[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-cosentino-architecture-and-everything-else-15":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":350},{"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":345,"matched_pages":346,"match_count":347,"two_pages":348,"show_text":349},24491,"Architecture & Everything Else 15","cosentino-architecture-and-everything-else-15","\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002F55\u002F16c5cecde73e601b114c25683be3db-28f793a4e2.pdf","Cosentino",2482,"cosentino","274.9 MB",[14,17,21,25,29,33,37,41,45,49,53,57,61,65,69,73,77,81,85,89,93,97,101,105,109,113,117,121,125,129,133,137,141,145,149,153,157,161,165,169,173,177,181,185,189,193,197,201,205,208,212,216,220,224,228,232,236,240,244,247,251,255,259,263,267,271,275,279,283,287,291,295,299,303,307,311,315,319,323,327,331,335,339,343],{"image":7,"text":15,"number":16},"c \n15 \narchitecture &  \neverything else \n",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.2.png","",2,{"image":22,"text":23,"number":24},"\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.3.png","c\ncontents\n18\n06\n28\n36\n46\n56\n68\n  Architecture\n 06 qatar desert rose  A Museum by Jean Nouvel  \n \n Un nuevo enclave cultural inspirado en las dunas del desierto en la bahía de doha. \n \n Doha’s new cultural center takes inspiration from the desert dunes. \n \n Style\n 28 ZaP & BUJ  Growing Landscapes\n \n Una propuesta experimental que funde moda, arquitectura y tecnología.   \n \n An experimental proposal that combines fashion, architecture, and technology. \n \n Cosentino\n 36 traVertINo LoUVers  Natural Stone by Cosentino in Madrid\n \n Grandes lamas de piedra y madera componen la fachada de las viviendas Lagasca 99. \n \n Large stone and wood louvers cover the facade of the residential building Lagasca 99. \n \n Interior\n 46 LIttLe sPaIN  Cosentino Surfaces in New York\n \n Una creativa propuesta gastronómica para promocionar la marca españa.\n \n A creative culinary proposal to promote the Brand Spain.  \n 50 CÉLINe store  Sky Blue Universe by Olgiati\n \n Un escenario onírico creado a partir de una envolvente continua de mármol.\n \n Marble covers all the surfaces of the new flagship store to create an oneiric space.  \n  Interview\n 56 eIseNMaN & daVIdsoN  In dialogue\n \n el arquitecto y la editora conversan en Madrid sobre las obras de Berlín y santiago.\n \n The architect and the editor discuss in Madrid the works in Berlin and Santiago.\n  Travel\n 68 stoCkhoLM  Sweden\n \n Un recorrido por los principales hitos arquitectónicos de la capital de suecia.    \n \n A guide of the key architectural landmarks in the Swedish capital.  \n 78 CoseNtINo CItY  Flagship Stores\n \n diseñado para ser el lugar de encuentro de arquitectos, diseñadores y paisajistas.\n \n Designed to be a destination for architects, designers, and landscapers. \n 80 MaGaCeeN  C Magazine’s Digital Platform\n \n La revista muestra su web dedicada a la arquitectura, el arte y el diseño.\n \n The magazine shows its website devoted to architecture, art, and design.\n  Arts\n 18 oLaFUr eLIassoN at tate ModerN  ‘In Real Life’, a Sensory Experience\n \n Una retrospectiva con 40 obras que cuestionan la forma de percibir la realidad. \n \n A retrospective gathers 40 works that challenge the way we perceive reality.  \n",3,{"image":26,"text":27,"number":28},"\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.4.png","Depósito Legal: M-14282-2014\nISSN: 2341-3867 \nCubierta Cover\nNational Museum of qatar \n© Iwan Baan\nImpreso en España Printed in Spain\nEsta revista está elaborada con papel libre de cloro \nThis magazine is printed on chlorine-free paper\nDirector Director\nsantiago alfonso rodríguez\nDirector adjunto Deputy Director\nJosé Yuste \nDirector de arte Art Director\nMiguel Fernández-Galiano\nEditado por Edited by\nCosentino \u002F arquitectura Viva\nDiseño y producción editorial\n Graphic design and editing\narquitectura Viva s.L.\nMaite Báguena \nsandra Borge \nPablo Canga\nMaría Chueca \nCuca Flores \nLaura González \nJesús Pascual \nteresa Pastor \nraquel Vázquez \nTraducción Translations\nGina Cariño, Laura Mulas\nImpresión Printing\nartes Gráficas Palermo s.L.\n",4,{"image":30,"text":31,"number":32},"\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.5.png","L\na famiLia Martínez Cosentino ha te-\nnido siempre la vocación de superar \nlos desafíos más ambiciosos. a partir de \n2014, con la revista C, Cosentino se propu-\nso hacer una nueva aportación al ámbito \nde la arquitectura, en esta ocasión desde \nel campo de la comunicación, con la difu-\nsión de las mejores innovaciones, diseños \ny proyectos que contribuyen a hacer el \nmundo más sostenible y bello. \nT\nhe marTínez CosenTino family has al-\nways applied itself to meeting the most \nambitious challenges. From 2014, with C \nmagazine, Cosentino set out to contribute \nanew to the world of architecture but from \na different field, that of communications, \nthrough information on the best and lat-\nest innovations, designs, and projects that \nmake for a more sustainable and more \nbeautiful world. \n",5,{"image":34,"text":35,"number":36},"\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.6.png","© Lida Guan\n",6,{"image":38,"text":39,"number":40},"\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.7.png","Architecture\nQatar Desert Rose\nA Museum by Jean Nouvel\n",7,{"image":42,"text":43,"number":44},"\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.8.png","6 C 15\nArchitecture\nBuilding\n1\nInspirado en las caprichosas formas de los cristales de la llamada \nrosa del desierto, el museo utiliza su expresividad para establecer un \nnexo entre la cultura beduina y la modernidad global. Un sistema \norgánico de discos intersecados se extiende en torno al antiguo \npalacio Amiri, generando un recorrido ondulante en su interior: un \nviaje a través del pasado, el presente y el futuro del país. El Museo \nNacional de Catar es una apuesta de Jean Nouvel por la innova-\nción estructural como respuesta a la búsqueda de identidad formal. \nCon 40.000 m2 de superficie cubierta, el edificio está rodeado por \nun parque de 112.000 m2 que reinterpreta el paisaje desértico de \nCatar. Situado en el extremo sur de la Corniche —el paseo marítimo \nque recorre la bahía de Doha— el museo es el primer monumento \nque se puede contemplar desde el nuevo aeropuerto internacional, \nconvirtiéndose así en la imagen de bienvenida a la ciudad.