[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-cosentino-architecture-and-everything-else-09":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":342},{"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":337,"matched_pages":338,"match_count":339,"two_pages":340,"show_text":341},24478,"Architecture & Everything Else 09","cosentino-architecture-and-everything-else-09","\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002F2b\u002F604e30a143454e6a049c77a9b36826-28f7806b1f.pdf","Cosentino",2482,"cosentino","260.7 MB",[14,17,21,25,29,33,37,41,45,49,53,57,61,65,69,73,77,81,85,89,92,96,100,104,108,112,116,120,124,128,131,135,139,143,147,151,155,159,162,166,170,174,178,182,186,190,194,198,201,205,209,212,216,220,224,228,231,235,239,243,247,251,255,259,263,267,271,275,278,282,286,290,294,298,302,306,310,314,318,322,325,328,332,335],{"image":7,"text":15,"number":16},"c \narchitecture &  \neverything else 09 \n",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.2.png","",2,{"image":22,"text":23,"number":24},"\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.3.png","c\ncontents\n20\n06\n30\n38\n48\n56\n68\n  Architecture\n 06 ELBPHILHARMONIE  Herzog & de Meuron in Hamburg\n \n La nueva filarmónica de los arquitectos suizos ya es el icono de Hamburgo. \n \n The new philharmonic hall by the Swiss architects is already Hamburg’s new icon. \n \n Innovation\n 30 EMERGENCY PROJECTS  IKEA’s Refugee Shelter, Design of the Year\n \n Oliver Wainwright analiza por qué el refugio de Ikea es el mejor diseño del año.\n \n Oliver Wainwright explains why Ikea’s shelter is the year’s best design.\n \n Cosentino\n 38 COSENTINO CITY MADRID  A Gallery of Stone\n \n Cosentino inaugura en Madrid su primer Cosentino City en España.\n \n Cosentino opens in Madrid its first Cosentino City Center in Spain.\n \n Style\n 48 DRAWING CITIES  Nigel Peake\n \n Las ilustraciones del arquitecto irlandés analizan y desmenuzan las partes de la ciudad.\n \n The Irish architect’s illustrations analyze and detail the parts of the city. \n  Interview\n 56 REM KOOLHAAS & RICHARD INGERSOLL  In dialogue\n \n Los arquitectos discuten en Pamplona sobre el papel de la política en la arquitectura.\n \n The two architects meet in Pamplona to talk about the role of politics in architecture.\n  Travel\n 68 MONTREAL  Canada\n \n Un repaso de los atractivos lugares de la ciudad canadiense.\n \n A guide of interesting places in the Canadian city.  \n 78 COSENTINO CITY  Flagship Stores\n \n Diseñado para ser el lugar de encuentro de arquitectos, diseñadores y paisajistas.\n \n Designed to be a destination for architects, designers, and landscapers. \n 80 MAGACEEN  C Magazine’s Digital Platform\n \n La revista estrena página web dedicada a la arquitectura, el arte y el diseño.\n \n The magazine launches a new website devoted to architecture, art, and design.\n  Arts\n 20 WANG SHU, MATERIAL WORKS  Louisiana Museum\n \n Una completa retrospectiva del único premio Pritzker chino en Copenhague.\n \n A comprehensive retrospective show in Copenhagen on the only Chinese Pritzker laureate. \n",3,{"image":26,"text":27,"number":28},"\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.4.png","Depósito Legal: M-14282-2014\nISSN: 2341-3867 \nCubierta Cover\nElbphilharmonie \n© Maxim Schulz\nImpreso en España Printed in Spain\nEsta revista está elaborada con papel libre de cloro \nThis magazine is printed on chlorine-free paper\nDirector Director\nSantiago Alfonso Rodríguez\nDirector adjunto Deputy Director\nJosé Yuste \nDirector de arte Art Director\nMiguel Fernández-Galiano\nEditado por Edited by\nCosentino \u002F Arquitectura Viva\nDiseño y producción editorial\n Graphic design and editing\nArquitectura Viva S.L.\nMaite Báguena \nPablo Canga\nCuca Flores \nLaura González \nMar Pérez-Ayala \nJesús Pascual \nEduardo Prieto \nRaquel Vázquez \nTraducción Translations\nGina Cariño, Laura Mulas\nImpresión Printing\nArtes Gráficas Palermo S.L.\nEncuadernación Binding\nJosé Luis Sanz\n",4,{"image":30,"text":31,"number":32},"\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.5.png","L\na famiLia Martínez Cosentino ha te-\nnido siempre la vocación de superar \nlos desafíos más ambiciosos. A partir de \n2014, con la revista C, Cosentino se propu-\nso hacer una nueva contribución al ámbito \nde la arquitectura, en esta ocasión desde \nel campo de la comunicación, con la difu-\nsión de las mejores innovaciones, diseños \ny proyectos que contribuyen a hacer el \nmundo más sostenible y bello. \nT\nhe marTínez CosenTino family has al-\nways applied itself to meeting the most \nambitious challenges. From 2014, with C \nmagazine, Cosentino set out to contribute \nanew to the world of architecture but from \na different field, that of communications, \nthrough information on the best and lat-\nest innovations, designs, and projects that \nmake for a more sustainable and more \nbeautiful world. \n",5,{"image":34,"text":35,"number":36},"\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.6.png","© Oliver Heissner\n",6,{"image":38,"text":39,"number":40},"\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.7.png","Architecture\nElbphilharmonie\nHerzog & de Meuron in Hamburg \n© Oliver Heissner\n",7,{"image":42,"text":43,"number":44},"\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.8.png","6 C 09\nArchitecture\nBuilding\n1\nSituada en la HafenCity de Hamburgo, la Elbphilharmonie ocupa un \nlugar destacado en el frente portuario, un frente que no era accesi-\nble para el público pero que ahora se ha transformado en un nuevo \nenclave social. El nuevo edificio es una extrusión del volumen de un \ngran almacén de ladrillo preexistente, el Kaispeicher, transformado \nen su parte inferior para albergar una plaza pública cubierta. Ahora, \nesta sólida y pesada construcción soporta la nueva Elbphilharmonie; \nsus robustos muros de ladrillo la convierten en una obra radical y \nabstracta, una base perfecta para la filarmónica cristalina de silueta \ncurvilínea que alcanza una altura de 110 metros. La entrada principal \ndel edificio se conecta con una larga escalera mecánica que alude a \nlas escaleras de las óperas del siglo xix, y que conduce a una plaza \nelevada sobre la ciudad, justo encima del Kaispeicher, donde se en-\ncuentra el vestíbulo de la sala principal de conciertos. \nEl diseño de esta sala ha contado con la colaboración del mayor \nexperto mundial en acústica, el ingeniero japonés Yasuhisa Toyota. \nLas ideas fundamentales de las salas filarmónicas actuales —localizar \na la orquesta y al director en el centro del público y buscar que la ar-\nquitectura siga la lógica de la acústica y la perspectiva— se mantienen, \npero las gradas se sitúan a una altura mayor, de manera que, junto a \nlas paredes y los techos, puedan conformar una entidad homogénea. \nLa sala tiene capacidad para albergar a 2.100 personas y su forma \ndefine la silueta de todo el edificio, un verdadero icono urbano.\nLocated in Hamburg’s HafenCity, the Elbphilharmonie takes up \na prominent spot on the harborfront, one which the public had \nno access to but that is now transformed into a major social and \ncultural enclave. The new building is an extrusion of the volume \nof an old brick warehouse, the Kaispeicher. The lower part of this \npreexisting construction has been turned into a covered public \nsquare. Now, this solid construction holds the new Elbphilhar-\nmonie; its sturdy brick walls turn into a radical and abstract \nwork, a perfect base for the curving crystalline crown that reaches \na height of 110 meters. From the main entrance the concertgoer \nrides a long escalator that alludes to the grand staircases of 19th-\ncentury opera houses, arriving at a plaza set high over the city, \nright above the Kaispeicher, and it is here that we find the foyer \nof the main concert hall.\nThe design of this auditorium has benefitted from the collabora-\ntion of the world’s leading acoustic expert, the Japanese engineer \nYasuhisa Toyota. The essential ideas of current philharmonic halls \n– place the orchestra and conductor at the center of the audience, \nand make the architecture follow the logic of acoustics and perspec-\ntive – are maintained, but the tiers are set higher, in such a way \nthat they form a homogeneous entity with the walls and ceilings. \nRising like a tent, the hall can seat 2,100 people and its shape \ndefines the profile of the entire building, a bona fide urban icon.\nElbphilharmonie\nHerzog & de Meuron in Hamburg\nPosada sobre un almacén \nexistente de ladrillo, en el \nextremo de una península \nen la renovada zona \nportuaria de Hamburgo, la \nElbphilharmonie es un hito \nen la ciudad que albergará \nprograma cultural, \ncomercial y residencial.\nSitting on top of an \nexisting brick warehouse, \nat the tip of a peninsula \nin Hamburg’s renovated \nharbor area, the \nElbphilharmonie is a new \nlandmark in the city, \nhousing a cultural, retail, \nand residential program.\n",8,{"image":46,"text":47,"number":48},"\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.9.png","C 09 7\n",9,{"image":50,"text":51,"number":52},"\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.10.png","8 C 09\n",10,{"image":54,"text":55,"number":56},"\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.11.png","C 09 9\nLa nueva filarmónica \nse extruye desde el \nKaispeicher, un gran \nalmacén de ladrillo \npreexistente, respetando su \nencuentro con el terreno y \ncreando una amplia terraza \nen la unión con el nuevo \nvolumen de vidrio.\nThe new philharmonic \nhall is extruded from \nthe Kaispecher, a \nlarge preexisting brick \nwarehouse, respecting the \nway it meets the ground \nand creating a large \nterrace between the old \nand the new volumes.