[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-cosentino-architecture-and-everything-else-22":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":356},{"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":351,"matched_pages":352,"match_count":353,"two_pages":354,"show_text":355},24498,"Architecture & Everything Else 22","cosentino-architecture-and-everything-else-22","\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002Ffc\u002F01b3a471bd464a8bd953f4df898544-28f7a16099.pdf","Cosentino",2482,"cosentino","144.7 MB",[14,17,21,25,29,33,36,40,44,48,52,56,60,64,68,72,76,80,84,88,91,95,99,103,107,111,115,119,123,127,131,135,139,143,146,150,154,158,162,166,170,174,177,181,185,189,193,197,201,205,208,212,216,220,224,228,232,236,240,244,247,251,255,258,262,266,270,274,278,282,286,290,293,297,301,305,309,313,317,321,325,329,333,337,340,343,346,349],{"image":7,"text":15,"number":16},"c \narchitecture &  \neverything else 22 \n",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.2.png","",2,{"image":22,"text":23,"number":24},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.3.png","c\ncontents\n20\n06\n34\n42\n50\n60\n72\n  Architecture\n 06 SOLID TRADITION  Küppersmühle Museum by Herzog & de Meuron  \n \n La nueva ala propuesta por la firma suiza se mimetiza con los edificios existentes.  \n \n The new wing proposed by the Swiss firm blends into the surrounding buildings.\n 14 LYRIC CERAMIC  Z33 House by Francesca Torzo\n \n La ampliación de la arquitecta italiana completa la manzana del beguinaje de Hasselt.\n \n The extension by the Italian architect wraps up the block in the Beguinage of Hasselt.\n \n Style\n 34 MOTION  Autos, Art, Architecture by Norman Foster\n \n El Guggenheim de Bilbao recorre más de un siglo de historia del diseño automovilístico.\n \n The Guggenheim Museum of Bilbao explores over one hundred years of automobile design.   \n \n Cosentino\n 42 SCALEA FACADE  University of Málaga by Ercilla, Alcolea and Tárrago\n \n El nuevo edificio universitario muestra el amplio rango de aplicación del mármol Scalea. \n \n The new university building reflects the wide range of applications of Scalea marble. \n \n Interior\n 50 INDUSTRIAL RECOVERY  BURR Studio in Madrid\n \n Un antiguo almacén industrial reconvertido en vivienda y atelier de un fotógrafo. \n \n An old industrial warehouse converted into the home and studio of a photographer. \n 54 DEKTON SURFACES  Ávila by AllAround Lab\n \n Un innovadora transformación de un local en una amplia y luminosa vivienda.\n \n The innovative transformation of a store into a large and light-filled dwelling.   \n  Interview\n 60 MAAS & ARROYO  In dialogue\n \n El holandés Winy Maas visita Madrid y se reúne con Eduardo Arroyo en Cosentino City.\n \n Winy Maas visits Madrid and meets with Eduardo Arroyo at Cosentino City. \n  Travel\n 72 PARIS  France\n \n Una guía que selecciona las visitas imprescindibles de la Ciudad de la Luz.\n \n A guide that offers a selection of key visits in the City of Light.  \n \n  Arts\n 20 THE FICTION OF THE IMAGE  The World of Thomas Demand\n \n En su obra el fotógrafo cuestiona lo que la sociedad acepta como realidad objetiva.  \n \n In his work the photographer questions what society accepts as objective reality. \n 26 BEYOND THE STREET  SpY, a New Urban Art\n \n El artista urbano ha creado un lenguaje propio y reconocible en sus intervenciones.\n \n The urban artist has created a language of his own in his interventions.  \n",3,{"image":26,"text":27,"number":28},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.4.png","Depósito Legal: M-14282-2014\nISSN: 2341-3867 \nCubierta Cover\n©Simon Menges\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.  \nAlberto Ballesteros \nCuca Flores \nAlejandra Galache \nLaura González \nEnrique Morillo \nJesús Pascual \nRaquel Vázquez \nTraducción Translations\nGina Cariño, Laura Mulas\n",4,{"image":30,"text":31,"number":32},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.5.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":19,"number":35},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.6.png",6,{"image":37,"text":38,"number":39},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.7.png","Architecture\nSolid Tradition\nKüppersmühle Museum by Herzog & de Meuron\nLyric Ceramic\nZ33 House by Francesca Torzo\n",7,{"image":41,"text":42,"number":43},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.8.png","6 C 22\nArchitecture\nMuseum\n1\nLa ampliación del museo Küppersmühle es un ejemplo más de la \namplia trayectoria de Herzog & de Meuron en la conversión de \npretéritos complejos industriales en imponentes museos de arte \ncontemporáneo, y que además con frecuencia se vuelven piezas \nesenciales de la regeneración de los propios barrios o distritos que los \nacogen. En esta ocasión el proyecto completa el conjunto museístico \nexistente, proyectado también por la firma suiza en 1999, con un \nnuevo volumen en concordancia formal y material con el resto de \nlas edificaciones de ladrillo del puerto interior. La propuesta busca \nmimetizarse y así colmatar el complejo de una manera visualmente \napropiada, como si siempre hubiera estado allí.\nLa nueva estructura se fragmenta en tres partes, respondiendo  \na las distintas volumetrías del contexto que la rodea y a las li-\nmitaciones dadas por la cercanía de una autopista. En el interior \nse consigue un recorrido ininterrumpido por la colección gracias a \nlos dos puentes que atraviesan los imponentes silos de hormigón, \nconectando la ampliación con el museo original. De este modo, los \nsilos se convierten en una pieza fundamental, tanto para entender \nla historia del edificio como para vertebrar la colección y ofrecer un \nespacio expositivo distintivo. Así mismo, una escalera de trazado \nescultórico, que evoca a la proyectada en su día en la parte histórica, \nasegura una ordenación secuencial de los contenidos expositivos y \nla continuidad entre los cinco niveles de la adición.\nThe extension of Museum Küppersmühle is another example in the \nlong experience of Herzog & de Meuron in the conversion of old \nindustrial complexes into impressive contemporary art museums, \nand which often become essential pieces in the regeneration of the \nneighborhoods or districts where they are located. In this case the \nproject completes the existing museum complex, designed by the \nsame firm in 1999, with a new volume in formal and material \naccord with the rest of the brick structures lined up on the wharf. \nThe proposal seeks mimetizing and filling up the complex in a \nvisually appropriate way, so that it might seem as though the new \nbuilding had always been there. \nThe new structure is fragmented in three parts, responding to the \ndifferent mass of the buildings in the context and to the limitations \nimposed by the proximity of a highway. Inside it is possible to \nwalk seamlessly through the collection thanks to two bridges that \ncross the imposing concrete silos, connecting the extension with \nthe original building. In this way, the silos become an essential \ncomponent, as much in helping to understand the history of the \nbuilding as in vertebrating the collection and offering a distinctive \nexhibition space. In the same way, a sculptural staircase, which \nevokes the one designed in the original museum project, guarantees \nthe sequential order of the exhibition contents and links up the \nvarious stories of the new wing. \nArquitectos Architects\nHerzog & de Meuron \u002F Jacques Herzog, \nPierre de Meuron, Robert Hösl (socios \nencargados partners in charge); \nRoland Schreiber (dirección y gestión \nde proyecto project architect and \nmanager); Alexander Berger (gestión de \ncontratos contract manager); Mikolaj \nBazaczek, Juliane Brantner, Teodor-Octavian \nCuciureanu, Florian Hartmann, Sebastian \nHefti, M�ra Igaune, Susanne Kozlowski, \nHannah Reusser, Daniel Schürer (equipo team)\nFotos Photos\nSimon Menges\nSolid Tradition \nKüppersmühle by H deM\n",8,{"image":45,"text":46,"number":47},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.9.png","C 22 7\n",9,{"image":49,"text":50,"number":51},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.10.png","8 C 22\n",10,{"image":53,"text":54,"number":55},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.11.png","C 22 9\nLa propuesta de los \narquitectos suizos suma \ndiscretamente una \nnueva ala al conjunto \nde edificios de ladrillo \nde la antigua fábrica, \nrenovada en el año 1999 \npara albergar el museo \nde arte contemporáneo.\nThe project designed \nby the Swiss architects \ndiscreetly adds a \nnew wing to the \nbrick buildings of the \nold factory, which \nthey converted into \na contemporary art \nmuseum in 1999. \n",11,{"image":57,"text":58,"number":59},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.12.png","10 C 22\nAlineada con el resto \nde edificios industriales \njunto al puerto interior de \nla ciudad, la ampliación \nadopta su mismo lenguaje \nformal y material pero \nintroduciendo un rico \njuego de aparejos que le \ndan una identidad propia.\nJoining the other \nindustrial structures on \nthe dock, the museum \nextension adopts their \nsame formal and \nmaterial language but \nintroducing different \nbonds that endow it  \nwith a unique identity. \n0\n+1\n+2\n",12,{"image":61,"text":62,"number":63},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.13.png","C 22 11\n",13,{"image":65,"text":66,"number":67},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.14.png","12 C 22\n",14,{"image":69,"text":70,"number":71},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.15.png","C 22 13\nLa superficie expositiva \ndel museo original se \nextiende al nuevo bloque \na través de pasarelas \nque cruzan el vacío de \nlos poderosos silos de \nhormigón, asegurando un \nrecorrido ininterrumpido \npor las colecciones.