[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-cosentino-architecture-and-everything-else-16":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":344},{"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":339,"matched_pages":340,"match_count":341,"two_pages":342,"show_text":343},24492,"Architecture & Everything Else 16","cosentino-architecture-and-everything-else-16","\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002F70\u002F615fe5b9cb1ea484d13eb3bd269b22-28f796644c.pdf","Cosentino",2482,"cosentino","320.3 MB",[14,17,21,25,29,33,37,41,45,49,53,57,61,65,69,73,76,80,84,88,92,96,100,104,108,112,116,120,124,128,132,136,140,144,148,152,156,160,164,168,172,176,180,184,188,192,196,200,204,207,211,215,219,222,226,230,234,238,242,245,249,253,257,261,265,269,273,277,280,284,288,292,296,300,304,308,312,316,320,324,327,330,334,337],{"image":7,"text":15,"number":16},"c \n16 \narchitecture &  \neverything else \n",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.2.png","",2,{"image":22,"text":23,"number":24},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.3.png","c\ncontents\n16\n06\n26\n36\n46\n56\n68\n  Architecture\n 06 INDUSTRIAL REHAB  Vector Architects in China  \n \n Un antiguo molino azucarero se transforma en hotel frente al paisaje kárstico del río Li. \n \n An old sugar mill is transformed into a hotel facing the karst landscape of Li River.\n \n Style\n 26 OMA * AMO FOR PRADA  Runway Fashion Show\n \n Una colección de escenografías que desafían las convenciones en los desfiles de moda.   \n \n A collection of scenographies that challenge the conventions of runway show design. \n \n Cosentino\n 36 DEKTON HEIGHTS  Leonardo Tower by Co-Arc in Johannesburg\n \n Más de 25.000 m2 de superficie ultracompacta revisten el edificio más alto de África. \n \n More than 25,000 m2 of ultracompact surface wrap the tallest building in Africa. \n \n Interior\n 46 LIGHT WALLS  RCR Artotec in Bordeaux\n \n Una sucesión de patios acristalados renueva la espacialidad de un antiguo almacén.\n \n A sequence of glazed courtyards renovate the spaces of an old industrial building.  \n 50 BRAZIL CUISINE  Dekton Clads Pipo Restaurant in São Paulo\n \n Las texturas neutras de Cosentino protagonizan el diseño interior firmado por RCB. \n \n Neutral textures by Cosentino fill the spaces in the restaurant designed by RCB. \n  Interview\n 56 PINÓS & CHINCHILLA  In dialogue\n \n Las arquitectas intercambian reflexiones sobre la cuestión de género en la profesión.\n \n The two architects reflect on the gender factor in the field of architecture.\n  Travel\n 68 AMSTERDAM  Netherlands\n \n Un recorrido por los principales hitos arquitectónicos de la capital de Holanda.    \n \n A guide of the key architectural landmarks in the Dutch 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 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 16 AERIAL ABSTRACTION  Tom Hegen\n \n Evidencias a vista de pájaro del impacto del ser humano en la Tierra. \n \n Bird’s-eye view images documenting human impact on Earth.\n",3,{"image":26,"text":27,"number":28},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.4.png","Depósito Legal: M-14282-2014\nISSN: 2341-3867 \nCubierta Cover\n‘The Salt Series I’\n© Tom Hegen\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 \nSantiago Landín\nJesús Pascual\nDavid Ruiz \nPaloma Sanz \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\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.5.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\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.6.png","© Su Shengliang\n",6,{"image":38,"text":39,"number":40},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.7.png","Architecture\nIndustrial Rehab\nVector Architects in China\n",7,{"image":42,"text":43,"number":44},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.8.png","6 C 16\nArchitecture\nBuilding\n1\nEl hotel Alila Yangshuo está enclavado en el pintoresco valle del \nrío Li, en Guangxi, al sur de China, una región que se caracteriza \npor sus paisajes de montañas kársticas ondulantes. En este entorno \nsingular, el proyecto ha intervenido sobre un molino azucarero \nconstruido en la década de 1960 y muy bien conservado, y el res-\npeto a este patrimonio se ha convertido en una de las premisas de \nla intervención. El molino y el resto de antiguas piezas industriales \nocupan la parte central del hotel, mientras que los nuevos edificios, \ndedicados a habitaciones y villas, se sitúan en los flancos. Una \nplaza rehundida y una lámina de agua acentúan el simbolismo del \nconjunto, además de evocar el significado de la vieja instalación. La \npiscina se sitúa sobre los antiguos muelles de carga, en un saliente \nque se asoma hacia el valle y enmarca las vistas. \nLa sensación de continuidad se ha reforzado respetando los \nmateriales y tonos del edificio preexistente, pero sin renunciar \na introducir una paleta más contemporánea. En este sentido, los \nbloques de cemento y el hormigón encofrado con madera in situ \ncontribuyen a la ligereza y la transparencia de los nuevos volúme-\nnes. Dos circulaciones principales atraviesan el edificio del hotel: \nuna funciona como un corredor interno; la otra hace las veces de \nvía pública. Finalmente, el contraste entre la horizontalidad de la \narquitectura y la verticalidad poderosa de las montañas kársticas \nsugieren la interacción entre lo artificial y lo natural. \nAlila Yangshuo hotel sits in the picturesque Li River valley of \nGuangxi, in southern China, surrounded by the region’s charac-\nteristic karst mountain scenery. In this unique context, the project \nintervenes on an old sugar mill built in the 1960s, which had \nbeen beautifully preserved. This industrial heritage represents the \nspirit of older generations, and respecting it becomes the guiding \npremise of this project. The mill and the rest of the old industrial \npieces occupy the central part of the hotel complex, flanked by \nthe newly added suite building and villas. The sunken plaza and \nreflecting pond accentuate the spiritual symbolism and signifi-\ncance of the old structure. \nThe pool sits on two old loading docks, on a cantilever that \noverlooks the valley and frames the views. The design seeks a \nsense of consistency by using more contemporary materials and \nconstruction methods while preserving the tinge and masonry \nstructure of the old. In this sense, the use of hollow concrete \nblocks and wood-formed cast-in-place concrete serves to make \nthe new volumes lighter and more transparent. Two main circula-\ntion systems pass up and through the suite building: one being a \ncompletely functional corridor system with the other serving as a \nfree public walkway. The contrast between the horizontality of the \narchitecture and the verticality of the karst mountains suggests \nan interaction between the artificial and the natural. \nIndustrial Rehab\nVector Architects in China\nUn antiguo molino \nazucarero se transforma \nen hotel manteniendo \nla continuidad de los \ntonos y la tectónica \nde las construcciones \nantiguas sin renunciar \npor ello a un lenguaje \ncontemporáneo. \nThe project involved \ntransforming an \nabandoned sugar mill  \ninto a hotel preserving  \nthe tones and the  \ntectonic features of  \nthe existing buildings \nwhile embracing a \ncontemporary language. \n",8,{"image":46,"text":47,"number":48},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.9.png","C 16 7\n",9,{"image":50,"text":51,"number":52},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.10.png","8 C 16\nThe existing buildings \nhouse the communal \nareas; the new volumes, \narranged around two \nponds and a sunken \nsquare, contain the \nbedrooms and the villas; \nthe swimming pool is in \nthe former loading area.\nLas construcciones \npreexistentes alojan \nlas zonas comunes del \nhotel, mientras que los \nvolúmenes de nueva \nplanta —dispuestos en \ntorno a dos estanques y \nuna plaza rehundida— \nalbergan las habitaciones.\n",10,{"image":54,"text":55,"number":56},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.11.png","C 16 9\n",11,{"image":58,"text":59,"number":60},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.12.png","10 C 16\nThe horizontality of the \nnew buildings contrasts \nwith the vertical karstic \nlandscape around it.  \nThe latticework, formed \nby cement blocks of \nsolids and voids, creates \na sense of lightness  \nand transparency.\nLa horizontalidad de \nlos nuevos edificios \nse contrapone con la \nverticalidad del paisaje \nkárstico que los rodea. \nLa celosía, formada por \nbloques de cemento llenos \ny vacíos, genera una \nimagen de ligereza.