\n",11,{"image":58,"text":59,"number":60},"\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.12.png","10 C 09\nApartamentos Apartments\nEntrada Entrance\nAlmacén Storage\nHabitaciones Hotel rooms\nÁrea de conferencias  \nConference area\nCamerinos Backstage\nSala principal y de cámara Main and chamber hall\nVestíbulo Foyer \nAparcamiento Parking\nÁreas técnicas Technical areas\nEscalera mecánica y plaza Escalator and plaza\nRestaurante Restaurant\nVestíbulo Foyer\n",12,{"image":62,"text":63,"number":64},"\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.13.png","C 09 11\n",13,{"image":66,"text":67,"number":68},"\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.14.png","12 C 09\n+14\n5\n5\n1\n2\n4\n4\n4\n3\n 1 auditorio principal\n 2 órgano\n 3 vestíbulo filarmónica\n 4 viviendas\n 5 hotel\n 1 main concert hall\n 2 organ\n 3 foyer\n 4 apartments\n 5 hotel\n",14,{"image":70,"text":71,"number":72},"\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.15.png","C 09 13\n",15,{"image":74,"text":75,"number":76},"\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.16.png","14 C 09\n",16,{"image":78,"text":79,"number":80},"\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.17.png","C 09 15\nEl diseño de la sala de \nconciertos responde \ntanto a criterios acústicos \ncomo a la voluntad de \nacercar a músicos y \noyentes. Los acabados \ntexturizados tienen el \nobjetivo de mejorar la \nreflexión del sonido.  \nThe main concert hall \ntakes up the central \npart of the complex and \ndetermines the roof’s \nshape. Its design follows \nacoustic and visibility \ncriteria, wishing to bring \nmusicians and audience \ncloser to one another.\n",17,{"image":82,"text":83,"number":84},"\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.18.png","16 C 09\n",18,{"image":86,"text":87,"number":88},"\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.19.png","C 09 17\nLa fachada de vidrio, \nformada por paneles \nserigrafiados con un \nacabado espejado, se \nabre en determinados \npuntos para permitir \nla ventilación natural \ny ofrecer balcones con \nperfil en forma de U.\nThe glass facade of  \nthe Elbphilharmonie is  \nbuilt with silkcreen-\nprinted panels with a \nmirror finish, and opens \nup at specific points to \nfavor natural ventilation \nand generate terraces \nwith a U-profile.\nObra Work: Elbphilharmonie Hamburg, Hamburgo \n(Alemania Germany).\nArquitectos Architects: Herzog & de Meuron \u002F Jacques \nHerzog, Pierre de Meuron, Ascan Mergenthaler (socio a \ncargo partner in charge), David Koch (socio a cargo del \nproyecto partner in charge project management). \nFotos Photos: Jörg Modrow (pp. 7, 9); Iwan Baan (pp. 8, \n9 abajo bottom, 12, 13, 16-17); Maxim Schulz (pp. 10-11); \nSilas Koch (p. 28 izquierda left); Michael Zapf (p. 14-15); \nHOCHTIEF\u002FVerena Meier (p. 17 arriba top).\n",19,{"image":90,"text":19,"number":91},"\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.20.png",20,{"image":93,"text":94,"number":95},"\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.21.png","Arts\nWang Shu, Material Works\nLouisiana Museum\n",21,{"image":97,"text":98,"number":99},"\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.22.png","20 C 09\nWang Shu,  \nMaterial Works \nLouisiana Museum\nArts\nExhibition\n2\n‘Wang Shu – Amateur Architecture Studio’ \ncovers the work of the prominent Chinese \narchitect through videos, photographs, \nmodels, and full-scale samples. The \nexhibition starts out in China, in Hangzhou \nto be specific, where Wang Shu (1963) and \nLu Wenyu (1966), his wife, set up their \nstudio almost twenty years ago. Since they \nreceived the Pritzker Prize in 2012, the \nstudio has continued to grow and evolve \nalong the same lines of connecting ancient \nChinese culture with contemporary culture \nthrough their architecture, which has \nearned them broad international renown. \nThis architecture, based on a manifesto \nknown as ‘Amateur Architecture,’ \nintervenes in the rural environment using \nreadily available materials such as bamboo, \nlocally sourced brick, or compressed \nearth. Their work also reflects the \nartistic virtues of Chinese culture such as \nhandwriting, gardening, and landscaping \nthrough a contemporary language. The \nexhibition takes stock of the qualities of \nShu and Wenyu’s architecture, which \nmanages to include local resources in a \nmodern building process, one that draws \ninspiration from a millennial tradition like \nthe Chinese one, which is enhanced and \nupdated to meet today’s needs. \nThe show on Wang \nShu (2012 Pritzker \nlaureate) is the first of \n‘The Architect’s Studio,’ \na series of monographic \nexhibitions where the \nLouisiana Museum  \nwill focus on a new \ngeneration of architects. \n‘Wang Shu – Amateur Architecture \nStudio’ visita la obra del reconocido \narquitecto chino a través de videos, \nfotografías, maquetas y muestras a escala \nreal. La exposición comienza en China, \nconcretamente en Hangzhou, donde \nWang Shu (1963) y Lu Wenyu (1966), \nsu mujer, establecieron su estudio hace \ncasi veinte años. Desde que recibieran \nel premio Pritzker en 2012, la evolución \ndel estudio no ha dejado de crecer, y su \ninsistente trabajo de coser la cultura china \nantigua con la contemporánea a través de \nsu arquitectura, les ha valido un amplio \nreconocimiento mundial. Esta arquitectura, \nbasada en un manifiesto conocido como \n‘Amateur Architecture’, trabaja en el \nentorno rural utilizando los materiales allí \ndisponibles, como el bambú, el ladrillo \nlocal o la tierra compactada. Además \nintegra virtudes de la cultura china  \ncomo la caligrafía, la jardinería o el \npaisaje en un lenguaje contemporáneo. \nLa exposición recoge las cualidades de la \narquitectura de Shu y Wenyu, que destaca \nprincipalmente por la forma en la que \nsus edificios perfeccionan una tradición \nmilenaria basada en el uso de recursos \nlocales gracias a un desarrollo técnico y \nconstructivo moderno.\nLa exposición sobre Wang \nShu (Pritzker 2012) es la \nprimera de ‘The Architect’s \nStudio,’ una serie de \nmuestras monográficas \ncon las que el Louisiana \nMuseum presentará a  \nuna nueva generación  \nde arquitectos.\nThe City of Hangzhou, 2016. Photo: © Iwan Baan \n",22,{"image":101,"text":102,"number":103},"\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.23.png","C 09 21\n",23,{"image":105,"text":106,"number":107},"\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.24.png","22 C 09\nEl primer tema de la \nexposición, ‘Amateur \nArchitecture,’ es un \ncollage que presenta las \nfuentes de inspiración \ndel estudio y muestra el \nesfuerzo por preservar y \nproteger las tradiciones \nculturales chinas.\nThe first theme of the \nexhibition, ‘Amateur \nArchitecture,’ is a  \ncollage that presents \nthe studio’s sources of \ninspiration and shows  \nits efforts to preserve \nand protect Chinese \ncultural traditions. \nInstallation shot from the exhibition. Photo: Poul Buchard\nInstallation shot from the exhibition. Photo: Poul Buchard\nMaterial sample, detail. Photo: Louisiana Museum\n",24,{"image":109,"text":110,"number":111},"\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.25.png","C 09 23\n",25,{"image":113,"text":114,"number":115},"\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.26.png","24 C 09\n",26,{"image":117,"text":118,"number":119},"\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.27.png","C 09 25\nEl segundo tema \nexpuesto, ‘Architecture \nas Resistance’, muestra \nuna colección de estudios \nde materiales, casi todos \nrelacionados con dos \nde los proyectos más \nrecientes del estudio: \nFuyang y Wencun. \nThe second theme on \ndisplay, ‘Architecture as \nResistance,’ features a \ncollection of studies on \nmaterials, almost all of \nthem related to two of \nthe offices’s most recent \nprojects: Fuyang Museum \nand Wencun Village. \nMaterial sample, detail. Photos: Louisiana Museum, Miguel Fernández-Galiano\nFuyang Cultural Complex, 2016. Photo: © Iwan Baan \n",27,{"image":121,"text":122,"number":123},"\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.28.png","26 C 09\nLastly, the third theme, \n‘History Reconstructed,’  \noffers an in-depth \ndescription of the Ningbo \nHistory Museum, a work \nthat is a clear example \nof the studio’s effort to \nrelive local history through \ncontemporary architecture.\nPor último, el tercer tema, \n‘History Reconstructed’, \ndescribe en profundidad \nla obra del Ningbo History \nMuseum, un claro ejemplo \ndel esfuerzo del estudio \npor revivir la historia local \na través de la arquitectura \ncontemporánea.\nRegeneration of Wencun Village, 2016. Photo: © Iwan Baan \nFuyang Cultural Complex, 2016. Photo: © Iwan Baan \nNingbo History Museum, Ningbo, 2008. Photo: Iwan Baan \nXiangshan Campus, China Academy of Art, 2007. Photo: © Iwan Baan\n",28,{"image":125,"text":126,"number":127},"\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.29.png","C 09 27\n",29,{"image":129,"text":19,"number":130},"\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.30.png",30,{"image":132,"text":133,"number":134},"\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.31.png","Innovation\nEmergency Projects \nIKEA’s Refugee Shelter, Design of the Year\n",31,{"image":136,"text":137,"number":138},"\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.32.png","30 C 09\nInnovation\nEmergency\n3\nCuando Hind y Saffa Hamid llegaron al campo de refugiados de Al \nJamea’a de Bagdad en 2015, después de haber sido expulsados de su \ncasa por milicianos del Estado Islámico, se alegraron, como nunca, de \nver un producto de Ikea. No se trataba de una estantería Billy o una \ncama Malm, sino del pack de un módulo para refugiados. Ahora, este \nproducto innovador del gigante sueco acaba de ser premiado con el \nBezley Design of the Year 2016 por el Museo del Diseño de Londres. \n«Si la comparas con la que teníamos en las tiendas de campaña, \nla vida en estos refugios es mil veces mejor», confiesa Saffa, de 34 \naños, a ACNUR, la oficina para los refugiados de la ONU: «Las tien-\ndas son como un pedazo de ropa y siempre se mueven. Vivíamos sin \nprivacidad alguna. Fue muy difícil.»\nLa familia, arrastrada de tienda en tienda, había experimentado el \ncalor severo durante el verano y las inundaciones durante la tempo-\nrada de lluvias en Irak, que provocaban a sus cuatro hijas una diarrea \ncontinua. «Cuando llegaban las lluvias, el agua en el campamento \nalcanzaba un pie de altura», afirma Hind, de 30 años: «Pero este re-\nfugio está más protegido. Tenemos una ventana que podemos cerrar \ny bloquear. Siento que es más seguro y limpio.»