\nThe original exhibition \nspace expands to the new \nblock through walkways \nthat stretch across the \nvoid of the powerful \nconcrete silos, forming \nan uninterrupted path \nthrough the museum’s  \nart collections.\n",15,{"image":73,"text":74,"number":75},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.16.png","14 C 22\nArchitecture\nMuseum\n1\nLyric Ceramic\nZ33 House by Francesca Torzo \nEl beguinaje de la región flamenca de Hasselt fue fundado en el \nsiglo XIII a las afueras de la ciudad, fue destruido doscientos años \ndespués y su reconstrucción —ya intramuros— siguió en marcha \nhasta los años cincuenta cuando, tras la muerte de la última religio-\nsa, el conjunto se destinó a albergar viviendas sociales. La antigua \ncomunidad alberga desde 1958 el centro de arte, arquitectura y \ndiseño Z33, que se ha convertido hoy en un pequeño reducto de \ntranquilidad, alejado del ajetreado ritmo urbano. En este contexto, \nel proyecto de la italiana Francesca Torzo reinterpreta el lenguaje \ndel heterogéneo complejo para completar la manzana y ampliar \nla actual sede del museo con un edificio atento a la historia del \nlugar, que se adapta con un ligero pliegue a la trazas de la calle y \nse abre hacia el jardín interior común.\nEl nuevo volumen evidencia el contraste entre la ciudad y la \npequeña comunidad con la expresión de sus fachadas —un muro \nciego de mampostería hacia el exterior en oposición al perforado \nalzado interior— y busca integrarse con la sede histórica. En el \nala antigua todas las salas son diferentes, y en la ampliación se \ncontinúa esta organización variando en escala, forma y atmósfera \nlumínica para poder adaptarse a las distintas necesidades del museo. \nLa disposición enfrentada de las estancias permite las relaciones \nvisuales entre ellas y conforma un itinerario continuo secuenciado \núnicamente por los gruesos umbrales.  \nThe Beguinage of the Flemish region of Hasselt was founded in \nthe 13th century on the outskirts of the city. It was destroyed \ntwo-hundred years later and its reconstruction behind walls went \non until the 1950s when, after the death of the last Beguine, \nthe complex became residential. The Z33 museum belongs to \nthe community since 1958, and today it has become a center for \ncontemporary art, architecture and design and a small place for \nrest, far from the busy activity of the city. In this context, the \nproject by the Italian architect Francesca Torzo reinterprets the \nheterogeneous language of the ensemble to complete the block and \nextend the museum’s current venue with a building that defers to \nthe history of the place, adapting with a light fold to the street \npattern and opening up to the park inside. \nThe new volume shows the contrast between the city and the \nsmall community through the expression of its facades – a masonry \nwall with practically no openings towards the street in opposition \nto the perforated interior elevation –, blending in with the historic \nbuildings surrounding it. As in the old wing all the halls are \ndifferent, the extension building follows this approach and the \nrooms vary in proportion, form, and light atmosphere to adapt to \nthe new needs of the exhibition venue. The rooms overlook each \nother to create a continuous circulation route where the thick \nthresholds organize the space.\nCliente Client:  \nProvincie Limburg, Z33  \nArquitectos Architects:  \nFrancesca Torzo Architetto \u002F Francesca Torzo \nEquipo Team:\nTomàs Cabral, El�d Zoltàn Golicza, Lorenzo \nGatta, Marco Guerra, Cyril Kamber, Antoine \nLebot, Jovan Minic, Andrea Nardi, Anna \nOliva, Nicola Torniamenti, Gion von Albertini \nConsultores Consultants \nABT Belgie (arquitecto local architect \nof record); Conzett Bronzini Partner \n(estructura structure); Luca Pietro Gattoni \n(instalaciones installations) \nFotos Photos \nGion von Albertini\n",16,{"image":77,"text":78,"number":79},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.17.png","C 22 15\n",17,{"image":81,"text":82,"number":83},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.18.png","16 C 22\nEl revestimiento exterior \na base de ladrillos con \nuna inusual forma de \ndiamante, elaborados \nartesanalmente, responde \nal contexto de manera \nunitaria evocando el \nlenguaje de los edificios \ndecimonónicos aledaños.\nThe external cladding \nof bricks handcrafted \nin the unusual shape of \ndiamonds engages with \nthe surrounding context  \nin a unitary manner, \nevoking the language \nof the neighboring \n19th-century buildings.\n",18,{"image":85,"text":86,"number":87},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.19.png","C 22 17\n",19,{"image":89,"text":19,"number":90},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.20.png",20,{"image":92,"text":93,"number":94},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.21.png","Arts\nThe Fiction of the Image\nThe World of Thomas Demand\nBeyond the Street\nSpY, a New Urban Art\n",21,{"image":96,"text":97,"number":98},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.22.png","20 C 22\nEn la era de la posverdad y el simulacro, \ny en un momento en el que el medio \nfotográfico ha quedado desmarcado de \nsu papel documental, la obra de Thomas \nDemand transita en un espacio liminal \nentre realidad y ficción. \nEl polifacético artista persiste en su \nparticular modus operandi, en el que \ntraslada escenas publicadas en las faits \ndivers a fieles maquetas de papel a \ntamaño real, que reinterpreta con sus \nfotografías y finalmente destruye, para \nasí incitar al público a reflexionar sobre \nlo que la sociedad acepta hoy como \nrealidad objetiva.\nIn the era of post-truth and simulacra,  \nand at a time when the documentary  \nrole of photography is being put into \nquestion, the work of Thomas Demand \nmoves within the liminal space between \nreality and fiction. \nThe multifaceted artist continues to \npursue his particular modus operandi, \nwhereby he transfers faits divers scenes \nto real-size paper and cardboard models, \nwhich he then reinterprets through his \nown photographs and finally destroys. In \nthis way he aims to take the observer to \nthe limit, inviting them to reflect on what \nsociety accepts today as objective reality.\nArts\nPhotography\n2\nThe works of the German \nphotographer recreate \nimages or scenes that \nspectators find familiar, \nlike Monet’s Water Lilies \nor the Fukushima power \nplant, inviting them to \nactively participate in \nhis “theater of emotion.”\nLa obra del fotógrafo \nalemán recrea escenas e \nimágenes reconocibles, \ncomo los Nenúfares de \nMonet o la central de \nFukushima, invitando al \nespectador a participar \nactivamente en su \n«teatro de la emoción».\nWerkstatt \u002F Workshop, 2017\nThe Fiction of the Image \nThe World of Thomas Demand\n",22,{"image":100,"text":101,"number":102},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.23.png","C 22 21\n",23,{"image":104,"text":105,"number":106},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.24.png","22 C 22\nLos espacios de Demand \nhacen referencia a \nacontecimientos de gran \nrelevancia mediática, \npero desprovistos de \nfiguras humanas para \nque la imaginación del \nespectador complete las \nnarrativas que él sugiere.\nDemand’s spaces refer to \nevents that have received \nmuch media hype, but \nreproduced devoid of \nhuman figures, inviting \nviewers to use their \nimagination and complete \nfor themselves the \nnarratives he suggests.\nControl Room, 2011\nDrafting Room, 1996\nDaily #19, 2012\nPrincess, 2020\n",24,{"image":108,"text":109,"number":110},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.25.png","C 22 23\n",25,{"image":112,"text":113,"number":114},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.26.png","24 C 22\nUna vez inmortalizadas \nen fotografías, las \nmaquetas de papel son \ndestruidas por el propio \nfotógrafo, en un modus \noperandi que se ha \nmantenido invariable \ndesde los inicios de su \ncarrera en los noventa.\nAs soon as they are \nimmortalized in large \nhigh-quality images, \nthe paper dioramas \nare destroyed by the \nphotographer himself; a \nmodus operandi he has \nkept up since the start of \nhis career in the 1990s.\n",26,{"image":116,"text":117,"number":118},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.27.png","C 22 25\n",27,{"image":120,"text":121,"number":122},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.28.png","26 C 22\nTras convertirse durante los años ochenta \nen una destacada figura de la escena del \ngrafiti en España, SpY empezó a explorar \nnuevos canales de comunicación para \ndefinir un estilo propio y reconocible, en \nel que desde un espíritu lúdico se apropia \nde elementos urbanos para despertar una \nconciencia activa en el espectador.\nSu singular mundo estético parte de \nla cuidadosa atención al contexto y \nconstituye un heteróclito conjunto de obras \nque incluyen desde prácticas lumínicas \nque horadan y tensionan los cielos hasta \nla puesta en órbita de nuevas lunas o la \nconstrucción de candentes orbes.