[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-cosentino-architecture-and-everything-else-10":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":340},{"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":335,"matched_pages":336,"match_count":337,"two_pages":338,"show_text":339},24479,"Architecture & Everything Else 10","cosentino-architecture-and-everything-else-10","\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002F61\u002F4f5ab20e12c5de6def26eebad8dc3f-28f7832a33.pdf","Cosentino",2482,"cosentino","230.3 MB",[14,17,20,24,28,32,35,39,43,47,51,55,59,63,67,71,74,78,82,86,90,94,98,102,106,110,113,117,121,124,128,132,136,140,144,148,151,155,159,163,167,171,175,179,183,187,190,194,198,202,206,210,214,218,221,225,229,233,237,241,245,249,253,257,261,265,269,273,276,280,284,288,292,296,300,304,308,312,316,320,323,326,330,333],{"image":7,"text":15,"number":16},"",1,{"image":18,"text":15,"number":19},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.2.png",2,{"image":21,"text":22,"number":23},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.3.png","c\ncontents\n16\n06\n26\n36\n46\n54\n68\n  Architecture\n 06 BOTÍN CENTRE  Renzo Piano in Santander \n \n El edificio es un nuevo hito para la ciudad y una pieza estratégica clave de su urbanismo. \n \n The building is a new city landmark and a strategic piece within its urban plan. \n \n Innovation\n 26 A GLASS PAVILION  Norman Foster Foundation in Madrid\n \n La última tecnología define la construcción del nuevo pabellón de la Fundación.\n \n The latest technology defines the construction of the new pavilion for the Foundation.\n \n Cosentino\n 36 MUGARITZ AND TOPA SUKALDERÍA  Andoni Aduriz with Cosentino\n \n El renombrado chef colabora con Cosentino para revestir los paramentos de su nuevo local.\n \n The famed chef collaborates with Cosentino in the interior design of his new restaurant. \n \n Style\n 46 SERPENTINE GALLERY  Francis Kéré’s Pavilion in London\n \n El arquitecto importa la tecnología africana a la capital inglesa.\n \n The architect imports African building techniques to the British capital. \n  Interview\n 54 MONEO & FRAMPTON  In dialogue\n \n Los retos de la arquitectura contemporánea marcan las pautas de la conversación.\n \n The challenges of contemporary architecture provide the main theme of the conversation. \n  Travel\n 68 MIAMI  USA\n \n Una guía de la ciudad que se nutre de la costa, el arte y la vida nocturna.\n \n A guide of places to visit in a waterfront city with a vibrant art scene, and nightlife. \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 website devoted to architecture, art, and design.\n  Arts\n 16 RESTRICTED AREA SERIES  Danila Tkachenko\n \n El fotógrafo captura las ruinas militares e industriales de la antigua Unión Soviética.\n \n The photographer captures the military and industrial ruins of the Soviet Union. \n",3,{"image":25,"text":26,"number":27},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.4.png","Depósito Legal: M-14282-2014\nISSN: 2341-3867 \nCubierta Cover\nBotín Centre \n© Rubén Bescós\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 \nClara Molero \nJesús Pascual \nMarta Peña \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":29,"text":30,"number":31},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.5.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":33,"text":15,"number":34},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.6.png",6,{"image":36,"text":37,"number":38},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.7.png","Architecture\nBotín Centre\nRenzo Piano in Santander\n",7,{"image":40,"text":41,"number":42},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.8.png","6 C 10\nArchitecture\nBuilding\n1\nEl Centro Botín se ha concebido no sólo como un edificio de referencia \nsino como una operación urbanística capaz de abrir al Cantábrico una \nzona de la ciudad que tradicionalmente le había dado la espalda. Con \neste fin, la construcción del edificio implicó también el soterramiento \ndel tráfico rodado que separaba los Jardines de Pereda del frente ma-\nrítimo, de manera que  pudieran duplicar su superficie, extendiéndose \nhasta el mar y haciéndolo accesible a los ciudadanos. \nSituado entre el parque y el mar, el edificio se apoya, por un lado, \nen los terrenos de la vieja dársena, pero por el otro queda suspen-\ndido sobre el agua, sostenido en pilotes, como si fuera un palafito. \nEste modo de relacionarse con el borde marítimo, y el hecho de que \nel edificio quede en parte oculto por la vegetación de los Jardines \nde Pereda, evitan la obstrucción de las vistas sobre el mar y el bello \npaisaje de la bahía. La sensación de ligereza se refuerza con una serie \nde pasarelas de acero y vidrio que conectan entre sí los dos cuerpos \nredondeados que conforman el edificio, al tiempo que crean un nuevo \nespacio público levantado del suelo. \nEstos dos cuerpos o lóbulos están diseñados para mejorar la ilumi-\nnación de la planta, permitiendo y a la vez enmarcando las vistas de la \nbahía desde los Jardines. La superficie de los dos lóbulos está revestida \ncon 280.000 pequeñas escamas cerámicas, ligeramente redondeadas y \nde tono nacarado, que rielan con la luz del sol, reflejando la superficie \ndel agua y la atmósfera de Santander. \nThe Botín Centre, a space for art, culture, and education projecting \ninto the Bay of Santander, restores the ties between the historical \npart of the city and the sea. The freeway separating the park from \nthe sea has now been rung underground through a tunnel, making \nit possible to double the area of the Jardines de Pereda, extending \nthem to the seafront and restoring pedestrian access to the sea for \nSantander’s citizens. \nHemmed in between the park and the sea, and on the axis of \nthe public market, the new Botín Centre is half based on the land \nand the other half suspended over the water on stilts. This avoids \nobstructing the view of the sea and the beautiful bay landscape for \npeople strolling in the park, as the Botín Centre is cleverly masked \nby the foliage of trees. A series of light walkways of steel and glass \nseparate the two rounded volumes of the building and create a new \nsquare set above grade and fully public. \nThe two-lobed form of the building provides better illumination of \nthe ground floor and accompanies the view of visitors and citizens \nlooking out from the park to the sea. The two bodies that make \nup the building are completely faced with 280,000 small, slightly \nrounded ceramic tiles, pearl-colored and vibrant, that reflect the \nsunlight, the sparkle of the water, and the rarefied atmosphere \nof Santander.\nThe east volume houses an auditorium rising to double height and \nBotín Centre\nRenzo Piano in Santander\nLa forma lobulada de los \ndos volúmenes, resultado \nde un progresivo \nrefinamiento del diseño \na través de maquetas, \npermite bañar la planta \nbaja de luz natural y \ndirige la vista desde el \nparque hacia la bahía.\nThe two-lobed form, \nwhich is the outcome of \na gradual refinement of \nthe design through the \nuse of models, ensures \nnatural light in the \nground floor and directs \nthe gaze of visitors from \nthe park to the water.\n",8,{"image":44,"text":45,"number":46},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.9.png","C 10 7\n",9,{"image":48,"text":49,"number":50},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.10.png","8 C 10\nFuncionando como un \nhíbrido de fachada y \ncubierta que dota de \ncontinuidad al conjunto, \nla envolvente adopta la \nforma de una superficie \nreglada en la que \nconviven balcones y \nparamentos de vidrio.\nFunctioning as a hybrid \nbetween a facade and  \na roof and serving to  \ngive continuity to the \ncomplex, the envelope \nadopts the form of a \ncheckered slope where \nbalconies and glass \nsurfaces alternate.\n",10,{"image":52,"text":53,"number":54},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.11.png","C 10 9\nDe los dos lóbulos que conforman el edificio, el este alberga un \nauditorio que se levanta en voladizo sobre el mar, así como un centro \neducativo orientado al norte, ambos concebidos para adaptarse con \nflexibilidad a usos diversos. Por su parte, el cuerpo oeste cobija las \nsalas de exposiciones —caracterizadas por un gran ventanal que se \nabre a las vistas sobre el entorno— y se completa con una cubierta de \nvidrio que está formada por cuatro capas que protegen de la radiación \ndirecta y permiten regular con flexibilidad la entrada de luz cenital. \nA los anteriores volúmenes se añade un anfiteatro excavado en el \nentorno del edificio. El programa se completa con un espacio acristala-\ndo que se sitúa en la planta baja, y que acoge un café, un restaurante, \nuna zona comercial y un punto de información. El conjunto así for-\nmado crea la sensación de que el espacio interior y el exterior son casi \nindistinguibles, y hace posible que los visitantes y ciudadanos pueden \ndisfrutar de un nuevo panorama del paisaje marítimo de la ciudad.\ncantilevered over the sea, and to the north, the educational facilities: \nspaces designed with the maximum flexibility to adapt to multiple \nactivities. In the west volume the exhibition galleries unfold on two \nlevels, characterized by a spectacular double view over the sea and \nthe park. The exhibition space on the upper floor is illuminated \nzenithally by glass roofing consisting of four layers which protects \nagainst stray light and can be used to make the lighting flexible.