\nLa estructura está constituida por una serie de discos de sección \nesférica con distintos diámetros y curvaturas variables. Los elemen-\ntos verticales son el soporte del edificio y transmiten el resto de \ncargas desde los planos horizonales hasta la base. En los intersticios \nentre ellos aparecen los vidrios con las carpinterías empotradas, de \nforma que desde el exterior aparentan no tener marco. El diseño \nresponde al clima local: los grandes voladizos crean espacios en \nsombra, los materiales son autóctonos y la inercia térmica de los \ndiscos reduce las necesidades de enfriamiento. \nInspired by the whimsical crystal forms of desert roses, the museum \nuses its formal expressiveness to establish a link between the Bedouin \nculture and global modernity. An organic system of intersected disks \nstretches around the ancient Amiri Palace, creating an undulating \nitinerary in its interior: a journey through the past, the present, \nand the future of the country. The National Museum of Qatar is \nan example of the architect’s support of structural innovation as \na response to the search for formal identity. The building has ap-\nproximately 40,000 m2 of covered area and is surrounded by a \npark of 112,000 m2 that reinterprets the desert landscape of Qatar. \nLocated at the south end of Doha Corniche waterfront promenade, \nthe museum is the first monument visitors see upon arrival at the \nNew Doha International Airport; the building is thus set to become \nthe welcome image to Qatar.\nThe structure consists of a series of disks of spherical section \nwith different diameters and variable curvatures. The vertical disks \nare the support of the project and transmit the rest of loads from \nthe horizontal planes to the base. In the interstices between them \nappear the glasses with the embedded mullions, so that from the \noutside they appear to be frameless. The design is a response to \nlocal climate: large overhangs provide shaded spaces, concrete and \nvegetation are native, and the thermal buffer zones within the disk \ncavities create thermal mass reducing cooling loads. \nQatar Desert Rose\nA Museum by Jean Nouvel\nDiseñado por Ateliers \nJean Nouvel, el Museo \nNacional de Catar evoca \nlas formas fluidas de \nlas dunas a través de \nla concatenación de \nsuperficies inclinadas \nque guían al visitante a \nlo largo del recorrido.  \nDesigned by Ateliers \nJean Nouvel, the National \nMuseum of Qatar  \nevokes the free-flowing \nforms of the desert  \ndunes with concatenated \nsloping surfaces that  \nhelp guide visitors \nthrough the building. \n",8,{"image":46,"text":47,"number":48},"\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.9.png","C 15 7\n",9,{"image":50,"text":51,"number":52},"\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.10.png","8 C 15\n",10,{"image":54,"text":55,"number":56},"\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.11.png","C 15 9\nThe project incorporates  \nthe historical Amiri \nPalace, surrounding it \nwith an ensemble of \ninterlocking disks in  \na seemingly random  \nmanner, leaving a large \ncentral courtyard or \ncaravanserai in front.\nEn torno al Palacio Amiri, \nun hito de gran valor \npatrimonial para Catar, \nse levanta un sistema \nde discos maclados, \norganizados alrededor de \nun gran patio central o \ncaravanserai, que albergan \nuna sucesión de galerías.\n",11,{"image":58,"text":59,"number":60},"\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.12.png","10 C 15\nA lo largo del paseo \nmarítimo que recorre \nla bahía de Doha, el \nedificio se integra en el \nentorno polvoriento del \ndesierto a través de un \nrevestimiento continuo \nformado por placas de \ncemento de color arena. \nThe building merges \nwith Doha’s Waterfront \nPromenade and \nreinterprets the desert \nlandscape with sand-\ncolored cement panels \nthat clad both the \ninterior and exterior \nsurfaces of the building. \n",12,{"image":62,"text":63,"number":64},"\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.13.png","C 15 11\n",13,{"image":66,"text":67,"number":68},"\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.14.png","12 C 15\nprimary structure + substructure\ninsulation and waterproofing complex\nTanto los discos \nverticales como los \nhorizontales están \nformados por una \nestructura metálica \nradial y una envolvente \ncompuesta por paneles \nde hormigón reforzado \ncon fibra de vidrio. \nThe disks that make \nup the structure, both \nthe vertical and the \nhorizontal ones, are \nformed by a radial \nmetallic structure  \nand a cladding of \nfiberglass-reinforced \nconcrete panels. \nfinal cladding arrangement\n",14,{"image":70,"text":71,"number":72},"\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.15.png","C 15 13\n",15,{"image":74,"text":75,"number":76},"\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.16.png","14 C 15\n",16,{"image":78,"text":79,"number":80},"\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.17.png","C 15 15\nArquitectos Architects\nJean Nouvel - Ateliers Jean Nouvel \nColaboradores Collaborators\nHafid Rakem (gestión de proyecto project manager), \nÉric Maria \u002F EMA (gestión general general manager), \nBrian Wait (gestión de entrega project delivery manager) \n—gestión management—; Philippe Charpiot, Nikola \nRadovanovic (arquitectos jefes lead architects), Daniela \nFortuna (QAQC manager), Toshihiro Kubota, Éric Stephany \n(diseño de concepto concept design) —dirección de \nproyecto project leader—; Claire Bufflier, Daniela Fortuna, \nGeorges Groppas, Maximilien Montanaro, Valle Pinero \n(construcción construction site), Ghita Berradia, Claire \nBufflier, Michel Calzada, Bernard Duprat, Daniela Fortuna, \nGeorges Groppas, Narjis Lemrini, Aroa Lujan, Maximilien \nMontanaro, Jose Monteiro, Marian Moravek, Samuel \nNageotte, Juliana Park, Edouard Perves, Paul Pires da Fonte, \nMatthieu Puyaubreau, Magdalena Sartori, Anna Voeller \n(dibujos de proceso y documentos de licitación working \ndrawings and tender documents); Marilena Cadau, Adrien \nChauveau, Victoria d’Alisa, Yaêlle Devaux, Daniela Fortuna, \nHakan Aldogan, Maja Kwasniewska, Maximilien Montanaro, \nBenoit Pailloux (diseño design) —arquitectos architects—; \nPablo Alvarenga, Valentin Bernard, Victoria d’Alisa, Yann \nHeckler, Benoit Pailloux, Ana Taborda, Kiyomi Suzuki, Laura \nCollins, Khadija Djellouli, Miguel Reyes, Anthony Thevenon \n(concepto concept design) —3D & BIM—; Renaud Pierard \nStudio (museógrafo museographer); Sabrina Letourneur \n(diseño interior lead interior designer); Philippe Charpiot \n(project manager); Kirsi Marjamaki-mas, Julie Parmentier \n(arquitectos jefes lead architect); Giulia Felice, Lucia Giudice, \nFrançois-Xavier Foillard, Alvaro López, Geraldine Leydier, \nValle Pinero, Francisco Silva (arquitectos architects); \nFloriane Abello, Jennifer Kandel, Sophie Laromiguiere, \nTanguy Nguyen, Daniele Pasin, Anita Peboeck, Jim Rhone, \nAntoine Wendling (diseño interior interior designer); Pierre \nEdelman (consultor de videoarte art film consultant)  \n—museografía museography—; Michel Desvigne, Ana Marti-\nBaron —paisaje landscape—; Eric Anton (Artefactory), Keely \nColcleugh, Mizuho Kishi, Yann Heckler, Sebastien Rageul \n—imágenes generadas por ordenador computer-generated \nimages—; MDA Consulting & Northcroft  \n—consultoría de costes cost consultant—; ARUP London —\ningeniería engineers—\nCliente Client\nQatar Museums; ASTAD, Qatar Petroleum (asistentes del \ncliente client assistance)\nFotos Photos\nIwan Baan (pp. 7, 8, 9 arriba top, 10-11, 14), Danica O. Kus \n(p. 9 abajo bottom), Ateliers Jean Nouvel (p. 13) \n",17,{"image":82,"text":83,"number":84},"\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.18.png","© Anders Sune Berg\n",18,{"image":86,"text":87,"number":88},"\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.19.png","Arts\nOlafur Eliasson at Tate Modern\n‘In Real Life’, a True Sensory Experience\n",19,{"image":90,"text":91,"number":92},"\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.20.png","18 C 15\nOlafur Eliasson \nat Tate Modern\n‘In Real Life’, a True\nSensory Experience  \nArts\nExhibition\n2\nAfter flooding the Turbine Hall with  \nthe rays of a virtual sun that attracted \ncrowds in 2003, Olafur Eliasson \n(Copenhagen, 1967) has returned to \nthe Tate Modern 16 years later with a \nretrospective exhibition that gathers  \n40 pieces designed since 1990.  \n‘In Real Life’ invites us to explore  \nthe three issues that have guided the \ninterests and creative process of the \nDanish artist: the concern for ecology,  \nthe research in the field of geometry,  \nand the exploration of human perception, \nin an attempt to grasp how we sense  \nand shape the world around us. \nThe exhibition ‘Olafur \nEliasson: In Real Life’,  \nwill be on view at  \nthe Tate Modern in \nLondon until 5 January, \nand at the Guggenheim \nMuseum in Bilbao  \nfrom 14 February  \nto 21 June of 2020. \nLa exposición ‘Olafur \nEliasson: In Real Life’, \npodrá visitarse en la \nTate Modern de Londres \nhasta el 5 de enero, y en \nel Museo Guggenheim \nde Bilbao desde el 14  \nde febrero hasta el 21 \nde junio de 2020.\nTras inundar la Sala de Turbinas con \nel brillo de un sol virtual que atrajo \na multitudes en 2003, Olafur Eliasson \n(Copenhague,1967) vuelve a la Tate \nModern 16 años después con una \nexposición retrospectiva que recoge 40 \nobras realizadas desde 1990. ‘In Real \nLife’ nos invita a sumergirnos en las \ntres cuestiones que han vertebrado el \ninterés y el proceso creativo del artista \ndanés: la preocupación por la ecología, \nla investigación de la geometría, y la \nexploración de la percepción humana, en \nun intento por comprender cómo sentimos \ny damos forma al mundo que nos rodea. \nYour uncertain shadow (colour), 2010 \n",20,{"image":94,"text":95,"number":96},"\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.21.png","C 15 19\n",21,{"image":98,"text":99,"number":100},"\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.22.png","20 C 15\n",22,{"image":102,"text":103,"number":104},"\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.23.png","C 15 21\nTras obras que exploran \ndiferentes condiciones \natmosféricas como \nBeauty o The Weather \nProject, el proyecto  \nLittle Sun traspasa el \nterreno del arte para \nllevar luz a lugares sin \nacceso a la red eléctrica. \nAfter works like Beauty \nor The Weather Project, \nwhich explore different \natmospheric conditions, \nLittle Sun is an initiative \nthat goes beyond the  \nfield of art to take light  \nto places without access  \nto the power grid. \nLittle Sun, 2012. Photo: Penny Wang, Doha, 2012\nBeauty, 1993. Photo: Anders Sune Berg, Moderna Museet, Stockholm 2015\nThe Weather Project, 2003. Photo: Marcus Leith and Andrew Dunkley, Tate Photography\nLittle Sun, 2012. Photo: Michael Tsegaye\n",23,{"image":106,"text":107,"number":108},"\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.24.png","22 C 15\n",24,{"image":110,"text":111,"number":112},"\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.25.png","C 15 23\nIce Watch, 2014. Photo: Charlie Forgham-Bailey, London, 2018\nIce Watch proporciona \nuna testimonio tangible \ndel inminente deshielo \ndel Ártico, a través de \ndoce grandes bloques \nque se extraen en \nGroenlandia y se dejan \nderretir en diferentes \nplazas públicas. \nThe Ice Watch series \nprovides a tangible \ntestimony of the \nimminent Arctic thaw \nby placing twelve large \nice blocks cast off from \nthe Greenland ice sheet \nand leaving them to \nmelt in public places. \n",25,{"image":114,"text":115,"number":116},"\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.26.png","24 C 15\nAl anular la policromía \nmediante bombillas de \nmonofrecuencia, Eliasson \nintroduce al visitante \nen una experiencia \nfenomenológica que \npone en cuestión la \nfilosófica relación entre \npercepción y realidad. \nBy cancelling polychromy \nwith monofrequency \nlamps, Eliasson proposes \na phenomenological \nexperience that calls \nthe philosophical \nrelationship between \nperception and reality \ninto question.  \nDin Blinde Passager, 2010. Photo: Anders Sune Berg, Tate Modern, London\nModel Room, 2003. Photo: Anders Sune Berg, Tate Modern, London\n© Runa Maya Mørk Huber\nRoom for one colour, 2003. Photo: Dmitry Baranov, Pinchuk Art Centre, Kiev, 2011\n",26,{"image":118,"text":119,"number":120},"\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.27.png","C 15 25\n",27,{"image":122,"text":123,"number":124},"\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.28.png","© Zap & Buj\n",28,{"image":126,"text":127,"number":128},"\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.29.png","Style\nZap & Buj\nGrowing Landscapes\n",29,{"image":130,"text":131,"number":132},"\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.30.png","28 C 14\nStyle\nFashion\n3\nZAP\nBUJ\nGrowing \nLandscapes \nLa joven firma Zap&Buj \n(Elena Zapico y Raquel \nBuj) trabaja en la \nintersección entre la \narquitectura, la moda y \nla tecnología, a través \nde la experimentación \ncon nuevos materiales y \nherramientas digitales. \nThe young firm Zap \n& Buj (Elena Zapico \nand Raquel Buj) works \nat the intersection of \narchitecture, fashion, \nand technology, through \nexperimentation with \nnew materials and \ndigital tools. \n",30,{"image":134,"text":135,"number":136},"\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.31.png","C 14 29\n© Sergio Sayago\n",31,{"image":138,"text":139,"number":140},"\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.32.png","30 C 14\nShape memory materials \n– like polymers and \nalloys of nickel and \ntitanium (nitinol) – \nallow, by applying  \nheat to them, to adapt \nthe envelopes to the  \nbody and adopt  \nits movements. \nLos materiales con \nmemoria de forma  \n—como los polímeros o \nlas aleaciones de níquel \ny titanio— permiten \nque al aplicar calor las \nenvolventes se adapten \nal perfil del cuerpo y \nadopten su movimiento. \n© Biel Sol\n",32,{"image":142,"text":143,"number":144},"\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.33.png","C 14 31\n© David Díez\n",33,{"image":146,"text":147,"number":148},"\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.34.png","32 C 14\nPhotos: Jesús Golo\n",34,{"image":150,"text":151,"number":152},"\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.35.png","C 14 33\nThrough the concept of \nskin and envelope, the \n‘Growing Landscapes’ \ncollection proposes \nbringing context and \nclothing together via \ntextures