\nAfter becoming one of the most prominent \ngraffiti artists in Spain in the 1980s, \nSpY began exploring different forms \nof communication, giving shape to a \ndistinctive and recognizable style. His \nwork involves a playful appropriation of \nurban elements to awaken in spectators \n“an enlightened conscience,” in the \nartist’s own words. \nHis singular aesthetic world is built \nupon a careful attention to context, \ncomposing a unique oeuvre that includes \nstunning light art installations, glowing \ncrescent moons suspended in the sky, and \ngiant luminous spheres. \nArts\nUrban Art\n2\nThrough irony and humor, \nthe urban artist prompts \nthe observer to question \npreestablished rules  \nand to reflect on issues \nlike public surveillance  \nin cities and the use of \nnew technologies for \nsocial control.\nEl artista, desde la ironía \ny el humor, invita al \nespectador a cuestionarse \nlas reglas preestablecidas \ny a reflexionar sobre \ntemas como la vigilancia \nen las ciudades o el uso \nde la tecnología como \nherramienta de control.\nBeyond the Street  \nSpY, a New Urban Art\nEarth, Madrid 2021 . © Rubén P. Bescós\n",28,{"image":124,"text":125,"number":126},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.29.png","C 22 27\n",29,{"image":128,"text":129,"number":130},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.30.png","28 C 22\n",30,{"image":132,"text":133,"number":134},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.31.png","C 22 29\nEl uso de la luz es una \nconstante de su obra; \nsi en Lighthouse un haz \nverde conectaba los dos \nextremos de Madrid, \nen Barrier cinco láseres \nrojos generaban una línea \nconceptual que definía la \ncosta de Ostende.\nLight is a constant \nelement in his work: \nin Lighthouse a green \nbeam connected two \nends of Madrid, and in \nBarrier five high-powered \nred lasers created a \nconceptual line crossing \nthe coast of Ostend.\nBarrier, Ostende 2020. © Rubén P. Bescós\nLighthouse, Madrid 2021. © R. P. Bescós\nLuna, Madrid 2019 (left). Lighthouse, Madrid 2021 (right). © Rubén P. Bescós\n",31,{"image":136,"text":137,"number":138},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.32.png","30 C 22\nEn el 400 aniversario \nde la Plaza Mayor de \nMadrid el artista urbano \ndesplegó un círculo de \ncésped de 70 metros \nde diámetro, para así \ndinamizarla de nuevo \ny recordar el antiguo \nparque que la ocupaba.\nOn the 400 anniversary \nof Madrid’s Plaza \nMayor, the urban artist \ncovered the space with a \ncircle of grass measuring \n70 meters in diameter, \nto revitalize the space \nand evoke the park that \nused to occupy it. \n",32,{"image":140,"text":141,"number":142},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.33.png","C 22 31\nCésped, Madrid 2017. Photo: SpY\n",33,{"image":144,"text":19,"number":145},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.34.png",34,{"image":147,"text":148,"number":149},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.35.png","Style\nMotion\nAutos, Art, Architecture by Norman Foster\n",35,{"image":151,"text":152,"number":153},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.36.png","34 C 22\nStyle\nExhibition\n3\nMOTION\nAutos, Art, Architecture\nby Norman Foster\n",36,{"image":155,"text":156,"number":157},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.37.png","C 22 35\nComisariada por Norman \nFoster, la exposición en \nel Museo Guggenheim \nde Bilbao recorre más de \nun siglo de historia del \ndiseño automovilístico, \nanalizando las relaciones \ne influencias con la \narquitectura y el arte.\nCurated by Norman \nFoster, the exhibition \nat the Guggenheim \nMuseum in Bilbao \ncovers over a century \nin the history of car \ndesign, analyzing \nthe relationship with \narchitecture and art. \nPhotos: © Pablo Gómez-Ogando \u002F Norman Foster Foundation\n",37,{"image":159,"text":160,"number":161},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.38.png","36 C 22\n",38,{"image":163,"text":164,"number":165},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.39.png","C 22 37\nLos siete temas que \norganizan los casi cuarenta \nvehículos de la muestra \nabordan un momento \nhistórico importante para \nel diseño automovilístico  \nen el que se evidencian las \nafinidades existentes entre \nlas distintas disciplinas. \nThe seven halls and \nseven themes that \norganize the almost forty \nvehicles in the exhibition \nanalyze a key historic \nmoment in automobile \ndesign, considering \naffinities between the \ndifferent disciplines.\n",39,{"image":167,"text":168,"number":169},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.40.png","38 C 22\nR. Buckminster Fuller, Dymaxion #4, 2010 © Norman Foster Foundation\nBugatti Type 57SC Atlantic, 1936 © Michael Furman\nPegaso Z-102 Cúpula, 1952 © Louwman Museum\n",40,{"image":171,"text":172,"number":173},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.41.png","C 22 39\nFerrari 250 GTO, 1962 © Ben de Chair\nMercedes-AMG F1 W11 EQ, 2020 © Mercedes-Benz AG.\nAlfa Romeo BAT Car 7, 1954 © Michael Furman\n",41,{"image":175,"text":19,"number":176},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.42.png",42,{"image":178,"text":179,"number":180},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.43.png","Cosentino\nScalea Facade\nUniversity of Málaga by Ercilla, Alcolea and Tárrago\n",43,{"image":182,"text":183,"number":184},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.44.png","42 C 22\nCosentino\nArchitecture\n4\nSCALEA FACADE\nUniversity of Málaga by Roberto Ercilla, \nRubén A. Alcolea and Jorge Tárrago \nEl nuevo Pabellón de Gobierno de la Universidad de Málaga, obra \nde Roberto Ercilla y alcolea+tárrago, acogerá todas las oficinas del \nrectorado —hasta ahora dispersas en múltiples sedes— y añadirá al \ncampus universitario un paraninfo, junto a un conjunto de espacios \nexteriores que incluyen un amplio jardín, zonas de aparcamiento \ny un pequeño auditorio al aire libre. El proyecto retorna a los \ntipos arquitectónicos elementales y utiliza un lenguaje abstracto \nque resuelve el amplio programa en dos rotundos volúmenes. Esta \nimagen de geometrías esenciales y carácter representativo se ve \nreforzada por el uso casi exclusivo del mármol blanco Macael en todas \nsus superficies —desde la fachada ventilada a los revestimientos—, \naportando unidad y coherencia al conjunto.\nSi el edificio del paraninfo se resuelve con un cuerpo compacto que \nse adapta a la topografía para minimizar su impacto visual y mejorar \nsu comportamiento energético, la zona de administración, por el \ncontrario, se articula en torno a dos grandes patios de vegetación \ndensa, que ofrecen un espacio público sombreado y optimizan \nlas condiciones higrotérmicas del interior. Ambos volúmenes se \nconectan por una gran pérgola, en una suerte de espacio de transición \nhacia la amplia topografía de espacios libres ajardinados. Además, \nel proyecto ha prestado una especial atención a la vegetación y a su \nmantenimiento, priorizando técnicas regenerativas que en el futuro \nmejorarán la fertilidad de los suelos.\nThe new Government Pavilion of the University of Málaga, designed \nby Roberto Ercilla and Rubén A. Alcolea and Jorge Tárrago of \nalcolea+tárrago arquitectos, will accommodate all the offices of the \nRectorate, which were up to now scattered in different buildings. \nThe project rounds off the university campus with an auditorium \nand open spaces including a large garden, parking areas, and a \nsmall outdoor theater. The design recovers elemental architectural \ntypes and uses an abstract language to organize the entire program \nin two bold volumes. The essential geometry of the buildings and \ntheir representative character is reinforced by the almost exclusive \nuse of white Macael marble on all surfaces – from the ventilated \nfacade to the claddings –, giving the whole complex a unitary and \ncoherent image. \nWhile the auditorium building is designed as a compact volume that \nadapts to the topography to minimize its visual impact and improve \nenergy efficiency, the administration area, by contrast, is articulated \naround two large courtyards filled with vegetation, and which \noffer a shaded public space outside and optimize the hygrothermal \nconditions of the interior. Both volumes are connected by a pergola, \na sort of transition space towards the vast topography of landscaped \ngrounds. The project pays special attention to the vegetation and its \nmaintenance, giving priority to regenerative agricultural techniques \nthat in the future will improve the fertility of the land. \nPhotos: @javiercallejas_ \n",44,{"image":186,"text":187,"number":188},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.45.png","C 22 43\n",45,{"image":190,"text":191,"number":192},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.46.png","44 C 22\n",46,{"image":194,"text":195,"number":196},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.47.png","C 22 45\nEl proyecto destaca por \nel uso predominante del \nmármol blanco Macael \ny muestra las diferentes \nposibilidades que ofrece \neste material de aplicarse \nen solados, fachadas, \nrevestimientos o incluso \nen el mobiliario urbano.