\nCon años de experiencia a sus espaldas a la hora de diseccionar \nmuebles complejos y compactar sus partes en paquetes lo más pe-\nqueños posibles, Ikea ha creado ahora un refugio de 17,5 metros \ncuadrados que cabe en dos cajas y se puede ensamblar por cuatro \nOliver Wainwright\nEmergency Projects \nIKEA’s Refugee Shelter, Design of the Year\nWhen Hind and Saffa Hameed arrived at the Al Jamea’a refugee \ncamp in Baghdad in 2015, having been hounded from their home \nin Ramadi by Islamic State militants, they had never been so glad to \nsee an Ikea product. It wasn’t a Billy bookcase or a Malm bed, but \nan entire flat-pack refugee shelter. The Swedish furniture giant’s in-\nnovation has just been crowned Beazley design of the year 2016 by \nLondon’s Design Museum.\n“If you compare life in the tents and life in these shelters, it’s a \nthousand times better,” Saffa, 34, told UNHCR, the United Nation’s \nrefugee agency. “The tents are like a piece of clothing and they would \nalways move. We lived without any privacy. It was so difficult.”\nThe Hameed family, having been previously moved from tent to tent, \nhad experienced severe overheating during the summer and flooding \nduring Iraq’s rainy season, giving the four young daughters constant \ndiarrhea. “When the rains came to the camp, the water was about one \nfoot high,” said Hind, aged 30. “But this shelter is more protected. \nWe have a door we can close and lock. I feel it’s safer and cleaner.”\nWith many years of expertise in squeezing complex items of furni-\nture into the smallest self-assembly package possible, Ikea has now \ncome up with a robust 17.5-square-meter shelter that fits inside two \nboxes and can be assembled by four people in just four hours, following \nthe familiar picture-based instructions – substituting the ubiquitous \nallen key for a hammer, with no extra tools necessary.\n",32,{"image":140,"text":141,"number":142},"\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.33.png","C 09 31\n",33,{"image":144,"text":145,"number":146},"\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.34.png","32 C 09\npersonas en solo cuatro horas, siguiendo el ya conocido manual de \ninstrucciones ilustrado, y sustituyendo la omnipresente llave Allen \npor un martillo, sin necesidad de más herramientas. \nDesarrollado sin fines de lucro y a lo largo de los últimos cinco \naños por la Fundación Ikea en colaboración con ACNUR, el refugio, \ndenominado Better Shelter, está compuesto por un robusto armazón \nde acero revestido con paneles de polipropileno con aislamiento \ntérmico, a los que se añade un panel fotovoltaico en el techo capaz \nde dotar al refugio de cuatro horas de luz eléctrica y carga para el \nteléfono móvil a través de un puerto USB. Aspectos fundamentales \nson su firme anclaje al suelo y el hecho de que las paredes sean a \nprueba de desgarros y cuchilladas, una característica potencialmente \nsalvadora habida cuenta de que estos refugios se encuentran a me-\nnudo en enclaves donde la violencia en general y la de género en \nparticular son frecuentes.\nPese al dramático aumento de la cantidad de personas desplazadas \nen todo el mundo —ACNUR estima que actualmente hay 2,6 millones \nde refugiados que llevan viviendo en campos más de cinco años, y \nuna parte de ellos lo lleva haciendo incluso durante una generación—, \nla típica tienda de campaña no ha cambiado mucho. Frías en invierto \ny sofocantes en verano, las tiendas siguen estando hechas con lona, \ncuerdas y postes. Por lo general, suelen durar unos seis meses, su-\nfriendo goteras cuando llueve o siendo arrastradas por vientos fuertes.\n \nUn ‘kit’ contra la precariedad\nBetter Shelter cuesta el doble (1.250 dólares) que la típica tienda \nde campaña de emergencia, pero a cambio proporciona seguridad, \naislamiento térmico y durabilidad, y aguanta en pie al menos tres \naños. Rebasado este plazo —que es el tiempo que tardan en degradarse \nlos paneles de plástico—, la estructura de acero puede reutilizarse y \nrevestirse de cualquier material local disponible, como el adobe o las \nplanchas de acero corrugado. \nDesde que la producción comenzara en junio de 2015, más de \n16.000 unidades se han instalado ya en lugares en crisis como Nepal, \ndonde Médicos sin Fronteras los utilizan como clínicas tras el de-\nvastador terremoto. Algunos miles se han enviado a Irak, y cientos a \nYibuti para dar cobijo a los refugiados que huyen de Yemen. \n«Es casi como jugar con Lego», afirma Per Heggenes, presidente de \nla Fundación Ikea: «Puedes ensamblarlo de diferentes maneras para \nhacer pequeñas clínicas o escuelas temporales. Una familia podría \nllevársela consigo, usando el refugio como un marco alrededor del \ncual podrían ir construyendo con materiales locales.»\nEl refugio, que ha recibido elogios en todo el mundo, pertenece ya \na la colección permanente del MoMA, pero el desarrollo del proyecto \n",34,{"image":148,"text":149,"number":150},"\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.35.png","C 09 33\nDeveloped by the not-for-profit Ikea Foundation with UNHCR \nover the past five years, the Better Shelter consists of a sturdy steel \nframe clad with insulated polypropylene panels, along with a solar \npanel on the roof that provides four hours of electric light, or mobile \nphone charging via a USB port. Crucially, it is firmly anchored to \nthe ground and the walls are stab-proof, a potentially life-saving \nfeature given that such shelters are often sited where violence is rife \nand gender-based.\nDespite the dramatic increase in the number of people being dis-\nplaced around the world, with UNHCR estimating there are now 2.6 \nmillion refugees who have lived in camps for over five years, and some \nfor more than a generation, the typical flimsy tent hasn’t changed \nmuch. Cold in winter and sweltering in summer, tents still rely on \ncanvas, ropes and poles. They generally last about six months, leaking \nwhen it rains and blowing away in strong winds.\nA Kit Against Precariety\nAt a price of US$1,250, a Better Shelter costs twice as much as a typi-\ncal emergency tent, but it provides security, insulation and durability, \nand it lasts for at least three years. Beyond that time, when the plastic \npanels might degrade, the frame can be reused and clad in whatever \nlocal materials are to hand, from mud bricks to corrugated iron.\nSince production started in June 2015, over 16,000 have been de-\nployed to crisis locations like Nepal, where Médecins Sans Frontières \nused them as clinics after the earthquake. Several thousand have been \nsent to Iraq, and hundreds to Djibouti to house refugees fleeing Yemen.\n“It’s almost like playing with Lego,” says Per Heggenes, CEO of \nthe Ikea Foundation. “You can put it together in different ways to \nmake small clinics or temporary schools. A family could also take it \napart and take it with them, using the shelter as a framework around \nwhich to build with local materials.”\nThe design, which has been showered with international accolades, \nis already housed in the permanent collection of the Museum of \nModern Art in New York, but the project hasn’t always had an easy \nride. It made headlines in 2015 when Zurich ordered 62 to house \nasylum-seekers, but found it couldn’t use them because they were fire \nhazards. “The shelters were never designed to meet Swiss fire regu-\nlations,” says Märta Terne of Better Shelter, “or to be used indoors \nas the city proposed. The humanitarian aid world doesn’t adhere to \nthe same safety standards as you would for permanent buildings in \nEurope made of concrete and stone. But there are strict rules about \nthe distance between shelters and no cooking is allowed inside.”\nDr. Tom Corsellis, executive director of NGO Shelter Centre, is \nimpressed, having seen the shelters in action in Iraq and Greece. \n“Private-sector innovation in the humanitarian world often has a bad \nname,” he says. “There’s a sense that they keep throwing us gadgets \nand gizmos we don’t need. But the Better Shelter is a real improve-\nment – from its flexibility to it being the only shelter of its kind you \ncan actually stand up in. It’s big enough for children to do homework \nin and adults to do some kind of home-based enterprise. It offers a \nchance for basic, dignified living.”\nAnd Ikea promises the kits come with no missing parts.\nThis article was first published in the newspaper The Guardian.\n",35,{"image":152,"text":153,"number":154},"\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.36.png","34 C 09\nno ha sido siempre fácil. En 2015, cuando las autoridades de Zúrich \nencargaron 62 unidades destinadas a solicitantes de asilo, se encon-\ntraron con que no podían usarlos porque existía «riesgo de incendio». \n«Los refugios nunca fueron diseñados para cumplir la normativa \nde incendios suiza —declara al respecto Märta Terne, implicada en \nel proyecto— y tampoco para ser utilizados intramuros, como las \nautoridades de Zúrich querían. El mundo de la ayuda humanitaria \nno sigue los mismos estándares de seguridad que los aplicados en \nEuropa a edificios permanentes de hormigón o piedra. Pero sí hay \nreglas estrictas sobre la distancia que debe dejarse entre un refugio y \notro, y en ningún caso se permite cocinar dentro de ellos.»\nEl Dr. Tom Corsellis, presidente de la ONG Shelter Center, se quedó \nimpresionado después de haber visto el comportamiento in situ de los \nrefugios en Irak y Grecia: «En el mundo de la ayuda humanitaria, la \ninnovación por parte de empresas privadas a menudo está mal vista. \nExiste la sensación de que quieren colocarnos gadgets y aparatos \ninútiles. Pero el Better Shelter supone una mejora verdadera, gracias \na su flexibilidad, que lo convierte en el único refugio de este tipo \nque uno puede levantar con sus propias manos. Es lo suficientemente \ngrande para que los niños puedan hacer los deberes dentro y para \nque los adultos puedan utilizarlo como base para emprender algún \nnegocio. Hace posible una vida sencilla y digna.»