that wrap the \nbody and connect it  \nto its environment. \nA través del concepto \nde piel y envolvente, \nla colección ‘Growing \nLandscapes’ plantea un \nacercamiento entre el \npaisaje y el traje mediante  \nuna serie de texturas que \nrodean el cuerpo y lo \nrelacionan con el entorno. \n",35,{"image":154,"text":155,"number":156},"\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.36.png","© Alfonso Quiroga\n",36,{"image":158,"text":159,"number":160},"\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.37.png","Cosentino\nTravertino Louvers\nNatural Stone by Cosentino in Madrid\n",37,{"image":162,"text":163,"number":164},"\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.38.png","36 C 15\nCosentino\nDesign\n4\nTRAVERTINO LOUVERS\nNatural Stone by Cosentino in Madrid\nLagasca 99 es un edificio de viviendas ubicado en una parcela exenta \nen el barrio de Salamanca en Madrid. A través de la materialidad de \nsu fachada, el proyecto refleja sutilmente lo que ocurre en el interior. \nAsí, los diferentes frentes se componen mediante tramos de vidrio, \npiedra o madera en función de si corresponden con los usos de salón, \ndormitorio o cocina respectivamente. Los paños de vidrio reinterpretan \nlos clásicos balcones acristalados que caracterizan la arquitectura del \nentorno mediante una doble piel en cuya cámara interior se incorporan \nestores que protegen las estancias tanto visual como térmicamente. El \nresto de la fachada se articula mediante otro elemento propio de los \nbloques de la zona, el hueco vertical. Sobre una primera envolvente \ntransparente, se superpone una segunda capa formada por grandes \nfustes que aportan al mismo tiempo dinamismo y monumentalidad. \nLas 330 piezas macizas de travertino —que alcanzan 2.200 kg \nde peso cada una— son de Piedra Natural by Cosentino, y fueron \nseleccionadas y talladas en Almería antes de su traslado a Madrid. \nLa posición y geometría de estas lamas fueron cuidadosamente \nestudiadas para asegurar la protección, opacidad y privacidad \nnecesarias, y generar una envolvente de alta eficiencia térmica y \nmedioambiental. En el interior, las cocinas principales cuentan con \nencimeras de Dekton Kelya; mientras que las cocinas de servicio \nson de Silestone Blanco Zeus. En las zonas comunes, los solados, \naplacados y escaleras son también de Piedra Natural by Cosentino.  \nLagasca 99 is a new residential building located in the Salamanca \ndistrict of the city of Madrid. Through the material quality of its \nfacade, the design manages to subtly reflect what happens behind. \nThe facades consist of bands of glass, stone, and wood paired with \nthe different spaces of the apartment (living room, bedrooms, and \nkitchen, respectively). The glass surfaces reinterpret the classical \nglazed balconies that can be seen in the buildings around it, and \nare fit out with a double skin that includes blinds to protect the \ninteriors by offering privacy and temperature control. The rest of \nthe facade is articulated by means of another architectural element \nfound in the context: vertical windows. Over the first transparent \nenclosure, a second layer formed by large shafts adds dynamism \nand monumentality. \nThe 330 pieces of solid travertine – weighing 2,200 kilograms \neach – are of Piedra Natural by Cosentino, and were selected and \ncarved in Almería first and then moved to the site in Madrid. Both \nthe position and the shape of these louvers were carefully studied \nto guarantee protection, opacity, and privacy, and to build an \nenclosure that achieves high thermal efficiency and environmental \nperformance. Indoors, Dekton Kelya is the surface chosen for the \nservice kitchens, and Silestone Blanco Zeus is used in the main \nkitchens. In the communal areas, floors, claddings, and staircases \nare also finished with Piedra Natural by Cosentino. \nLocated in the Salamanca \ndistrict, in the center of \nMadrid, the residential \nbuilding Lagasca 99 \nreinterprets distinctive \nelements of the \narchitecture around it such \nas the glazed balconies  \nor the vertical windows. \nSituado en el barrio de \nSalamanca en Madrid, \nel edificio de viviendas \nLagasca 99 reinterpreta \nelementos característicos \nde la arquitectura \ndel entorno como el \nmirador de vidrio o  \nel hueco vertical. \n",38,{"image":166,"text":167,"number":168},"\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.39.png","C 15 37\n",39,{"image":170,"text":171,"number":172},"\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.40.png","38 C 15\n",40,{"image":174,"text":175,"number":176},"\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.41.png","C 15 39\nThe floor surfaces,  \nwall claddings, and \nstairs of the communal \nspaces, as well as the \n330 solid louvers of  \nthe facade – weighing  \n2.200 kilograms each – \nare made from Piedra \nNatural by Cosentino.  \nTanto los solados, \naplacados y escaleras de \nlos espacios comunes \ncomo los 330 fustes \nmacizos de la fachada  \n—que alcanzan 2.200 kg \ncada uno— son de Piedra \nNatural by Cosentino \nprocedente de Almería. \n",41,{"image":178,"text":179,"number":180},"\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.42.png","40 C 15\n 01 shaft of Piedra Natural \nstone by Cosentino, \nTravertino Roble\n 02 through hole to lift, \nmanipulate and place \nthe shafts of natural \nstone\n 03 post-stressed slab  \n(t=280\u002F320 mm)\n 04 drill (ø=16 mm)\n 05 jacket made of stainless \nsteel tube\n 06 stainless steel pin\n 07 impost made of hot-dip \ngalvanized steel  \n(t=15 mm), with a \nprimer treatment and \na layer of aliphatic \npolyurethane fixed to \nplate with screws of zinc \nplated steel lacquered in \nthe same color\n 08 stainless steel plate to \nreceive the impost fixed \nwith screws, coliso drill \nand chemical anchor to \nfloor slab \n 09 finishing plate made of \ngalvanized steel  \n(t=3 mm) with slope\n 10 neoprene protection\n 11 stainless steel plate\n 12 profile UAP  \n(80x40x5x5 mm)\n 13 mortar filling to form \nthe slope\n 14 anti-roll pin made of a \nstainless steel tube\n 15 hidden lacquered \naluminum carpentry \nwith thermal break and \nlaminar glass\n 01 fuste de Piedra Natural \nby Cosentino, Travertino \nRoble de Almería\n 02 perforación pasante para \nizado, manipulación y \ncolocación de los fustes\n 03 losa postesada \n(e=280\u002F320 mm)\n 04 taladro (ø=16 mm)\n 05 encamisado formado por \ntubo de acero inoxidable  \n 06 bulón de acero \ninoxidable\n 07 imposta de acero \ngalvanizado en caliente \n(e=15 mm), tratamiento \nmediante imprimación \ny capa de poliuretano \nalifático\n 08 placa de acero \ninoxidable para recibido \nde imposta fijada con \ntornillería, taladro coliso \ny anclaje químico a \ncanto de forjado\n 09 chapa de remate de  \nacero galvanizado  \n(e=3 mm) con formación \nde pendiente\n 10 neopreno de protección\n 11 pletina de acero \ninoxidable\n 12 UAP (80x40x5x5 mm)\n 13 relleno de mortero de \npendientes\n 14 bulón antivuelco \nformado por tubo