\nThe project stands out \nfor the predominant \nuse of white Macael \nmarble, and shows the \npossibilities of using this \nmaterial for flooring, \nfacades, claddings, and \neven for urban furniture \nsuch as benches. \nScalea mármol blanco de Macael\n",47,{"image":198,"text":199,"number":200},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.48.png","46 C 22\n",48,{"image":202,"text":203,"number":204},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.49.png","C 22 47\nArquitectos Architects\nRoberto Ercilla \u002F alcolea+tárrago arquitectos \nEquipo Team\nRoberto Ercilla, Rubén Alcolea, Jorge Tárrago (arquitectos \nresponsables main architects); Roberto Ercilla, \nalcolea+tárrago arquitectos, Jokin Lecumberri, Antonio \nCidoncha (equipo redactor design development); Roberto \nErcilla, Rubén Alcolea, Jorge Tárrago, Luis Gil-Delgado \n(dirección de obra project management); Tomas Luzón \n(dirección de ejecución execution management); Roberto \nErcilla, Rubén Alcolea, Jorge Tárrago, Luis Gil-Delgado \n(colaboradores collaborators)\nConsultores Consultants\nCalesa Estructuras y Proyectos (estructura structure); \nINARQ Ingenieros SL (instalaciones installations); Local 4 \nArquitectura del Paisatge (paisaje landscape)\nContratista Contractor\nUTE Sando-Conacon\nCliente Client\nVicerrectorado de Smart Campus y Sostenibilidad. \nUniversidad de Málaga\nFotos Photos\nJavier Callejas, @javiercallejas_\n",49,{"image":206,"text":19,"number":207},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.50.png",50,{"image":209,"text":210,"number":211},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.51.png","Interior\nIndustrial Recovery\nBURR Studio in Madrid\nDekton Surfaces\nÁvila by AllAround Lab\n",51,{"image":213,"text":214,"number":215},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.52.png","50 C 22\nInterior\nHousing\n5\n© Luis Díaz Díaz\nEn Madrid, al igual que en muchos otros centros urbanos, las \nnuevas normativas y la constante subida de los precios del suelo \nhan ocasionado una paulatina pérdida de casi toda la actividad \nindustrial, que ha sido trasladada a los cinturones y las periferias. \nComo consecuencia, las naves urbanas, que solían ocupar las \nplantas bajas y los patios de manzana, han quedado obsoletas \ny carentes de uso. El estudio madrileño BURR responde a esta \nproblemática con la iniciativa ‘Elements for Industrial Recovery’, \ncon la que ofrecen herramientas —tanto urbanísticas como \narquitectónicas— para la protección del patrimonio industrial y \nproponen nuevas fórmulas de ocupación que permiten prolongar \nla vida de estas estructuras y evitar su derribo.\nEnmarcado en esta serie de recuperaciones y reactivaciones de \nedificios industriales surge el proyecto de Eulalia: una transformación \nde un heterogéneo almacén de objetos familiares en una vivienda \ny estudio para el fotógrafo Juan Baraja. La propuesta recupera \nel concepto de atelier, buscando las mínimas adiciones y que el \ncontenido prime sobre el continente. De este modo, las intervenciones \nse reducen a una escalera y un portón —en contraste por su color \ny materialidad con el resto de la nave— que conforman la zona de \nla vivienda. En el resto del espacio se realizan únicamente algunas \nacciones de acondicionamiento necesarias y se concibe como un \nfondo neutro que ponga en valor la obra del artista.\nIn Madrid, as has been the case of so many other big city centers, \nnew regulations and the constant rise of property prices have \nresulted in the disappearance of practically all industrial activity, \nwhich has been pushed to the outskirts and peripheries. As a \nconsequence, industrial buildings located within the urban tissue, \nusually occupying ground levels and courtyards, have become \nobsolete and lacking in use. The Madrid studio BURR responds \nto this issue with the initiative ‘Elements for Industrial Recovery,’ \nproposing tools and strategies – both urban and architectural – \nto protect industrial heritage and offer new occupation formulas \nwhich contribute to prolonging the life of these structures and \navoiding their demolition. \nThe Eulalia project is an example of refurbishment and \nreactivation of industrial buildings: the transformation of a \nwarehouse of heterogeneous family belongings into a home and \nstudio for a photographer. The project develops the concept of \natelier, with a minimum number of additions and making sure \nthat the content prevails over the container. The interventions \nare basically the staircase and gate, which configure the living \narea and which stand out against the rest of the place due to \ntheir color and material. The rest of the space features just a few \nnecessary improvements and is devised as a neutral backdrop for \nthe works of the artist. \nINDUSTRIAL RECOVERY \nBURR Studio in Madrid\n",52,{"image":217,"text":218,"number":219},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.53.png","C 22 51\n",53,{"image":221,"text":222,"number":223},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.54.png","52 C 22\nLa nave se contempla \ncomo un soporte neutro \ndonde solo se acometen \nmínimas intervenciones \nen las envolventes, que se \ncompletan con el diseño de \nuna escalera y un portón \nque permite aislar una \npequeña zona de descanso.\nThe space was thought \nout as a neutral container \nwhere only minimal \ninterventions in the \nenclosures would be \ncarried out, besides the \ndesign of a staircase and \na large door to isolate  \na small rest area.\n© Maru Serrano \n© Luis Díaz Díaz, Maru Serrano p.52 top right \n© Luis Díaz Díaz\n",54,{"image":225,"text":226,"number":227},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.55.png","C 22 53\n",55,{"image":229,"text":230,"number":231},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.56.png","54 C 22\nInterior\nHousing\n5\nDEKTON SURFACES\nÁvila by AllAround Lab \nEl estudio AllAround Lab, formado por los arquitectos Noelia de \nla Red y Jordi Ribas, ahonda en la práctica contemporánea de \nreconvertir antiguas edificaciones industriales en nuevos espacios \nhabitables. El proyecto Ávila se sitúa en el arrabal de Poblenou, una \nzona al noreste de la Ciudad Condal inmersa en la última década \nen un exuberante proceso de transformación y crecimiento, donde \nproliferan los ejemplos de edificios fabriles transformados hoy en \ndotaciones culturales e innovadoras propuestas domésticas. La \nnueva vivienda se enraiza en la arquitectura existente, evitando \ncualquier tipo de ornamento superfluo y poniendo en valor el \npasado de este antiguo almacén. \nDe este modo se busca un lenguaje nítido, con las intervenciones \nmínimas necesarias y operaciones sencillas, como los juegos de luz \no los contrastes entre texturas. Para resolver el programa funcional \nhabitual de una vivienda se utiliza el menor número de particiones \nposible, planteando la disposición de varias piezas de mobiliario \ndiseñadas ad hoc para separar los distintos ambientes. En planta \nbaja se distribuyen las zonas más públicas de la vivienda articuladas \nen torno a dos grandes piezas de obra, y se introduce un nivel \nintermedio para alojar los dormitorios y baños. En cuanto a la paleta \nde materiales, en el espacio predominan las superficies continuas \ny los colores claros gracias a la utilización de Dekton Aeris, para \nobtener un lugar luminoso y neutro pero cálido a la vez.\nAllAround Lab, the studio led by architects Noelia de la Red and \nJordi Ribas, delves into the contemporary practice of reconverting \nold industrial structures into new habitable spaces. Ávila is \nthe name of a project located in Poblenou, in the northeast  of \nBarcelona, a neighborhood that over the last decade is experiencing  \na vigorous process of transformation and growth, and where many  \nfactory buildings have been transformed into cultural facilities \nand innovative domestic proposals. The new dwelling is designed \nto take root in the place, and in order to blend with the existing \narchitecture it avoids any kind of superfluous ornament and drives \nall attention to the past of this old warehouse. \nThe architects sought a clear language, with the minimum \ninterventions necessary and simple operations, like the interplays \nof light or the contrast between textures. The usual functional \nprogram of a dwelling is addressed with the minimum number of \npartitions possible, suggesting the arrangement of several pieces of \nfurniture designed ad hoc to separate the different living spaces. \nThe ground floor contains the more public areas of the house, \narticulated around two large construction pieces and introducing \nan intermediate level for bedrooms and bathrooms. As for the \nmaterial palette, the space is marked by continuous surfaces and \nclear tones provided by Dekton Aeris, which creates a space that \nis bright and neutral but warm at the same time.  \nPhotos: Jose Hevia\n",56,{"image":233,"text":234,"number":235},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.57.png","C 22 55\n",57,{"image":237,"text":238,"number":239},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.58.png","56 C 22\n0\n+1\n",58,{"image":241,"text":242,"number":243},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.59.png","C 22 57\nLa utilización de \nDekton Aeris tanto en \npavimentos como en \nencimeras, e incluso en \nalgunas de las piezas \nde mobiliario, asegura \nla continuidad entre las \ndistintas superficies y \nun interior luminoso.\nThe choice of Dekton \nAeris for floors and \ncountertops, as well \nas for some of the \nfurniture pieces, creates \na seamless continuity \nbetween the different \nsurfaces and a bright \ninterior space.  \n",59,{"image":245,"text":19,"number":246},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.60.png",60,{"image":248,"text":249,"number":250},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.61.png","Interview\nMaas & Arroyo\nIn Dialogue\n",61,{"image":252,"text":253,"number":254},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.62.png","Interview\nConversation\n6\nWiny Maas &  \nEduardo Arroyo \nin dialogue\n",62,{"image":256,"text":19,"number":257},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.63.png",63,{"image":259,"text":260,"number":261},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.64.png","62 C 22\nPhotos: Miguel Galiano \nLa sede madrileña de Cosentino City, un \npunto de referencia en la ciudad para el \nencuentro entre creadores, acoge el diálogo \nentre Winy Maas, socio fundador del estudio \nholandés MVRDV, y Eduardo Arroyo, fun-\ndador de la firma NO.MAD. Los arquitectos \ndebaten sobre los orígenes y la transforma-\nción de sus estrategias proyectuales, para \ndespués abordar algunas de las cuestiones \nque marcarán el futuro de la disciplina.\nEduardo Arroyo: Pensaba en la fuerza de \nnuestra memoria. A veces, cuando trabajo en \nalgún proyecto, me surgen ideas que lleva-\nban escondidas veinticinco o treinta años, \ncomo si fuesen originales. ¿De dónde crees \nque vienen estos pensamientos?\nWiny Maas: A mí me parece que son \nobsesiones duraderas u objetivos concre-\ntos que uno quiere realizar y están siempre \nahí, almacenados; surgen cuando los ne-\ncesitas. Yo, por ejemplo, siempre he estado \nfascinado por el vidrio, y continuamente \nrecurro a estrategias para poder trabajarlo. \nConsecuentemente, cuanto más lo utilizas, \nmás relevante se vuelve en los proyectos, \ny más se profundiza en ese conocimiento. \nAdemás tienes la capacidad de expandirlo, \nfomentarlo y, así, de alguna forma, acabas \nconvirtiéndote en especialista. \nEA: Para mí es complicado separar las \nobsesiones —que hacen sus apariciones fruc-\ntíferas y de forma  fortuita— y el pragmatis-\nmo de copiarse a uno mismo. ¿Dónde está \nrealmente el punto crítico entre esas dos \nideas? En mi caso, cuando recurro a ideas \ndel pasado, encuentro difícil distinguir entre \nsi es una mera copia de algo anterior o si \nestoy desarrollando un nivel más complejo \nque el anterior.\nWM: ¿Qué haces entonces? Yo creo que \nlo importante es que pase por un proceso \nde evaluación posterior. En esos análisis \npuedes realmente advertir si la idea merece \nuna nueva oportunidad. Por ejemplo, no-\nsotros ahora tenemos una fascinación por \nel píxel, y continuamente aparecen nuevas \nformas de utilizarlo. Actualmente estudia-\nmos métodos de prefabricación o, aun más, \nde desensamblaje, es decir, de la posibilidad \nde desmontar lo que ya ha sido ensamblado. \nSe puede ver cómo es una idea recurrente \nen nuestro trabajo, ya sea en nuestro estu-\ndio, The Why Factory, o en la industria de \nprefabricación china, que ha permitido el \nrápido proceso de construcción del hospital \nde Wuhan. Ahí, el píxel ayuda, y es un nuevo \nmétodo cada vez. \nEA: El píxel ha perdido su imagen abs-\ntracta para convertirse en algo más realista. \nAlgunas ideas que eran utópicas veinte o \ntreinta años atrás vuelven ahora reconver-\ntidas en algo más funcional. Las llamamos \nigual, pero no tienen el mismo poder de \nsignificado. Bueno, tienen un poder distinto, \npero ya no son ideas, son sistemas. \nWM: El shock viene ahora en la veloci-\ndad, en el tamaño o en su propia recomposi-\nción. Es diferente, pero es también sorpren-\ndente. Este concepto es muy interesante \nporque describe un momento concreto en \nel tiempo en el que uno se hace consciente \nde unas necesidades que estaban ocultas \ny para las que alguien ha encontrado una \nespecie de respuesta. \nWiny Maas (Schijndel, \n1959) visita Madrid y \nse reúne con Eduardo \nArroyo (Bilbao, 1964) \nen Cosentino City, donde \nconversan sobre cómo \ninnovar y convencer a los \nagentes económicos que \nguían la arquitectura.\nWiny Maas (Schijndel, \n1959) visited Madrid  \nand met with Eduardo \nArroyo (Bilbao, 1964) at \nCosentino City, where they \ntalked about innovating \nand persuading the \neconomic agents who  \ndrive architecture.\n«Es complicado separar  \nlas obsesiones y el  \npragmatismo de  \ncopiarse a uno mismo»\n",64,{"image":263,"text":264,"number":265},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.65.png","The Madrid headquarters of Cosentino City, \na reference point in the city for creative \npeople, is the venue for a conversation held \nbetween Winy Maas, founding partner of \nthe Rotterdam-based firm MVRDV, and \nEduardo Arroyo, founder of the practice \nNO.MAD. The two architects share thoughts \non the origins and transformation of their \nrespective design strategies, to then address \nsome of the questions that are bound to \nmark the future of the discipline.\nEduardo Arroyo: I was thinking of the \nstrength of our memory. When you work, \nwhen you conceive projects, sometimes \nideas arise that were hidden somewhere \nfrom twenty-five, even thirty years ago, and \nthey come up as if for the very first time, \nfor new designs. Where do those thoughts \ncome from?\nWiny Maas: Yeah. Well, I think there \nare long-lasting, enduring obsessions or \nagenda points that you would like to realize, \nand then you store elements in your mind \nand they’re always there, to resurface when \nyou need them. For example, I was always \nfascinated by glass in general, and keep \nfinding different ways of working with it. \nThe more you use it, the more it becomes \npart of your action points, and as you delve \ndeeper, people start to ask you about it. \nThen your know-how does not only deepen \nbut also widens. You nurture it, and in some \nway you become an expert.\nEA: But it’s difficult to draw a line be-\ntween your obsessions – which make sur-\nprise appearances that can turn out to be \nfruitful – and the pragmatism of copying \nyourself. Where exactly lies the critical \nboundary between these two things? Some-\ntimes, when I resort to an idea from the \npast, it’s hard to tell if I’m merely reusing \nsomething or if I’m really evolving to a \ndeeper level.\nWM: So what do you do? I think it’s \ngood to go through a subsequent evaluation \nprocess. It’s through such an analysis that \nyou can truly determine whether the idea \ndeserves a new opportunity. For instance, \nwe are right now fascinated by the pixel, \nand new ways of using it just keep cropping \nup. We are currently studying methods of \nprefabrication, or better, of de-assemblage; \nthat is, of dismantling what has already \nbeen assembled. You can see it’s an idea \nthat is continuously reappearing in our \nwork, whether in our studio, The Why Fac-\ntory, or in China’s prefabrication industry, \nwhich allowed the rapid construction of \nthe Wuhan hospital in the early days of \nthe coronavirus pandemic. There, the pixel \nhelps, and it’s a whole new method that’s \nused each time.\nEA: The pixel has lost its abstract nature \nand become something more realistic. Some \nideas that were utopian twenty or thirty \nyears ago eventually come back, turned into \nsomething more functional. We call them by \nthe same names, but the words no longer \nhave the same power of meaning. Well, \nthey now have a different sort of power, \nbut they are not ideas anymore. They have \nbecome systems.\nWM: The ‘shock’ is now in speed, in size, \nor in its recomposition. It’s different, but \n“It’s difficult to draw a line \nbetween your obsessions \nand the pragmatism of \ncopying yourself”\n",65,{"image":267,"text":268,"number":269},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.66.png","64 C 22\n",66,{"image":271,"text":272,"number":273},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.67.png","C 22 65\nstill surprising. This concept is interesting \nbecause it describes moments in time when \none becomes aware of necessities that were \nhidden, and for which someone found an \nanswer of sorts.\nEA: That’s the shock. The answer more \nthan the question. There are things that \nhave been coming into the architecture pic-\nture over the last ten years, having to do \nwith sustainability, the zero-carbon foot-\nprint… and none of them really has a shock-\ning answer. It’s like most of the solutions \nare a way of simply concealing the problem \ninstead of solving it.\nWM: I think you’re right, but in the \nmeantime, we shouldn’t ignore what’s hap-\npening, because that’s where the shocks \nwe’re talking about do appear. We see how \nin Amsterdam it’s been possible to build \na 3D-printed steel bridge, and how this \nsame technique has evolved using concrete \ninstead. Now if only the new concrete could \nbe conglomerated or aggregated through \nprocesses that are CO2-free and also re-\nversible…\nEA: And which we are able to pay for, \nbecause the economic factor is always there.\nWM: If that happens, it will certainly be \na shock… The good thing is that these kinds \nof questions call for shocking architecture, \ninnovative architecture with the potential \nto find answers.\nEA: Answers don’t come so much from \nimages – so habitual nowadays – as from \nsolutions that can make us see that the real \nproblem is solved and we can proceed to the \nnext. I have the feeling that in architecture \nwe have created more problems than we are \nable to solve, and we spend our time solv-\ning not only construction matters, but also \nissues related to durability or economies of \nmeans. And in the end, the work still ends \nup on an Excel sheet.