\nE Ikea promete que los kits vienen con todas las piezas. \nEste artículo se publicó por primera vez en el periódico The Guardian.\nDel módulo, que cuesta \n1.250 dólares y está \ncompuesto por una \nestructura de acero, paneles \nde polipropileno y un \npanel fotovoltaico, se han \ninstalado 16.000 unidades \nen Nepal, miles en Irak y \ncientos en Yibuti.\nThe module costs \nUS$1,250 and consists \nof a steel frame, \npolypropylene panels,  \nand a photovoltaic panel. \nAs many as 16,000 have \nbeen put up in Nepal, \nthousands in Iraq, and \nhundreds in Djibouti.\n",36,{"image":156,"text":157,"number":158},"\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.37.png","C 09 35\n",37,{"image":160,"text":19,"number":161},"\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.38.png",38,{"image":163,"text":164,"number":165},"\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.39.png","Cosentino\nCosentino City Madrid\nA Gallery of Stone\n",39,{"image":167,"text":168,"number":169},"\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.40.png","38 C 09\nCOSENTINO\nCITY\nMADRID\nA Gallery of Stone\nDekton\nShowroom\n4\nCosentino opens in Madrid its first Cosentino \nCity Center in Spain. Located on Paseo de la \nCastellana 116, the new showroom welcomes \narchitects, planners, interior designers, and end \nconsumers to a center that offers personalized \nattention and information, an all-encompassing \nspace where they will have the opportunity to \nsee and learn first-hand about the company’s \nwide range of brands and products. \nWith an area of 1,000 square meters, \nCosentino City Madrid brings to Spain a new \nshowroom concept which was launched by the \ncompany four years ago with the aim of creating \na social, interactive, and dynamic exhibition \nspace in the heart of major cities. Cosentino \ncurrently has nine Cosentino City Centers \naround the world. \nCosentino inaugura en Madrid su primer Co-\nsentino City en España. Situado en el Paseo de \nla Castellana 116, este nuevo showroom estará \na disposición de arquitectos, proyectistas, in-\nterioristas, diseñadores y consumidores finales \ncomo centro de información y atención perso-\nnalizada, convirtiéndose en un espacio integral \npara conocer de primera mano la amplia gama \nde marcas y productos del grupo.\nCon 1.000 metros cuadrados de superficie, \nCosentino City Madrid es la materialización en \nEspaña de un concepto de espacio expositivo \nintegral situado en el corazón de las principales \nciudades del mundo y por el que la compañía \napostó hace ya cuatro años. Cosentino tiene \nya operativos nueve Cosentino City Centers \nen el mundo.\n",40,{"image":171,"text":172,"number":173},"\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.41.png","C 09 39\n",41,{"image":175,"text":176,"number":177},"\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.42.png","40 C 09\n",42,{"image":179,"text":180,"number":181},"\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.43.png","C 09 41\nLa planta de acceso es un \namplio espacio expositivo \ndividido en varias \nsalas que muestran las \ndistintas colecciones \nde los productos de \nla marca: los granitos \nSensa y las superficies de \nDekton y Silestone. \nThe ground level is  \na large showroom  \ndivided into several \nspaces where the  \ndifferent collections of \nthe brand’s products are \ndisplayed: from Sensa \ngranites to Dekton and \nSilestone surfaces.  \n",43,{"image":183,"text":184,"number":185},"\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.44.png","42 C 09\nSensa es la marca de \ngranitos de Cosentino. A \nlas conocidas propiedades \ndel granito (resistencia, \ndurabilidad y baja \nporosidad) se le suma un \ntratamiento antimanchas \nque repele líquidos como \nel agua o el aceite.\nSensa is Cosentino’s  \nbrand of granites. Sensa \nfurther enhances the \nwell-known properties \nof granite (resistance, \ndurability, and low \nporosity) with an anti-\nstain treatment that repels \nliquids like water or oil. \nOrinoco\nOnix Arco Iris\nLaponia\nPort Laurent\n",44,{"image":187,"text":188,"number":189},"\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.45.png","C 09 43\nDekton, la marca de \nsuperficies ultracompactas \nde Cosentino, es una \nsofisticada mezcla de \nlas materias primas que \nse utilizan para fabricar \nvidrio, porcelánicos de \núltima generación y \nsuperficies de cuarzo.\nDekton, Cosentino’s brand \nof ultra-compact surfaces, \nis a sophisticated blend \nof raw materials used to \nproduce the very latest \nin glass and porcelain as \nwell as the highest quality \nquartz work surfaces, \nwith infinite applications.  \nValterra\nTundra\nTrilium\nBlanc Concrete\n",45,{"image":191,"text":192,"number":193},"\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.46.png","44 C 09\nSilestone es un material \ncompuesto de más del \n90% de Cuarzo Natural, \nlo que le proporciona una \ndureza y una resistencia \nextraordinarias. Es una \nsuperficie excelente \npara encimeras, suelos o \nrecubrimientos de paredes.\nSilestone is a compound \nmaterial made up of 94% \nnatural quartz, which \nmakes it extraordinarily \nhard and resilient. It \nis an excellent surface \nfor kitchen worktops, \nbathrooms, floors, and \nwall claddings.\n",46,{"image":195,"text":196,"number":197},"\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.47.png","C 09 45\nLa planta superior del \nCosentino City es una \nzona de reunión y \noficinas donde clientes, \nproveedores o arquitectos \npueden encontrarse y \ndiscutir los proyectos en \ndiferentes despachos o \nsalas de reuniones.\nThe upper level of \nCosentino City Madrid \nis a meeting area and \nworkspace where clients, \nsuppliers, and architects \ncan get together to  \ndiscuss projects in \ndifferent meeting rooms \nor private offices. \nPhotos: Miguel Fernández-Galiano (pp. 38-39, 40, 42 arriba top, 43, 44, 45 abajo bottom) , Ricardo Santonja (pp. 41, 42 abajo bottom, 45 arriba top) \n",47,{"image":199,"text":19,"number":200},"\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.48.png",48,{"image":202,"text":203,"number":204},"\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.49.png","Style\nDrawing Cities\nNigel Peake\n",49,{"image":206,"text":207,"number":208},"\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.50.png","48 C 09\nDRAWING\nCITIES\nNigel Peake\nLos dibujos de Nigel Peake cruzan las \nfronteras de su Irlanda natal gracias a su \nproyecto fin de carrera en la Universidad \nde Edimburgo, donde se licencia como \narquitecto. En él, sus meticulosos \nplanos trazados a mano reivindican el \nproceso artesanal frente a la extendida \nmetodología digital de nuestra era. Esta \ntesis le vale en 2005 la medalla de plata \ndel Royal Institute of British Architects \n(RIBA). Poco después publica In the Wilds \ne In the City, dos libros fascinantes por la \ncapacidad imaginativa y la virtud técnica \nde su autor. Hoy cuenta con clientes como \nHermès, The New York Times o Phaidon.\nNigel Peake’s drawings crossed the \nfrontiers of his native Ireland thanks to \nhis graduation project at the University of \nEdinburgh, where he studied architecture. \nIn this project, instead of embracing the \nwidespread digital methodology of our times \nhis detailed hand-drawn plans reclaim \nartisan processes. This thesis earned him  \nthe Silver Medal of the Royal Institute of \nBritish Architects. Shortly after he published \nIn the Wilds and In the City, two books \nthat are fascinating for their imaginative \ncapacity and the technical virtue of their \nauthor. Hermès, The New York Times and \nPhaidon are among his clients today. \nStyle\nDrawing\n5\nNigel Peake (Irlanda, \n1982) utiliza el dibujo \ncomo herramienta \npara analizar la \nestructura interna \nde los elementos que \nle rodean, ya sean \nanimales, objetos, \nedificios o ciudades.\nNigel Peake (Ireland, \n1982) resorts to \ndrawing as a tool to \nanalyze in detail the \ninternal structure  \nof the elements \nsurrounding him, be \nthey animals, objects, \nbuildings, or cities. \n",50,{"image":210,"text":19,"number":211},"\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.51.png",51,{"image":213,"text":214,"number":215},"\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.52.png","50 C 09\nEn su proyecto Six \nCities, Peake utiliza el \ndibujo para registrar \nsus viajes, generando \nunos mapas urbanos \nsubjetivos que responden \na los diferentes \nrecorridos e hitos que \ndescubre en sus visitas.\nIn his Six Cities project, \nPeake uses drawing to \nrecord and document \nhis trips, creating \nsubjective urban maps \nthat represent the \ndifferent itineraries and \nmilestones discovered \nduring his travels. \n",52,{"image":217,"text":218,"number":219},"\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.53.png","C 09 51\n",53,{"image":221,"text":222,"number":223},"\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.54.png","52 C 09\nAnother virtue reflected \nin Peake’s drawings is \nhis analytical capacity. \nAs much in the rural \nstudies as in the case \nof cities he manages to \nextract just the minimum \nelements needed to later \nclassify them. \nOtra virtud de Peake es \nsu capacidad analítica a \ntravés del dibujo. Tanto \nen los estudios rurales \ncomo en los de ciudades \nconsigue extraer los \nelementos mínimos y \nnecesarios para  \ndespués catalogarlos.\n",54,{"image":225,"text":226,"number":227},"\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.55.png","C 09 53\n",55,{"image":229,"text":19,"number":230},"\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.56.png",56,{"image":232,"text":233,"number":234},"\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.57.png","Interview\nRem Koolhaas & Richard Ingersoll\nIn Dialogue\n",57,{"image":236,"text":237,"number":238},"\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.58.png","56 C 09\nInterview\nConversation\n6\nRem Koolhaas &\nRichard Ingersoll \nin dialogue\nLos arquitectos se reúnen en \nPamplona con motivo del Congreso \nInternacional de Arquitectura.