de \nacero inoxidable\n 15 carpintería oculta de \naluminio lacado con \nrotura de puente térmico \ny vidrio laminar\n01\n06\n11\n01\n01\nD1\nD2\n01\n01\n03\n03\n04\n04\n12\n06\n13\n10\n10\n12\n06\n10\n07\n08\n11\n11\n09\n02\n15\n15\n02\n05\n14\n05\n13\nSección detalle 1 Cross section detail 1\nSección detalle 2 Cross section detail 2\nSección horizontal detalle 2 Horizontal section detail 2\nAlzado detalle 1 Elevation detail 1\nAlzado detalle 2 Elevation detail 2\n",42,{"image":182,"text":183,"number":184},"\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.43.png","C 15 41\nAlzado detalle 1 Elevation detail 1\nAlzado detalle 2 Elevation detail 2\n",43,{"image":186,"text":187,"number":188},"\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.44.png","42 C 15\n",44,{"image":190,"text":191,"number":192},"\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.45.png","C 15 43\nArquitecto Architect\nRafael de La-Hoz \nEquipo Team\nHugo Berenguer (director de diseño design director), Javier \nLallana (director de proyecto project director), Óscar \nLinares, Ignacio Cabezas, Rocío Monsalve, Teresa Quero \n(equipo de proyecto project team), Macario Cristóbal, Saúl \nCastellanos Villares (arquitecto técnico quantity surveyor), \nLuis Muñoz, Alejandro Martínez, Lighthub Studios \n(infografías visualization team), Víctor Coronel, Fernando \nMont (maquetas models), Javier Lallana, Ángel Rolán, \nÓscar Linares, Ignacio Cabezas, Paola Merani (dirección de \nobra site supervision) \nColaboradores Collaborators\nSML (arquitectura de interiores interior design), \nÚrculo Ingenieros Consultores (ingeniería de \ninstalaciones MEP engineering), Valladares (ingeniería de \nestructuras structural engineering), Ingepiedra (instalación \npiedra fachadas stone installation), Cuellar (elaboración \nespecial piedras special stone fabrication)\nCliente Client\nGrupo LAR\nConstructora Contractor\nConstrucciones San Martín S.A.\nFotos Photos\nAlfonso Quiroga Ferro\n",45,{"image":194,"text":195,"number":196},"\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.46.png","© Miguel de Guzmán\n",46,{"image":198,"text":199,"number":200},"\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.47.png","Interior\nLittle Spain\nCosentino Surfaces in New York \nCéline Store\nSky Blue Universe by Olgiati\n",47,{"image":202,"text":203,"number":204},"\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.48.png","46 C 15\nLITTLE SPAIN\nCosentino Surfaces in New York \nInterior\nRestaurants\n5\nBajo los imponentes rascacielos de Hudson \nYards —el mayor desarrollo inmobiliario \nreciente de Nueva York—, se sitúa Little \nSpain, un nuevo concepto de restauración \nque celebra la cocina española, promovido \npor el popular chef José Andrés junto \ncon los hermanos Adrià. El proyecto, \ndiseñado por el estudio Capella García \nArquitectura, recrea el ambiente de un \nmercado tradicional en el que cada puesto \nofrece un producto gastronómico distinto. El \nespacio cuenta, además, con la intervención \nde artistas como Javier Mariscal, Oscar \nMariné, Sergio Mora o Mikel Urmeneta, que \nrepresentan el potencial de la creatividad \nde nuestro país. Cosentino, por su parte, \nha contribuido a mostrar la calidad y el \ncarácter innovador de la marca España \na través de sus materiales aplicados al \ninteriorismo y la restauración profesional. \nLa amplia paleta de colores y texturas que \nofrecen sus productos ha sido clave para dar \nrespuesta a la gran variedad de escenas. De \nla superficie ultracompacta Dekton se han \nempleado tonalidades como Entzo, Makai, \nKelya o Aura 15; mientras que de Silestone \nse han seleccionado modelos como White \nPlatinum, Calacatta Gold o Blanco City. \nEntre los diferentes paneles, que en total \nsuman 700 m2, destaca una espectacular \nbarra Pearl Jasmine de 3 cm de grosor.  \nUnder the imposing skyscrapers of Hudson \nYards – the largest real estate development \nto go up recently in New York – is Little \nSpain, a new and unprecedented space that \ncelebrates Spanish food, launched by the \npopular chef José Andrés and the Adrià \nbrothers. The project, designed by the studio \nCapella García Arquitectura, recreates \nthe atmosphere of a traditional market \nwhere each stand offers a different culinary \nproduct. Artists like Javier Mariscal, Oscar \nMariné, Sergio Mora, and Mikel Urmeneta, \nwho represent the creative potential of \nour country, have also participated in \nthe design of the space. Cosentino has \ncontributed by highlighting the quality \nand innovative character of the ‘Spain \nBrand,’ using its surfaces to show their \nnewest applications in interior design and \nprofessional hospitality. The brand’s range \nof products, available in a broad palette \nof colors and textures, allows addressing \na variety of needs and settings. The ultra-\ncompact surfaces of Dekton have been used \nin colors like Entzo, Makai, Kelya, and \nAura 15; while the Silestone countertops \nwere chosen in tones such as White \nPlatinum, Calacatta Gold, and Blanco City. \nCosentino has supplied almost 700 m2 of \nmaterial, including a spectactular bar in \nPearl Jasmine that is 3 cm thick. \nPhotos: Miguel de Guzmán\n",48,{"image":206,"text":19,"number":207},"\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.49.png",49,{"image":209,"text":210,"number":211},"\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.50.png","48 C 15\n",50,{"image":213,"text":214,"number":215},"\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.51.png","C 15 49\nPara dar respuesta a la \nvariedad de ambientes \ndentro de Little Spain, \nen Nueva York, se han \ninstalado hasta trece \nmodelos diferentes de \nSilestone y Dekton,  \ntanto en encimeras como \nen otros revestimientos. \nUp to 13 models of \nSilestone and Dekton \nboards – used for  \nboth countertops and  \nwall claddings – have \nbeen chosen to decorate  \nthe different stands  \nand spaces in the new \nMercado Little Spain. \n",51,{"image":217,"text":218,"number":219},"\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.52.png","50 C 15\nCÉLINE STORE\nSky Blue Universe by Olgiati \nInterior\nRetail\n5\nCrear un mundo virtual a través del uso \npoético de la materia ha sido el propósito \ndel arquitecto Valerio Olgiati al diseñar \nesta tienda en Miami para la marca Céline. \nTal mundo virtual tiene que ver con el \nespacio, que el suizo ha distribuido en dos \námbitos distintos pero conectados a través \nde una escalera de condición escultórica: \nuna planta superior, donde se presenta el \ncalzado y las prendas ready-to-wear; y \nuna inferior, que funciona como zona de \nexposición cuyos pilares y forma sugieren \nla idea de un dosel. Pero la creación \nde este mundo introvertido, virtual, se \nha hecho depender, sobre todo, de la \natmósfera generada por el uso extensivo \nde un material protagonista: el mármol. \nDesde los pilares hasta los pedestales, \npasando por los paramentos y los suelos: \ntodos los elementos arquitectónicos se \nrevisten con una piedra ligeramente \npulida que se extiende como si fuera \nuna alfombra abstracta y beige. En ella, \na modo de una suerte de musivaria de \ngrandes piezas o de marquetería pétrea, \nse encastran unos planos de mármol azul \nbrasileño, muy ligeramente veteados, que \nrevisten también las paredes y los techos. \nDe ello resulta una bicromía geométrica \nque se muestra sofisticada pero también \nun punto inquietante.