\nAn amphitheater hewn out of the park runs alongside the Botín \nCentre, its west facade equipped with a LED display for screenings \nand outdoor cinema. On the ground floor a fully transparent façade \nencloses a multifunctional space animated by a café, restaurant, \ncommercial space and the information point. In this way, the inner \nand outer space are almost indistinguishable and visitors and citi-\nzens can see the sea and landscape of the bay framed by the broad \neaves of the building. \n",11,{"image":56,"text":57,"number":58},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.12.png","10 C 10\nLa ligereza de sus \nsoluciones constructivas, \nsu transparencia y su \ndelicada implantación (los \ndos lóbulos cerámicos se \nseparan para enmarcar \nel mar desde el parque), \nson los rasgos más \nimportantes del edifico.\nAlong with the pursuit \nof lightness, the most \nimportant feature of the \nbuilding is its careful \ninsertion in the site and \nits transparency: the \ntwo ceramic lobes are \nseparated to frame the  \nsea views from the park. \n",12,{"image":60,"text":61,"number":62},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.13.png","C 10 11\n",13,{"image":64,"text":65,"number":66},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.14.png","12 C 10\n",14,{"image":68,"text":69,"number":70},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.15.png","C 10 13\nArquitectos Architects\nRenzo Piano Building Workshop en colaboración con \nin collaboration with Luis Vidal + Architects\nCliente Client\nFundación Botín\nColaboradores Collaborators\nE. Baglietto, M. Carroll (socios responsables partners in \ncharge); F. Becchi (asociado responsable associate in charge); \nS. Lafranconi, M. Monti, R. Parodi, L. Simonelli,  \nM. Cagnazzo, P. Carrera, S. Ishida (socio partner),  \nM. Menardo, A. Morselli, S. Polotti,  \nI. Coseriu, P. Fiserova, V. Gareri, S. Malosikova,  \nT. Wozniak, A. Zambrano; F. Terranova, F. Cappellini,  \nI. Corsaro (maquetas models) \nConsultores Consultants\nDýnamis, Arup. Typsa (estructura structure); Arup. \nTypsa (instalaciones, fachada MEP, facade); Müller-BBM \n(acústica acoustics); artec3, Arup (iluminación lighting); \nGleeds, Typsa (control coste cost consultant); Fernando \nCaruncho (paisajismo landscaping)\nFotos Photos\nRubén Bescós; Enrico Cano (p. 10 abajo izquierda bottom left) \n",15,{"image":72,"text":15,"number":73},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.16.png",16,{"image":75,"text":76,"number":77},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.17.png","Arts\nRestricted Areas Series\nDanila Tkachenko\n",17,{"image":79,"text":80,"number":81},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.18.png","16 C 10\nRestricted  \nAreas Series \nDanila Tkachenko\nArts\nPhotography\n2\nThe thematic and objective approach to \nthe subjects of the images of Tkachenko \nframe his work in the field of documentary \nphotography. In his still brief career, the \nyoung Russian has already received several \nawards, including the European Publishers \nAward for Photography in 2015 thanks to \nhis series ‘Restricted Areas,’ where he travels \nthrough almost artificial environments where \nthe pursuit of technological progress has been \nfrustrated and halted in time by multiple \ncauses – nuclear wars, economic crises, \nnatural disasters, etc. – turning them into \nabandoned and deserted places, witnesses of \na technocratic utopia that never arrived.\nDanila Tkachenko \n(Moscow, 1989) shows \nan almost archaeological \nconcern in his ‘Restricted \nAreas’ series, examining \nthe utopian quest for \ntechnological progress \nthat was once of national \ninterest for the USSR.\nSu temática y la aproximación objetiva al \nsujeto enmarcan el trabajo Tkachenko en el \ncampo de la fotografía documental. En su \ntodavía corta trayectoria, el joven ruso ha \nrecibido ya importantes premios: si su serie \n‘Escape’ fue premiada en el World Press \nPhoto de 2014, en 2015 ganó el European \nPublishers Award for Photography gracias a \n‘Restricted Areas’, donde recorre escenarios \nen los que la búsqueda del progreso \ntecnológico quedó paralizada en el tiempo \npor desastres nucleares, crisis económicas, \ncatástrofes naturales, etc., convirtiéndose en \nlugares abandonados y desiertos, testigos de \nuna utopía tecnocrática que nunca llegó. \nEn la serie ‘Restricted \nareas’, Danila Tkachenko \n(Moscú, 1989) \nmuestra una inquietud \narqueológica al examinar \nlos vestigios del progreso \ntecnológico que un \ndía definió el interés \nnacional soviético.\n",18,{"image":83,"text":84,"number":85},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.19.png","C 10 17\nWater contamination test at the lake around the previously closed scientific city of Chelyabinsk. Russia, 2013\n",19,{"image":87,"text":88,"number":89},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.20.png","18 C 10\n",20,{"image":91,"text":92,"number":93},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.21.png","C 10 19\n‘Bulgaria’ ship lifted from underwater, 122 people drowned in it. Republic of Tatarstan, Russia, 2014\n",21,{"image":95,"text":96,"number":97},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.22.png","20 C 10\nExcavator on a closed quarry. Moscow region, Russia, 2015\n",22,{"image":99,"text":100,"number":101},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.23.png","C 10 21\nAirplane - amphibia with vertical take-off WA14. The USSR built only two of them in 1976, one of which crashed during transportation. Moscow region, Russia, 2013\nThe world’s largest diesel submarine. Samara region, Russia, 2013\n",23,{"image":103,"text":104,"number":105},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.24.png","22 C 10\nTropospheric antenna in the north of Russia, 2014\nPart of an unfinished space port. Kyzylorda region, Kazakhstan, 2013\n",24,{"image":107,"text":108,"number":109},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.25.png","C 10 23\nAntenna built for interplanetary connection. Arkhangelsk region, Russia, 2013\nAntenna for interception of signals. Samara region, Russia, 2014\nDeserted observatory. Almaty region, Kazakhstan, 2015\nCoal processing plant. Russia, 2014 \n",25,{"image":111,"text":15,"number":112},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.26.png",26,{"image":114,"text":115,"number":116},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.27.png","Innovation\nA Glass Pavilion\nNorman Foster Foundation in Madrid\n",27,{"image":118,"text":119,"number":120},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.28.png","26 C 10\nIn a central area of Madrid, the Norman Foster Foundation is \nhoused in a heritage listed residential palace by Joaquín Saldaña. \nIts courtyard is the setting for a new pavilion which will show a \nchanging display of objects and images that have, over the years, \nbeen personal references for Foster.\nThe new building resolves the irregular geometry of the outdoor \narea with a roof shaped like the wing of an aircraft. This is supported \nby a hidden steel structure cantilevered over a structural glass facade \nwithout any visible means of support so the roof seems to float over \nit. The result is an architecture which seeks the ephemeral qualities of \nlight, lightness and reflections. Elements are reduced to an essential \nminimum with a mirrored ceiling and fascia which further dissolves \nthe volume of space to emphasize its contents.\nThe courtyard and entrance facade of the pavilion is shaded by a \ncanopy created by the Spanish artist Cristina Iglesias. This work, The \nIonosphere (A Place of Silent Storms), is composed of interlocking \nlight carbon fiber panels with patterns generated from a text of \nArthur C. Clarke’s The Fountains of Paradise. It frames the view of \nthe court from the pavilion as well as bathing it in dappled shade.\nFrom its innovative but subtle use of glass, steel and composite \nmaterials, the pavilion is a further exploration of techniques that \nNorman Foster has pioneered over more than five decades. The wide \nglass panel to the courtyard next to the entrance is itself a massive \nInnovation\nTechnology\n3\nLa Norman Foster Foundation encuentra su sede en un palacete \nhistórico, obra de Joaquín Saldaña, situado en el madrileño barrio \nde Chamberí. El patio alberga un nuevo pabellón donde se expone \nuna serie de objetos e imágenes que a lo largo de los años han sido \nreferencias personales para Foster. \nEl nuevo edificio resuelve la geometría irregular del patio con un \ntejado en forma de ala de avión sostenido por una estructura de acero \nen voladizo, oculta sobre una fachada de paneles de vidrio sin medios \nvisibles de apoyo, de modo que el tejado parece flotar sobre ella. El \nresultado es una arquitectura que busca las cualidades efímeras de \nla luz, la ligereza y los reflejos. Los elementos se reducen al mínimo \ncon un techo y alero de espejo, lo cual disuelve aún más el volumen \ndel espacio para resaltar su contenido.\nUna escultura creada por la artista española Cristina Iglesias pro-\nyecta sombra sobre el patio y la fachada de entrada al pabellón. \nDicha pieza, La Ionosfera (Un lugar de tormentas silenciosas), está \ncompuesta de paneles ligeros entrelazados de fibra de carbono con \npatrones inspirados en Las fuentes del paraíso, un texto de Arthur C. \nClarke, y enmarca las vistas del patio desde el pabellón, además de \nbañarlo en una sombra veteada.