\nThe architects coincided in \nPamplona during the ‘Change of \nClimate’ International Congress. \n",58,{"image":240,"text":241,"number":242},"\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.59.png","C 09 57\n",59,{"image":244,"text":245,"number":246},"\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.60.png","58 C 09\nPhotos: Miguel Fernández-Galiano \ncamente muy crítico del laissez-faire. Quiero \ndecir que, si lees mis trabajos publicados por \nHarvard, te das cuenta de que son una ad-\nvertencia crítica sobre la histeria consumista. \nAsí que hay una gran diferencia entre mi \nposición política y mi papel como analista \nde la realidad.\nRI: Pero lo cierto es que regentas una ofi-\ncina muy grande que en algunos aspectos \ntiene una estructura corporativa que hace \nposible la participación en el sistema.\nRK: Yo diría que sí, que participamos en \nel sistema, pero desde una postura crítica. \nSolo de esta manera podemos alcanzar una \nposición que nos permite intervenir en si-\ntuaciones donde podemos de verdad cambiar \nlas cosas con nuestros edificios. Un proyecto \ncomo el Museo de Arte Garage en Moscú \nestablece la diferencia, transformando un \ntipo procedente de un periodo anterior para \nreusarlo. No creo que haya en él nada arqui-\ntectónicamente ingenioso salvo el compro-\nmiso de reusar el pasado. Tener una oficina \ncomo la nuestra nos permite hacer proyectos \ncomo investigar el futuro energético de la \nUnión Europea en 2050, estudiando desde \nel punto de vista de la geografía qué tipo de \nRem Koolhaas, ganador del Premio Pritzker \nen el año 2000 como director del estudio de \narquitectura holandés OMA y del equipo de \ninvestigación y diseño AMO, dialoga en el \nBaluarte de Pamplona con el también ar-\nquitecto y reconocido profesor y estudioso \nRichard Ingersoll, nacido en Estados Unidos \npero residente en Italia. \nRichard Ingersoll: Delirious New York \nsigue siendo una obra maestra, un texto que \nintrodujo en el discurso arquitectónico un \nnuevo nivel narrativo. Pero esta historia de la \n«cultura de la congestión» puede atribuirse al \nlaissez-faire del capitalismo, un capitalismo \nque, por lo menos, durante la primera mitad \ndel siglo xx todavía fomentaba en algunos \naspectos la ciudadanía. Pero hoy el sistema \ndel laissez-faire no produce más que grandes \nsímbolos, desigualdad y un planeta bastante \ndeteriorado. A menudo tus ideas nos llevan \na la conclusión de que este es el Sistema con \nel que tenemos que tratar necesariamente y \nque es imposible abandonar.   \nRem Koolhaas: Hay algo realmente esen-\ncial en este trabajo de descripción de la rea-\nlidad —que es lo que siempre he hecho—, \npero pienso también que he sido sistemáti-\nCoincidiendo con el \nCongreso Internacional \nde Arquitectura de \nPamplona, Rem Koolhaas \n(Rotterdam, 1944) y \nRichard Ingersoll (San \nFrancisco, 1949) discuten \nsobre el papel político de \nla arquitectura. \nDuring the International \nArchitecture Congress \nof June 2016 held in \nPamplona, Rem Koolhaas \n(Rotterdam, 1944)  \nand Richard Ingersoll \n(San Francisco, 1949) \ntalked about the political  \nrole of architecture. \nenergía será más eficiente en cada región, \npara producir una propuesta seria de distri-\nbución de la energía en Europa. Se trata de \nuna especie de proyecto de proyectos que \nentra en la arqueología política. \nRI: ¿Se corresponde tu trabajo como ar-\nquitecto con estas preocupaciones por la \nenergía?\nRK: No sé si lo que hago es mejor o peor, \npero pienso que la profesión en su conjunto \nestán haciendo un trabajo mucho mejor a \nla hora de reducir la demanda energética, y \nque somos parte de esta tendencia general. \nSi el impacto de los edificios en el calenta-\nmiento global es del 6%, estamos trabajando \nconjuntamente para reducir tal impacto y yo \nformo parte de esa tendencia. No reclamo \nnada abiertamente sobre este asunto, pero \nno por ello me siento menos serio a la hora \nde afrontarlo. Esto es lo que puede hacer un \narquitecto caso a caso, y nada más. Hasta el \npunto de que a menudo trabajo en cuestio-\nnes más amplias, y estoy involucrado de un \nmodo más político.\nRI: Desde mi punto de vista, la escala se \nha convertido en un asunto crucial para ti, \nalgo que una vez llamaste ‘the Bigness’, las \n",60,{"image":248,"text":249,"number":250},"\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.61.png","C 09 59\nRem Koolhaas, winner of the Pritzker Prize \nin the year 2000 as director of the Dutch \narchitecture studio OMA and of its research \nand design branch AMO, held a dialogue \nat the Baluarte of Pamplona with the also \narchitect and renown professor and scholar \nRichard Ingersoll, born in the United States \nbut Italy-based. \nRichard Ingersoll: Delirious New York \nremains a masterpiece, a text that intro-\nduced to architectural discourse a new level \nof narrative. But this story of the “culture \nof congestion” can be attributed to laissez-\nfaire capitalism, which at that moment in \nthe first half of the 20th century still had \nclaims to breeding citizenship. But today the \nsame laissez-faire system produces only big \nsymbols, inequalities, and a damaged planet. \nSo where do you stand? You often lead us to \nthe conclusion that this is the system we have \nto work in, and we can’t leave it.\nRem Koolhaas: There is really something \nvery fundamental in the issue of reporting, \nwhich is what I have always been doing, but \nI also think that I have been systematically \nvery critical of the laissez-faire situation. I \nmean if you read the Harvard volumes we \nproduced, you realize that they are a criti-\ncal warning about the hysterical level of \nconsumption. So there is a big difference \nbetween my political position and my role \nas a reporter.\nRI: But you have a very large corporate \noffice, following in some ways a corporate \nstructure in order to participate in the sys-\ntem. \nRK: I would say yes, we are participating, \nbut as critical participants. Only in this way \nwill we be in a position that occasionally \nallows us to interfere and get into situations \nwhere we can really make a difference in \nbuildings. A project such as the Garage Art \nMuseum in Moscow makes a difference, tak-\ning a type of planning from an earlier period \nand reusing it. I don’t think it has anything \nthat is architecturally ingenious except the \ncommitment to reusing the past. But to have \nan office like this allows us to do projects \nsuch as investigating the energy futures for \nthe EU, up to the year 2050, studying in \ngeographical terms which sort of energy will \nbe most efficient in each region, yielding a \nserious proposition about the distribution of \nenergy in Europe. For right now it has become \na sort of blueprint of a blueprint, entering into \nthe archaeology of policy making.\nRI: Does your work in architecture cor-\nrespond to these concerns for energy?\nRK: I don’t know if what I do is better or \nworse, but I think that the entire architectural \nprofession, in general, is doing a much better \njob of reducing energy needs, and we are part \nof this overall trend. If the impact of buildings \non global warming is 6%, we are collectively \nworking on lowering that, and I am part of \nthe trend. I don’t make overt claims about it, \nbut I feel I am equally serious in confronting \nit. That’s what you can do as an architect on \na case-to-case basis, and nothing more. And \nto the extent that I am often working on larger \nissues, I am involved in a more political way.\nRI: I find that scale has become a crucial \nquestion for you, something you once dubbed \nas ‘Bigness’: the economies of scale, the scale \n“Now there is a kind of \nnecessary reconstruction \nperiod, where we could \nplay a positive role”\n",61,{"image":252,"text":253,"number":254},"\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.62.png","60 C 09\neconomías de escala, la escala del urbanis-\nmo, la escala de la arquitectura, la escala de \nla oficina. \nRK: ¿Estás dando por sentado que la gran \nescala está relacionada necesariamente con \nlos modos de hacer poco sostenibles o es que \ncrees que la escala es una condición previa \nde la sostenibilidad?\nRI: Si tuviera que responder, diría que la \ngran escala es un gran problema debido al \npoder que les otorga a las grandes corpo-\nraciones, que operan con una mentalidad \njerárquica, ‘de abajo arriba’, como ocurre en \nel planeamiento de Masdar City. Por el con-\ntrario, si se trabaja en escalas intermedias, \ncon un mayor compromiso con la identidad \ny el lugar, creo que podríamos dar con me-\njores soluciones. Y donde la gente está vi-\nviendo ahora, aunque el mundo sea urbano \nen un 50%, no es en ciudades densas, sino \nen sprawls que requieren un transporte que \nproduce un 14% de las emisiones de efecto \ninvernadero. \nRK: Sí, y podrías decir que esto no permite \nya la tipología de la cultura de la congestión, \ny cuánto despilfarro ha habido en ello en \nlos últimos treinta años. Pero la idea de la \ncongestión sigue siendo necesaria concebi-\nda como una especie de densidad o compa-\ncidad que permite un empleo más justo de \nlos recursos. Y aquí se produce una relación \nprofunda entre la escala y la densidad. Pien-\nso que no deberías ser tan escéptico con \nproyectos como Masdar, porque la realidad \nde los números y de los plazos imponen \neste tipo de artificios, aunque retórica y \nemocionalmente resulte aceptable seguir \npensando que se podría empezar con un \ncontexto ya dado y a partir de ahí avanzar \nmás lentamente. Nosotros hemos hecho mu-\nchos proyectos de ese tipo, en particular de \npreservación en lugares como Dubái, donde \nhemos intentado conservar situaciones ur-\nbanas dadas y hacerlas cambiar a lo largo \ndel tiempo, algo que parece muy sólido en \ncuanto proyecto utópico realista, a pesar \nde la economía actual. El cambio político \nes necesario, y estamos en un momento \nprometedor habida cuenta de que la crisis \neconómica todavía sigue ahí y no parece \nque se vaya a remediar por sí misma; de \nhecho, es posible que vaya a peor si tenemos \nen cuenta el aumento de la desigualdad, \nque está produciendo tensiones increíbles y \nllevando a los populismos. Es un momento \ncrítico que tiene un potencial positivo. Por \nejemplo, en las sociedades no occidentales, \nen particular en Asia, se está produciendo \nun saludable aumento de la clase media y \ntambién de la confianza y el acceso a cosas \nque antes era totalmente inasequibles. Así \nque es muy difícil generalizar y no se puede \ndecir categóricamente que la pobreza haya \naumentado sin más. \nRI: Pero los niveles han cambiado, y que \nahora el 1% posea el 50% de la riqueza \nmundial constituye un aumento definitivo.