\nCreating a virtual world through the \npoetic use of materials was Valerio \nOlgiati’s intention in designing this \nflagship store in the 0city of Miami \nfor the French high-end fashion brand \nCéline. Such virtuality has to do with \nthe manipulation of the space, which \nthe practice of the Swiss architect \nhas distributed in two distinct areas \nconnected by a pitched stairway of \nsculptural nature: an upper level for \nshoes, handbags, and ready-to-wear \nclothes; and a lower floor configured as \na showroom, with pyramidal forms and \npillars that suggest the idea of a canopy.\nIn order to create this introverted virtual \nworld, much has been made to depend \non the atmosphere produced by the \nextensive use of the dominant material: \nmarble. From the pillars to the pedestals \nby way of the walls and floors, all the \narchitectural elements of the shop are clad \nin a slightly polished stone that spreads \nall over like an abstract beige carpet. \nPlaques of very lightly veined sky-blue \nBrazilian marble are embedded in it, as \nin a mosaic of large pieces or a work of \nmarquetry executed in stone. The same \nsheets clad walls and ceilings. The result is \na geometric bichromie that is perceived as \nsophisticated but also a bit unsettling.\nPhotos: Mikael Olsson\n",52,{"image":221,"text":222,"number":223},"\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.53.png","C 15 51\n",53,{"image":225,"text":226,"number":227},"\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.54.png","52 C 15\n",54,{"image":229,"text":230,"number":231},"\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.55.png","C 15 53\nFor the new Céline \nboutique in Miami, the \nSwiss architect Valerio \nOlgiati creates an oneiric \nscenography with a \ncontinuous surface of \nPinta Verde marble \nthat oscillates between \nclassicism and modernity.\nPara la nueva tienda \nCéline en Miami, el \narquitecto suizo Valerio \nOlgiati genera una \nescenografía onírica, a \npartir de una superficie \ncontinua de mármol Pinta \nVerde, que oscila entre \nclasicismo y modernidad. \n",55,{"image":233,"text":234,"number":235},"\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.56.png","© Miguel Fernández-Galiano\n",56,{"image":237,"text":238,"number":239},"\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.57.png","Interview\nEisenman & Davidson\nIn Dialogue\n",57,{"image":241,"text":242,"number":243},"\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.58.png","Interview\nConversation\n6\nEisenman  \n& Davidson \nin dialogue\nThe architect and the editor  \ndiscuss projects in Madrid. \nEl arquitecto y la editora \nconversan en Madrid. \n",58,{"image":245,"text":19,"number":246},"\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.59.png",59,{"image":248,"text":249,"number":250},"\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.60.png","58 C 15\nPhotos: Miguel Fernández-Galiano \nArquitecto de testarudas inquietudes teóricas, \nPeter Eisenman nació en una familia de oríge-\nnes europeos, completó su formación intelec-\ntual en Europa y tuvo por mentores sucesivos \nal crítico británico Colin Rowe, al historiador \nitaliano Manfredo Tafuri y al filósofo francés \nJacques Derrida. Actuando de puente entre \nla joven arquitectura de la costa Este nor-\nteamericana y las corrientes renovadoras \ndel viejo continente, su activismo cultural a \ntravés de revistas, encuentros, y centros de \nreflexión como el Institute for Architecture \nand Urban Studies le hicieron protagonista \nde un nuevo talante profesional, expresa-\ndo también en una secuencia de proyectos \ndomésticos sumamente influyentes. Tras su \nparticipación en varios concursos europeos \ndonde explora el diálogo entre la abstracción \ngeométrica y la topografía urbana, realiza \nsus primeras obras importantes en el estado \nde Ohio —el centro Wexner, el Aronoff y \nel de Convenciones de Columbus—, mani-\nfestaciones todas de los volúmenes desco-\nyuntados de la estética deconstructiva. Pero \nsus obras más ambiciosas y significativas \nllegarán con el cambio de siglo, y estarán \nambas en Europa: el Memorial judío en Ber-\nlín, un campo trágico y lírico de estelas de \nhormigón que recuerda el Holocausto en \nel corazón de Alemania; y la Ciudad de la \nCultura de Galicia, un colosal conjunto de \nedificios modelados topográficamente que \nno ha llegado todavía a completarse.  \nPeter Eisenman: En España ahora las cosas \nson muy diferentes. Cuando ganamos el con-\ncurso para la Ciudad de la Cultura en Santia-\ngo, muchos pensaron que yo era la mascota \nde Fraga, y que el proyecto era su mausoleo. \nSe publicaron muchas historias negativas \nque desde mi punto de vista eran infundadas. \nFraga tenía una visión para Santiago, y una \nvisión muy interesante. Quería que Galicia se \nconvirtiese en una región vibrante y contem-\nporánea para la gente joven, y así combatir \nla salida de jóvenes hacia grandes capitales \nu otras ciudades más grandes y evitar una \neconomía negativa. Quería un sitio donde se \npudiese celebrar un festival de cine, de teatro \no de arte. Y todas esas ideas eran de Fraga, \nno mías. Yo simplemente seguía lo que él \nveía como algo verdaderamente importante \npara Galicia. \nLa razón por la que se generaron tantos \nproblemas fue que desde La Coruña estaban \nmuy disgustados porque toda esa inversión \nse hiciese en Santiago, y eso es lo que hizo \nque acabásemos trabajando para el Depor-\ntivo de La Coruña. El entonces consejero de \nCultura gallego, Jesús Pérez Varela, que era \namigo de Lendoiro, el presidente del club, nos \nencargó el proyecto para un nuevo estadio. \nFue un contrato de unos 100.000 euros, que \nnunca llegamos a cobrar, y produjimos dos \no tres propuestas muy interesantes. Hicimos \nuna maqueta enorme y unos esquemas fan-\ntásticos en los que el mar llegaba hasta el \nborde del estadio, de forma que podías estar \nen la playa y viendo el fútbol al mismo tiem-\npo. El proyecto yo creo que estaba muy bien, \npero finalmente no salió adelante. \nCynthia Davidson: El esquema era muy \nbonito. Y eso que es muy difícil hacer arqui-\ntectura con un estadio de fútbol. Nosotros \nReunidos en un hotel \nmadrileño, Peter \nEisenman comenta \nalguna de sus obras  \n—desde la Ciudad de la \nCultura de Galicia hasta \nel memorial de Berlín—\ncon su esposa, la editora \nCynthia C. Davidson.  \nDuring a stay in \nMadrid, Peter Eisenman \ncomments some of  \nhis projects – from \nthe City of Culture of \nGalicia to the Holocaust \nMemorial in Berlin – \nwith this wife, the editor \nCynthia Davidson.