\n",12,{"image":62,"text":63,"number":64},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.13.png","C 16 11\n",13,{"image":66,"text":67,"number":68},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.14.png","12 C 16\n",14,{"image":70,"text":71,"number":72},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.15.png","C 16 13\nArquitectos Architects\nVector Architects \u002F Gong Dong (socio partner); Bin He, Nan \nWang, Chen Liu, Fangzhou Zhu, Xiangdonbg Kong, Peng \nZhang, Liangliang Zhao, Jian Wang, Mengyao Xu, Yue \nHan, Zhiyong Liu, Bai Li, Xiaokai Ma (equipo team); Bin \nJu \u002F Horizontal Space Design (interiorismo interior design); \nJinjing Wei, Yaocheng Wei, Hongming Nie, Luokai Zhang, \nFanyu Luo, Wenjun Zho (equipo de interiorismo interior \ndesign team); Liangliang Zhao, Peng Zhang, Yingfa Li, Xipu \nLi (dirección de obra site architect)\nColaboradores Collaborators\nGuilin Institute of Architectural Design Co.,Ltd., Jianmin \nQin, Mu Yang, Yuanxin Lu (LDI); Sen Lin, Haijia Li, Fuliang \nWei, Jiaorong He, Yu Gao – Shenzhen JS M&E Engineering \nDesing (instalaciones installations); Albert Martin Klaasen \n(iluminación lighting); Wenfu Zheng, Bo Li, Xianzhong Zhou \n(estructuras structures); Dengsheng Lin, Xiaoyan Lu, Jing \nDeng (ingeniería MEP engineering); Qianbai Yu, Yingying \nXiao (paisajismo landscaping)\nCliente Client\nLandmark Tourism Investment Company \nFotos Photos\nChen Hao, Su Shengliang (pp. 10, 12)\n",15,{"image":74,"text":19,"number":75},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.16.png",16,{"image":77,"text":78,"number":79},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.17.png","Arts\nAerial Abstraction\nTom Hegen\n",17,{"image":81,"text":82,"number":83},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.18.png","16 C 16\nAerial Abstraction \nTom Hegen\nArts\nPhotography\n2\nThe shine of the colors, the geometries \nof the landscapes, and the almost tactile \ntextures make the images of Tom Hegen \n(Königsbrunn, 1991) look like impressive \nabstract paintings, when they are actually \nobjective documents of reality. Through \naerial images the photographer and \ndesigner shows the human impact on \nEarth, searching for artificially transformed \nterritories and inviting the observer \nto discover the world from a different \nperspective, placing them face to face with \nthe dimension of their interventions and \nmaking them aware of their responsibility  \nin the preservation of our planet. \nAfter an intensive \nprocess of research on the \nconcept of Anthropocene, \nthe Munich-based \nphotographer Tom Hegen \nhas flown over different \nregions to document the \nhuman impact on the \nEarth’s natural landscapes. \nBasada en una \nintensa investigación \nsobre el concepto de \nAntropoceno, la obra \ndel fotógrafo con sede \nen Múnich Tom Hegen \nregistra visualmente el \nefecto de las actividades \ndel hombre en la Tierra.\nEl brillo de los colores, las geometrías de \nlos paisajes y unas texturas casi táctiles \nhacen de las imágenes de Tom Hegen \n(Königsbrunn, 1991) aparentes cuadros \nabstractos, cuando son en realidad \ndocumentos objetivos de la realidad. El \nfotógrafo y diseñador muestra, a través \nde imágenes aéreas, el impacto del \nser humano sobre la Tierra, buscando \nterritorios transformados artificialmente \npara invitar al observador a descubrir el \nmundo desde otra perspectiva, enfrentarle \na la dimensión de sus intervenciones y \nhacerle consciente de su responsabilidad \nen la conservación de nuestro planeta. \n‘The Sand Dunes Series’\n",18,{"image":85,"text":86,"number":87},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.19.png","C 16 17\n‘The Sand Dunes Series’\n",19,{"image":89,"text":90,"number":91},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.20.png","18 C 16\n",20,{"image":93,"text":94,"number":95},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.21.png","C 16 19\n‘The Salt Series’ es una \ncolección abstracta \nde imágenes sobre la \nintervención humana en \nlos paisajes productivos. \nLa presencia de \nmicroorganismos y la \nsalinidad cambian el color \nde los distintos estanques.  \n‘The Salt Series’ is an \nabstract collection of \nimages that explore \nhuman intervention \nin the production of \nsalt. The presence of \nmicroorganisms and \nsalinity change the  \ncolor of the ponds.\n‘The Salt Series’\n",21,{"image":97,"text":98,"number":99},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.22.png","20 C 16\n‘The River Veins Series’\n",22,{"image":101,"text":102,"number":103},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.23.png","C 16 21\n‘The Iceberg Series II’\nEn ‘The River Veins Series’ \nse intuyen los patrones \ndibujados al derretirse \nlos glaciares sobre la \nnegra arena volcánica de \nIslandia, mientras que ‘The \nIceberg Series II’ recoge \nla geometría del fiordo \ngroenlandés de Ilulissat. \n‘The River Veins Series’ \nreflects the patterns  \nleft when the glaciers \nmelt on black volcanic \nsand in Iceland, and  \n‘The Iceberg Series II’ \ncaptures the shapes  \nof Ilulissat Icefjord  \nin Greenland. \n",23,{"image":105,"text":106,"number":107},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.24.png","22 C 16\nTanto ‘The Quarry \nSeries’ como ‘The \nMarble Series’ revelan \nlos procesos previos a \nla construcción de las \nciudades al documentar \nlos métodos de \nextracción y procesado \nde las materias primas. \n‘The Quarry Series’ and \n‘The Marble Series’ \nboth show the various  \nmethods developed for \nmining and processing of \nthe raw materials needed \nin the construction  \nof growing cities  \nand infrastructure. \n‘The Quarry Series’\n",24,{"image":109,"text":110,"number":111},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.25.png","C 16 23\n",25,{"image":113,"text":114,"number":115},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.26.png","© Agostino Osio\n",26,{"image":117,"text":118,"number":119},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.27.png","Style\nOMA*AMO for Prada\nRunway Fashion Show\n",27,{"image":121,"text":122,"number":123},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.28.png","26 C 16\nOMA * AMO  \nFOR PRADA\nRunway Fashion Show \nDesde su primera colaboración en 2004, \ncada año AMO —el think tank de OMA, \nla oficina de Rem Koolhaas— diseña para \nPrada las escenografías en las que la firma \nde moda milanesa presenta sus colecciones. \nPlanteando cuestiones como la relación \ndel espectador con la moda, la jerarquía \nde la industria, o el uso de los espacios \nperformativos, los proyectos de AMO \ntransmutan espacios industriales, como los \nde la sede del grupo en vía Fogazzaro o los \nde la Fondazione Prada —construida por \nOMA en una antigua destilería en 2015—, \nen impactantes escenarios que convierten \nlas pasarelas en auténticas experiencias \nsensoriales protagonizadas por la moda \ntanto como por la arquitectura. \nLa configuración de los espacios no \nestá necesariamente relacionada con la \ncolección que se presenta, sino que busca \ndesafiar las convenciones establecidas \nsituando al público en una posición \ninesperada o reinventando la manera de \ndesfilar. A través de recursos como la \niluminación, la materialidad o el color, \nlas pasarelas evocan escenas teatrales, \npaisajes extremos o ambientes futuristas \ninspirados en diferentes referencias \nculturales o artísticas que trasladan al \nespectador a un territorio onírico.\nSince their first collaboration in 2004, \nevery year AMO – the research and \ndesign branch of OMA, the office founded \nby the Dutch architect Rem Koolhaas – \ndesigns the sets for the runway shows  \nof the Milanese luxury fashion house \nPrada. Proposing issues like the \nrelationship of spectators with fashion, \nthe hierarchy of the industry, or the \nuse of performative spaces, AMO’s \nprojects transform industrial facilities \nlike those in the group’s headquarters \non Via Fogazzaro or those of Fondazione \nPrada – built by OMA in 2015 in an old \ndistillery – into dazzling stages, turning \nthe fashion shows into true sensory \nexperiences protagonized by fashion  \nand architecture alike.\nThe design of the settings is not \nnecessarily related with the collection \npresented, but seeks challenging the \nestablished conventions, placing the \naudience in an unexpected place or \nreinventing the way of walking down  \nthe runway. Through resources like \nlighting, materiality, or color, the catwalks \nevoke theater scenes, extreme landscapes, \nor futuristic atmospheres inspired by \ndifferent cultural or artistic references that \ntake spectators to an oneiric world.\nStyle\nFashion\n5\nConcebidos como \nauténticos proyectos \narquitectónicos, las \npasarelas desarrolladas \npor AMO permiten un alto \ngrado de experimentación \ncreativa que entra en \ndiálogo con el carácter \ninnovador de Prada.\nEnvisaged as true \narchitectural projects, \nthe runway show \ndesigns developed \nby AMO permit a \nhigh level of creative \nexperimentation that \nresonates with Prada’s \ninnovative character.\nPrada Spring\u002FSummer 2020 Men’s Show. © Orange Image Shanghai\n",28,{"image":125,"text":126,"number":127},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.29.png","C 16 27\n",29,{"image":129,"text":130,"number":131},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.30.png","28 C 16\nComo resultado de la \ncolaboración entre AMO \ny Prada, los desfiles de \nla firma italiana se han \nconvertido en impactantes \neventos que modifican y \nalteran la percepción del \nespacio industrial donde \nse desarrollan los mismos.\nThe collaboration between \nAMO and Prada has \nturned the runway shows \nof the Italian fashion \nhouse into spectacular \nevents that modify and \nalter the perception of the \nindustrial spaces chosen \nto present the collections.\nPrada Spring\u002FSummer 2019 Men’s Show. © Agostino Osio\nPrada Spring\u002FSummer 2019 Men’s Show. © Agostino Osio\n",30,{"image":133,"text":134,"number":135},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.31.png","C 16 29\nPrada Spring\u002FSummer 2015 Men’s and Women’s Show. © Agostino Osio\n",31,{"image":137,"text":138,"number":139},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.32.png","30 C 16\nLas pasarelas están \ninspiradas en diferentes \nreferencias culturales \no artísticas como el \nteatro, el paisaje o la \nciudad; y llevan al límite \nrecursos expresivos \ncomo la iluminación, la \nmaterialidad o el color.  \nThe catwalks are  \ninspired in different \nartistic or cultural \nreferences like theater, \nthe landscape, or the  \ncity, and take to the \nextreme expressive \nresources like lighting, \nmaterial quality, or color. \nPrada SS 2015 Men’s and Women’s Show. © Agostino Osio\nPrada Fall\u002FWinter 2020 Men’s Show. © Agostino Osio\nPrada Fall\u002FWinter 2016 Men’s & Women’s Show. © Agostino Osio\nPrada Fall\u002FWinter 2012 Men’s Show. © Marco Beck Peccoz\n",32,{"image":141,"text":142,"number":143},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.33.png","C 16 31\nPrada Fall\u002FWinter 2012 Men’s Show. © Marco Beck Peccoz\n",33,{"image":145,"text":146,"number":147},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.34.png","32 C 16\nPrada Spring\u002FSummer 2012 Men’s Show. © Agostino Osio\n600 cubos de espuma \nazul crean una retícula \nuniforme de asientos \ndonde se distribuye \nel público, de manera \nque se multiplican los \nrecorridos del desfile y se \ntransforma el punto de \nvista del espectador. \n600 cubes of blue \nfoam create a uniform \ngrid of seats where \nthe audience watches \nthe fashion show, \nmultiplying the  \nrunway paths and \ntransforming the point \nof view of spectators. \n",34,{"image":149,"text":150,"number":151},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.35.png","C 16 33\n",35,{"image":153,"text":154,"number":155},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.36.png","© Fernando Alda\n",36,{"image":157,"text":158,"number":159},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.37.png","Cosentino\nDekton Heights\nLeonardo Tower by Co-Arc in Johannesburg\n",37,{"image":161,"text":162,"number":163},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.38.png","36 C 16\nCosentino\nArchitecture\n4\nDEKTON HEIGHTS\nLeonardo Tower by Co-Arc in Johannesburg\nCon 234 metros de altura, la torre Leonardo es el edificio más alto \nde África. Situado en Sandton, un suburbio en la zona norte de \nJohannesburgo, el volumen de 55 alturas, diseñado por el equipo \ninternacional Co-Arc, se ha convertido en un símbolo de la ciudad \nvisible desde la distancia. \nInicialmente, estaba previsto que la fachada fuera totalmente \nacristalada, pero después se optó por una solución más ecológica, \ncon un mejor rendimiento energético, que transmitiese una imagen \nde solidez. Una piel de 25.000 m2 de superficie Dekton Gada reviste \nuna primera capa de vidrio, de manera que se añade profundidad a \nlos alzados, se regula la incidencia del sol y se enmarcan los diferentes \nhuecos. Este producto se compone de una mezcla de doce materias \nprimas sometidas a un proceso de alta tecnología equivalente al \ncambio metamórfico que experimentaría una piedra natural durante \nmiles de años, por lo que se trata de una superficie ultracompacta y \nresistente. Además, la posibilidad de alcanzar espesores de tan sólo \n8 mm hace que se reduzca significativamente el peso total respecto a \notras opciones como el mármol o el granito, lo que convierte a Dekton \nen una opción idónea para un edificio de gran altura.\nElevada sobre un podio comercial, la torre alberga oficinas, \nviviendas y un hotel. En el interior, diferentes tipos de Silestone \nse utilizan en cocinas, baños, restaurantes y gimnasios; mientras \nque 500 m2 de la superficie Dekton Keon revisten el suelo. \nWith 234 meters in height, Leonardo Tower is the tallest building \nin Africa. Located in Sandton, a suburb in the northern area \nof Johannesburg, the volume of 55 heights, designed by the \ninternational team Co-Arc, has become a city landmark that can \nbe seen from afar. \nInitially the facade was going to be completely glazed, but later \nthe design shifted towards a more ecological option, more energy \nefficient, which would transmit an image of solidity. A skin of 25.000 \nsquare meters of Dekton Gada surface clads a first layer of glass. \nThis system adds depth, controls sunlight, and frames the different \nopenings. This product is constructed from a combination of twelve \nraw materials treated with a high-technology process equivalent \nto the metamorphic change that natural stone would undergo after \nthousands of years, so it is an ultracompact and resistant surface. \nBesides, the possibility of reaching thicknesses of just 8 millimeters \nsignificantly reduces the total weight with regards to other options \nlike marble and granite, which turns Dekton into an ideal option \nfor high-rise construction. \nBuilt on a podium containing commercial facilities, the tower \naccommodates offices, housing, and a hotel. Inside, the different \ntypes of Silestone are used in kitchens, bathrooms, restaurants, \nand gymnasiums, while 500 square meters of Dekton Keon clad \nthe floor surfaces.\nArquitectos Architects:  \nCo-Arc International Architects\nColaboradores Collaborators:  \nLegacy Development, Aveng \nGrinaker, Arup, SM Schneid, \nRitchie Midgley, WIN \nConsulting Engineers, MNS, \nWat-Sol Design Technology, \nSpecial Fire Technology \nRational Designs, Landmark \nStudios, Linspace, Cairnmead\nPhotos: Fernando Alda \n",38,{"image":165,"text":166,"number":167},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.39.png","C 16 37\n",39,{"image":169,"text":170,"number":171},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.40.png","38 C 16\n",40,{"image":173,"text":174,"number":175},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.41.png","C 16 39\nBecause of their reduced \nthickness, reaching just  \n8 mm, Dekton surfaces \nare an ideal option for \nhigh-rise buildings, \nbecause weight is \nreduced to a maximum \nwhile maintaining \nresistance and stability.\nGracias a sus ajustados \nespesores, que alcanzan  \n8 mm, la superficies \nDekton son una opción \nidónea para edificios en \naltura, ya que se reduce \nel peso, manteniendo la \ncapacidad resistente y la \nimagen de solidez.  \n",41,{"image":177,"text":178,"number":179},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.42.png","40 C 16\nOn top of a commercial \npodium that contains \nparking, shops, and \nservices rise the 55 floors \nwith a hotel, offices, \nand apartments, fit out \nwith different types of \nSilestone in kitchens, \nlobbies, and bathrooms.\nSobre un podio que \ncontiene aparcamientos, \ncomercios y servicios, \nse elevan 55 niveles que \nalbergan un hotel, oficinas \ny apartamentos, equipados \ncon diferentes tipos de \nSilestone en cocinas, \nvestíbulos y baños.    \nFloor Plan, Typical Apartment\nFloor Plan, Typical Office\nFloor Plan, Typical Penthouse\n",42,{"image":181,"text":182,"number":183},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.43.png","C 16 41\n",43,{"image":185,"text":186,"number":187},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.44.png","42 C 16\nA total of 25,000  \nsquare meters of \nultracompact Dekton \nGada surface were used \nfor the tower’s external \ncladding, while the  \nnon-slip surface Dekton \nKeon was chosen to \ncover the floors.\nEn el exterior, un total de \n25.000 m2 de superficie \nultracompacta Dekton \nGada reviste la fachada \nde la torre Leonardo, \nmientras que en el interior \nse utiliza el modelo \nantideslizante Dekton \nKeon para suelos. \nDekton Keon\nDekton Gada\nPanel DEKTON\nDEKTON Panel \nPanel DEKTON\nDEKTON Panel \nPanel composite de aluminio 4 mm\n4 mm aluminum composite panel \nEstructura de aluminio con recubrimiento en polvo\nPowder coated aluminum framing \n",44,{"image":189,"text":190,"number":191},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.45.png","C 16 43\n",45,{"image":193,"text":194,"number":195},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.46.png","© Pep Sau\n",46,{"image":197,"text":198,"number":199},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.47.png","Interior\nLight Walls\nRCR Artotec in Bordeaux \nBrazil Cuisine\nDekton Clads Pipo Restaurant in São Paulo\n",47,{"image":201,"text":202,"number":203},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.48.png","46 C 16\nLIGHT WALLS\nRCR Artotec in Bordeaux \nInterior\nRenovation\n5\nSituado en la ciudad de Burdeos, el \nproyecto consiste en la renovación de un \nantiguo almacén con espacios abovedados \nque funcionaban como bodegas para el \nacopio de pescado y víveres. La actuación \npretende revitalizar la actividad de la zona \naprovechando su céntrica localización y \nla existencia de un acogedor jardín que \nlinda con la propiedad. Por ello, se plantea \nsu reconversión en un edificio de usos \nmixtos en el que conviven una galería de \nexposiciones, un taller de arquitectura y \nla vivienda de uno de los integrantes del \nestudio. La separación de lo público y lo \nprivado define la actuación, repartiendo los \nusos en vertical y fragmentando el espacio \ntransversalmente. Las bodegas del sótano \nse destinan a salas de exposición, mientras \nque el nivel de calle alberga el atelier \ny la planta superior, con una cubierta \nabuhardillada, la vivienda. El tejado, \nfragmentado por patios de luz, crea un \norden de bandas que organizan los usos y \nlas comunicaciones. Esta sucesión de capas \nacristaladas crea una imagen etérea que \ndisuelve los límites de las estancias. En la \núltima de ellas, que contiene un programa \ncompartido —la sala central de exposiciones \ny una biblioteca—, la altura de los forjados \nvaría para incrementar su continuidad con \nrespecto al resto de las estancias.\nLocated in the city of Bordeaux, the \nproject renovates an old warehouse with \nvaulted spaces that were once cellars for \nstoring fish and supplies. The intervention \nseeks to reactivate the area by making \nthe most of its central location and the \nexistence of a cozy garden adjacent  \nto the property. The construction is \nreconverted into a mixed-use building \nthat includes an exhibition gallery, \na workshop, and the home of one of \nthe studio’s members. The separation \nof public and private defines the \nintervention, organizing the uses vertically \nand dividing the space transversally.  \nThe basement storage spaces are \ntransformed into exhibition halls, the \nstreet level houses the architecture studio, \nand the upper floor, with a characteristic \nsloping wooden ceiling, contains the \ndwelling spaces. The roof, fragmented by \nskylights and courtyards, creates a series \nof transversal bands that organize the \ndifferent uses and circulation elements. \nThese layers of glass create an ethereal \nimage that blurs the limits between  \nrooms. In the last one of these, which \ncombines the main exhibition hall and  \na large library, the height of the slabs \nvaries so that they are in greater \ncontinuity with the other rooms. \nPhotos: Pep Sau \n",48,{"image":205,"text":19,"number":206},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.49.png",49,{"image":208,"text":209,"number":210},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.50.png","48 C 16\n",50,{"image":212,"text":213,"number":214},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.51.png","C 16 49\nA través de una sucesión \nde patios acristalados, la \nluz penetra en el edificio y \nprotagoniza la renovación \nde este antiguo almacén \nque acoge ahora una \nvivienda, un taller de \narquitectura y una galería \nde arte abierta al público. \nLight enters the building \nthrough a series of \nglazed courtyards, and \nbecomes a key element \nin the renewal of this \nold warehouse that now \ncontains a residence, an \narchitecture studio, and a \npublic exhibition gallery. \n",51,{"image":216,"text":217,"number":218},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.52.png","50 C 16\nbrazil cUisine\nDekton and Silestone Surfaces Clad \nPipo Restaurant in São Paulo\ninterior\nrestaurants\n5\nDentro del Museo de Imagen y Sonido \nde São Paulo (MIS), el restaurante Pipo \nofrece una experiencia gastronómica \nen la que los clientes pueden disfrutar \ndel proceso de elaboración y emplatado \ndel menú diseñado por el eminente chef \nFelipe Bronze, premiado con dos estrellas \nMichelin. Las arquitectas Renata Castilho \ny Camila Buciani, de RCB Arquitetura, \nfueron las encargadas de proyectar este \nespacio diáfano, vinculado a la naturaleza, \nla luz natural y la brisa fresca. Tanto la \nsuperficie de trabajo de la parrilla como \nla pared principal se revisten con Dekton \nOrix, una tonalidad que pertenece a \nla colección ‘industrial’ y que aporta \nuna imagen neutra, en contraste con \nla decoración colorista firmada por el \nartista TOZ. Siguiendo esta misma línea, \nlas mesas y encimeras utilizan el modelo \nDekton Nilium, que reproduce una textura \nnatural salpicada por puntos metálicos \ndorados y grises. La resistencia de este \nmaterial a los rayos ultravioleta hace que \nse pueda utilizar también en la terraza, \nlo que genera una estética homogénea \ny disuelve el límite entre el interior y el \nexterior. Con este mismo objetivo, el área \nprincipal se cierra con puertas permeables \nde listones de madera diseñadas \nespecíficamente para este proyecto.\nLocated in the Museum of Image \nand Sound (MIS) of São Paulo, Pipo \nRestaurant offers a gastronomic experience \nduring which the clients can follow \nand enjoy the preparation and plate \npresentation process of the menu designed \nby famed chef Felipe Bronze, distinguished \nwith two Michelin stars. The architects \nRenata Castilho and Camila Buciani, \nof the São Paulo-based studio RCB \nArquitetura, were commissioned to design \nthis open-plan space, connected with \nnature, sunlight, and the fresh breeze. \nBoth the countertops of the grill area \nand the main wall are clad with Dekton \nOrix, a tone included in the ‘industrial’ \ncollection and that gives a neutral image, \nin contrast with the colorist decoration \nsigned by the artist TOZ. Along the \nsame line, the walls and countertops \nare covered with Dekton Nilium, which \nreproduces a natural texture scattered \nwith golden and gray metallic dots. This \nmaterial is highly resistant to UV light, \nso it can also be used on the terrace, \ncreating a uniform aesthetic and blurring \nthe boundaries between indoor and \noutdoor spaces. Following this same \naim, the main space is enclosed with \npermeable doors of timber strips designed \nspecifically for this project. \n",52,{"image":220,"text":19,"number":221},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.53.png",53,{"image":223,"text":224,"number":225},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.54.png","52 C 16\nEl restaurante Pipo \nincorpora 138 m² de \nmateriales de Cosentino: \nDekton Nilium en las \nencimeras, Dekton \nOrix en las superficies \nde trabajo y la pared \nprincipal, y Silestone \nBlanco Capri en el baño. \nThe design for Pipo \nRestaurant includes 138 \nm² of Cosentino materials: \nDekton Nilium on tables \nand countertops,  \nDekton Oriz on worktops \nand main wall, and  \nSilestone Blanco Capri \nfor bathrooms. \nDekton Orix\nDekton Nilium\nSilestone Blanco Capri\n",54,{"image":227,"text":228,"number":229},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.55.png","C 16 53\n",55,{"image":231,"text":232,"number":233},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.56.png","© Miguel Fernández-Galiano\n",56,{"image":235,"text":236,"number":237},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.57.png","Interview\nPinós & Chinchilla\nIn Dialogue\n",57,{"image":239,"text":240,"number":241},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.58.png","Interview\nConversation\n6\nPinós &  \nChinchilla \nin dialogue\n",58,{"image":243,"text":19,"number":244},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.59.png",59,{"image":246,"text":247,"number":248},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.60.png","58 C 16\nPhotos: Miguel Fernández-Galiano \nCarme Pinós e Izaskun Chinchilla abordan \ntemas como la arquitectura, la crisis ecológica \ny la futura exposición de Pinós en el Museo \nICO, pero en su conversación aflora un tema \nal que dedican especial insistencia, la cuestión \ndel género, que es el que, al cabo, recogemos \na continuación.\nIzaskun Chinchilla: Podemos, si te parece, \nempezar reflexionando juntas sobre cómo \nafecta la perspectiva de género a la arquitec-\ntura. Te lo pregunto porque no todo el mundo \nse siente igual de cómodo con este tema.\nCarme Pinós: Sí, tengo cosas que decir, y \npor varias razones, empezando por el hecho \nde que, cuando se profundiza en la historia, \nuna se da cuenta de que está contada desde \nun punto de vista muy masculino... \nIC: Es cierto: la historia ha sido violencia y \nfuerza, pero también han ocurrido otras mu-\nchas cosas que no forman parte de la historia \noficial, ¿no?\nCP: Por supuesto que sí. Creo que hemos \navanzado mucho y, en este sentido, pienso \nque cuando el ser humano se hizo seden-\ntario, la divinidad —antes representada por \nla diosa madre— pasó a tutelar la guerra y, \ncon ello, nació el concepto de patrimonio, \nel patriarcado. Se dio la vuelta al sistema: el \nmatriarcado dejó paso a un sistema basado \nen la sucesión del patrimonio conquistado a \ntravés de la violencia, y esto fue así a pesar de \nque, en último término, sólo la mujer sabía \ncon certeza quién era el padre de su hijo. \nComo las mujeres quedaban al margen de \nla guerra, del mundo sostenido en la fuerza, \nnuestro género fue relegado. Y el resultado, \nprevisible, es que la historia de la humanidad \nestá escrita por los hombres. \nCuando digo que, pese a esta situación de \npartida, hemos mejorado mucho me refiero \nal hecho de que ahora la guerra, la violencia, \nel ejercicio de la fuerza que han sustentado \ntradicionalmente el patriarcado, ya no ocupa \nla posición absoluta que ocupaba antes. A \nello han contribuido factores de emancipación \nfemenina tan importantes como la liberación \nsexual, el control de la natalidad o la llegada \nde las mujeres a puestos sociales de importan-\ncia. Todo esto es un gran paso, pero es sólo el \nprimero. Después hay que dar otros, que tienen \nque ver con que el hombre se involucre más \npara que la mujer pueda incorporarse de pleno \na la gestión del mundo, o con el mero hecho \nde que este mundo necesita sin más a las mu-\njeres. El mundo necesita a las mujeres porque \nnosotras somos menos prepotentes, hemos \ndesarrollado más la capacidad de escucha \ny empatía, probablemente porque llevamos \nmilenios atendiendo y cuidando a los demás, \ncosas que a los hombres les cuestan mucho. En \nlas sociedades tradicionales, la mujer escucha-\nba sin poder actuar; intentaba comprender: si \nun hijo se convertía en asesino, el hombre lo \ndesheredaba, lo rechazaba como hijo, pero la \nmujer lo seguía considerando como un fruto \nde su misma sangre.\nEl mundo está formado por muchas cosas, \nmuchas cosas contaminadas, y esta actitud \nque, por imposición del patriarcado, tuvie-\nron que hacer suya las mujeres, presenta su \nlado positivo. En mi arquitectura, por ejemplo, \ntrato de que siempre se dé un diálogo entre dos \no tres elementos, que el proceso no consista \nsimplemente en la imposición de un solo dis-\ncurso. Estoy segura de que esta actitud tiene \nque ver, en parte, con mi condición de mujer. \nLas arquitectas Carme \nPinós (1954) e Izaskun \nChinchilla (1975)\nse encuentran en las \noficinas de Arquitectura \nViva en Madrid para \ndiscutir sobre el papel de \nla mujer en la historia y  \nen la arquitectura.\nArchitects Carme Pinós \n(1954) and Izaskun \nChinchilla (1975) meet \nat the offices of the \nMadrid-based magazine \nArquitectura Viva to \ntalk about the role of \nwomen in history and \nin architecture. \n«En mi arquitectura, trato de \nque siempre se dé un diálogo, \nque el proceso no consista en \nla imposición de un discurso»\n",60,{"image":250,"text":251,"number":252},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.61.png","Carme Pinós and Izaskun Chinchilla broach \nissues like architecture, the ecological crisis \nand the future exhibition on the work of \nPinós at the Museo ICO, but in their conver-\nsation the gender issue comes up insistently, \nand that is the part we are recording here.  \nIzaskun Chinchilla: To start, and if you \nagree, let’s reflect together on how the gen-\nder factor affects architecture. I am asking \nfirst because not everyone feels comfortable \ndiscussing this issue. \nCarme Pinós: Yes, I have things to say, \nand for several reasons, because the more \nyou delve into history, the more you realize \nthat it is told from a very male point of view. \nIC: It’s true: history has been violence and \nstrength, but many of the other things that \nhave happened are not part of the official \nhistory, right? \nCP: Yes of course. I think we have made \ngreat progress and, in this sense, I believe \nthat when humans became sedentary, divin-\nity – previously represented by the mother \ngoddess – went on to become the god of war, \nand this gave birth to the concept of heri-\ntage, of patriarchy. The system was turned \naround: matriarchy gave way to a system \nbased on the succession of heritage con-\nquered through violence, and this was so de-\nspite the fact that, ultimately only the woman \nknew for certain who her son’s father was. \nAs women were left out of war, of a world \nsustained by force, our gender was relegated, \nand the foreseeable result is that the history \nof humanity is written by men. When I say \nthat, in spite of this starting point, we have \nimproved a lot, I refer to the fact that now \nwar, violence, and the use of force that have \ntraditionally sustained patriarchy do not oc-\ncupy the absolute position they had before. \nDifferent aspects of women’s emancipation \nhave contributed to this, such as sexual free-\ndom, birth control or the rise of women to \nprominent social positions. This is a big \nstep, but it is only the first. Other actions \nmust be taken, like making men get more \ninvolved so that women can step fully into \nworld management, or simply acknowledg-\ning that this world needs women. The world \nneeds women because we are less arrogant, \nwe have developed a greater capacity for \nlistening and empathy, probably because we \nhave spent thousands of years taking care \nof others, something that men have a hard \ntime doing. In traditional societies, a woman \nlistened without being able to act; she tried \nto understand; if a son became a murderer, \nthe father disinherited him, rejected him as \nson, but a woman would still consider that \nson her flesh and blood.\nThe world consists of many things, many \ncontaminated things, and that attitude \nimposed by patriarchy, and which women \nhad to accept, has its positive side. In my \narchitecture, for instance, I always try to \nmake sure there is a dialogue between two \nor three elements, and not just one imposed \ndiscourse. I am sure that this attitude has to \ndo, in part, with my being a woman. I work \nwith men, and at the studio there are more \nmen than women, but fortunately women are \noccupying stronger positions at my office, \nand are gaining more strength in the field. \nIn any case, the most important thing is to \nfavor dialogue and avoid impositions. \nIC: You have said several things. The first \nis the vision of official history as mascu-\nline. I would put it differently. I think that \nmale history is the official one, the his-\ntory you find in books, in museums… But \nthroughout this whole ‘official’ time there \nwere changes in food and gastronomy, in \npeople’s way of dressing, sexual habits and \nhygiene changed, the idea of medicine also \nchanged... and I think that in these aspects \nof private life women were extremely im-\n“In my architecture, I try \nto make sure there is a \ndialogue, and not just one \nimposed discourse“\n",61,{"image":254,"text":255,"number":256},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.62.png","60 C 16\n",62,{"image":258,"text":259,"number":260},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.63.png","C 16 61\nportant. From writing letters to creating \na comfortable home, women have played \na leading role in the greatest events in the \nhistory of humanity, although the official \nhistory hasn’t paid attention to them. In my \nview, there is a reassessment of the roles of \ngender in architecture, an acknowledgement \nof those aspects in the heritage of humanity \nthat seem minor details in the discourse of \nmajor academies or museums, but which are \nessential to social progress. Those who went \nto war were able to go because someone had \ntaken care of them when they were little, \nhad provided them health, an education… \nIn all those tasks women have played a \nprominent role. That is why I think that \nperhaps another perspective of art and of \nhistory could make us see that we do have \na female heritage. \nCP: The relationship between architecture \nand feminity offers interesting examples. A \nVictorian house can seem very feminine, in \nthe sense that it is very legible, filled as it \nis with human traces, footprints: you can  \nimmediately figure out where the reading, \nsmoking, and cooking took place. It was the \nproduct, all of it, of an ethic of detail that \nfollowed a discourse, which could be linked, \nat the same time, to the female universe. \nLater on the house became more abstract: \nwith Le Corbusier the dwelling became a \n‘machine à habiter,’ but after that it was \nnot even ‘for living,’ but simply a pragmatic \nway of tackling a program erasing all dis-\ncourse. I would say the world has gradually \ngiven in to abstraction because the market \nhas set more abstract guidelines and less \nconnected to women’s traditional universe, \nwhich is more specific and has to do more \nwith caregiving. \nIC: Yes, I think the market is perhaps ac-\ncountable for that shift towards the abstract, \nbut also towards the epic: that situation in \nwhich only the great possession, the great \nfeat, the great emblem, the great achieve-\n",63,{"image":262,"text":263,"number":264},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.64.png","62 C 16\nTrabajo con hombres, en el estudio hay más \nhombres que mujeres, pero, afortunadamente, \nlas mujeres ocupan una posición cada vez más \nfuerte en mi oficina, y de hecho cada vez están \nmás fuertes en la profesión. En cualquier caso, \nlo fundamental es el diálogo: no hay que caer \nnunca en la imposición.\nIC: Has dicho varias cosas. La primera es la \nvisión de la historia oficial como masculina. \nYo lo diría de otro modo: creo que la historia \nmasculina es la oficial, la historia que está en \nlos libros, que está en los museos… Pero real-\nmente durante todo este tiempo ‘oficial’ tam-\nbién se comía, se desarrolló la gastronomía, \nla gente cambió muchas veces su forma de \nvestir, se cambiaron las costumbres sexuales, \nhigiénicas, se cambió la idea de la medicina... \ny yo creo que en todos esos factores de la vida \nprivada, de la vida íntima, la mujer tuvo un \npeso extraordinario. Desde la redacción de \nuna carta hasta cómo se concebía un hogar \npara que resultara agradable, la mujer ha sido \nprotagonista de grandes hitos de la historia \nde la humanidad a los que, sin embargo, la \nhistoria oficial no ha prestado atención. Desde \nmi punto de vista, hay una parte de la re-\nvalorización de los papeles de género en la \narquitectura que tiene que ver con el recono-\ncimiento de esos aspectos del patrimonio de \nla humanidad que aparecen como aspectos \nmenores en el discurso de las grandes acade-\nmias o museos, pero que son muy importantes \npara el progreso social. Quien iba a la guerra \nera porque tenía detrás a alguien que le había \ncuidado cuando era pequeño, que le había \nproporcionado salud, que le había dado una \neducación… En todas esas funciones la mujer \nha tenido un papel preponderante. Por eso \ncreo que es, quizá, otra mirada sobre el arte y \nsobre la historia la que nos podría hacer ver \nque tenemos una herencia femenina.\nCP: Respecto a la relación de la arquitectura \ncon la feminidad hay ejemplos interesantes. \nUna casa victoriana puede considerarse muy \nfemenina, en la medida en que se trata de \nuna construcción que resulta muy legible, por \nestar llena de rastros humanos, de huellas: \nidentificas de inmediato el lugar donde se \nleía, se fumaba, se cocinaba... Era el producto, \ntoda ella, de una ética del cuidado y del detalle \nque seguía un discurso, que cabe vincular, \nasimismo, con el universo femenino. Después, \nlas casas se volvieron más abstractas: con \nLe Corbusier la vivienda quiso convertirse \nen una máquina de habitar, pero posterior-\nmente ya no fue ni siquiera ‘de habitar’, sino \nsimplemente una manera pragmática de re-\nsolver un programa borrando todo discurso. \nYo diría que el mundo ha ido entregándose \na la abstracción porque el mercado ha ido \nimponiendo unas pautas cada vez más abs-\ntractas y menos relacionadas con el universo \ntradicional de la mujer, que es más concreto \ny tiene que ver más con los cuidados.