\nRK: ¡Nadie quiere eso!\nRI: Bueno, al menos sí lo quiere ese 1%, \nque por lo general controla los lobbies y el \nsistema político.\nRK: Pero el hecho de que se esté cada \nvez más concienciado de la desigualdad que \nsupone ese 1% y que esto haya merecido \ntanta atención crítica es importante en el \nsentido de que obliga a esa minoría a de-\nmostrar su integridad. Hay muchos indicios \nde que el negocio ya no es como era, en casi \ntodas las profesiones. Pero hay que dejar \nde lamentarse por una situación ya pasa-\nda. Fue una situación excesiva, de mucha \nirresponsabilidad, de avaricia empresarial, \nde neoliberalismo, lo que nos condujo a la \nruina, y ahora es necesario una especie de \nperiodo de reconstrucción, donde podría-\nmos desempeñar un papel positivo. \nRI: Si podemos ver la pertinaz crisis como \nun oportunidad para cambiar las políticas, \nlos estilos de vida, de acuerdo a una espe-\ncie de decrecimiento natural, como la ha \ndenominado Serge Latouche, ¿podríamos \nver en las inminentes crisis medioambien-\ntales, como las inundaciones, las sequías, \nla pérdida de cosechas, también una opor-\ntunidad? ¿Algo así como cuando Svante  \nArrhenius, el primer teórico del efecto in-\nvernadero, presumió que el aumento de la \ntemperatura sería beneficioso?\nRK: Ha habido una enorme cantidad de \nresultados negativos de origen natural o hu-\nmano que han dado pie a una conciencia \ncolectiva de lo que ha pasado, quiénes son \nlos culpables y cómo pudimos permitirlo. Es \nalgo evidente, que está en el ambiente. Así \nque, aun sin parecerme demasiado al Candide \nde Voltaire, podríamos decir que ha emergi-\ndo una sorprendente conciencia global. Con \nmucha gente pescando en estas aguas tur-\nbulentas. Así que sería absurdo no tratar de \nconvertir este momento en una oportunidad. \n«Es necesario un periodo \nde reconstrucción, donde \npodríamos desempeñar un \npapel positivo»\n",62,{"image":256,"text":257,"number":258},"\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.63.png","C 09 61\n",63,{"image":260,"text":261,"number":262},"\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.64.png","62 C 09\n",64,{"image":264,"text":265,"number":266},"\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.65.png","C 09 63\nof urbanism, the scale of architecture, the \nscale of the office.\nRK: But by asking this, are you presuming \nthat the large scale is irredeemably connected \nto unsustainable practices? Or do you think \nthe scale is a precondition for sustainability?\nRI: I think I should have asked you that \nquestion, which you rephrased in a better way \nthan I stated it. But if I had to answer, I would \nsay big scale is a big problem due to the power \nof corporate structures, which operate with \na top-down mentality, as in the planning of \nMasdar City, whereas if we started at more \nintermediate scales, with more commitment \nto identity and place, I think we would come \nup with better solutions. And now where \npeople are living, if 50% is urban, is not \nin concentrated cities, but in sprawl, which \nrequires excessive transportation, leading to \n14% of greenhouse gases.\nRK: Yes, so you could say it no longer \npermits a typology of the culture of conges-\ntion, and how wasteful that has been in the \nlast thirty years. But the idea of congestion \nremains necessary as a sort of compactness \nin terms of more equitable use of resources. \nAnd here there is a deep connection between \nscale and density. I don’t think you should be \nso skeptical about projects such as Masdar, \nbecause the numbers and the time frame im-\npose artificialities, even though rhetorically \nand emotionally it is acceptable that you \ncould start with a situation that is given \nand then kind of moves slowly. And we have \ndone many projects like that, particularly in \npreservation in places like Dubai, where we \ntried to gain the responsibility to preserve \nurban situations and change them over time, \nwhich seems incredibly resistant as a realistic \nutopian project despite the current economy. \nPolitical change is necessary, and it’s really \na promising moment considering the eco-\nnomic crisis is still there and does not seem \nto be healing itself, and is probably getting \nworse if you observe the increase in inequal-\nity, which is leading to unbelievable tensions \nand populism. It’s a crunch moment that \nalso has positive potentials. For instance, in \nnon-western societies, particularly in Asia, \nyou find a healthy increase in the middle \nclass and a rise in confidence and gaining of \naccess to things that were previously totally \nunthinkable. So it’s very hard to generalize \nand you cannot say point blank that poverty \nhas increased.\nRI: But the levels have changed, and the \n1% that owns over 50% of the wealth is a \ndefinite increase.\nRK: And nobody is for that!\nRI: Well, I think the 1% is, and they usu-\nally control the lobbies of the political system.\nRK: But the fact that the growing aware-\nness of the inequities of the 1% has drawn so \nmuch negative critical attention is important \nin that it forces them to prove their integrity. \nThere are many indications that it is no longer \nbusiness as usual, in almost any profession. \nBut you have to stop moaning about the pre-\nvious condition. It was an excessive situation. \nA lot of irresponsibility, corporate greed, and \nneo-liberalism led to ruin, so now there is \na kind of necessary reconstruction period, \nwhere we could play a positive role.\nRI: If we can see the enduring econom-\nic crisis as an opportunity of some sort to \nchange policies, to change lifestyles, a kind \nof natural degrowth, as Serge Latouche has \ncalled it, could we see the impending envi-\nronmental crises of floods, droughts, crop \nfailures, as an opportunity? Could we be \nlike Svante Arrhenius, the first theorist of \nthe greenhouse effect, who presumed a rise \nin temperature would be beneficial?\nRK: There has been an enormous amount \nof natural and man-made negative outcomes, \nleading to a collective sense of what happened \nand who is to blame, and how we could afford \nit. It is so blatant, it’s in the air. So without \nsounding too much like Voltaire’s Candide we \ncould state that there is an amazing global \nawareness. With a lot of people fishing in \ntroubled waters. So it would be absurd not \nto try to use this moment as an opportunity.\nRI: In Rotterdam, where you have your of-\nfice, there is an agency devoted to a climate \nchange adaptation strategy, which in the last \ntwo years has been exporting information to \nother cities, such as New York. By the end \nof the century it is predicted that 90% of the \nworld’s great cities will have seen dangerous \nchanges in water levels, similar to Venice’s \nacqua alta. There is also a new public plaza \nin Rotterdam, Benthemplein, proposed as an \nurban sponge to assist in such situations. \nShould we learn from Rotterdam?\nRK: I don’t think I need to take a position \non Rotterdam, but let’s say that the whole of \nthe Netherlands provides an example of what \nyou can do in a dire situation of changing \nsea levels. And it’s an experience that shows \n“Europe needs to establish \na culture of consensus \nthat can be detached from \npolitical colors“\n",65,{"image":268,"text":269,"number":270},"\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.66.png","64 C 09\nRI: En Róterdam, donde está tu oficina, \nhay una agencia dedicada a las estrategias de \nadaptación al cambio climático; una agencia \nque en los dos últimos años ha exportado su \ninformación a ciudades como Nueva York. \nSe prevé que a finales de este siglo el 90% \nde las grandes ciudades del mundo sufrirán \nagresivos cambios en el nivel del agua, se-\nmejantes a los que se producen en Venecia \ncon el acqua alta. Hay también una nueva \nplaza en Róterdam, la Benthemplein, con-\ncebida como una esponja urbana capaz de \nhacer frente a este fenómeno. ¿Deberíamos \naprender de Róterdam?\nRK: No creo que tenga que posicionarme \nrespecto a Róterdam, pero digamos que el \nconjunto de los Países Bajos constituye un \nexperimento sobre lo que se puede hacer en \nuna situación extrema de cambio en el nivel \ndel mar. Y es una experiencia que muestra el \ncarácter fundamental que tiene la colabora-\nción, así como el potencial para el desastre \nque tiene la ideología cuando se impone a \nla objetividad. El nivel de consenso resulta \ncrítico a la hora de enfrentarse a situaciones \ncomplejas. Y esta es la razón por la que estoy \ntan interesado en la Unión Europea, que en \ncierto sentido es como una Holanda mucho \nmás grande, y también necesita crear una \ncultura de consenso que pueda ir más allá de \nlos partidismos, y que atienda al sentimiento \nde comunidad y a los valores compartidos. \nSe trata de una mentalidad muy holandesa. \nRI: En tu texto para la Bienal de Venecia \nde 2014, así como en tu charla en Pamplona, \nhas alertado de la amenaza de un ‘régimen \ndigital’. Cada vez más tenemos que ver con \nmecanismos que sustituyen nuestros pen-\nsamientos con dispositivos de memoria ex-\nternos. Desde el punto de vista humanístico, \nresulta un gran problema el hecho de que \nempezamos a perder el contacto con la inte-\nligencia que hay dentro de nosotros. La tec-\nnología se mueve tan rápido que no somos \nconscientes en absoluto de lo generalizada \nque está. Existe una amenaza real que hace \nque los medios se estén convirtiendo en fines \nen sí mismos. ¿Deberíamos intentar contra-\nrrestar esta tendencia, frenar a los objetos o \nal menos creer que los tenemos controlados?