\n«Fraga quería que Galicia se \nconvirtiese en una región \nvibrante y contemporánea \npara los jóvenes, y así  \nevitar que se fueran»\n",60,{"image":252,"text":253,"number":254},"\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.61.png","Architect of tenacious theoretical interests, \nPeter Eisenman was born into a family of \nEuropean origin, completed his intellec-\ntual training in Europe and had as men-\ntors, successively, the British critic Colin \nRowe, the Italian historian Manfredo Ta-\nfuri, and the French philosopher Jacques \nDerrida. Bridging the young architecture \nof the East Coast of the United States and \nthe new currents of the Old Continent, his \ncultural activism through magazines, en-\ncounters, and research groups like the In-\nstitute for Architecture and Urban Studies \nturned him into a representative of a new \nprofessional attitude, expressed also in a \nseries of highly influential domestic proj-\nects. After taking part in several European \ncompetitions where he explored the dialogue \nbetween geometric abstraction and urban \ntopography, he completed his first important \nworks in the the state of Ohio – the Wexner, \nthe Aronoff, and the Columbus Convention \ncenters –, all expressions of the disjointed \nvolumes of the deconstructivist aesthetic. \nHowever, his most ambitious and prominent \nprojects would be completed at the turn of \nthe century, and both are in Europe: the \nJewish Memorial in Berlin, a tragic and lyri-\ncal field of concrete stellae that recalls the \nHolocaust in the heart of Germany; and the \nCity of Culture of Galicia, a colossal complex \nof topographically modelled buildings that \nhasn’t been completed yet. \nPeter Eisenman: Things are very different \nin Spain now. When we won the competition \nfor the City of Culture in Santiago, many \nreally believed that I was Fraga’s pet, and \nthat the project was his mausoleum. Some \nvery negative stories, which to me were un-\nfounded, were published. Fraga had a vision, \na really interesting vision for Santiago. He \nwanted Galicia to become a vibrant place \nto young people, to keep them from mov-\ning to other capitals and large cities every \nyear, and not to have a negative economy. \nHe wanted a place where they could have  \nfilm, theater, and art festivals. These were \nall Fraga’s ideas, not mine. I was just fol-\nlowing what he saw as something really \nimportant for Galicia. \nThe reason why there were so many prob-\nlems is that in A Coruña they were upset that \nthis investment was going to Santiago, and \nthat is how I got involved with the Deportivo \nde La Coruña. The then Councillor for Culture \nof Galicia, Jesús Pérez Varela, who was friends \nwith Lendoiro, the club’s president, commis-\nsioned a new stadium project. We signed a \ncontract of some 100,000 euros, that were \nnever paid, and produced two or three very \ninteresting proposals. We made a nice model, \na beautiful scheme that brought the watefront \nup to the edge of the stadium, so that you could \nbe on the beach watching a soccer game at the \nsame time. I think it was a really nice project, \nbut it never went ahead.\nCynthia Davidson: The scheme was very \nnice, and doing architecture with a football \nstadium is not easy. For us it has always been \nfootball, it has always been our favorite sport, \nbut what we really like is American football. \nWe have the drawing you did in 1942 with an \nairplane flying over the stadium… and when \n“Fraga wanted Galicia  \nto become a vibrant  \nand modern place for \nyoung people, and keep \nthem from leaving”\n",61,{"image":256,"text":257,"number":258},"\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.62.png","60 C 15\n",62,{"image":260,"text":261,"number":262},"\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.63.png","C 15 61\nyou were in the competition for the stadium \nof the Arizona Cardinals we thought that \nwas the ultimate commission for a football \nfan. And yet you have never wanted to do \none since.  \nPE: Doing a football stadium is not doing \narchitecture. There is very little architecture \nyou can do. The rules of the game are stronger \nthan any program for any building. The model \nof the colosseum, an oval shape, is really the \nmodel for all contemporary stadiums. \nCD: The architecture becomes the facade. \nIn Arizona you did those strange interstitial \nspaces that emerged when you wrapped the \nstadium with those elements that put the \nvertical circulations outside the facade. But \nSantiago and Berlin are your most signifi-\ncant works, maybe also the Wexner Center \nfor the Arts, from the early mid-eighties. \nSantiago breaks my heart. To be there and \nsee the activity that I saw, and the people \nwho are working there, and the number of \ncars in the parking lot, and to be shown \nthe statistic that 50,000 people a month \nare visiting the museum alone, just the \nmuseum, is very exciting. But to think that \nthose signs are not enough to push the \nproject back on track in some way… Not \nthat it has to go back on track this year \nor the next year, but there should be that \nkind of thinking of “we are going to finish \nthis,” because it would be really important \nfor this place and this people. For me what \n",63,{"image":264,"text":265,"number":266},"\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.64.png","62 C 15\nsiempre hemos sido muy seguidores del fút-\nbol, aunque el que de verdad nos gusta es el \namericano. Recuerdo el dibujo que hiciste en \n1942 de un estadio de fútbol americano con \nun avión sobrevolándolo. Cuando ganaste \nel concurso para el campo de los Arizona \nCardinals pensamos que era el proyecto de-\nfinitivo para un aficionado como tú. Y sin \nembargo luego no lo disfrutaste tanto. \nPE: Hacer un estadio no es hacer arqui-\ntectura. Hay muy poca arquitectura que se \npuede aportar. Las reglas del juego son más \nestrictas que cualquier programa para cual-\nquier tipología. El coliseo creó un modelo \nque aún no ha sido modificado. \nCD: La arquitectura se convierte en facha-\nda. En Arizona la aportación fueron los espa-\ncios intersticiales que se creaban al envolver \nel estadio con esas piezas que colocaban las \ncirculaciones fuera de la fachada. Pero yo \ncreo que tus obras más significativas son \nSantiago y Berlín, quizá también el Centro \nWexner para las Artes, de mediados de los \nochenta. Lo de Santiago me parte el corazón. \nYo he estado allí y he visto la actividad, la \ngente que trabaja, los aparcamientos llenos \nde coches, y encima me dicen que solo el \nmuseo es visitado por 50.000 personas cada \nmes. Pensar que esos indicios no son sufi-\ncientes para recuperar el proyecto y llevarlo \na su término es una lástima. Quizá no a corto \nplazo, pero debería existir la intención de \nquerer terminarlo, porque yo creo que sería \nverdaderamente bueno para la gente de allí. \nLo que ha pasado es lo típico de la actitud \nde los políticos. \nBerlín es diferente, pero