\nWM: Yeah, although I believe there are \nstill opportunities to bring about shocks, \nto create architecture of the kind that can \nshock. There are two types of Excel sheets. \nOne is the kind that dominates your work; \neverything that you do boils down to filling \nup the sheet. The other kind has blanks, \nopen to conversation and negotiation. \nNowadays some investors prefer to work \nwith the second kind because here they are \nfamiliar with the margins. But they want to \ngo a step further, to innovate and make an \nimpact, and that’s why they devote them-\nselves to filling those empty boxes. And this \ngives a certain flexibility or leeway.\nEA: The empty box has to be filled in \nwith ideas that have the potential to give a \nplus, or added value, to what is otherwise \nsimply banal and pragmatic. \nWM: It’s not only banal, it’s a hypercom-\npost. The first Excel sheet shows everything \nthat is already done. It’s closed. That’s \nwhy we have to gamble on the blank boxes. \nThey’re what give architecture an authen-\nticity, where you can invent.\nEA: Exactly. That’s what I meant. We \nhave to fill in the box not so much with \nideas as with inventions. However, it’s not \nat all easy to find somebody to dialogue \nwith who is the guy that’s really in charge \nof manipulating the tables, one with enough \n“I believe there are  \nstill opportunities to  \ncreate architecture of the \nkind that can shock”\n",67,{"image":275,"text":276,"number":277},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.68.png","66 C 22\nEA: La sorpresa es esa. No es la pregunta, \nes la respuesta. Hay muchos conceptos que \nhan aparecido en arquitectura en los últimos \ndiez años, como la sostenibilidad, la huella de \ncarbono cero… y ninguno tiene una respuesta \nsorprendente. Es como si la mayoría de las \nsoluciones fuesen para maquillar el problema \nmás que para solucionarlo. \nWM: Estoy de acuerdo en lo que dices, \npero entretanto no podemos olvidar lo que \nocurre, porque ahí sí que aparecen esos ele-\nmentos sorprendentes de los que hablamos. \nVemos cómo en Ámsterdam ha sido posible \nconstruir un puente de acero impreso en 3D, \ny cómo evoluciona esta misma técnica utili-\nzando hormigón. Sí se echa en falta que ese \nnuevo hormigón pueda ser conglomerado o \naglomerado con procesos que no produzcan \nCO2 y que, además, sean reversibles. \nEA: Y que se pueda pagar, porque el factor \neconómico siempre está detrás. \nWM: ¡Si eso pasase sí que sería una sorpre-\nsa! Lo positivo está en que estas cuestiones \nrequieren de una arquitectura innovadora \nque pueda encontrar respuestas. \nEA: Las respuestas no van a venir de las \nimágenes, como es tan habitual hoy en día, \nsino de soluciones que puedan hacernos ver \nque el problema real está resuelto y podemos \npasar al siguiente. Tengo la sensación de \nque en la arquitectura hemos creado más \nproblemas de los que podemos resolver. Nos \npasamos el día resolviendo cuestiones que no \nson solo constructivas, sino que tienen que \nver también con la durabilidad o la economía \nde los medios. Pero, al final, todo el trabajo \nacaba conteniéndose en una hoja de Excel. \nWM: Sí, pero pienso que aún hay oportuni-\ndades para crear esa arquitectura sorprenden-\nte. Hay dos tipos de hojas de Excel: la primera \ndomina tu trabajo de forma que lo único que \nhaces es rellenarla; la segunda tiene espacios \nen blanco, abiertos a la conversación y a la \nnegociación. Hoy existen algunos inversores \nque prefieren trabajar sobre la segunda, cono-\ncen sus márgenes, pero quieren ir un paso más \nallá, innovar y destacar, por eso se dedican \na esas casillas en blanco. Y eso nos da cierta \nflexibilidad para trabajar. \nEA: Esa casilla vacía debe ser rellenada \ncon ideas que nos permitan aportar un valor \nañadido a lo meramente banal o pragmático. \nWM: No solo es banal, sino que está hi-\npercompuesto. La primera hoja Excel muestra \ntodo lo que ya está hecho, está cerrada. Por \neso hay que apostar por las casillas en blanco, \nporque es lo que da autenticidad a la arqui-\ntectura, es donde uno puede inventar. \nEA: Exacto, a eso me refería. No es tanto \nrellenar con ideas, sino con inventos. Pero \nno es sencillo encontrar ese intermediario, \nque es el que en realidad maneja las tablas, \nque tenga suficiente cultura o poder de diá-\nlogo para entender cómo mejor ocupar esos \nespacios vacíos. \n«Pienso que aún hay \noportunidades para \ncrear esa arquitectura \nsorprendente»\n",68,{"image":279,"text":280,"number":281},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.69.png","C 22 67\nculture and enough power of dialogue, and \nwith sufficient understanding of how best \nto fill those empty spaces. \nWM: I don’t like how people use the \nword ‘culture,’ but this is a beautiful way \nof saying it. That you need a certain cul-\nture to see slightly further and create new \nperspectives.\nEA: You need a common language, espe-\ncially in recent years. I find it very hard to \ntalk to the new guys behind the finances, \nthose in possession of the investment funds, \nwho are unable to accept that numbers \nsometimes don’t tell the truth.\nWM: It therefore depends on the people \nyou come across. The ones that you meet \nare probably between 30 and 45 years of \nage, just starting out in the business and \npressed upon to meet a set of objectives, \nopening a box on the spreadsheet. Those \nindividuals are the most difficult to deal \nwith. But at a certain point other people \ncome on board – more mature and even able \nto direct the younger guys. Their ambitions \nare already different. And, as you were \nsaying at the start, there’s the question of \nhow to innovate. We are currently work-\ning on a project in Taiwan for an energy \ncompany, and everything about it results \nfrom a competition in which our practice \nproposed to make the entire building out \nof solar cells. The image was beautiful and \ninteresting but the idea, in and of its own \naccord, was not that much of an innova-\ntion; there are numerous buildings around \nthe world that are completely covered with \nsolar panels. But then came the interesting \npart: after showing it to the older, mid-\ngeneration group of investors and seeing \nthat they saw something in it, we brought it \nup to the company director herself, and she \ngrasped the potential and proposed panels \nthat would function efficiently even when \ninstalled on the north-facing facades of \nbuildings. Hence, an initial sketch can put \nforward something that is not particularly \ninnovative, and into the picture comes a \ncompany imbibed with the spirit of chang-\ning things, and this is the point at which \ntrue development is possible.\nEA: Yes, exactly, but that would require \na certain perspective and a level of culture \nthat is really not so widespread. In truth, \nit’s only a very thin layer of society that is \ncapable of absorbing and understanding the \ncomplexity of what it is we’re talking about, \nso we ought to work towards expanding the \nculture, although always in a natural way. \nI don’t claim to be anyone’s teacher.\nWM: So how would you like to do it?\nEA: It would be great if we knew how \nto expand things beyond Instagram. The \nproblem is that in the end you deal with \npeople who are not speaking the same lan-\nguage as you, and you are compelled to find \nan in-between or hybrid language, which \nis not even always effective. We have to \nknow how to convey to those guys aged 30 \nto 45 that we’re not proposing something \nthat can make them lose their jobs, how to \nconvince them that we’re not just trying \nto fool them.\nWM: Mutual respect is a very important \nthing to maintain if we want to be able to \ncarry out new steps.\n",69,{"image":283,"text":284,"number":285},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.70.png","68 C 22\nWM: No me gusta cómo habitualmente \nse usa la palabra cultura, pero en este caso \nes una bonita forma de entenderlo. Que se \nnecesite cierta cultura para ver más allá y \npermitir crear nuevas perspectivas. \nEA: Se necesita un lenguaje común. En \nlos últimos años no he dejado de enfren-\ntarme a la gente que está detrás de estas \nfinanzas, que mueve los fondos de inver-\nsión, y que es incapaz de entender que los \nnúmeros a veces mienten. \nWM: Claro, depende de con quién te en-\ncuentres. Probablemente estés hablando de \nperfiles de entre 30 y 45 años, que están \nempezando en el negocio y que tienen que \ncumplir con los objetivos. Los de la primera \nhoja de cálculo. Esos son los más difíciles. \nPero luego aparecen otros, más maduros, \nque incluso pueden dirigir a los anteriores, \ny cuyas ambiciones ya son otras. Y además, \ncomo comentabas al principio, está la cues-\ntión de cómo innovar. Estamos haciendo \nahora un edificio en Taiwán para una em-\npresa de energía, y todo nace de un concurso \nen el que propusimos un edificio totalmente \nhecho de paneles solares. La imagen era muy \ninteresante, pero en realidad tampoco era \nuna gran innovación, hay muchos edificios \nque ya están cubiertos con estos paneles. \nPero aquí vino lo interesante: después de \nenseñárselo a esos inversores de edad media, \ntuvimos suerte de que ellos viesen algo de \npotencial, por lo que pudimos presentár-\nselo a la directora de la empresa, que vio \nuna oportunidad y propuso desarrollar unos \nnuevos paneles que, aun orientados a norte, \nfuesen eficientes. De ese primer boceto, que \nno es especialmente innovador, aparece una \nempresa con voluntad de cambiar las cosas, \ny entonces sí aparece el desarrollo. \nEA: Exacto, pero eso requiere una perspec-\ntiva y una cultura que no es tan habitual. Es \nuna capa muy fina de la sociedad la que puede \nentender la complejidad de estos argumentos, \ny deberíamos trabajar para expandir esa cul-\ntura, pero de una forma natural. No pretendo \nyo ser el profesor de nadie. \nWM: Pero, ¿cómo lo harías?