\nRK: Yo no lo presentaría de ese modo, \naunque estoy de acuerdo contigo, porque me \nparece demasiado nostálgico. Es reseñable lo \nfácil que en poco tiempo podemos hacernos \ncon una cantidad increíble de información. \nPero transformar tal información en cono-\ncimiento es, por supuesto, un arte. Así que \nno creo que la gente se vuelva más estúpida, \naunque me preocupe la cultura que todo esto \nimplica. La comercialización que hay detrás \nde paradigmas actuales como los de las Ciu-\ndades Inteligentes es muy interesante por \ncuanto quienes proponen esos paradigmas \nparecen ocultar los acicates especulativos \nque hay detrás de otras narrativas más gene-\nrales. Que todo esto se traduzca en control o \nmanipulación social está por verse. Pero mis \nreticencias al tipo de críticas que haces es que \nes algo que no puedo apoyar del todo, a pesar \nde que creo que no estás equivocado. Creo \nque el modo en que formulas tu análisis es \nincapaz de encontrar algo bueno en todo lo \nque está pasando, y no puedo estar de acuer-\ndo con ello. Comparto tus preocupaciones, \npero me parece que la postura antimoderna \nque hay detrás es elitista. No creo que este-\nmos en un contexto en el que 10 mil millones \nde personas puedan ser antimodernas. Quizá \nlos pocos que tienen la suerte de tener una \ngranja en la Toscana pueden permitirse el \nlujo de ser antimodernos. Así que esta sería \nmi respuesta, y también respecto del asun-\nto corporativo. Todavía pienso que estamos \ncondenados a la modernidad y que debemos \nhacer algo con ella: quejarse impide tener \nuna relación productiva.\n«Europa necesita crear \nuna cultura de consenso \nque pueda ir más allá de \nlos partidismos»\n",66,{"image":272,"text":273,"number":274},"\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.67.png","C 09 65\nthe crucial nature of collaboration, as well as \nthe potential for disaster if ideology becomes \nmore important than objectivity. The degree \nof collaborative consensus is critical to con-\nfronting complex situations. And that is why \nI am so interested in the European Union, \nwhich in a way is like a bigger Holland, and \nalso needs to establish a culture of consensus \nthat can be detached from political colors, \naddressing communality and shared values. \nThat’s a very Dutch mentality.\nRI: In your statement for the Venice Bien-\nnale (2014) and in your talk in Pamplona you \nsingled out the problem of a ‘digital regime.’ \nWe are all increasingly participating with \nmechanisms that substitute our own thoughts \nwith external memory devices. It seems a big \nproblem humanistically that we will start to \nlose contact with the intelligence inside of us. \nThe technology is moving so fast that we are \ncompletely unaware of how pervasive it is \nbecoming. There is a real danger of the means \nbecoming the end in themselves. Should we \nattempt to counteract, or slow things down, \nor at least feel that we are in control of them? \nRK: I would not put it that way, even \nthough I agree, as it sounds too nostalgic. \nThere is something to be said about how easy \nit has become in just a short time to acquire \nan unbelievable amount of information. But \nto transform this information into knowledge \nis of course an art. I frankly do not see people \ngetting more stupid, even if I am worried \nabout the culture it implies. The commercial \nmomentum that is behind current paradigms \nlike the Smart City are very interesting in the \nsense that their proponents seem to be hiding \nthe speculative incentive that is behind more \ngeneral narratives. Whether this will result \nin social control or manipulation remains to \nbe seen. But my difficulty with your kind of \ncritique is that in a way, I can never fully \nendorse it, even though I think you are not \naltogether wrong. I think that the way you \nformulate your analysis is so incapable of \nseeing anything good in what is happening \ntoday, and I cannot agree with that. I share \nmany of the same concerns, but find that \nthe anti-modernity behind them is an elitist \nposition. I do not think we are in a situation \nwhere 10 billion people can be anti-modern. \nMaybe the few who are lucky to have a farm \nin Tuscany can afford to be anti-modern. \nSo that would be my answer as well on the \ncorporate issue. I still think that we are con-\ndemned to modernity and that we must try \nto make something out of it. \n",67,{"image":276,"text":19,"number":277},"\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.68.png",68,{"image":279,"text":280,"number":281},"\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.69.png","Travel\nMontreal\nCanada\n",69,{"image":283,"text":284,"number":285},"\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.70.png","01\nNext to Saint Lawrence \nRiver, the Clock Tower is \na city landmark along the \nwalk to the Old Port. The \nbridge in the background \nis named after Jacques \nCartier, the French \nexplorer credited to have \ngiven Canada its name. \nLandmark \nMontreal Clock Tower\n02\nJunto al río San Lorenzo, \nla Torre del Reloj marca \nun hito en el paseo por el \nPuerto Viejo. El puente \nque vemos como telón de \nfondo debe su nombre al \nfrancés Jacques Cartier, \nque dio al territorio el \nnombre de Canadá.\nUniversal Exposition \nBiosphere\nLa Exposición Universal \nde 1967 fue un modelo \nde innovación urbana \nque dio a la ciudad una \nimagen contemporánea. \nEl pabellón de EE UU, \ndiseñado por Buckminster \nFuller, es hoy un museo \ndel medioambiente.\nThe Universal Exposition \nof 1967 was a model for \nurban innovation that gave \nthe city a contemporary \nimage. The United States \nPavilion, designed \nby Buckminster Fuller, \nis today a museum devoted \nto the environment.\n68 C 09\nMontreal\nTravel\nCity Guide\n7\nFundada por los franceses \nen 1642, Montreal es una \nciudad dual que integra su \nidentidad norteamericana \ncon un sabor europeo.  \nFounded by the French  \nin 1642, Montreal is a  \ndual city that blends its  \nNorth American identity  \nwith a European flavor. \n© Shutterstock\nkleighoverseas.wordpress.com\n",70,{"image":287,"text":288,"number":289},"\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.71.png","C 09 69\nPanoramic Views\nMont-Royal\nDesde lo alto del Mont-\nRoyal (el monte que da \nnombre a la ciudad) se \nobserva una impresionante \nvista panorámica. Sus 233 \nmetros limitan la altura \nmáxima de los rascacielos \nque pueblan la cuadrícula \ndel distrito financiero. \nThe top of Mont-Royal \n(the mountain that lends \nthe city its name) offers \nstunning panoramic views \nof the city. Its 233 meters \nset the maximum height \nlimit for the skyscrapers \nthat go up in the city’s \nfinancial district. \n© Shutterstock\n03\n",71,{"image":291,"text":292,"number":293},"\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.72.png","Las islas de Notre-Dame \ny Sainte Hélène, que \nacogieron los pabellones \nde la Expo 67, se han \ntransformado en una \ngran zona verde que \ncontiene un parque de \natracciones, un casino y \nun circuito de Fórmula 1. \nThe islands of Notre- \nDame and Sainte Hélène, \nwhich were the sites  \nfor the pavilions of \nExpo 67, have been \ntransformed into large \ngreen spaces with an \namusement park, a casino, \nand a Formula One track.\n70 C 09\n05\nsource: forbes.com.mx\nsource: forum.skyscraperpage.com\n04\nLas dos pirámides, que alojaron \na los deportistas durante los \nJuegos, funcionan hoy como \napartamentos de alquiler.\nThe two pyramids that  \nprovided housing for athletes \nduring the Olympic Games \ntoday are rental apartments. \nConstruida por Ieoh  \nMing Pei, la torre Ville-\nMarie destaca por su \ngeometría cruciforme.\nBuilt by Ieoh Ming Pei,  \nthe Place Ville-Marie  \nTower stands out for its \ncruciform geometry. \nAfter Expo 67, the second \nmost important event in \nthe city were the Olympic \nGames of 1976. The \ntower that supports the \nstadium’s roof became \nthe world’s tallest tilted \nbuilding soaring at a \nheight of 175 meters. \nTras la Expo 67, el \nsegundo hito importante \npara la ciudad fueron \nlos Juegos Olímpicos \nde 1976. La torre que \nsoporta la cubierta logró \nser el edificio inclinado \nmás alto del mundo con \n175 metros de altura. \nResidences \nOlympic Village\nOffice Tower \nPlace Ville-Marie\nSporting Event\nOlympic Stadium\nUniversal Exposition \nParc Jean-Drapeau\nsource: sandrascotttravelcolumns.blogspot.com.es\nsource: en.wikipedia.org\n07\n06\n",72,{"image":295,"text":296,"number":297},"\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.73.png","C 09 71\nModern Architecture\nGas Station\n11\nModern Architecture \nWestmount Square\nSkyscraper\nKPMG Tower\n10\nThe crystallographic tower \nof the company KPMG \nwas built in 1987 by an \nAnglican cathedral. \nAlso designed by Mies  \nvan der Rohe, this gas \nstation was converted  \ninto a social center. \nLa cristalográfica torre \nde la empresa KPMG fue \nconstruida en 1987 junto \na la catedral anglicana. \nDiseñada por Mies van \nder Rohe, esta gasolinera \nha sido rehabilitada  \ncomo centro social. \nThis elegant mixed-use \ncomplex of apartments, \nshops, and offices in \nWestmount, a work \nof the German master \nMies van der Rohe, \nexemplifies the ideals of \nthe Modern Movement. \nEste elegante complejo \nmixto de apartamentos, \ncomercios y oficinas en \nWestmount, construido \npor el maestro alemán \nMies van der Rohe, \nejemplifica los ideales del \nMovimiento Moderno.