\nIC: Sí, yo creo que el mercado es tal vez cul-\npable de esa deriva no sólo hacia lo abstracto, \nsino también hacia lo épico: esa situación en \nla que culturalmente sólo se valora la gran \nposesión, la gran hazaña, el gran emblema, el \ngran logro. Y se presta una atención mucho \nmenor al detalle, a los elementos que hacen \nreferencia a la vida cotidiana. Como decías, \nla casa victoriana es testigo y deja huellas \npor todas partes de cuáles son las actividades \ncotidianas. Y eso es lo que la modernidad ha \neliminado totalmente. Yo diría que el mercado \nha sabido aprovechar esa tendencia, pero diría \ntambién que ha existido una complicidad por \nparte de la academia, la cultura y los arqui-\ntectos en el sentido de que todavía seguimos \npensando a trasluz de Ornamento es delito: \nseguimos negando que esos aspectos cotidia-\nnos sean relevantes. \nCP: A veces me pregunto por qué las ar-\nquitecturas que a mí me desagradan niegan \nsus lazos con las personas y las cosas: son \narquitecturas que, no por casualidad, se foto-\ngrafían sin gente. Por eso, siempre digo que \naspiro a una arquitectura contaminada, que \nquiero fotografiar una arquitectura en verdad \nviva, que evidencie cómo se mueve la gente, \ncómo se siente la gente en ella. Aspiro a la \ncontaminación. Lo trágico es que estas arqui-\ntecturas que excluyen lo humano tienen un \néxito increíble, también entre la gente de a \npie, lo cual me lleva a pensar que quizá esta \ngente, en el fondo, está necesitada de esa épica \nde la que hablas. \nIC: Tengo la sensación de que precisamente \nen esa apología de los aspectos más épicos, en \nesa negación de la importancia del detalle y \nde la vida cotidiana, está un poco la génesis \nde la separación entre la sociedad civil y la \narquitectura como profesión. Hay un factor \ncoyuntural —tenemos una crisis económica, \nuna crisis del modelo productivo, una crisis \necológica...— y quizá la manera en la que las \nmujeres se han educado, su cultura y su forma \nde actuar, es parte de la solución. No se trata de \nreivindicar el amparo, sino de reivindicar una \noportunidad y una estrategia. Siempre digo \nque hay un primer y un segundo feminismo \nque abogan por igualar los derechos de las \n«La manera en la que las \nmujeres se han educado, su \ncultura y su forma de actuar, \nes parte de la solución»\n",64,{"image":266,"text":267,"number":268},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.65.png","C 16 63\nment seem to count, and less attention is \npaid to the details, to the elements of every-\nday life. As you were saying, the Victorian \nhouse is an example, and leaves traces ev-\nerywhere of its daily activities. And that is \nwhat modernity has eliminated completely. \nI’d say the market has managed to make the \nmost of that trend, but this has happened in \ncomplicity with the academy, culture, and \narchitects in the sense that we still think \nabout Ornament is Crime: we still deny that \nthose everyday aspects are relevant. \nCP: Sometimes I ask myself why the \narchitectures I dislike deny their ties with \npeople and things: buildings that, not by \ncoincidence, are photographed without \npeople. That’s why I always say that I look \nfor a contaminated architecture, I want to \nphotograph architecture that is alive, which \nreflects how people move, how they feel in-\nside it. What’s sad is that these architectures \nthat exclude the human are incredibly suc-\ncessful, also among everyday people, which \nmakes me think that perhaps people are in \nneed of that epic you are talking about. \nIC: I have the feeling that precisely that \npraise of the more epic aspects, that denial \nof the importance of details and of everyday \nlife, is somehow the origin of that separa-\ntion between civil society and architecture \nas a profession. There is a temporary factor \n– we’re in an economic crisis, a crisis of the \nproduction model, an ecological crisis – and \nmaybe the way in which women have been \neducated, their culture and their way of act-\ning is part of the solution. This is not a call \nfor protection, but a call for an opportunity \nand a strategy. I always say there is a first \nand a second feminism that advocate equal \nrights for women and for men: the right to \nvote, the right to take on public posts or \nthe right to have a political role in society. \nAnd, next, the right to be part of an execu-\ntive committee or of company management: \nthe possibility of being part of the decision-\nmaking groups in society, but trying to make \nsure that equal rights involve equal roles, \nthat is, making the woman perform like a \nman. We are in a situation in which there \nshould be a revision of feminism associated \nto the idea that the environment and nature \nput us, as human species, in our place: a \nmore vulnerable place where we might not \nwant to be men. Perhaps I have no interest \nin being president of a political party or of \na company if that means I won’t be able to \nbalance my private life and my public life, if \nthat means I’ll have to give up maternity…\nCP: But society too, and not just men, \nmaintains the traditional gender roles. \nToday we know what type of feminism we \nneed to defend, but I don’t want anything \ngiven to me, so to speak. I don’t want to be \nchosen for a post just because I’m a woman. I \nconsider myself a better architect than many \nother architects. I have a vision of the world \nthat is complemented by other visions of the \nworld. History, culture, genetics, or biology \nhave led us to perceive things in different \nways. In this context, women must claim the \nessential and active role of the female condi-\ntion. I don’t want to be given half of some-\nthing: I forgo charity and don’t want to be \nlabelled or pigeonholed. I see life as a whole, \nand in life there are aspects that respond to \na male vision and others that come from a \nfemale vision. So when you say you wouldn’t \nwant to be a company director because you \nwould have to give up many things in life, I \nthink no one who steps into that role should \nbe expected to give up certain things. That’s \nwhy I say that, in the end, the market is the \nwinner in all this: the only thing that counts \nis productivity, short-term benefits which \ndemand huge sacrifices… This is what we \nshould fight for: a fuller life with multiple \nand complementary visions. \nIC: Joining messages, I think that the \ntransition of women into the labor market \nis a collective advantage, not for women, \nbut for society as a whole. It’s a matter \nof vindicating, reasserting the value, and \nplacing at the service of society a series \nof tools – which have been acquired and \nnaturalized – for work and for dialogue, as \nwell as a cultural heritage which up to now \nhaven’t been part of the conversations about \npublic life. Do we give immigrants permis-\nsion just to live in our country or do we let \nthem change the rules? Because maybe the \nright thing is not only letting them live like \nwe do, but letting them change some of our \nrules so that society can evolve towards \ngreater cosmpolitanism.\nCP: Every time there has been a rise in \nknowledge, diversity, cross-cultural contam-\nination, it has brought moments of peace and \nalso of prosperity. But cultural exchange has \nalways needed mutual involvement, other-\nwise the result is isolation, and, when you \nclose yourself to the world and to others, \nprosperity ends. That’s why I think exclu-\nsionary nationalisms only lead to conflict. \n“The way in which women \nhave been educated, their \nculture and their manner of \nacting, is part of the solution“\n",65,{"image":270,"text":271,"number":272},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.66.png","64 C 16\nmujeres y de los hombres: poder votar, poder \nejercer roles públicos o poder tener un papel \npolítico dentro de la sociedad. Y, después, \npoder formar parte de un comité ejecutivo, \no de una dirección empresarial: poder formar \nparte de los estamentos que toman las deci-\nsiones importantes desde el punto de vista \npúblico de la sociedad, pero intentando que \nen esa equiparación de derechos haya también \nuna equiparación de roles, es decir, haciendo \nque la mujer actúe como el hombre. Estamos \nen una situación en la que debería haber una \nrevisión del feminismo asociada a la idea de \nque el medio ambiente y la naturaleza nos \nponen, como especie humana, en nuestro \nsitio: en un lugar más vulnerable donde quizá \nno queramos ser hombres. Quizá yo no tengo \ninterés en ser presidente de un partido político \no de una empresa si eso significa que no voy \na poder conciliar mi vida privada con mi vida \npública, si eso significa que voy a renunciar \na una maternidad presente...\nCP: Pero es la sociedad, no sólo el hombre, \nla que mantiene los papeles tradicionales del \ngénero. A estas alturas, parece estar claro el fe-\nminismo por el que debemos abogar, pero, por \ndecirlo así, yo no quiero que me regalen nada. \nNo quiero que me seleccionen para un puesto \no un para un concurso por el mero hecho de \nser mujer. Me considero mejor arquitecto \nque muchos arquitectos. Tengo una visión \ndel mundo que se complementa con otras \nvisiones del mundo. La historia, la cultura, la \ngenética o la biología nos han llevado a que \nunos percibamos la realidad de una manera \ny otros de otra. En este contexto, la mujer ha \nde reivindicar el papel fundamental y activo \nde la condición femenina. No quiero que me \nden la mitad de algo: renuncio a la caridad \ny a que me califiquen o encasillen bajo un \ncierto patrón. Veo la vida como un conjunto, \ny en la vida hay aspectos que se deben a la \nvisión masculina y otros que proceden de la \nvisión femenina. Por eso, cuando dices que \nno querrías ser director porque tendrías que \nrenunciar a muchas cosas de la vida, pienso \nque la persona que ha llegado a ese cargo y \nse supone que debe dejar de lado ciertas cosas \ntampoco tendría por qué hacerlo. De ahí mi \nafirmación de que, a la postre, es el mercado el \nque ha salido ganando: lo único que cuenta es \nla productividad, los beneficios a corto plazo y \nque exigen un sacrificio inmenso… Es contra \nesta situación contra la que debemos luchar, \nen pos de una vida más completa y dotada de \nvisiones múltiples y complementarias. \nIC: Por aunar los mensajes, creo que la \nincorporación de la mujer supone una ventaja \ncolectiva, no para las mujeres, sino para el \nconjunto de la sociedad. Se trata de reivindi-\ncar y volver a poner en valor y a disposición \nde toda la sociedad unas herramientas —que \nse han adquirido y se han naturalizado— de \ntrabajo y de diálogo, y un patrimonio cultural \ny un acervo que hasta ahora no han formado \nparte de las conversaciones sobre la vida pú-\nblica. ¿Dejamos a los inmigrantes sólo vivir en \nnuestro país o les dejamos también que cam-\nbien las reglas? Porque a lo mejor deberíamos \nno sólo dejarles vivir como nosotros vivimos, \nsino permitir también que cambien parte de \nnuestras reglas para que nuestra sociedad \nevolucione hacia un cosmopolitismo mayor. \nCP: Cada vez que se ha dado un auge de co-\nnocimiento, de diversidad, de contaminación \nde unas culturas con otras, se han generado \nmomentos de paz y, también, momentos de \ncierta prosperidad. Pero queda claro que el \nintercambio de culturas ha supuesto siempre \nuna implicación común: en caso contrario, el \nresultado es el aislamiento, y, cuando uno se \ncierra al exterior y a los demás, la prosperidad \nse acaba. Por eso creo que los nacionalismos \nexcluyentes sólo llevan al conflicto.