\nCon su uso innovador pero sutil del vidrio, el acero y los materia-\nles compuestos, el pabellón sigue explorando técnicas en las cuales \nNorman Foster ha sido pionero durante más de cinco décadas. Junto \nA Glass Pavilion\nNorman Foster Foundation in Madrid\n",28,{"image":122,"text":15,"number":123},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.29.png",29,{"image":125,"text":126,"number":127},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.30.png","28 C 10\n",30,{"image":129,"text":130,"number":131},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.31.png","C 10 29\ndoor, weighing 2.7 tons and 6 meters long. When this portal is opened \nup the interior and exterior worlds are united into one flowing space \nfor Foundation gatherings.\nBy working closely with the craftsmen in metal and glass it has \nbeen possible to develop a combination of slim bead-blasted stainless \nsteel sections welded together and with mirror polished edges which \ndematerialize the bulk of supporting structures. The contents of the \npavilion are an eclectic selection of objects, models, photography \nand sculpture from the worlds of art, architecture and design, \nembracing aircraft, cars and locomotives. For Norman Foster these \nare not separate worlds but interconnected with a special emphasis \non his passion for flight. \nAn important and historic car is displayed for the first time. \nThis is not a replica – it is the newly restored and original 1927 \nAvions Voisin C7 that was owned by Le Corbusier and featured in \nphotographs of all his early works. The car was very advanced in \nits time using aviation technology pioneered by Voisin for his flying \nmachines. Because of its large expanse of glass, echoed in the new \narchitecture of its age, it was called the Lumineuse. Gabriel Voisin \nwas also a patron of Le Corbusier who named his radical proposal \nfor Paris The Voisin Plan.\nThe pavilion was realized through detail design and construction \nin six months. This was made possible by prefabricating all the \nelements which also avoided excavation on the site and disruption \nto neighbors. The high thermal performance of the glass building \nenvelope, radiant heating and cooling through the floor, generous \nexternal shading and the latest generation of LED lighting are all \npart of its sustainable agenda. \nLocal skills and materials have been important – for example \neleven of the twelve consultants are from Spain and six of the nine \ncontractors and suppliers are Spanish – the remainder from Italy, \nGermany, and Japan.\n",31,{"image":133,"text":134,"number":135},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.32.png","30 C 10\na la entrada, el amplio paño de vidrio que da al patio es una enorme \npuerta de 2,7 toneladas de peso y 6 metros de longitud. Una vez abierta, \nel interior y el exterior se unen en un espacio fluido para los actos de \nla fundación.\nTrabajando directamente con artesanos del metal y del vidrio, ha \nsido posible desarrollar una combinación de esbeltas secciones de acero \ninoxidable granallado con bordes de espejo pulido que desmaterializan \nel volumen de las estructuras de soporte.\nEl detallado diseño y la construcción del pabellón se ha llevado \na cabo en seis meses. Esto ha sido posible prefabricando todos los \nelementos. El alto rendimiento térmico de la envoltura de vidrio del \nedificio, el sistema de climatización por suelo radiante, la generosa \nsombra exterior y la iluminación LED de última generación forman \nparte de su concepción sostenible.\nEl contenido del pabellón es una ecléctica selección de objetos, ma-\nquetas, fotografías y esculturas de los ámbitos del arte, la arquitectura \ny el diseño que incluye aviones, coches y locomotoras. Para Norman \nFoster no son mundos independientes, sino interconectados, poniendo \nespecial énfasis en su pasión por la aeronáutica. \nSe expone por primera vez el Avions Voisin C7 de 1927 restaurado, \nque fue propiedad de Le Corbusier y aparecía en las fotografías de \ntodas sus primeras obras. Este vehículo histórico utilizaba tecnología \naeronáutica ideada por Voisin para sus máquinas voladoras resultando \nmuy avanzado a su tiempo. Debido a su abundante uso del vidrio, que \nrecuerda a la nueva arquitectura de su época, era conocido como el \nLumineuse. Gabriel Voisin también fue mecenas de Le Corbusier, que \nbautizó su radical propuesta para París como el Plan Voisin.\nEn la ejecución del proyecto han sido fundamentales los conoci-\nmientos, habilidades y materiales locales; once de los doce asesores \ny seis de los nueve contratistas y proveedores son españoles, el resto \nde Italia, Alemania y Japón.\n",32,{"image":137,"text":138,"number":139},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.33.png","C 10 31\n",33,{"image":141,"text":142,"number":143},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.34.png","32 C 10\n",34,{"image":145,"text":146,"number":147},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.35.png","C 10 33\nArquitecto Architect \nDepartamento de Arquitectura, Diseño y Tecnología de la Norman \nFoster Foundation Design studio of the Norman Foster Foundation – \nNorman Foster\nDavid Delgado, Raúl Gómez y Jorge López Conde\nArquitecto local Local Architect \nMiguel Kreisler, Ángel Jaramillo  - BAUproyectos SLP - España \nIngeniero de estructuras Structural engineer \nJuan de la Torre - Euteca Proyectos y Estructuras SLP - España \nIngeniero instalaciones MEP engineer \nRafael Úrculo - R. Úrculo Ingenieros Consultores SA - España \nArquitecto técnico Quantity surveyor \nJavier Martín - Arquitec SL España\nAsesor técnico fachada Façade consultant \nJames O’Callaghan - Eckersley O’Callaghan Ltd – Reino Unido \nAsesor técnico envolventes Envelope consultant \nENAR Envolventes Arquitectónicas SL - España \nAsesor técnico iluminación Lighting consultant \nJavier Martín - Años Luz Iluminación de Vanguardia SL - España\nConstructora Builder \nEmpty SL y BAUobras SL - España \nContratista de la estructura Structure contractor \nBetazul SA - España \nIngeniería de la fachada Facade engineering & manufacture \nFrener & Reifer Srl - Italia \nFabricante paneles de vidrio Glass manufacturer \nSedak GmbH & Co. KG - Alemania \nCubierta Roofing \nCarbures Defense SA - España \nAlero de cubierta Roof Nosing \nRealize Srl - Italia \nTecho de acero inoxidable Stainless steel ceiling \nKikukawa Kogyo Co Ltd – Japón \nMármol tecnológico Technological marble \nCOMPAC The Surfaces Company - España \nVitrina Glass vitrine \nCrisel Glass SL, Nerpaser SL – España \nJefe de obra Site surveyor \nEnrique Cuartero – Sumarsan SL - España \nTopógrafo Topography surveyor \nPedro Magaña - Asistencia y Recursos Topográficos SL - España\nEscultura de Cristina Iglesias Cristina Iglesias’ sculpture \nIngeniería Engineering Consultant \nHugo Corres - Fhecor Ingenieros Consultores SA - España \nAsesor de ingeniería eólica Wind Engineering Consultant \nOritia & Boreas SL - España \nPaneles de la escultura fabricados por Acciona SA - España y Cristina \nIglesias Estudio - España \n \nSculpture panels manufactured by Acciona SA - Spain and Cristina \nIglesias Studio - Spain \nCables y nodos de la escultura fabricados por Aciarium SL - España \nSculpture cables and nodes manufactured by Aciarium SL - Spain\nFotos Photos \nLuis Asín; Guillermo Rodríguez (pp. 27, 31)\n",35,{"image":149,"text":15,"number":150},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.36.png",36,{"image":152,"text":153,"number":154},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.37.png","Dekton\nMugaritz and Topa Sukaldería\nAndoni Luis Aduriz with Cosentino\n",37,{"image":156,"text":157,"number":158},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.38.png","36 C 10\nMUGARITZ AND\nTOPA SUKALDERÍA\nAndoni Luis Aduriz with Cosentino\nDekton\nRestaurants\n4\n",38,{"image":160,"text":161,"number":162},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.39.png","C 10 37\nMUGARITZ AND\nTOPA SUKALDERÍA\nAndoni Luis Aduriz with Cosentino\n© Miguel Fernández-Galiano\n",39,{"image":164,"text":165,"number":166},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.40.png","38 C 10\nTras estudiar hostelería y trabajar en los fogones de Ferran Adrià en \nEl Bulli, Andoni Luis Aduriz comienza su desarrollo en solitario con el \nproyecto de Mugaritz, que abre en 1998 y desde 2006 cuenta con dos \nestrellas Michelin. Mugaritz se ubica en un paraje natural formidable, \nque no sólo ofrece un lienzo sobre el que crear, sino también un espacio \nrodeado de tradición y producto local.\nEl inagotable éxito de Mugaritz (lleva más de una década en el top 10 \nmundial según la lista The World’s 50 Best Restaurants Awards) anima \nal chef a abrir TOPA Sukaldería. En contraposición con su restaurante \ninsignia, éste se ubica en pleno barrio de Gros, en San Sebastián. \nDe esta manera acerca al casco histórico la rigurosa investigación \ngastronómica de Mugaritz, en un ambiente más informal y urbano. \nPara su diseño ha apostado por las superficies del grupo Cosentino, \nincluyendo planchas de Dekton o la serie Eco Line de Silestone, en línea \ncon muchos otros productos reciclados que se pueden ver en el local. \nUpon completing culinary studies and working with Ferran Adrià \nat El Bulli, Andoni Luis Aduriz embarked on his solo career with \nthe Mugaritz project. Launched in 1998, since 2006 the restaurant \nhas two Michelin stars to its name. Mugaritz is located in a unique \nnatural setting that offers a blank canvas for creation, in a space \nsurrounded by tradition and local produce. \nThe success of Mugaritz (it has made the top 10 of The World’s \n50 Best Restaurants Awards list for over ten years now) encouraged \nthe chef to open a new place, TOPA Sukaldería, this time in the \nvery heart of the Gros quarter in San Sebastián. In this way Aduriz \nbrings the rigorous culinary research of Mugaritz to the historic \ncenter, in a more casual and urban atmosphere. \nThe design project features surfaces manufactured by Cosentino, \nincluding ultracompact Dekton slabs or the Eco Line series of \nSilestone, in tune with other recycled elements used in the space.