \nla cocina francesa.\nThe restaurant \nRepublique, located  \nin Charles Chaplin’s  \nold office, combines  \nthe casual atmosphere  \nof long, shared  \ntables with the \ndistinguished taste  \nof French cuisine. \nCoffee Company\nUrth Caffé\n29\nThe chance of seeing \ncelebrities increases in key \nspots of Beverly Hills like \nthe Urth Caffé terrace. \nLa probabilidad de ver \nfamosos aumenta en puntos \nclave de Beverly Hills como \nla terraza del Urth Caffé. \nRestaurant\nThe Bazaar\n30\nThe Bazaar restaurant  \nof popular chef José \nAndrés brings Spanish \ncuisine to Los Angeles. \nEl popular chef José Andrés \nexporta la cocina española \na Los Ángeles a través de su \nrestaurante The Bazaar. \n© phdonohue\nsource: seven-miles.com\nsource: ceramiccentral.com\n© roamingla\n",77,{"image":319,"text":320,"number":321},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.78.png","76 C13\n 08. Disney Concert Hall\n 09. LACMA\n 10. The Broad\n 27. Alchemy Works\n 28. Bonaventure Hotel\n 29. Urth Caffé\n 30. The Bazaar\n31. Republique\n826 E. 3rd Street\nalchemyworks.us\n404 S Figueroa St\n+1 213-624-1000\n8565 Melrose Ave\nurthcaffe.com\n465 La Cienega Blvd\nthebazaar.com\n(310) 246-5555 \n624 South La Brea Ave\nrepubliquela.com\n 20. Disneyland\n 21. Universal Studios \n 11. Gamble House\n 12. Hollyhock House\n 14. Schindler House\n 13. Lovell Health House\n 18. Salzman House\n 15. Eames House\n 16. Stahl House\n 17. Chemosphere\n 26. The Line \u002F Openaire\n3515 Wilshire Blvd\nthelinehotel.com \n(213) 368-3065\n1200 Getty Center Drive\ngetty.edu \u002F (310) 440-7300\nClosed Mondays\n4 Westmoreland Pl, Pasadena \ngamblehouse.org \nClosed Mondays, Wednesdays\n4800 Hollywood Boulevard\nbarnsdall.org \u002F (323) 913-4030\nClosed Mondays\n833 N Kings Rd, W. Hollywood \nmakcenter.org \nClosed Mondays, Tuesdays\n4616 Dundee Dr, CA 90027\n1811 Bel Air Rd, 90077\n203 Chautauqua Boulevard\neamesfoundation.org\nClosed Wednesdays, Sundays\nReservations are required\n1635 Woods Dr, CA 90069\nstahlhouse.com\nReservations are required\n208-429-1058\n7776 Torreyson Drive\n111 S Grand Ave\nlaphil.com\n(323) 850-2000\n5905 Wilshire Blvd\nlacma.org\nClosed Wednesdays\n221 S Grand Ave\nthebroad.org \u002F (213) 232-6250\ninfo@thebroad.org\nClosed Mondays \n200 Santa Monica Pier,  \nSanta Monica, CA 90401\nPacific Park: pacpark.com\n 22. Cinerama Dome\n6360 Sunset Blvd\narclightcinemas.com\n100 Universal City Plaza, \nUniversal City, CA 91608\nuniversalstudioshollywood.com\n1002 22nd St, Santa Monica\n 02. Santa Monica Pier\n 01. Hollywood Sign\n 03. Route 101\n 04. Bradbury Building\n 05. Los Angeles Cathedral\n 06. Team Disney Building\n304 S Broadway, CA 90013\n555 W Temple St, CA 90012\nolacathedral.org\n(213) 680-5200\n500 S Buena Vista St, \nBurbank, CA 91521\nLos Angeles\nLocalización y datos prácticos \nLocation and useful information  \n 23. Walk of Fame\n 24. Coca-Cola Building\n 25. Binoculars Building\nHollywood Blvd and Vine St  \n1200-1334 South Central Av\n340 Main St, Venice\n1313 Disneyland Dr, Anaheim\n00 1 714-781-4636\ndisneyland.disney.go.com\n 07. Getty Center\n 19. Gehry Residence\n02\n24\n07\n15\n18\n19\n",78,{"image":323,"text":324,"number":325},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.79.png","C13 77\n05\n06\n20\n12\n03\n26\n14\n29\n11\n22\n01\n13\n30\n25\n08\n17\n27\n28\n09\n31\n16\n04\n10\n21\n23\n",79,{"image":327,"text":19,"number":328},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.80.png",80,{"image":330,"text":19,"number":331},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.81.png",81,{"image":333,"text":334,"number":335},"\u002Fmedia\u002Fimages\u002F75\u002Ffa67155763870d3248b3b7e459dad5-28f78af272.82.png","website: www.magaceen.com   facebook: Magaceen   twitter: @magaceen   instagram: @magaceen   email: 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