\n",66,{"image":274,"text":275,"number":276},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.67.png","C 16 65\n",67,{"image":278,"text":19,"number":279},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.68.png",68,{"image":281,"text":282,"number":283},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.69.png","Travel\nAmsterdam\nNetherlands\n",69,{"image":285,"text":286,"number":287},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.70.png","68 C 16\nAmsterdam\nTravel\nNetherlands  \n7\nCommerce, ecology, and  \ndesign mix between the  \ncanals of this colorful  \ncity with one the largest \nhistoric centers in Europe. \nComercio, ecología y diseño \nse mezclan entre los canales \nde esta colorida ciudad con \nuno de los centros históricos  \nmás extensos de Europa.\n© Rob’t Hart\n© Francesco Gavazzeni \n01\nTo make it easier for the \ntraders who used the \ncanals to transport goods,  \nthis floating structure \nwas built in 1862 on \nSingel Canal, where at \nleast fifteen stalls sell  \nthe country’s typical \nflower, the tulip. \nFlower Market \nBloemenmarkt\n02\nEn la parte occidental \ndel puerto, esta extensa \noperación urbana diseñada \npor MVRDV ha convertido \nuna presa y unos silos en \nun edificio de usos mixtos \ncuyos apartamentos \ndifieren en tamaño, \nprecio y organización.\nIn the western part of  \nthe port, this extensive \nurban operation designed \nby the architecture studio \nMVRDV has turned a dam \nand a number of silos into \na mixed-use building with \napartments of different \nsizes, prices, and layouts. \nModern Architecture\nSilodam\nPara facilitar la venta a los \ncomerciantes que usaban \nlos canales para transportar \nmercancía se estableció en \n1862 en el canal Singel \neste mercado flotante \ndonde al menos quince \npuestos ofrecen la flor \ntípica del país, el tulipán.\n",70,{"image":289,"text":290,"number":291},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.71.png","C 16 69\n03\nCultural Venue \nMuseumplein\nConcebido como depósito \nde colecciones nacionales, \nel Rijksmuseum reúne \n5.000 obras de maestros \nholandeses y flamencos. \nFrente a él, se encuentran \nel museo de arte \ncontemporáneo Stedelijk \ny el dedicado a Van Gogh.  \nBuilt to serve as \na deposit for the \nnational collections, the \nRijksmuseum gathers \n5,000 works by Dutch \nand Flemish authors. \nThe Stedelijk and the \nVan Gogh museums are \nlocated across from it.\n© Robbert Frank Hagens\n",71,{"image":293,"text":294,"number":295},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.72.png","70 C 16\n08\nCultural Center\nBeurs van Berlage\nDiseñado en 1896 como \nsede de la bolsa de \nvalores por H. P. Berlage \n—considerado padre de \nla arquitectura holandesa \nmoderna— este gran hall fue \npionero en el uso racional \nde materiales como el \nladrillo, el hierro y el vidrio. \nDesigned in 1896 as the \nhome of the commodity \nexchange by H.P. Berlage \n– considered to be the \nfather of modern Dutch \narchitecture – this \nlarge hall pioneered the \nrational use of materials \nlike brick, iron, and glass. \nMedieval Housing\nBegijnhof\n04\nThe oldest wooden house \nin Amsterdam is situated \ninside a medieval \ncourtyard dating \nfrom 1346, a haven \nof peace originally \noccupied by the Beguines \nsisterhood, and today by \nolder single women. \nLa casa más antigua de \nmadera de Ámsterdam \nse encuentra en un patio \nmedieval de 1346, un \nremanso de tranquilidad \nhabitado en su origen por \nbeguinas, una hermandad \nde mujeres cristianas al \nmargen de la iglesia.\nAmsterdam School\nScheepvaarthuis\n05\nReconverted into a hotel, \nthis expressive building \nis the first example of the \nAmsterdam School.\nReconvertido en hotel, \neste expresivo edificio se \nconsidera el primer ejemplo \nde la Escuela de Ámsterdam.\n07\nBrick Expressionism \nHet Schip\nA landmark of brick \nexpressionism, the \nHet Schip residential \ncomplex (1919) contains \n102 apartments, an \nauditorium, and a \npost office that today \nhouses the Museum of \nAmsterdam School.\nEjemplo clave del estilo \nexpresionista en ladrillo, \nel complejo Het Schip \n(1919) está formado por \n102 apartamentos, un \nsalón de actos y una \noficina de correos que \nhoy acoge el Museo de la \nEscuela de Ámsterdam. \nCooperative Housing\nDe Dageraad\n06\nBuilt in 1923 for a \nworkers’ cooperative, the \nbuilding stands out for  \nits decorative facade. \nConstruidas en 1923 para \nuna cooperativa de obreros, \nestas viviendas destacan \npor su decorativa fachada. \n© Oleg Pokrovskiy\n© Jan Sluijter\n© Erik Swierstra\n© José Joaquín Galán\n© Peter Kok\n",72,{"image":297,"text":298,"number":299},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.73.png","C 16 71\nDutch Structuralism\nOrphanage and Offices\n09\nAmsterdam Orphanage \n(1960) by Van Eyck is a \nsymbol of the structuralist \ncurrent that tries to place \nsociological aspects in a \ngeometric order. Next to  \nit, the Tripolis Offices \n(1990) are also inserted  \nin a cellular network. \nEl orfanato de Van Eyck \n(1960) es un emblema de \nla corriente estructuralista \nque busca integrar los \naspectos sociológicos en \nun orden geométrico. \nJunto a él, las oficinas \nTripolis (1990) se insertan \ntambién en una red celular.\nNeighborhood\nMoederhuis11\nDesigned as a shelter for \nmothers in 1978, this \nbuilding by Van Eyck \nfunctions today as a hotel. \nDiseñado como un refugio \npara madres en 1978, este \nedificio de Van Eyck hoy \nfunciona como hotel.\nLos principios pedagógicos \nde Maria Montessori \n—libertad, movimiento \ny experimentación— se \nplasman en la escuela \nApollo de H. Hertzberger \n(1983) a través de espacios \nconectados que generan \nuna ciudad en miniatura. \nEdificado a partir de \nuna misma unidad \nmodular, este complejo \nresidencial para ancianos \nfue concebido en 1971 \npor Herman Hertzberger \ncomo un área urbana \nexperimental donde todos \nlos servicios son accesibles.\nThe pedagogical principles \nof Maria Montessori  \n– freedom, movement,  \nand experimentation –  \nare reflected at the Apollo \nSchool by Hertzberger \n(1983) through connected \nspaces that create a \nminiature city. \nBuilt from a same \nmodular unit, this \nresidential complex for \nthe elderly was designed \nin 1971 by Herman \nHertzberger as an \nexperimental urban  \narea where all the \nservices are accessible. \n12\nEducational Spaces \nApollo School\n10\nResidential Building \nDe Drie Hoven\nsource: hprats-lopez.blogspot.com\nsource: hiddenarchitecture.net\n© John Gundlach - Flying Holland\nsource: architecturehoy.wordpress.com\n",73,{"image":301,"text":302,"number":303},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.74.png","72 C 16\nFrente al canal Singel, \nel pabellón de cobre \nperforado —diseñado por \nSteven Holl— contrasta \ncon el edificio existente \nde ladrillo, mientras que \nen el interior los espacios \nse fusionan a través de la \niluminación y el color.\nThe cantilevers proposed \nby MVRDV for 13 of  \nthe 100 apartments  \nof WoZoCo – for \nresidents 55 years of \nage and over – allowed \nincreasing the density \nand freeing up public \nspace at street level. \nFacing Singel Canal, \nthe perforated copper \npavilion – designed by \nSteven Holl – creates a \ncontrast with the existing \nbrick building, while  \nthe interior spaces are \nfused together through \nlighting and color.\nScience Museum\nNEMO\nDesigned by the studio \nof Renzo Piano, this \nboat-shaped museum \nwith copper facades \nmakes reference to the \nsurrounding port, and \nhas a ramp that leads \nup to the roof, which \nbecomes a public plaza. \nDiseñado por el equipo \nde Renzo Piano, este \nmuseo con forma de \nbarco y fachada de cobre \nhace referencia al puerto \ncircundante, y tiene una \nrampa de acceso a la \ncubierta que funciona \ncomo plaza pública. \n16\n14\n13\n15\nResidential Building\nBorneo Eiland\nResidential Building\nWoZoCo\nSculptural Building\nSarphatistraat Offices\nEn la isla artificial de \nBorneo, Miralles Tagliabue \nconstruyeron en 1996 estas \ncoloristas viviendas. \nEnric Miralles and Benedetta \nTagliabue built these  \nsix colorist dwellings on \nBorneo Eiland in 1996. \nLa solución en voladizo \nque propuso MVRDV \npara 13 de las 100 \nviviendas WoZoCo  \n—destinadas a población \nmayor de 55 años— \npermitió aumentar la \ndensidad y liberar espacio \npúblico a nivel de calle. \n© Chris Gascoigne \u002F VIEW\n© Lourdes Jansana\n© Chistian Richters\nsource: stevenholl.com\n",74,{"image":305,"text":306,"number":307},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.75.png","C 16 73\n20\nThe project by the \nSevillian architects  \nCruz & Ortiz redesigns  \nthe access to this \n19th century museum \ncontaining a huge \ncollection of paintings \nfrom the Dutch Golden \nAge, with 22 Rembrandts. \nStudent Housing\nRavel Residence\nHotel\nRAI Nhow\nBehind a striking \nfacade covered with \ncircular windows, Ravel \nResidence – designed by \nthe practice OZ – offers \nhousing for 800 students \nwith a flexible and \nrecyclable project that \nfavors social interaction.