\n",40,{"image":168,"text":169,"number":170},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.41.png","C 10 39\nAndoni Luis Aduriz (San \nSebastián, 1971) estudió en \nla Escuela de Hostelería de \nla capital guipuzcoana y, \nal acabar, viaja a Cataluña \npara trabajar con Ferran \nAdrià y aprender los \nfundamentos de la cocina \ncontemporánea.\nAndoni Luis Aduriz \n(San Sebastian, 1971) \nstudied at the Escuela de \nHostelería of his home \ncity and then moved to \nCatalonia to work with \nFerran Adrià and learn \nthe fundamentals of \ncontemporary cuisine. \n© Alex Iturralde\nExterior view of Mugaritz’s garden and house in San Sebastian\n",41,{"image":172,"text":173,"number":174},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.42.png","40 C 10\nPhotos on this page: Mugaritz’s kitchen. © Miguel Fernández-Galiano\n",42,{"image":176,"text":177,"number":178},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.43.png","C 10 41\nTOPA Sukaldería es un \nrestaurante que evidencia \nlos siglos de historia \nque unen a vascos \ny latinoamericanos. \nAmbas gastronomías \nse encuentran para \ncompartir productos, \nrecetas y costumbres.\nTOPA Sukaldería is a \nrestaurant that celebrates \nthe centuries of history \nthat connect the Basque \nand the Latin American \npeople. The two cuisines \ncome together to share \ndifferent products, \nrecipes, and customs. \nPhotos on this page: TOPA’s entrance. © Ricardo Santonja \n",43,{"image":180,"text":181,"number":182},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.44.png","42 C 10\nLas encimeras y barras \nde Dekton Aura ofrecen \nseguridad e higiene y la \ncapacidad de soportar \ntanto el frío como el \ncalor sin alterarse. \nAdemás, es resistente a \nlas manchas y el rayado, \nperfecto para una cocina.\nDekton Aura worktops \noffer safety and hygiene \nand adjust to changing \ntemperatures without \nsuffering alterations. \nHighly resistant to  \nstains and scratches, \nthey are perfect for \nkitchen surfaces. \nLos revestimientos de \npared de los aseos se han \nelaborado con Starlight de \nEco Line de Silestone. Esta \nelección se alinea con la \nutilización de materiales \nreciclados como viruta \nde madera en techos y en \notros paramentos del local.\nThe product selected  \nfor the restroom wall \ncladdings is Silestone’s  \nEco Line in Starlight, \na choice that is further \nstressed by the use of other \nrecycled materials like  \nthe wood shaving boards \non ceilings and walls. \nPhotos on this page and the next: TOPA Sukaldería’s different areas © Ricardo Santonja\n",44,{"image":184,"text":185,"number":186},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.45.png","C 10 43\nEl acero inoxidable \nde la cocina contrasta \ncon el oscuro acabado \nmate de Dekton Kelya. \nLa resistencia del \nmaterial, sus grandes \ndimensiones y mínimas \njuntas otorgan gran \ncontinuidad y elegancia.\nThe kitchen’s stainless \nsteel surfaces strike a \ncontrast with the dark \nmatte finish of Dekton \nKelya. The material’s \nresistance, its large \nformat, and minimum \njoints make for free-\nflowing, elegant spaces. \n",45,{"image":188,"text":15,"number":189},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.46.png",46,{"image":191,"text":192,"number":193},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.47.png","Style\nSerpentine Gallery\nFrancis Kéré’s Pavilion in London\n",47,{"image":195,"text":196,"number":197},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.48.png","46 C 10\nSERPENTINE  \nGALLERY\nFrancis Kéré’s Pavilion in London\nDiseñado por Francis Kéré, el pabellón \nde la Serpentine Gallery 2017 se concibe \ncomo un microcosmos, una estructura \ncomunitaria que fusiona las referencias \nculturales de Burkina Faso —el país de \norigen del arquitecto— con técnicas de \nconstrucción experimental. El proyecto se \ninspira en el árbol entendido como el lugar \ndonde las personas se reúnen, donde las \nactividades cotidianas se desarrollan bajo \nla sombra de sus ramas. Una gran cubierta, \nformada por barras de acero y envuelta \npor una piel transparente, permite que el \nsol entre en el espacio y al mismo tiempo \nlo protege de la lluvia. En la superficie \ninterior del techo, un conjunto de listones \nde madera filtran la luz, creando un patrón \nde sombras dinámicas. Dividido en cuatro \ntramos y separado de la cubierta, un muro \ncurvo teñido de azul permite que el aire \ncircule libremente en todas las direcciones \ne invita a la gente a entrar. Cuando \nllueve, la cubierta se convierte en un \ngran embudo que canaliza el agua hacia \nel centro de la estructura, simbolizando \nla importancia de este elemento como \nrecurso fundamental para la supervivencia \ny la prosperidad humana. Por la noche, el \ndosel se convierte en un faro que permite \nlocalizar este lugar de reunión.\nDesigned by Francis Kéré, the 2017 \nSerpentine Pavilion is conceived as a \nmicrocosmos – a community structure \nwithin Kensington Gardens that fuses \ncultural references of the architect’s home \ncountry Burkina Faso with experimental \nconstruction techniques. The project takes \ninspiration in the tree as a place where \npeople gather together, where everyday \nactivities play out under the shade of its \nbranches. The design for the Serpentine \nPavilion has a great over-hanging roof \ncanopy made of steel and a transparent skin \ncovering the structure, which allows sunlight \nto enter the space while also protecting it \nfrom the rain. Wooden shading elements line \nthe underside of the roof to create a dynamic \nshadow effect on the interior spaces. Split \ninto four elements and detached from the \nroof canopy, a curved wall painted blue \ncreates four different access points to \nthe Pavilion and allows air to circulate \nfreely throughout. In times of rain the roof \nbecomes a funnel channelling water into the \nheart of the structure. This rain collection \nacts symbolically, highlighting water as a \nfundamental resource for human survival \nand prosperity. In the evening, the canopy \nbecomes a source of illumination marking \nthe location of this gathering place. \nStyle\nPavilion\n5\nCada año la Serpentine \nGallery en Londres \nelige a un arquitecto \ninternacional para \nconstruir un pabellón \ntemporal en los jardines \nde Kensington, que se \nconvierte en una visita \nimprescindible del verano. \nEvery year London’s \nSerpentine Gallery \nselects an international \narchitect to design \nand build a temporary \npavilion in Kensington \nGardens, and which \nimmediately becomes a \n‘must’ summer visit.\n",48,{"image":199,"text":200,"number":201},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.49.png","C 10 47\n",49,{"image":203,"text":204,"number":205},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.50.png","48 C 10\nDe origen africano, \nFrancis Kéré traslada \nelementos de su cultura \nal corazón de Hyde \nPark en Londres, como \nel color índigo del \ncerramiento que en \nBurkina Faso es símbolo \nde celebración. \nThe African architect \nFrancis Kéré transfers \nelements from his culture \nto the heart of Hyde \nPark in London, like the \nindigo used to paint the \ncurved wall, a color that \nsymbolizes celebration  \nin his country. \nPhotos: Iwan Baan \n",50,{"image":207,"text":208,"number":209},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.51.png","C 10 49\n",51,{"image":211,"text":212,"number":213},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.52.png","50 C 10\n",52,{"image":215,"text":216,"number":217},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.53.png","C 10 51\n",53,{"image":219,"text":15,"number":220},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.54.png",54,{"image":222,"text":223,"number":224},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.55.png","Interview\nFrampton & Moneo\nIn Dialogue\n",55,{"image":226,"text":227,"number":228},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.56.png","54 C 10\nInterview\nConversation\n6\nFrampton  \n& Moneo \nin dialogue\nEl crítico e historiador británico \nvisita al arquitecto español en su \nestudio de Madrid.\nThe British critic and historian \nvisits the Spanish architect at  \nhis Madrid studio. \n",56,{"image":230,"text":231,"number":232},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.57.png","C 10 55\n",57,{"image":234,"text":235,"number":236},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.58.png","56 C 10\nPhotos: Miguel Fernández-Galiano \nsu enfoque, el de la visualidad pura aplicada \na la construcción por influencia de Colin \nRowe podía generalizarse. Hoy la teoría ha \nacabado en manos de escritores inspirados \npor el posestructuralismo, franceses sobre \ntodo. La teoría ya no tiene en absoluto la \npresencia que tenía antaño. Durante toda \nla segunda mitad del siglo xx, para intentar \naveriguar lo que significaba la teoría de la \narquitectura había que recurrir a los histo-\nriadores. Los historiadores eran, en cierto \nmodo, los depositarios de una tradición y, \ncomo tales, definían el paradigma de lo que \npodríamos llamar las ‘modernidades’. Esto \nha cambiado radicalmente con la llegada \ndel nuevo siglo. \nKF: Sí, es cierto. \nRM: Los historiadores delimitan en buena \nmedida el marco de intereses de los arqui-\nEl papel cada vez menos relevante que \ndesempeña la teoría y, en general, el pen-\nsamiento en la práctica profesional son, \nsegún  Frampton y Moneo, los principales \nretos a los que se enfrenta la arquitectura \ncontemporánea. A este punto de partida se \nle suman las grandes transformaciones de \nla sociedad, la economía y la propia arqui-\ntectura que han hecho que los discursos \ntradicionales, basados en conceptos como \nel ‘espíritu de los tiempos’, la racionalidad o \nla fe en el progreso, resulten hoy inoperan-\ntes; o la precarización del mercado laboral \nque afecta a los más jóvenes. Frente a ello \nproponen una lectura crítica de la globali-\nzación y también una ética de la resistencia \nsostenida en los principios de la disciplina.