\n09\n08\nEl ambicioso proyecto \nHabitat 67 —que fue \nconcebido por Moshe \nSafdie como su tesis \ndoctoral— reinventa \nel modelo de vivienda \ncolectiva mediante piezas \nprefabricadas que se \napilan de forma orgánica. \nThe ambitious project \nHabitat 67 – designed  \nby Moshe Safdie \nfor his doctoral thesis – \nreinvents the collective \nhousing model \nusing prefabricated \nelements that are \norganically stacked. \nExperimental Housing \nHabitat 67\nsource: en.wikipedia.org\nChicago History Museum\n© Steve Montpetit\n© Steve Montpetit\n",73,{"image":299,"text":300,"number":301},"\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.74.png","Exhibition Center \nMuseum of Fine Arts\n72 C 09\n13\n15\nCultural Institution\nCentre for Architecture\nCon el objetivo de \ndivulgar el papel de \nla arquitectura en la \nsociedad actual, el \nCentro de Arquitectura \nde Canadá o CCA \ncombina las funciones de \nexposición, investigación, \nbiblioteca y archivo.  \nWith the objective of \ndisseminating the role of \narchitecture in today’s \nsociety, the Canadian \nCentre for Architecture \nor CCA develops varied \nprograms including \nexhibition, research, \nlibrary, and archive.\nScience Museum \nPlanetarium \nTwo truncated aluminum \ncones mark the presence \nof the new Planetarium, \nlocated in the Olympic \nPark, which was built \nin 2013 and earned \nthe LEED Platinum \ncertification for its \nenvironmental efficiency.  \nDos conos truncados \nde aluminio señalan \nla presencia del nuevo \nplanetario, situado en \nel parque olímpico, que \nse construyó en 2013 y \nconsiguió el certificado \nLEED Platinum por su \neficacia ambiental. \n© John Londono\n© Museo de Bellas Artes de Montreal\nmuseeum.net\n© Espace pour la vie\n14\nEl Museo de Arte \nContemporáneo de \nMontreal forma parte \nde la Place des Arts, \nun gran foco cultural \nque reúne en torno a \nuna explanada pública \ndistintas salas de música, \nopera, teatro y danza.\nThe Musée d’Art \nContemporain de \nMontréal is in the \nPlace des Artes, a large \ncultural complex that \ngathers around a large \npublic esplanade different \nconcert halls, opera, \ntheater, and dance. \n12\nDistribuido a lo largo de \ncinco edificios conectados \nmediante un pasaje \nsubterráneo, el Museo de \nBellas Artes es el museo \nmás grande de Montreal \ncon más de 41.000 piezas \ndesde la antigüedad hasta \nla época contemporánea. \nHoused in five buildings \nlinked by an underground \npassage, the Montreal \nMuseum of Fine Arts is \nthe largest museum in \nthe city with a collection \nof over 41,000 items \nspanning from ancient to \ncontemporary times. \nContemporary Art\nMAC Montreal\n",74,{"image":303,"text":304,"number":305},"\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.75.png","C 09 73\nsource: espacepourlavie.ca\nsource: gp24.gr\nsource: barefeetinthekitchen.com\nsource: canadagec.com\nNature\nMont-Royal Park\nMount Royal Park \nstretches along the \nmountain that overlooks \nthe city. Depending \non the season, it is a \npopular place for skiing \nand skating in winter  \nand for picnics or  \nhiking in summer. \nEl parque Mount Royal se \nextiende a lo largo de la \nmontaña que domina la \nciudad. Sus posibilidades \ncambian en cada época \ndel año, desde ski de \nfondo o patinaje en \ninvierno hasta picnics o \ncaminatas en verano.  \n19\n16\nRacing Circuit \nÎle Notre-Dame \nThe artificial island  \nof Notre-Dame – \nconstructed on Saint \nLawrence River in 1965 \nwith the rock excavated  \nto build the Montreal \nMetro – hosts the \nFormula One Canadian \nGrand Prix once a year.\nEn el río San Lorenzo, \nla isla artificial de Notre \nDame —creada en 1965 \ncon la tierra excavada \ndurante la construcción \ndel metro— acoge \ndurante un fin de semana \nal año el Gran Premio de \nCanadá de Fórmula 1. \nNature Museum\nBiodome\nLocated in the old \nvelodrome – built for  \nthe Olympic Games –, \nthe Montreal Biodome \nrecreates four ecosystems \nof the Americas, \nintegrating their  \nfauna, flora, and their \nclimate conditions. \nSituado en el antiguo \nvelódromo —que se \nconstruyó para los \nJuegos—, la Biodome es \nun museo natural que \nrecrea cuatro ecosistemas \namericanos, integrando \nsu fauna, su flora y sus \ncondiciones climáticas. \n17\n18\nPark\nBotanical Garden\nCon más de 73 hectáreas, \nel Jardín Botánico de \nMontreal es uno de los más \nimportantes del mundo. \nCovering more than 73 \nhectares, the Botanical \nGarden of Montreal is one of \nthe world’s most important. \n",75,{"image":307,"text":308,"number":309},"\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.76.png","74 C 09\n21\nReligious\nNotre-Dame Basilica\nDe estilo neogótico, \nla Basílica de Notre-\nDame fue construida \nentre 1824 y 1829. La \npolicromía que inunda \nsu interior contrasta con \nla sobriedad del exterior \nde piedra que presenta \naspecto de fortaleza. \nThe Neogothic style  \nNotre-Dame Basilica  \nwas built between \n1824 and 1829. The \npolychromatic interiors \nstrike a contrast with \nthe sober stone facades, \nwhich give the building a \nfortress-like appearance. \nSituado en el Mont-Royal, \nel Oratorio de San José \ngoza de impresionantes \nvistas sobre la ciudad.\nLocated on Mont-Royal, \nthe Saint-Joseph Oratory \noffers impressive views \nover the city. \n20\nReligious\nSaint-Joseph Oratory \nsource: pinterest.com\n© Christina Minniti\nsource: luxurylaunches.com\nsource: crossingtravel.com\nsource: go-montreal.com\nNeighborhood\nPlateau Mont-Royal\nUnderground city \nRÉSO\n24\nThis 30-km underground \nnetwork protected from the \nweather links the city’s main \nbuildings and transport lines. \nEsta red subterránea de  \n30 km protegida del clima \nexterior conecta los sótanos \nde los principales edificios.\nCharacterized by its \ncolored row houses, this \nresidential neighborhood \nlocated just a few \nkilometers from the \ncenter of Montreal is \nalso popular destination \nfor its variety of shops, \nrestaurants, and cafés. \nLas viviendas típicas de \nla ciudad se concentran \nen este tranquilo barrio \nresidencial que, situado \na pocos kilómetros del \ncentro urbano de Montreal, \nes también un referente de \nla gastronomía gracias a \nsus bares y restaurantes.\n22\nOld town\nVieux-Montréal\n23\nStretching by Saint Lawrence \nRiver, the old city was \nsurrounded by ramparts until \nthe early 19th century. \nSituada al borde del río San \nLorenzo, la ciudad histórica \nestuvo fortificada hasta \ncomienzos del siglo xix. \n",76,{"image":311,"text":312,"number":313},"\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.77.png","C 09 75\nAbierta 24 horas, esta \ntienda prepara desde 1957 \nlos tradicionales bagels en \nsu horno de leña.\nOpen 24 hours, 7 days \na week, the shop bakes \ntraditional-style bagels \nin its woodstove.\n29\nFood\nSt-Viateur Bagel\n25\nSituado desde los años \ntreinta en el barrio de \nLittle Italy, el mercado \nofrece alimentos frescos,   \nvino local y todo tipo de \nproductos elaborados a \nbase de sirope de arce. \nDurante los meses cálidos \nse realiza al aire libre.\nOpened in the 1930s in \nLittle Italy, this popular \nmarket offers fresh goods, \nlocal wine, and all sorts \nof maple syrup products. \nIt is open all year round, \ncovered in winter and in \nthe outdoors during the \nsummer months.\nMarket\nJean-Talon Market\n© Tourisme Montréal, Stéphan Poulin\nsource: es.pinterest.com\nUno de los restaurantes \ncon el concepto «Apportez \nvotre vin», que permite traer \nbotellas de vino propias.\nOne of the «Apportez votre \nvin» restaurants in the \ncity, where bringing one’s \nown wine is allowed. \n26\nRestaurant\nLe Quartier Général\n© André Tremblay\nEsta calle atraviesa el \nBarrio Latino ofreciendo \ngran cantidad de cafés, \nrestaurantes y bares.\nThis street crosses the \nQuartier Latin and \nis filled with cafés, \nrestaurants and bars. \n28\nEating out\nRue St. Denis\nsource: es.pinterest.com\nEn Brasserie Harricana es \nposible degustar cervezas \nelaboradas artesanalmente \nen el propio local.\nBrasserie Harricana is a \npopular venue where beer  \nis artisanally crafted and \ncan be tasted at the source.\n27\nBeer Tasting \nBrasserie Harricana\n© AlainCarle Architecte\n",77,{"image":315,"text":316,"number":317},"\u002Fmedia\u002Fimages\u002Ffc\u002Fc8fe388ade05f541320288ba63242e-28f780e037.78.png","76 C 09\n29\n25\n27\n19\n20\n 10. KPMG Tower\n600 Boulevard de \nMaisonneuve Ouest \n 17. Biodôme\n4777 Pierre-de Coubertin Ave\n9am-5pm Thur-Sat\n+1 514-868-3000\nespacepourlavie.ca\n 21. Notre-Dame Basilica\n110, rue Notre-Dame Ouest\nbasiliquenddm.org\n+1-866-842-2925\n 23. Vieux-Montréal\n 24. Underground city \n800 Rue de la Gauchetière O\nMon-Sun\n 12. MAC Montreal\n185 Saint-Catherine St W \nmacm.org \n+1 514-847-6226\n 18. Botanical Garden\n4101 Rue Sherbrooke E \n9am-5pm Thur-Sat\n+1 514-872-1400\nespacepourlavie.ca\n 16. Île Notre-Dame  \nParc Jean-Drapeau, H3C 6A1\n+1 514-350-0000\ncircuitgillesvilleneuve.ca\n 25. Jean-Talon Market\n7070 Henri-Julien Avenue\nmarchespublics-mtl.com\nMon-Sun\n+1 514-277-1588\n 27. Brasserie Harricana\n 28. Rue St Denis\n 29. St-Viateur Bagel\n95 Jean-Talon Ouest\nbrasserieharricana.com\ninfo@brasserieharricana.com\n+1 514-303-3039\n263 Rue Saint Viateur O \nstviateurbagel.com\n+1 514-276-8044\nMon-Sun 24h\n 14. Museum of Fine Arts\n1380 Sherbrooke St W\n10am-5pm Thur-Sun\nmbam.qc.ca\n+1 514-285-2000\n 20. Saint-Joseph Oratory\n3800, chemin Queen Mary\nsaint-joseph.org\n 02. Biosphere\n 01. Montreal Clock Tower\n 03. Mont-Royal Viewpoint\n 04. Parc Jean-Drapeau\n 05. Olympic Stadium\n 06. Place Ville-Marie\n 07. Olympic Village\n 08. Habitat 67\n160 Chemin du Tour de l’isle\n10am-5pm Thur-Sat\nQuai de l’Horloge St\noldportofmontreal.com\n1196 Voie Camillien-Houde\nparcjeandrapeau.com\n4141, Pierre-De Coubertin\nparcolympique.qc.ca\n1, Place Ville Marie, b. 1640\nplacevillemarie.com\n5199 East Sherbrooke East\n2600 Pierre-Dupuy Ave\nhabitat67.com\ninfo@habitat67.com\n+1 514-866-5971\nMontreal\nLocalización y datos prácticos \nLocation and useful information  \n 13. Planetarium\n4801 Pierre-de Coubertin Ave \nespacepourlavie.ca\n 11. Gas Station\n1K3, 201 Rue Berlioz, Verdun \nactionpreventionverdun.org\n 15. CCA\n1920 Baile St, QC H3H 2S6\ncca.qc.ca\n 26. Le Quartier Général\n1251, rue Gilford, H2J1R3  \nlequartiergeneral.ca\n+1 514-658-1839\n 09. Westmount Square\n1 Westmount Sq \nwestmount-square.com\n 22. Plateau Mont-Royal\n 19. 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