\nEA: Sería genial saberlo. Necesitamos ex-\npandirlo más allá de Instagram. El proble-\nma es que al final no hablamos el mismo \nidioma que nuestros clientes, y eso nos obli-\nga a encontrar un lenguaje intermedio que \nno siempre es efectivo. Deberíamos saber o  \npoder comunicar a esos inversores de 30 a 45 \naños que no les estamos proponiendo algo \nque pueda hacer que pierdan sus trabajos, que \nno estamos intentando engañarlos. \nWM: El respeto mutuo es un elemento tras-\ncendental para poder dar estos nuevos pasos. \n",70,{"image":287,"text":288,"number":289},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.71.png","C 22 69\n",71,{"image":291,"text":19,"number":292},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.72.png",72,{"image":294,"text":295,"number":296},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.73.png","Travel\nParis\nFrance\n",73,{"image":298,"text":299,"number":300},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.74.png","72 C 22\nParis\nTravel\nFrancia  \n7\nThe French capital is an \nunrivaled cultural and \narchitectural showcase \namid the charm of its \nrues, cafés, and boutiques.\nLa capital francesa destaca \npor su inigualable oferta \ncultural y arquitectónica, \njunto al encanto de sus \nbulevares, cafés o boutiques.\nrics.org\nstill-in-paris.com\n01\nDesigned by Renzo Piano \nand Richard Rogers in \nthe 1970s, the museum \nwas an early example of \nhigh-tech architecture, \ncharacterized by its \nindustrial look and its \nexposed structural and \nmechanical systems.\nMuseum\nCentre Pompidou\n02\nEl museo se encuentra \nen la antigua residencia \nreal a orillas del Sena y \nsu estructura ha sufrido \ndistintas ampliaciones, \ndesde las alas renacentistas \na la icónica pirámide de I. \nM. Pei, o el contemporáneo \npabellón de arte islámico.\nThe museum occupies an \nold royal residence on the \nbanks of the Seine and its \nstructure has undergone \nseveral enlargements, from \nRenaissance wings to the \nI.M. Pei pyramid at the \nentrance or the pavilion for \nthe Islamic art collection. \nMuseum \nMusée du Louvre\nDiseñado por Renzo \nPiano y Richard Rogers \nen los años setenta, el \nmuseo fue uno de los \nprimeros ejemplos de la \narquitectura high-tech \ny se caracteriza por su \napariencia industrial o \nsus instalaciones vistas.\n",74,{"image":302,"text":303,"number":304},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.75.png","C 22 73\n03\nMonument\nArc de Triomphe\nLocalizado en uno de los \nextremos de los Campos \nElíseos, el Arco del \nTriunfo fue construido por \nNapoleón Bonaparte para \nconmemorar la victoria en \nla batalla de Austerlitz y se \nha convertido en unos de \nlos símbolos de la ciudad.\nRising at one end of \nthe Champs-Élysées, \nthis triumphal arch \nwas commissioned by \nNapoleon Bonaparte \nafter the victory at the \nBattle of Austerlitz, \nand is one of the major \nsymbols of the city. \ndepositphotos.com © lifeonwhite\n",75,{"image":306,"text":307,"number":308},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.76.png","74 C 22\n© Jean-Pierre Dalbéra\n© Georges Fessy\n© Atlantide Phototravel\n© Chabe01\nMusic Hall \nChamps-Élysées Theatre\nThe project was assigned \nby impresario Gabriel \nAutruc to Henry van \nde Velde and completed \nin 1913 by Auguste \nPerret. Despite Art Déco \nreminiscences, it stood out \nfor pure forms and its use \nof reinforced concrete.\nEl proyecto fue encargado \npor el empresario Gabriel \nAutruc a Henry van de \nVelde y finalizado en 1913 \npor Auguste Perret. Aun \ncon reminiscencias art \ndecó, destacó en la época \npor su pureza formal y el \nuso de hormigón armado.\nNational Library \nBNF Richelieu\nIn the early 18th \ncentury the Bibliothêque \nNationale was moved to \nRue Richelieu, and later \nextensions include that \nwhich Henri Labrouste \ncarried out in 1868, with \nits imposing reading \nroom and archive.\nA principios de siglo XVIII, \nla Biblioteca Nacional \nfrancesa se trasladó a la \nRue Richelieu, entre las \nposteriores ampliaciones \nresalta la llevada a cabo \npor Henri Labrouste en \n1868, con una imponente \nsala de lectura y archivo.\nSculpture Museum \nMusée Rodin\nThe museum occupies \nthe Hôtel Biron, a \ntypical 18th-century \nmansion that Auguste \nRodin used as a atelier, \nand contains some of the \nsculptor’s masterpieces \nbesides his archive and \npersonal collection.\nEl museo se sitúa en el \nHôtel Biron, una típica \nconstrucción palaciega \ndel siglo XVIII utilizada \npor Rodin como atelier, \ny hoy alberga algunas \nde sus obras maestras, \njunto con su archivo y \ncolección personal.\n06\n07\n04\n05\nPicture Museum\nMusée d’Orsay\nGare d’Orsay, the train \nstation built by Victor \nLaloux in 1900, was \nin 1980 transformed \nby Gae Aulenti into \nan art museum, and \nis home to one of the \nlargest collections of \nimpressionist works. \nLa antigua estación de tren \nde Orsay, construida por \nVictor Laloux en 1900, \nfue transformada por \nGae Aulenti en los años \nochenta en pinacoteca para \nacoger una de las mayores \ncolecciones de obras \nimpresionistas del mundo. \n",76,{"image":310,"text":311,"number":312},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.77.png","C 22 75\nartehistoria.com\n© FLC\u002FADAGP - Olivier Martin Gambier\n© Binche\n© François Halard\n© Michel Moch \nLa construcción de la sede  \npara el Partido Comunista \nFrancés fue uno de los \nprimeros encargos de \nNiemeyer en Europa. Su \nmoderna composición \ncontrasta con el barrio y \nsus típicas manzanas de \nla época de Haussmann.\nThe French Communist \nParty headquarters was \none of Oscar Niemeyer’s \nfirst commissions in \nEurope. Its modern \ncomposition strikes a \nfigure amid the typical \ncity-blocks of the \nHaussmann period.\n08\nModern Movement \nPCF Headquarters\nEmplazada en el barrio \nde Montmartre, la casa \ndel escritor dadaísta \nsigue las ideas habituales \nde los proyectos de Loos, \ndonde contrasta una \ndepurada apariencia \nexterior con los juegos \nespaciales del interior.\nIn the Montmartre \nneighborhood, the home \nof the Dadaist writer \npursues ideas that ran \nthrough Adolf Loos’s \nprojects, where distilled \nexteriors struck a \ncontrast with the spatial \ndelights of the interiors.\n09\nModern Movement \nTristan Tzara House\n11\nModern Movement\nMaison de Verre\nFinalizada en 1932, la \nvivienda-consultorio es \nfamosa por la innovadora \nutilización de vidrio y acero \nCompleted in 1932, this \nhome cum medical suite \nis famous for its novel \nuse of glass and steel. \nReligious \nNotre-Dame du Raincy\nLocated in Le Raincy, a \ncommune outside Paris, \nthe church designed by \nthe Perret brothers in \n1922 pioneered the use \nof colored coatings on \nclear glass and of exposed \nreinforced concrete \nthroughout the structure.\nLocalizada en Raincy, \nuna población cercana a \nParís, la iglesia concebida \npor los hermanos Perret \nen 1922 fue pionera por \nsus coloridas vidrieras \ny la utilización de \nhormigón armado visto \nen toda su estructura.\n12\nModern Movement\nMaison La Roche\n10\nAlso known as Villa La \nRoche, it was designed by \nLe Corbusier in 1925 and \nharbors his foundation. \nLa Maison La Roche-\nJeanneret fue diseñada \npor Le Corbusier en 1925 \ny hoy acoge su fundación.\n",77,{"image":314,"text":315,"number":316},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.78.png","76 C 22\n© Georges Fessy\n© Marwan Harmouche\narquitecturaydiseno.es\n© Jared Chulski\n© Laurian Ghinitoiu\nSANAA’s intervention \nbrings back the \nmodernist and Art \nDéco buildings of the \nSamaritaine department \nstore and completes \nthe block toward Rue \nde Rivoli with an \nundulating glass facade.\nLa intervención de SANAA \nrecupera el conjunto de \nedificios modernistas y \nart decó de los grandes \nalmacenes comerciales de \nLa Samaritaine y completa \nla manzana hacia la Rue de \nRivoli con una ondulada \nfachada de vidrio.   \n16\nOffices \nLe Monde Headquarters\nSnøhetta ha diseñado la \nnueva sede de Le Monde: \nun edificio-puente que \ngenera una plaza pública, \ny con una cambiante \nimagen exterior gracias \na una piel formada por \nuna matriz de vidrios de \ndistinta transparencia.\nSnøhetta has designed \nthe new Le Monde \nheadquarters: a bridge-\nbuilding that creates a \nlarge public square and \nchanges in appearance, \nthanks to a skin formed \nby a matrix of glass pieces \nvarying in transparency. \nDepartment Store\nLa Samaritaine\n15\nArab World\nInstitut du monde arabe\n14\nJean Nouvel’s building \nreinterprets the symbolism \nof the Arab world in a \ncontemporary language.\nEl edificio de Jean Nouvel \nreinterpreta el simbolismo \ndel mundo árabe con un \nlenguaje contemporáneo.\nHotel\nFouquet’s Barrière\n17\nThe hotel’s facade of \nprefabricated concrete \nreproduces different \n19th-century styles. \nLa fachada del hotel en \nhormigón prefabricado \nreproduce los distintos \nestilos decimonónicos.