\nKenneth Frampton (KF): Nos conocemos \ndesde mediados de los años 1970, una época \nen la que la teoría era fundamental para los \narquitectos. Cuarenta años más tarde, ya no \nes tan importante…\nRafael Moneo (RM): Creo que hoy se ha \nrenunciado a que la teoría respalde la prác-\ntica arquitectónica: la batalla se ha perdido. \nEn la década de 1970, Peter Eisenman y \notros probablemente confiaban aún en que \nEl Pritzker Rafael \nMoneo (1937) y el \ncelebrado historiador \ny crítico Kenneth \nFrampton (1930) \ndialogan en Madrid \nsobre los problemas \nde la arquitectura \ncontemporánea\nPritzker laureate Rafael \nMoneo (1937) and the \nacclaimed historian \nand critic Kenneth \nFrampton (1930) \nconverse in Madrid \nabout the problems \nafflicting contemporary \narchitecture.\ntectos; necesitas ir a sus textos para saber \nlo que realmente importa. Pero el modo \nen que la historia de la modernidad se ha \nnarrado ya no resulta útil en el contexto \nactual. Este es el problema.\nKF: Por eso creo que el discurso filosófi-\nco podría ser más útil. La cuestión de si la \nciudad tradicional puede ser el sustrato de \nalgún tipo de continuidad en el contexto \ncontemporáneo es realmente un problema \nde calado. Y uno de los problemas asociados \nmás profundos es la idea de progreso y la \ncuestión de si tal idea sigue siendo válida, \nno sólo desde el punto de vista de la arqui-\ntectura, sino en general. ¿Podemos seguir \ncreyendo en el progreso?\nRM: Ya no somos capaces de pensar con \nclaridad en términos de progreso. \n‘Zeitgeist’ y utopía\nKF: Estudié arquitectura en los años 1950 \nen Londres, y en el contexto del Estado del \nBienestar británico. Entonces era posible \ncreer que la idea del progreso estaba ínti-\nmamente ligada con la modernidad, y que la \nmodernización sólo podía traer beneficios \na la sociedad. Era un momento muy inge-\n«Creo que hoy se ha \nrenunciado a que la \nteoría respalde la práctica \narquitectónica: la batalla \nse ha perdido»\n",58,{"image":238,"text":239,"number":240},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.59.png","C 10 57\nThe ever diminishing role played by theory \nand thought in professional practice is, ac-\ncording to Frampton and Moneo, one of the \nprincipal challenges that contemporary ar-\nchitecture is faced with. Add to this the great \ntransformations taking place in society, the \neconomy, and architecture itself, thanks to \nwhich the traditional discourses, based on \nconcepts like Zeitgeist, rationalism, and faith \nin progress, are ineffective. Not to mention the \nprecarization of the labor market, with its te-\nrrible effects on young people. In this situation \nFrampton and Moneo call for a more critical \nreading of globalization, and also an ethic of \nresistance grounded upon the principles of \nthe architectural discipline.\nKenneth Frampton (KF): We have known \neach other since the mid-70s, a time in which \ntheory was very important for architects. \nForty years later, the role of theory and the \ndimension of architecture is sort of dimin-\nished in the current debate…\nRafael Moneo (RM): I think that the at-\ntempt to make architectural theory uphold \narchitectural practice is nowadays completely \ngone, the battle has been lost. In the 1970s, \nPeter Eisenman and others probably had the \nidea that the pure visualism that was still \nembedded in building after Colin Rowe could \nbe extended. Nowadays we say that theory fell \ninto the hands of writers inspired by post-\nstructuralism, French writers above all. It \ndoesn’t at all have the presence that it used \nto have. Therefore it ought to be recognized \nthat even in the entire second half of the \n20th century, the true way to try to find out \nwhat architectural theory means ought to be \nfigured out by reading historians. In a way, \nhistorians are depositaries, they have defined \nthe paradigm of what could be considered \n‘modernities,’ something that has changed \nradically in this new century.\nKF: Yes, I think that’s right.\nRM: The description of what architects \nhave sought is in the hands of historians. \nYou need to go through the reading to extract \nwhat actually matters: the way history has \nbeen told isn’t anymore as useful to what is \nhappening today. That would be the point.\nKF: This is why I think that philosophical \ndiscourse would be more useful. The question \nof whether the old city can sustain any con-\ntinuity, given the modern reality, is really a \ndeep problem. And one of the deep problems \nassociated with it is the idea of progress and \nthe question of whether that idea has real \nvalidity anymore, not only from the point \nof view of architecture, but altogether. The \nquestion of belief in progress is a problem.\nRM: We are no longer able to think clearly \nin terms of progress.\n‘Zeitgeist’ and Utopia\nKF: I studied architecture in the 1950s in \nLondon, and within the British welfare state. \nIt was possible then to think that the idea of \nprogress was modernity, that modernization \ncould only have a positive outcome for society. \nIt was a naïve moment. I think that this is still \nreflected in the first edition of Modern Archi-\ntecture: A Critical History. But, for whatever \nreason, it took me ten years to write it, and my \nviews already had been modified – by coming \n“I think that the attempt \nto make theory uphold \narchitectural practice is \nnowadays completely gone, \nthe battle has been lost”\n",59,{"image":242,"text":243,"number":244},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.60.png","58 C 10\n",60,{"image":246,"text":247,"number":248},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.61.png","C 10 59\nto the States, as a matter of fact. The States \nwas a big shock for me.\nRM: I think that the big difference between \nwhat is happening today and what happened, \nsay, in the period between the two great wars \nand developed in the 1950s and 1960s, is \nthat in the 1920s we still had the sense that \nprogress could be designed. You were able to \nthink utopically in terms of how the idea of \ncity could be. Now, I don’t believe we are able \nto foresee how things are going to be. And yet \neverybody believes in the future, but a future \nthat is formless. Nobody knows exactly how \nthis future is going to be. Therefore, archi-\ntects are unclear today about times to come. \nI believe that the future is going to happen \nin a positive way but I wonder if we are \nable to foresee, and therefore to design, and \ntherefore to think about ideas like Zeitgeist, \nnow. That has been such a crucial word to \ntalk and think about. How many times has it \nbeen said that we should be the spirit of the \ntimes? Right now, who is able to decide what \ntoday’s spirit is? \nKF: I think one of the things that we haven’t \nquite yet embraced is to recognize the limit \nof the question of progress. And one of the \nthings that have replaced the idea of progress, \nin my opinion, is the idea of maximization. \nSo that in medicine, agriculture, and many \nfields, above all of course in late capital-\nist development, maximization is the driving \ninstrumental force in society – such as to \nmaximize agricultural production, maximize \nthe direct treatment of sickness through phar-\nmaceuticals, maximize development of cities \nin the sense of capitalist development. When \nyou think of all these high-rise buildings ev-\nerywhere, like London, they are so meaning-\nless from the point of view of culture. They \nare simply machines to make as much money \nas possible.\nRM: What comes together with this is that \nwe have lost confidence in the value of the \nword ‘reason.’ We have to give reason another, \ndifferent way of being understood, because, for \ninstance, at this moment in time, that which \ncan be rebuilt is reasonable. People often talk \nabout architects who build, architects with a \ncommitment to reflection, but where are the \ndiscussing architects nowadays? Architects \nnow spend more time discussing the means \nof production at all the design moments. For \ninstance, it would be difficult nowadays to \nestablish the bridge between the work of art-\nists and the work of architects.\nKF: I think that one of the problems is \nthat art itself, also, is becoming commodified. \nAnd commodification is one of the problems \nbecause architects tend to think of their work \nas large art. The problem with that is there \nis not the same dialectic between architecture \nand art that there was in the 1930s. When \narchitects think in terms of building as large \nart, they run the risk also of the general com-\nmodification of art. That is the problem today.\nShaping the Void\nRM: You used the term ‘commodification.’ It’s \ntrue that when architecture becomes that, it \nenters another order of things that doesn’t \nfulfil the duty of serving reason. Something \nthat happens a lot nowadays and didn’t hap-\npen before.