\nIn the Zuidas business \ndistrict, close to the RAI \nAmsterdam convention \nand exhibition center, \nthis hotel – designed by \nOMA\u002FReinier de Graaf – \nserves multiple purposes \nand includes a live \ntelevision studio.\nTras una singular piel de \nventanas circulares, la \nresidencia Ravel  \n—diseñada por OZ— ofrece \nalojamiento para 800 \nestudiantes mediante \nun proyecto flexible y \nreciclable que fomenta las \nrelaciones sociales. \nEn el distrito empresarial \nZuidas, junto al centro de \nconvenciones RAI, este \nhotel de imagen totémica \n—proyectado por OMA\u002F \nReinier de Graaf— cuenta \ncon múltiples usos  \nentre los que destaca  \nun plató de televisión.\nLa intervención de los \nsevillanos Cruz y Ortiz \nsolventa el acceso a este \nmuseo del siglo xix, \nque contiene una gran \ncolección de pinturas del \nSiglo de Oro neerlandés \nen la que sobresalen 22 \nobras de Rembrandt.\n17\n18\nRenovation\nFreshfields Office\nNational Museum\nThe New Rijksmuseum\n19\nDavid Chipperfield converted \nthis office into a geometric \nsculpture that focuses on \ndetails and materials.\nDavid Chipperfield transformó \nesta oficina en una escultura \ngeométrica que presta atención \na los detalles y los materiales.\nsource: afasiaarchzine.com\n© Pedro Pegenaute\n© Walter Herfst\n© Ronald Tilleman\n",75,{"image":309,"text":310,"number":311},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.76.png","74 C 16\nTransport\nFietsflat Central Station\n25\nBrewery \nBrouwerij Troost \nRestaurant \nThe Winter Garden\n24 The restaurant in the  \nGrand Hotel Krasnapolsky \nis a wonderful place for \nbreakfast or brunch. \nMore than 400.000 bicycles \ncirculate around the city, \nwhich has high-rise parking \nlots like this one. \nEl Gran Hotel Krasnapolsky \ndel siglo xix alberga este \nrestaurante ideal para tomar \nel desayuno o un brunch. \nMás de 400.000 bicicletas \ncirculan por la ciudad, que \ncuenta con aparcamientos  \nen altura como éste. \nInside the Westergas \n– an old industrial area \nthat has become one of \nthe largest cultural hubs \nin the city –, this brewery \nproduces and serves its \nown beer, and offers \nguided tours of its facilities \nas well as live music. \nDentro del complejo \nWestergas —una antigua \nzona industrial que se \nha convertido en destino \ncultural—, esta cervecería, \nademás de servir, elabora \naquí su propia cerveza y \nofrece visitas guiadas así \ncomo música en directo. \n23\n21\nLo que en su día fue una \nplataforma marítima \npara transmitir los \nprimeros programas de \ntelevisión se trasladó \nen 2011 al puerto de \nÁmsterdam y aloja hoy \nun bar y un restaurante \ncon vistas panorámicas.\nOnce a sea platform  \nused to broadcast \nthe first television \nprograms, the structure \nwas moved in 2011 to \nthe port of Amsterdam, \nand now houses a \nrestaurant and bar with \npanoramic views.\nRestaurant \nREM Island\nEste mural del influyente \nartista Keith Haring ha sido \nrestaurado, tras estar oculto \ndurante 30 años.\nAfter being covered for 30 \nyears, the mural by artist \nKeith Haring has been \nrestored and unveiled. \n22\nUrban Art \nKeith Haring Mural\nsource: architectuurfotograaf.nl\n© Ewout Huibers\n© Jurian van Ruiten\nsource: brouwerijtroost.nl\n© Airbete\n",76,{"image":313,"text":314,"number":315},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.77.png","C 16 75\nSu maximalista diseño, \nfirmado por el aclamado \nMarcel Wanders, evoca la \nEdad de Oro neerlandesa.\nIts maximalist design \nby the famed Marcel \nWanders evokes the \nDutch Golden Age. \n26\nBoutique Hotel \nAndaz by Hyatt\n27\nShopping\nHotel Droog\nDroog es una de las marcas \nnacidas en los últimos años \nque han contribuido al auge \ndel diseño holandés a nivel \ninternacional. Además de \nun nuevo concepto de hotel, \neste lugar acoge todo tipo \nde actividades como desfiles, \nfiestas o exposiciones.\nDroog is one of the  \nnew brands behind the \nrise of Dutch design \naround the world.  \nAside from new hotel \nconcept, this place holds \nall sorts of activities like \nrunway shows, parties, \nand exhibitions. \n30\nCoffeeshop\nBoerejongens\nLa marihuana forma parte \nde la vida pública de \nHolanda desde los años \n1960, cuando los primeros \ncoffeeshops abrieron \nsus puertas. La cadena \nBoerejongens se aleja de \nla estética habitual con un \ndiseño clásico y luminoso.\nMarihuana is part of \npublic life in Holland \nsince 1960, when the \nfirst coffeeshops opened \ntheir doors. Boerejongens \nis a chain that moves \naway from the usual \naesthetic with a classical \nand luminous design. \nShopping\nWonderwood\n29\nThis combination of \nshop and exhibition \ngallery shows the history \nof plywood design \nthrough furniture pieces, \nminiatures, artworks, \nobjects or gadgets, \nboth historic and \ncontemporary.\nEsta combinación de \ntienda y galería de \nexposición muestra la \nhistoria del diseño en \nmadera laminada a través \nde muebles, miniaturas, \nobras de arte, objetos o \ngadgets, tanto históricos \ncomo contemporáneos. \nHistory Museum \n \nAnne Frank House \n28\nAfter the publication of \nher diary, the house where \nAnne Frank hid opened up \nas a museum in 1960.\nCookie Shop\nVan Stapele Koekmakerij\n31\nThe bakery’s crispy cookies \nfilled with white chocolate \ntake you on a journey to \nthe past of the city. \nSus crujientes galletas \nrellenas de chocolate blanco \nderretido te llevan en un \nviaje al pasado de la ciudad.\nsource: votpusk.ru\nTras la publicación de su \ndiario, en 1960 se abrió como \nmuseo la casa en la que  \nA. Frank estuvo escondida.\nsource: moooi.com\n© Nick Hannes\nsource: trivago.es\nsource: community.lametayel.co.il\n© Wiet Hekking\n",77,{"image":317,"text":318,"number":319},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.78.png","76 C 16\n 07. Het Schip\n 26. Andaz by Hyatt\n 27. Hotel Droog\n 28. Anne Frank House\n 29. Wonderwood\n 30. Boerejongens\n 31. Van Stapele \nPrinsengracht 587\n+31 20 523 1234 \nStaalstraat 7\ndroog.com\n9 am-7 pm Mon-Sun\nWestermarkt 20\nannefrank.org\nRusland 3\n+31 20 625 3738\nBaarsjesweg 239\n+31 20 810 0025\nHeisteeg 4\n+31 20 777 9327\nvanstapele.com\n 18. RAI Nhow\n 19. Freshfields Office\n 20. Rijksmuseum \n 08. Beurs van Berlage\n 09. Orphanage & Offices\n 12. Apollo School\n 10. De Drie Hoven\n 11. Moederhuis\n 13. WoZoCo\n 14. Borneo Eiland\n 16. NEMO\n 15. Sarphatistraat Office\n 25. Flietsflat Station \nStationsplein, 1012\nPlantage Middenlaan 33 \nquentinzoo.com \n+31 207920117\nzoo@quentinhotels.com \nWillem Witsenstraat 12,  \n1077 AZ Amsterdam\nStrawinskylaan 10, 1077\n+31 20 485 7000\nBorneo Isle, 1019 \nOosterdok 2 \nnemosciencemuseum.nl \n+31 20 531 3233\nOokmeerweg, 1069\nMauritskade 29HS, 1092\nOostzaanstraat 45\nhetschip.nl\n+31 20 686 8595\nDamrak 243\nbeursvanberlage.com\n+31 20 530 4141\nBurgemeester Tellegenstraat \n128, 1073 KG\nIJsbaanpad 3B\nLouis Bouwmeesterstraat 377\nSingel, 1012 DH Amsterdam \n9 am-5:30 pm Mon-Sun\nMuseumstraat 1\n9am-5pm Mon-Sun\nAntonio Vivaldistraat 5\nEuropaboulevard 2b, 1078\n+31 20 800 3200\n 01. Bloemenmarkt\n 02. Silodam\n 03. Museumplein\n 04. Begijnhof\nSilodam, 1013 Amsterdam \nexcursie@silodam.org\n1079 RA Amsterdam\nrijksmuseum.nl\nstedelijk.nl\nvangoghmuseum.nl\nNieuwezijds Voorburgwal 373\n+31 20 622 1918\nPrins Hendrikkade 108\n+31 20 552 0000\nAmsterdam\nLocalización y datos prácticos \nLocation and useful information  \n 22. Keith Haring Mural\n 23. Brouwerij Troost\n 21. REM Island\n 24. The Winter Garden\nHaparandadam 45-2\nremeiland.com \n+31 20 688 5501\nWillem de Zwijgerlaan 334\nPazzanistraat 27\nbrouwerijtroostwestergas.nl \n+31 20 737 1028\n4 pm-1 am Mon-Sun\nDam 9, 1012 \n+31 20 499 0163 \n6:30 am-11 am Mon-Sun\n 05. Scheepvaarthuis\n 17. Ravel Residence\n 06. De Dageraad\n13\n30\n09\n10\n",78,{"image":321,"text":322,"number":323},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.79.png","C 16 77\n01\n16\n27\n02\n20\n11\n29\n25\n03\n14\n23\n28\n17\n18\n26\n19\n21\n22\n06\n05\n04\n31\n07\n08\n24\n12\n15\n",79,{"image":325,"text":19,"number":326},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.80.png",80,{"image":328,"text":19,"number":329},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.81.png",81,{"image":331,"text":332,"number":333},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.82.png","website: www.magaceen.com   facebook: Magaceen   twitter: @magaceen   instagram: @magaceen   email: magaceen@magaceen.com\n08_Website_C13.indd   80\n06\u002F03\u002F2019   13:20:30\n",82,{"image":335,"text":19,"number":336},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.83.png",83,{"image":338,"text":19,"number":339},"\u002Fmedia\u002Fimages\u002F54\u002Fb2728107d25f730fa6050227020108-28f7974e89.84.png",84,[],0,false,true,{"success":343,"data":345,"meta":560,"count":561,"next":562,"previous":563,"results":596,"brand_chips":657},[346,359,371,384,394,407,419,429,439,448,458,470,480,490,499,509,522,531,541,551],{"id":347,"title":348,"slug":349,"image":350,"source":351,"brand_name":352,"brand":353,"brand_slug":354,"file_size":355,"pages":356,"pages_count":357,"matched_pages":358,"match_count":341,"two_pages":342,"show_text":343},26599,"News 2026","porada-news-2026","\u002Fmedia\u002Fimages\u002Fce\u002Fd99f531b06a46fd5bee10f83389e8c-296fcd1b7e.1.png","\u002Fprivate\u002Ffiles\u002Fc2\u002F62a24ea3de0c50ca2a88817e98c8e9-296fcd1b61.pdf","Porada",394,"porada","9.3 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