\nEl imponente complejo \ndiseñado por Perrault en \nuna zona industrial junto \nal Sena se caracteriza \npor sus cuatro torres \nenfrentadas sobre un \ngran podio, que salva \nla diferencia de cota y \nresuelve la biblioteca.\nThe imposing complex \ndesigned by Dominique \nPerrault in an industrial \nzone by the Seine is \ncharacterized by four \ntowers facing each other \non a huge podium that \nlevels the slope while \nresolving the library.\n13\nNational Library \nBNF François-Mitterrand\n",78,{"image":318,"text":319,"number":320},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.79.png","C 22 77\n© Hisao Suzuki\n© Iwan Baan\n© Philippe Ruault \n© Stefan Altenburger\nBourse de Commerce \n Pinault Collection\nTadao Ando has \nrestored the historic \nstock exchange, built \nin the 18th century in \nQuartier des Halles, \nas a showcase for the \nbusinessman François \nPinault’s collection of \ncontemporary artworks.\nTadao Ando ha restaurado \nel antiguo edificio de la \nBolsa de Comercio de \nParís, construido en el \nsiglo XVIII y situado en el \nbarrio de Les Halles, para \nacoger la colección de \narte contemporáneo de \nFrançois Pinault.\n21\nThe firm of Frank \nGehry designed the \nnew headquarters of \nthe LVMH group’s \nfoundation, contrasting \nthe solidness of the \nblocks of white concrete \nwith the lightness of the \ntwelve glass ‘sails.’\nLa firma liderada por \nFrank Gehry ha diseñado \nla nueva sede de la \nFundación Louis Vuitton, \nen la que contrastan la \nsolidez de los bloques de \nhormigón blanco con la \nligereza que otorgan las \ndoce ‘velas’ de vidrio.\n19\n20\nContemporary Art \nPalais de Tokyo\nEl estudio Lacaton Vassal \ntransformó el Palais de \nTokyo en un museo de \narte contemporáneo. \nThe studio Lacaton \nVassal turned the Palais \nde Tokyo into a museum \nof contemporary art. \nMuseum\nLouis Vuitton Foundation\nEn la Fundación Cartier \nJean Nouvel propuso un \npoético juego de reflejos \ny transparencias, gracias \na la desmaterialización \nde sus fachadas que le \npermiten alinearse con la \ncalle y crear un ambiguo \nespacio intermedio.\nJean Nouvel for the \nCartier Foundation \nconceived a poetic \ninterplay of reflections \nand transparencies. The \ndematerialization of the \nfacades helped to align  \nit with the street and \ncreate a transition space.\n18\nContemporary Art \nFondation Cartier\n",79,{"image":322,"text":323,"number":324},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.80.png","78 C 22\n© Musée de l’Orangerie\nthegoodgoods.fr\n© Zairon\n© Gilles Trillard\nbrasserielipp.fr\nLa antigua Gare Ornano, \ncerca del Marché aux \nPuces de Saint-Ouen, ha \nsido reconvertida en este \necléctico restaurante, \ndonde se puede disfrutar \nde una cocina sencilla y \ntambién participar en un \ncurso de bricolaje.\nClose to the Saint-Ouen \nflea market, the old \nOrnano station has been \nreconverted into this \neclectic restaurant where \none can relish a simple \nwholesome meal but \nalso attend a repairs or \nrecyling workshop. .\n23\nRestaurant \nLa Recyclerie\nHotel \nHôtel Molitor\nConstructed in 1929, \nPiscine Molitor is famed \nfor being where the first \nbikini was presented,  \nas well as for its marked  \nArt Déco style. The \nfacility was abandoned in  \nthe 1990s but has now \nbeen renovated.\nInaugurada en 1929, la \nPiscina Molitor fue célebre \npor haber sido el lugar \nde presentación del \nprimer bikini, y destacó \npor su marcado estilo art \ndéco. Tras su abandono \nen los años noventa, ha \nsido renovada hace poco. \n26\nRestaurant\nBrasserie Lipp\n24\nFounded in 1880, this \nfamous restaurant \nsponsors an annual \nliterary prize. \nFundado en 1880, el \nrestaurante es famoso \npor el premio literario \nque concede cada año.\n25\nArchitecture \nPalais-Royal\nConstruido por Richelieu \npara ser su residencia en \nParís, en su patio intervino \nen 1986 el artista Buren.\nA courtyard of Cardinal \nRichelieu’s Paris residence \nfeatures columns by the \nartist Buren in 1986. \nLa galería, situada  \nen la antigua orangerie \nde los jardines del \npalacio de las Tullerías, \nalberga una gran \ncolección de pinturas \nimpresionistas, entre \nlas cuales destacan los \nNenúfares de Monet. \nSituated in the old \norangery of the \nTuileries Palace, the \ngallery displays a \nmajor collection of \nimpressionist paintings, \namong which are the \nWater Lilies murals of \nClaude Monet.\n22\nImpressionist Art \nMusée de l’Orangerie\n",80,{"image":326,"text":327,"number":328},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.81.png","C 22 79\n28\nSculpture Museum\nGiacometti Institute\nThe foundation \ntakes up a palace in \nMontparnasse, where the \nartist lived and worked. \nLa fundación se encuentra \nen un palacete del barrio \nde Montparnasse, donde \nresidió y trabajó el artista.\nOpposite the Pompidou, \nRenzo Piano recreated \nConstantin Brancusi’s \nstudio to house his vast \nlegacy. It relives the \nintimacy and rapport \nbetween sculptures that \ncharacterized the atelier \non Impasse Ronsin.\nEl italiano Renzo Piano \nproyectó frente al Museo \nPompidou una recreación \ndel estudio del escultor \npara alojar su extenso \nlegado. El espacio recupera \nla intimidad y la relación \nentre las esculturas del \natelier de Impasse Ronsin.\nSculpture Museum \nAtelier Brâncu�i\n27\n© J Lozgar\npublicdelivery.org\n© M.Gebicki\nanaviajando.com\nsolosophie.com\nQuartier \nLe Marais\nLocated in the 4th \narrondissement, the old \nJewish quarter boasts \nelegant hôtels and has \nin recent years become a \nfashionable zone, thanks \nto its wide array of \nleisure, culinary,  \nand culture spots.\nSituado en el Distrito IV, \nel antiguo barrio judío \nde la capital destaca por \nsus elegantes hotêls y \nse ha convertido en los \núltimos años en una \nzona de moda, gracias a \nsu gran oferta de ocio, \nrestauración y cultura.\n31\nSituado en la zona \nde Saint-Ouen, en el \nextremo norte de la \nciudad, el mercadillo \ncuenta con más de 3.000 \npuestos, entre los que \ndestacan sus anticuarios \ny tiendas de artículos \nde segunda mano.\nLocated in the Saint-\nOuen area, on the \nnorthern edge of the city \nof Paris, the flea market \ncounts more than 3,000 \nstands and stalls, notable \namong which are those \nselling antiques and \nsecond-hand goods.\n29\nFlea Market \nMarché aux Puces  \n30\nBookstore \nShakespeare & Co.\nLa librería especializada en \nliteratura inglesa es desde \nsu fundación en 1919 un \nemblema de la ciudad.\nThis bookshop focused \non English literature has \nsince opening in 1919 \nbeen an icon of the city. \n",81,{"image":330,"text":331,"number":332},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.82.png","80 C 22\n02\n03\n04\n05\n07\n06\n09\n10\n11\n17\n18\n19\n20\n21\n22\n24\n25\n26\n28\n",82,{"image":334,"text":335,"number":336},"\u002Fmedia\u002Fimages\u002F8a\u002F3710307b4a734077017cb228b4b60c-28f7a160a5.83.png","C 22 81\n01\n29\n08\n12\n13\n14\n15\n16\n23\n27\n30\n31\nPlace Georges-Pompidou \nweb: centrepompidou.fr \n11:00-21:00 (closed on Tue) \n11:00-23:00 Thu \n83 Av. de la Résistance \n9:00-19:00 Mon-Sun\nJardin Tuileries \nweb: musee-orangerie.fr \n9:00-18:00 (closed on Tue)\n83 Bd Ornano \nweb: larecyclerie.com \n+33 1 42 57 58 49\n151 Bd Saint-Germain \nweb: brasserielipp.fr\n+33 1 45 48 53 91\n8 Rue de Montpensier \n8:00-22:30 Mon-Sun\n13 Rue Nungesser et Coli \nweb: all.accor.com \n+33 1 56 07 08 50\nPlace Georges Pompidou \n14:00-18:00 (closed on Tue)\n5 Rue Victor Schoelcher \n10:00-18:00 Tue-Sun \nweb: fondation-giacometti.fr\n110 Rue des Rosiers \npucesdeparissaintouen.com \n8:00–12:30 Fri \n9:30–18:00 Sat, Sun & Mon\n37 Rue de la Bûcherie \nshakespeareandcompany.com \n10:00-20:00 Mon-Sat \n12:00-19:00 Sun\nQuai François Mauriac \nweb: bnf.fr  \n14:00-20:00 Mon \n9:30-20:00 Tue-Sat \n13h – 19h Sun\n1 Rue des Fossés Saint-Bernard \n10:00-18:00 Tue-Fri \n10:00-19:00 Sat-Sun\n 9 Rue de la Monnaie \n10:00-20:00 Mon-Sun\nAv. Pierre Mendès-France\n46 Av. George V \nweb: hotelsbarriere.com\n261 Bd Raspail \nweb: fondationcartier.com \n11:00-22:00 Tue \n11:00-20:00 Wed-Sun\n8 Av. du Mahatma Gandhi \nweb: fondationlouisvuitton.fr \n10:00-19:00 Mon-Sun\n13 Av. du Président Wilson \nweb: palaisdetokyo.com \n12:00-24:00 (closed on Tue)\n2 Rue de Viarmes \n11:00-19:00 (closed on Tue) \n11:00-21:00 Fri\n15 Av. Montaigne, 75008\nweb: theatrechampselysees.fr\n2 Pl. du Colonel Fabien \n10:00-18:30 Mon-Sat\n15 Av. Junot\n31 Rue Saint-Guillaume\nRambuteau station\nRue de Rivoli \n9:00-18:00 (closed on Tue)\nPl. Charles de Gaulle \n10:00-22:30 Mon-Sun\n77 Rue de Varenne \nweb: musee-rodin.fr \n10:00-18:30 Tue-Sun\n1 Rue de la Légion d’Honneur\nweb: musee-orsay.fr \n9:30-18:00 Tue-Sun\n58 Rue de Richelieu\nweb: bnf.fr\n10:00-18:00 Mon-Sat\n8-10 Sq. du Dr Blanche\nweb: fondationlecorbusier.fr \n10:00-18:30 Tue, Thi, Fri & Sat\n 01. Centre Pompidou\n 12. Notre-Dame du Raincy\n 22. Musée de l’Orangerie\n 23. La Recyclerie\n 24. Brasserie Lipp\n 25. Palais-Royal\n 26. Hôtel Molitor\n 27. Atelier Brâncu�i\n 28. Giacometti Institute\n 29. Marché aux Puces\n 30. Shakespeare & Co.\n 13.BNFFrançois-Mitterrand\n 14. Institut du monde arabe\n 15. La Samaritaine\n 16. Le Monde HQ.\n 17. Fouquet’s Barrière\n 18. Fondation Cartier\n 19. Louis Vuitton Fdn.\n 20. Palais de Tokyo\n 21. Pinault Collection\n 02. Musée du Louvre\n 03. Arc de Triomphe\n 04. Musée Rodin\n 05. Musée d’Orsay\n 06. Champs-Élysées Theatre\n 07. BNF Richelieu\n 08. PCF. Headquarters\n 11. Maison de Verre\n 31. Le Marais\n 09. Tristan Tzara House\n 10. 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