\nKF: Somewhere, early on, Van Eyck, for \nexample, says this aphorism about how ar-\nchitects can build if the society does not have \nform? How can the architect build the ‘coun-\nterform’ if it doesn’t have form.This is almost \n“When architects think \nin terms of building as \nlarge art, they run the \nrisk also of the general \ncommodification of art”\n",61,{"image":250,"text":251,"number":252},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.62.png","60 C 10\nnuo. Creo que esto se refleja en la primera \nedición de Modern Architecture: A Critical \nHistory. Pero, por lo que sea, tardé diez años \nen escribirlo, y en este tiempo mis puntos \nde vista cambiaron, sobre todo al radicarme \nen los Estados Unidos. Conocer este país fue \nun gran shock para mí.\nRM: Pienso que la gran diferencia entre \nlo que sucede hoy y lo que sucedía, pon-\ngamos por caso, en el periodo entre las \ndos guerras mundiales y después en las \ndécadas de 1950 y 1960, es que en los años \n1920 todavía se tenía la sensación de que \nel progreso se podía diseñar. Uno esta-\nba legitimado para pensar utópicamente. \nAhora, no creo que podamos prever cómo \nvan a ser las cosas. Y sin embargo, todo el \nmundo sigue creyendo en el futuro, pero \nen un futuro informe. Hoy los arquitectos \nno tienen una idea clara de los tiempos \nque se avecinan. Creo que el futuro se va \na desarrollar de una manera positiva, pero \nme pregunto si seremos capaces de antici-\nparnos a él y, por lo tanto, de diseñarlo. En \nuna palabra: de seguir pensando a partir \nde ideas como la del Zeitgeist, el ‘espíritu \nde los tiempos’. Zeitgeist fue una palabra \nfundamental: ¿cuántas veces se ha repetido \nque los arquitectos debemos estar a la altura \ndel espíritu de los tiempos? Pero, ahora, \n¿quién es capaz de decir en qué consiste el \nespíritu de los tiempos?\nKF: Creo que una de las cosas que aún \nno hemos asimilado es reconocer los límites \nde la idea de progreso. Una de las cosas que \nhoy han reemplazado a la noción de progre-\nso es la de maximización. En la medicina, \nla agricultura y en otros muchos campos, \nsobre todo en el desarrollo del capitalismo \ntardío, la maximización se ha convertido \nen una de las grandes fuerzas que mue-\nven la sociedad: la maximización de la \nproducción agrícola, la maximización del \ntratamiento de las enfermedades mediante \nmedicamentos, la maximización de las ciu-\ndades en términos de desarrollo capitalista. \nTodos esos rascacielos que proliferan por \nel mundo, como en Londres, ¿qué son sino \nmáquinas ajenas a la cultura y concebidas \npara ganar el máximo de dinero posible?\nRM: A esto se suma el hecho de que \nhemos perdido la confianza en el valor de \nla palabra ‘razón’. Necesitamos darle otro \nsentido, desde el momento en que hoy todo \nlo que pueda construirse resulta sin más ra-\nzonable. A veces se habla de los arquitectos \n‘intelectuales’, aquellos que reflexionan y \nconstruyen, pero, ¿dónde están este tipo de \narquitectos hoy? Los profesionales ahora \ntienen que emplear mucho más tiempo en \nlos medios de producción de la disciplina. \nHoy, por ejemplo, resulta más difícil tender \npuentes entre el trabajo de los artistas y el \nde los arquitectos. \nKF: Pienso que, en ese sentido, uno de \nlos problemas es que el propio arte se está \nmercantilizando. La mercantilización es un \ngran problema porque los arquitectos pien-\nsan que su trabajo es una especie de arte a \ngran escala. Pero entre la arquitectura y el \narte no puede darse ya la misma dialéctica \nque la que se daba en los años 1930. Cuando \nlos arquitectos conciben hoy los edificios \ncomo un arte a gran escala hacen que su \ndisciplina corra el mismo riesgo que corre \nel arte: el riesgo de la mercantilización. \nDando forma al vacío\nRM: Has usado el término ‘mercantiliza-\nción’. Es cierto que cuando la arquitectura \nse mercantiliza pasa a formar parte de un \ncontexto en el que ya no se le exige servir \na la razón. Es algo que sucede mucho hoy \ny que no pasaba antes. \nKF: En algún lugar, Aldo van Eyck se \npregunta cómo pueden los arquitectos dar \nforma a una sociedad que ya no tiene forma, \nencontrar la ‘contraforma’. Se trataba de \nuna profecía hace treinta o cuarenta años, \n¡pero hoy es un problema real!\nRM: En este sentido, si los principios \ndescriptivos y normativos de la arquitec-\ntura han estado durante la modernidad en \nmanos de los historiadores, hoy resulta ne-\ncesario reconocer que su narración ya no \nresulta útil en la medida en que ha perdido \nsu carácter explicativo y no da cuenta ya \nde la realidad. \nKF: Ese es el problema. Y lo notas; lo \nnotas cuando dialogas con estudiantes. Se \nha producido un vacío, una brecha que \nquieres cubrir, aunque no resulte fácil con-\nseguirlo. \nRM: Creo que este problema podría en-\ncararse dando a la palabra ‘continuidad’ un \nsentido positivo en lugar de uno negativo: \ndando cuenta, por ejemplo, de la historia \nque ha definido el contexto en el que tra-\nbajas, la historia, pongamos por caso, de \n«Cuando los arquitectos \nconciben hoy los edificios \ncomo un arte corren el \nmismo riesgo que el arte: el \nriesgo de la mercantilización»\n",62,{"image":254,"text":255,"number":256},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.63.png","C 10 61\n",63,{"image":258,"text":259,"number":260},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.64.png","62 C 10\nlos doscientos últimos años… Todavía sigo \ncreyendo que hay que ser muy cuidadoso \na la hora de renunciar a las preexistencias, \nde desperdiciarlas…\nKF: En este sentido, recuerdo algo que \ndijo un marxista argentino (citado tal vez \npor Tomás Maldonado), y que me impactó \nmucho: no se puede hacer nada sin generar \ndesperdicios. Se trata de una declaración \nsorprendente. Es a esto, precisamente, a lo \nque nos estamos enfrentando. \nRM: Siempre es necesario construir. \nConstruir es un acto de fuerza que siempre \nimplica dañar algo hasta cierto punto: no \nhay duda al respecto. Además, es imposible \nrepetir una y otra vez lo mismo, quedarse \nquietos para siempre. Cuanto más en pro-\nfundidad conoces la historia de la arqui-\ntectura, más te das cuenta de la rapidez \ncon la que cambian las cosas. Se necesitan \nlargos periodos de tiempo para que un tipo \narquitectónico se desarrolle, y, sin embar-\ngo, no puedes dejar de estar siempre alerta: \nlo ves cambiar año a año. Pero los nuevos \narquitectos ya no son capaces de adaptarse \na ningún esquema de estricta repetición.\nKF: Para las generaciones más jóvenes, el \nproblema está, por ejemplo, en la seguridad \nen el empleo, que ya no se da por hecha. No \nhay estabilidad, sino lo contrario: la socie-\ndad en su conjunto resulta muy inestable. \nY esta es la razón por la que, a riesgo de \nparecer un poco ridículo, sigo pensando en \ntérminos de resistencia. No en el sentido de \nque uno no deba cambiar, sino en el de que \nla arquitectura todavía tiene el potencial de \ndar a los seres humanos, durante el tiempo \nde su corta vida, algún tipo de sostén. Se \ntrata de una aspiración que, de algún modo, \nacaba siendo ética. \nRM: Pero, aunque ya no sepamos cuál \nes la verdadera expresión del Zeitgeist hoy, \nresulta difícil creer que lo que hacemos está \nal margen de lo que la sociedad nos pide. \nDesde este punto de vista, no es difícil en-\ntender cómo se construirá el mundo. Pero \nesto no implica que no debamos aceptar \nque lo que sucede en el mundo de la ar-\nquitectura probablemente refleja, nos guste \no no, lo que está sucediendo en el mundo \nen general. \nKF: Creo que tras esta situación subyace \nun problema de clases sociales en la medida \nen que, en cierto modo, podría decirse que el \nproyecto asociado a la idea de progreso, el \nproyecto de la Ilustración, es un proyecto de \nla clase media. Y podría decirse que la fe en \nla democracia también lo es, y que, cuando \nse acaba con la clase media o cuando no \nse es capaz de producir más clase media, \nentonces lo que se pierde es la propia de-\nmocracia. Esta es la situación en la que nos \nencontramos, porque todo ese movimiento \nde dinero que, con la globalización, acaba \nen la cúspide de la pirámide social, forma \nparte de otro movimiento que destruye la \nclase media. \nRM: Es cierto que parece que la clase \nmedia hoy está en su mayor parte destruida, \ny sin embargo esto implica que los nuevos \nproletarios no son ajenos a muchas de las \ncosas más valiosas producidas por la cul-\ntura y la historia. Tienes que admitir que \nantes la gente nunca tuvo la oportunidad \nde sentirse realizada, de llegar a las cosas \nvaliosas de la vida…\nKF: La paradoja es que cuando esas cosas \nse comienzan a mercantilizar, como ocurre \ncon todo, entonces el valor del objeto de-\nseado empieza a dejar de ser algo deseable. \nSe trata de un extraño enigma. \n«Construir es un acto \nde fuerza que siempre \nimplica dañar algo»\n",64,{"image":262,"text":263,"number":264},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.65.png","C 10 63\na prophecy because when you said that, it \nwas thirty or forty years ago, but this is the \nproblem now!\nRM: It’s true that once the expression and \nthe description of what architecture thinks \nabout how it should proceed is in the hands \nof historians, you need to tell historians that \nthe narrative they have followed is no longer \nvaluable for explaining. \nKF: That’s the problem. And you feel it. You \nfeel it when you talk to students. There’s this \ngap. I try to cover the gap but it’s not easy.\nRM: It has also to do with this respect or \nattempt to give the word ‘continuity’ a posi-\ntive meaning instead of a bad one, in this case \nfollowing the hints given by the place itself, \nby the reading of how this piece of land had \nbeen 200 years before… I still believe that you \nhave to be careful about wasting…\nKF: There’s this funny figure, an Argentin-\nian Marxist, who had a big impact on me. He \nsays somewhere (maybe Tomás Maldonado \nquoted him) that you can’t make anything \nwithout waste, this is distinguishable from \nideology of waste. It’s an amazing statement. \nAnd this is really what we are facing.\nRM: You always need to build. Building \nis an act of force that always means leaving \nsomething damaged somehow: no doubt about \nit. Besides, it’s impossible to repeat things. It’s \nimpossible not to move. The more you know \nabout architectural history, the more you real-\nize how rapidly changes happen. It seems like \na long period of time for evolving a type, and \nyet you have an alert eye. You see changes \nevery year. But new architects are unable to \ngo through this scheme of strict repetition.\nKF: For the young generation, the whole \nquestion, for instance, of security of employ-\nment, is no longer so evident. There is no sta-\nbility. The opposite, society is very unstable. \nAnd this is why I, however pathetic, think \nin terms of resistance. Not in the sense that \none shouldn’t change, but in the sense that \narchitecture still has that potential to give to \nhuman beings, in their own short life, some \nkind of ground. Otherwise there is no ground. \nSomehow here there is an ethical question.\nRM: Even though we don’t know what the \ntrue expression of the Zeitgeist is nowadays, it \nis difficult to believe that what we do is outside \nwhat society wants done. From this point of \nview, it is not difficult to understand what the \nworld will build. But this doesn’t mean that \nyou shouldn’t accept that what is happening \nprobably reflects, whether we like it or not, \nwhat is happening in the world as a whole. \nKF: But I think somewhere there is this \nissue of class, because in a way you could \nsay that the project of the Enlightenment is a \nmiddle-class project. And you could also say \nthat the belief in democracy is also a middle-\nclass thing. And when the middle class is \neliminated, or suppressed, or when you don’t \nproduce a middle class, you can’t have democ-\nracy anymore. This is the kind of situation we \nare in because all this money that is going to \nthe top of the pyramid is also part of a move-\nment that means to destroy the middle class. \nThat is the danger of the moment.\nRM: It seems that today the middle class is \nalmost destroyed, and yet that means that the \nnew proletarians have been taxed on many of \nthe most valuable things culture and history \nhas produced… You have to admit that never \nbefore did people have such a sense of fulfil-\nment, of arriving at valuable things of life...\nKF: The paradox is that when you begin to \ncommodify, though, like everything, then the \nvalue desired starts to fall as something desir-\nable. This is a funny kind of strange enigma.\n“Building is an act of force \nthat always means leaving \nsomething damaged”\n",65,{"image":266,"text":267,"number":268},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.66.png","64 C 10\nDurante la extensa \nconversación, los \narquitectos pasean \npor Madrid y visitan \nel estudio de Moneo, \ndonde discuten sobre \nlos últimos proyectos \ny concursos del \narquitecto navarro.\nThe two engaged in \ndialogue while walking  \nthe streets of Madrid \nand visiting Moneo’s \nstudio, where they \ndiscussed the latest \nprojects and competition \ndesigns of the architect \nfrom Navarre.\n",66,{"image":270,"text":271,"number":272},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.67.png","C 10 65\n",67,{"image":274,"text":15,"number":275},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.68.png",68,{"image":277,"text":278,"number":279},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.69.png","Travel\nMiami\nUSA\n",69,{"image":281,"text":282,"number":283},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.70.png","01\nIn the span of just a \nfew years the former \nwarehouse district of \nWynwood has become  \na new cultural hub where \ndesign galleries, museums, \nand restaurants are \ncamouflaged amid  \nmurals of urban art.\nUrban Art \nWynwood Walls\n02\nEn tan solo unos años, \nel distrito industrial \nde Wynwood se ha \ntransformado en un \nnuevo foco cultural, \ncon galerías de diseño, \nmuseos y restaurantes \ncamuflados entre \nmurales de arte urbano.  \nBeach \nLifeguard Stations\nRepartidas a lo largo de los \ncatorce kilómetros de Miami \nBeach, las coloridas torres \nque alojan a los vigilantes de \nla playa son completamente \ndiferentes entre sí y se \nhan convertido en hitos \nde referencia en el paseo \nmarítimo de la ciudad. \nThe colorful posts  \nfor lifeguards distributed \nalong the fourteen \nkilometers of Miami \nBeach, no two of  \nwhich are alike, have  \ncome to serve as \nlandmarks on the city’s \nmaritime promenade.\n68 C 10\nMiami\nTravel\nCity Guide\n7\nMás allá de la imagen \nochentera de sol, palmeras \ny playa, Miami ofrece una \nvibrante colección de arte, \ndiseño y arquitectura.  \nBeyond its Eighties image  \nof sun, palm trees, and \nbeaches, Miami now boasts \na vibrant offer of art, design, \nand architecture.\n© David Frey\nsource: placeswekissed.wordpress.com\n",70,{"image":285,"text":286,"number":287},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.71.png","C 10 69\nAirplane Tour \nBiscayne Bay\nAl sobrevolar Miami \ndesde un hidroavión, \nse observa el contraste \nentre las torres de \napartamentos situadas \nfrente al océano y las \nmansiones a las que se \nllega en barco a través de \nla Bahía Vizcaína.\nFlying over the city of \nMiami in a hydroplane, \none has a clear view of \nthe contrast between \ncondominium towers \nfacing the ocean and the \nmansions which  \nare reached by boat \nthrough Biscayne Bay. \n© Getty Images\n03\n",71,{"image":289,"text":290,"number":291},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.72.png","70 C 10\nInspirada en la Giralda \nde Sevilla, la torre de la \nlibertad fue en 1925 el \nedificio más alto de Miami.\nInspired in the Giralda \nof Seville, Freedom \nTower was in 1925 \nMiami’s tallest building.\n08\nHistoric Building\nFreedom Tower\n04\nDe estilo neorrenacentista, \nla villa Vizcaya fue \nconstruida en 1914 como \nresidencia de invierno del \nmultimillonario James \nDeering y en 1953 fue \nconvertida en museo para \nmostrar su gran colección \nde arte y mobiliario. \nBuilt in neo-Renaissance \nstyle in 1914 as a \nwinter home for the \nmultimillionaire James \nDeering, in 1953 Villa \nVizcaya was turned into \na museum for his large \ncollection of artworks \nand furniture pieces.\nArt Museum\nVilla Vizcaya \n© Burnt Umber\nsource: mymiamitour.ru\nConstruido en 1930, el \nedificio que acoge el museo \nBass ha sido renovado por  \nel japonés Arata Isozaki. \nThe 1930 building that \nhouses the Bass Museum \nwas renovated by the \nJapanese Arata Isozaki.\n05\nContemporary Art\nBass Museum\nsource: covetedition.com\nEl edificio Bacardi es un \nejemplo del estilo regional \ndesarrollado tras la II GM \nconocido como MiMo.\nThe Bacardi is of the \nregional style that \ndeveloped after World \nWar II known as MiMo. \n07\nModern Architecture\nThe Bacardi Building\nsource: theclassytraveler.com\nSituado en un edificio  \nArt Decó en Miami Beach, \nel Wolfsonian-FIU contiene \nmás de 180.000 objetos. \nIn an Art Deco building \nof Miami Beach, the \nWolfsonian-FIU contains \nover 180,000 objects.\n06\nDesign Museum \nWolfsonian-FIU\n© Wolfsonian-FIU Museum\n",72,{"image":293,"text":294,"number":295},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.73.png","C 10 71\nUrban Walk\nArt Decó District\n10\n11\n Marketplace\nLittle Haiti\nHabitado por los \nemigrantes que huían \nde la pobreza de Haití, \neste barrio destaca por el \ncolorido de sus edificios \nconocidos popularmente \ncomo ‘gingerbread’ por su \nparecido con las clásicas \ngalletas de gengibre.  \nInhabited mainly by \nimmigrants who came \nto escape the poverty of \nHaiti, this neighborhood \nstands out for colorful \nbuildings called \n‘gingerbread’ because \nthey look like the \nso-named cookies.\nLuxury Building \nAtlantis Condominium\nFamous for appearing \nin the credits of the \nTV series Miami \nVice, the psychedelic \nAtlantis – designed \nby Arquitectonica in \n1980 – interrupts its \nglass facade with a huge \npanoramic opening.\nFamoso por aparecer en \nlos créditos de la serie \nCorrupción en Miami,  \nel psicodélico edificio \nAtlántis —diseñado en \n1980 por Arquitectónica— \ninterrumpe su fachada de \nvidrio mediante un gran \nhueco panorámico. \nsource: travelchannel.com\n© Virginia Duran\nsource: arquitecturayempresa.es\n© Wolfgang Ise\n12\nLittle Havana fue creado \nen la década de 1960 por \nexiliados de la Revolución \ncubana y hoy es uno de \nlos barrios más populares \nde Miami con tiendas de \nartesanía, restaurantes, \nsalones de dominó y un \nfuerte aroma a café.  \nLittle Havana was \ncreated in the 1960s \nby exiles of the Cuban \nRevolution and is today \none of Miami’s most \npopular neighborhoods, \nwith handicraft stores, \ndomino hangouts, and a \nstrong aroma of coffee.\n09\nA lo largo de las calles de \nSouth Beach, se suceden \nlos ejemplos de la variante \ntropical del estilo Art Decó \ncaracterizada por el uso \nde colores pastel, adornos \nflorales y diseños náuticos \nque recuerdan a los \nbuques transatlánticos.\nThe streets of South \nBeach are lined with \nexamples of the \ntropical variant of Art \nDéco, characterized \nby pastel colors, floral \npatterns, and nautical \ndesigns reminiscent of \ntransatlantic ships.\nStreet Life\nLittle Havana\n",73,{"image":297,"text":298,"number":299},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.74.png","La dificultad de construir \nniveles subterráneos \njunto al mar ha originado \nla proliferación de \naparcamientos en altura. \nEntre todos ellos destaca \nel escultórico volumen de \nLincoln Road diseñado \npor Herzog & de Meuron. \nThe complexity of \nexecuting underground \nlevels near the sea has \nled to a proliferation \nof high-rise car parks, \nprominent among which is \nthe sculptural volume on \nLincoln Road designed by \nHerzog & de Meuron.\n14\nsource: tschumi.com\n© Adam Mizrahi\n13\nLa colorida escuela de \narquitectura, proyectada por \nBernard Tschumi, contrasta con \nla monocromía del campus.  \nThe colorful architecture \nschool built by Bernard \nTschumi creates contrast in \nthe monochromatic campus.\nConstruida por I. M. Pei, \nesta torre de oficinas de \n47 plantas tiene su propia \nestación de monorraíl. \nBuilt by Ieoh Ming Pei,  \nthis 47-story office  \nbuilding has its own \nmonorail station. \nDesigned by the \nDanish firm BIG, these \ntwin towers located in \nCoconut Grove contain \nupscale apartments as \nlarge as a thousand \nsquare meters and  \nselling at a price of  \n28 million dollars. \nDiseñadas por el estudio \ndanés BIG, estas torres \ngemelas situadas \nen Coconut Grove \ncuentan con lujosos \napartamentos de hasta \nmil metros cuadrados a \nla venta por veintiocho \nmillones de dólares. \nUniversity \nSchool of Architecture\nOffice Building \nMiami Tower\nLuxury Housing\nGrove at Grand Bay\nParking Garage \n1111 Lincoln Road\n© Rasmus Hjortshoj\n© Iwan Baan\n16\n15\n72 C 10\n",74,{"image":301,"text":302,"number":303},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.75.png","C 10 73\n20\nBajo un gran dosel \ndel que cuelgan lianas \nvegetales se extiende \nuna plataforma pública \nque funciona como \nvestíbulo del Museo \nde Arte Pérez Miami, \ndiseñado por los suizos \nHerzog & de Meuron. \nStretching below a  \nhuge canopy from  \nwhich vines hang is  \na public platform that \nserves as a foyer for \nthe Pérez Art Museum \nMiami, a work of the \nSwiss partnership  \nHerzog & de Meuron.\nContemporary Art\nPérez Art Museum \n© Iwan Baan\n© Emilio Collavino\n© Robin Hill\n© Philippe Ruault\nEvent Spaces \nFaena Forum\nBacked by Argentinian \nentrepreneur Alan  \nFaena. this cultural \ncomplex designed by \nOMA complements \nthe adjacent property \ndevelopment with a new \nvenue for exhibitions, \nevents, and shows.\nPromovido por el \nempresario argentino \nAlan Faena, este complejo \ncultural diseñado por \nOMA complementa el \ndesarrollo inmobiliario \ncontiguo con espacio  \npara exposiciones,  \neventos y espectáculos. \n18\nMusic Venue\nNew World Symphony\nThe home of the  \nNew World Symphony, \nnamed after Dvorák’s \nfamous composition,  \nwas designed by Frank \nGehry in collaboration \nwith the conductor  \nand composer Michael \nTilson Thomas. \nLa sede de la Orquesta \nSinfónica del Nuevo \nMundo, que toma su \nnombre de la famosa obra \nde Dvorák, fue diseñada \npor Frank Gehry en \ncolaboración con el director \ny compositor musical \nMichael Tilson Thomas.\n19\n17\nPerforming Arts\nAdrienne Arsht Center\nEl centro de artes escénicas \nAdrienne Arsht, diseñado \npor Cesar Pelli, acoge ópera, \nballet, teatro y música.\nThe Adrienne Arsht Center \nfor the Performing Arts by \nCesar Pelli offers opera, \nballet, theater, and music. \n",75,{"image":305,"text":306,"number":307},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.76.png","74 C 10\n22\nBoutique Hotel\nVagabond Motel\nAbierto desde 1953, \nel Motel Vagabond se \nconvirtió en un local mítico \nfrecuentado por artistas \ncomo Frank Sinatra o Dean \nMartin; y se ha reformado \nrecientemente para \nadaptarlo a los estándares \ncontemporáneos. \nExisting since 1953,  \nthe Vagabond Motel \nbecame a mythical \nestablishment frequented \nby the likes of Frank \nSinatra and Dean Martin, \nand a recent renovation \nhas adapted it to \nstandards of today.\nEn Biscayne Boulevard, el \nBlue Collar ofrece platos \namericanos como los \nfamosos mac and cheese.\nThe Blue Collar on \nBiscayne Boulevard \nserves American dishes \nlike mac and cheese.\n21\nEating Out\nBlue Collar \nsource: zomato.com\n© Christina Minniti\nsource: Tower Theatre\nPerforming Arts\nTower Theater\nEating Out \nHarry’s Pizzeria\n25\nBaked in wood-fired ovens, \nHarry’s pizzas are acclaimed \nfor their thin crusts, which \ncan be gluten-free.\nCocinadas en horno de leña, \nlas pizzas de Harry son \napreciadas por su fina masa, \nque puede elegirse sin gluten. \nOpened in 1926, \nthis theater is one of \nMiami’s oldest cultural \ninstitutions. For the large \nCuban audience, since \n1960 its programming \nhas included showing \nfilms in Spanish  \nor with subtitles. \nInaugurado en 1926, \neste teatro es una de las \ninstituciones culturales \nmás antiguas de Miami. \nA partir de 1960 su \nprogramación incluyó \npelículas subtituladas o \nen español por la gran \nafluencia público cubano. \n23\nsource: tripadvisor.com\nsource: miami.tripee.fr\nGoing Out\nClevelander Bar\n24\nKnown for its poolside \nparties, the Clevelander \nis one of the most visited \nsites on Ocean Drive. \nConocido por sus fiestas en \nla piscina, el Clevelander \nes uno de los locales más \nvisitados de Ocean Drive. \n",76,{"image":309,"text":310,"number":311},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.77.png","C 10 75\nCon más de 1.600 m2, \nel club LIV está en los \nrankings de las mejores \ndiscotecas del mundo.\nOver 1,600 square \nmeters in size, LIV  \nranks high among the \nworld’s night clubs.\n30\nNightlife\nLIV Club\n26\nEpicentro de la moda, el \narte y el diseño, el patio de \nlas palmeras contiene una \nréplica de la cúpula ‘ojo \nde mosca’ de Buckminster \nFuller y está delimitado \npor una galería comercial \nde vidrio construida por el \njaponés Sou Fujimoto.\nA fashion, art and design \nhub, the Palm Court \nEvent Space features a \nreplica of Buckminster \nFuller’s fly’s eye dome \nand is bordered by a \nglazed shopping center \nbuilt by the Japanese \nSou Fujimoto.\nArt & Design\nPalm Court\n© Robin Hill\nSituado junto a la Bahía \nVizcaína, este centro \ncomercial al aire libre tiene \nmás de 150 locales.\nLocated near Biscayne \nBay, this open-air mart of \nDowntown Miami counts \nmore than 150 stores. \n27\nShopping\nBayside Marketplace\n© Songquan Deng \u002F Shutterstock.com\nInspirada en los pueblos \nmediterráneos, esta calle es un \nlugar tranquilo donde tomar \nalgo, cenar o ir de compras. \nThis street inspired in \nMediterranean towns is \na tranquil place for a \ndrink, bite, or purchase. \n29\nEating Out\nEspañola Way\nsource: livmiamivip.com\nsource: southbeachmagazine.com\nThe Webster es una lujosa \ntienda que ofrece una \nselección de prendas de las \nprincipales marcas de moda. \nThe Webster is a luxury \nfashion center offering a \nselection of items from the \nleading fashion houses.\n28\nShopping \nThe Webster\nsource: koturltd.com\n",77,{"image":313,"text":314,"number":315},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.78.png","76 C 10\n 10. Atlantis Condominium\n2025 Brickell Ave\nlittlehaiticulturalcenter.com\n 17. Adrienne Arsht Center\n1300 Biscayne Blvd\n12pm-5pm Thur-Fri\n305-949-6722\narshtcenter.org\n 21. Blue Collar Blue \n6730 Biscayne Blvd\n305-756-0366\n1220 Collins Ave\n305-674-7899\nthevagabondhotel.com\n7301 Biscayne Boulevard\n305-400-8420\n 23. Tower Theater\n 24. Clevelander Bar \n1020 Ocean Drive\nclevelander.com\n 12. Art Decó District\n 18. Faena Forum\n3300-3398 Collins Ave\nfaenaart.org\n 16. School of Architecture  \n11200 SW 8th Street\n305-348-1323\ncarta.fiu.edu\u002Farchitecture\u002F\n 25. Harry’s Pizzeria\n3918 N Miami Ave\nharryspizzeria.com\n 27. Bayside Marketplace\n 28. The Webster\n 29. Española Way\n401 Biscayne Blvd R106\nbaysidemarketplace.com\n 14. Grove at Grand Bay\n2675 S Bayshore Dr\ngroveatgrandbay.com\n305-929-8646\n 20. Pérez Art Museum\n1103 Biscayne Blvd\npamm.org\n10am-18pm Thu-Tue\n305-375-3000\n 02. Lifeguard Stations\n 01. Wynwood Walls\n 03. Biscayne Bay\n 04. Villa Vizcaya\n 05. Bass Museum\n 06. Wolfsonian-FIU\n 07. The Bacardi Building\n 08. Freedom Tower\n 30. LIV Club\n2520 NW 2nd Ave\nwynwoodmiami.com\n2100 Collins Avenue\n305-673-7530\n3251 South Miami Avenue\n9:30am-4:30pm Wed-Mon\nvizcaya.org\n305-250-9133\n1001 Washington Avenue\n305-531-1001\n2100 Biscayne Boulevard\n10am-4pm Mon-Fri\n305-573-8700\n600 Biscayne Boulevard\n305-237-7700\n4441 Collins Ave\n23pm-5am Wed-Sun\n1508 SW 8th St\ntowertheatermiami.com\nMiami\nLocalización y datos prácticos \nLocation and useful information  \n 13. 1111 Lincoln Road\n1111 Lincoln Road \n1111lincolnroad.com\n1001 Ocean Dr\nmdpl.org\n305-672-2014\n 11. Little Haiti\n 15. Miami Tower\n100 SE 2nd St\n305-539-7100\n 26. Palm Court \n3841 NE 2nd Avenue \nmiamidesigndistrict.net\n 09. Little Havana\n 22. Vagabond Motel\n 19. New World Symphony\n500 17th Street \nnws.edu\nGuided Tours: 4pm Tue,Thu \n12pm Fri, Sat\n11\n22\n21\n01\n26\n25\n08\n20\n17\n07\n27\n15\n09\n23\n16\n04\n04\n10\n14\n",78,{"image":317,"text":318,"number":319},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.79.png","C 10 77\n02\n05\n24\n06\n28\n29\n30\n18\n19\n13\n12\n03\n",79,{"image":321,"text":15,"number":322},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.80.png",80,{"image":324,"text":15,"number":325},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.81.png",81,{"image":327,"text":328,"number":329},"\u002Fmedia\u002Fimages\u002F22\u002F2a92567b2c0736dab6264713beaae8-28f7841483.82.png","website: www.magaceen.com   facebook: Magaceen   twitter: @magaceen   email: 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