se enfrenta a los \nmismos riesgos. Hace poco un político im-\npulsó una campaña en la que prometía que \nsi era elegido, lo primero que haría sería \ndemoler el memorial, porque hay alemanes \nque odian el proyecto porque es un solar \n«Siempre hemos sido seguidores \ndel fútbol, pero es difícil hacer \narquitectura con un estadio»\n«Hacer un estadio no es \nhacer arquitectura, hay muy \npoco que se puede aportar»\n",64,{"image":268,"text":269,"number":270},"\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.65.png","C 15 63\nhas happened is the result of a typical po-\nlitical attitude. \nBerlin is something else altogether, but \nit also faces risks. There was a politician \nrecently who ran a campaign that promised \nto demolish the memorial, because there are \nGermans who hate the project because it is \nvaluable real estate. At the same time, we got \nrespective e-mails, from a Chinese student \nand a young architect from Bahrein, who \nhad just been to the memorial and thought \nit was the most incredible thing they had \never seen or experienced. This is what is very \ninteresting of your work, you don’t build for \nexperience, you build for the concept and \nhope your works will make people think \nabout it. At the memorial both things come \ntogether in a very interesting way.  \nPE: One of the things that I like about \nthat project which is not phenomenological \n– because this building is clearly a phenom-\nenological work, even though I don’t really \ndo projects like that, but it was a different \nkind of client, this was for dead people – \nis that I have always been interested in \nthe possibility of feeling lost in the space. \nAnd it happens all the time in the memo-\nrial. If a mother is with a young child, and \nthe child runs away and she starts looking \nfor the child there is a moment when the \nchild is totally lost, because even if there is \nscreaming, if both people are moving you \ncan never get together. For example, I can \nnever remember, everytime I go, where my \nfavorite spot is, because you do sometimes \nfeel lost in space. Phenomenologically you \ncan’t get lost, but psychologically you can. \nAnd this is the whole concept of the idea: \nthat woman in New Jersey who was sepa-\nrated from her mother at one of the Ausch-\nwitz camps, and she survived but never saw \nher mother again. \n“We have always been football \nfans, but it is difficult to do \narchitecture with a stadium“\n",65,{"image":272,"text":273,"number":274},"\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.66.png","64 C 15\nmuy valioso. Al mismo tiempo hemos re-\ncibido dos correos de dos estudiantes, uno \nde Bahrein y otro chino, que acababan de \nvisitarlo y pensaban que era el sitio más \nincreíble que habían visitado y experimen-\ntado. Eso es algo muy interesante de tu tra-\nbajo, que no buscas la parte experiencial, \nque construyes por el concepto y buscas que \ntus obras hagan reflexionar a la gente, pero \nen el memorial las dos cosas se juntan y eso \nlo hace muy especial. \nPE: Uno de los aspectos que me gustan de \neste proyecto y que no es fenomenológico \n—pese a que nunca he concebido la arqui-\ntectura de esa manera está claro que este \ntrabajo es fenomenológico, porque en este \ncaso el cliente era diferente, era para gente \nque había muerto— es que siempre me ha \ninteresado la posibilidad de perderme en el \nespacio. Y en Berlín ocurre constantemente. \nSi una madre está con su niño, y éste se es-\ncapa y la madre corre a encontrarlo, hay un \nmomento en el que está totalmente perdido. \nAunque se oigan las voces, si las dos perso-\nnas se están moviendo, difícilmente vuel-\nven a encontrarse. Fenomenológicamente \nno te puedes perder, pero psicológicamente \nsí. Y ese es el concepto fundamental, como \naquella mujer que ahora vive en Nueva \nJersey a quien separaron de su madre en \nel campo de concentración de Auschwitz: \nella sobrevivió pero su madre no, y nunca \nmás volvieron a verse. \n",66,{"image":276,"text":277,"number":278},"\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.67.png","C 15 65\n",67,{"image":280,"text":281,"number":282},"\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.68.png","© Antony McAulay\n",68,{"image":284,"text":285,"number":286},"\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.69.png","Travel\nStockholm\nSweden\n",69,{"image":288,"text":289,"number":290},"\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.70.png","68 C 15\nStockholm\nTravel\nSweden \n7\nSede de los premios Nobel, \nla capital sueca extiende la \nbúsqueda de la excelencia a \nterrenos como el diseño, la \necología o la gastronomía.\nMain home of the Nobel \nprizes, the Swedish capital \nextends the pursuit of \nexcellence to fields like  \ndesign, ecology, and cuisine. \n© Michael Hillebrand\u002FAircrey Lifestyle\nsource: elsa.elle.se \n01\nThe subtle delicacy that \ncharacterizes the Swedish \nromantic style is reflected \nin the town hall building \n– designed by Ragnar \nÖstberg between 1909 \nand 1923 – with a tower \nthat offers views of the \nOld Town or Gamla Stan. \nArchitecture \nStockholm City Hall\n02\nIluminada cenitalmente, \nla biblioteca municipal \n—concebida por Gunnar \nAsplund entre 1918 y 1927—\nes un ejemplo emblemático \ndel clasicismo depurado y \nfue la primera en incorporar \nen Suecia el sistema de \nestanterías abiertas.\nGenerously filled with \ntoplight, the municipal \nlibrary – designed by \nGunnar Asplund between \n1918 and 1927 – is an \nemblematic example of \nrefined classicism and \nwas the first in Sweden to \ninclude open bookshelves.\nModern Architecture\nPublic Library\nLa sutil delicadeza que \ncaracteriza el estilo \nromántico sueco se \nplasma en el edificio del \nayuntamiento —construido \npor Ragnar Östberg entre \n1909 y 1923— desde cuya \ntorre se observa el núcleo \nurbano o Gamla Stan.\n",70,{"image":292,"text":293,"number":294},"\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.71.png","C 15 69\n© Nordicphotos \u002F Alamy Foto de stock\n03\nMonument \nRoyal Palace\nEntre la red de canales \nque conforma la imagen \nde Estocolmo se encuentra \nla residencia oficial de \nlos reyes de Suecia, que \ndestaca por la rotundidad \nde su distribución en \ntorno a un patio de  \nplanta cuadrada.   \nLocated by the water \nin Stockholm’s city \ncenter and organized \naround a square-shaped \ncourtyard, the Royal \nPalace (or Kungliga \nslottet) is the official \nresidence of the King \nand Queen of Sweden. \n",71,{"image":296,"text":297,"number":298},"\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.72.png","70 C 15\nLocated in Vällingby \n– a district designed \nin 1950 following the \nCIAM’s organic urbanism \nprinciples –, St. Thomas \nChurch was built by Peter \nCelsing and stands out for \nthe tactile materiality of \nits brick walls. \nSituada en el barrio de \nVällingby —planeado en \n1950 según los preceptos \ndel urbanismo orgánico \nde los CIAM—, la iglesia \nSt. Thomas construida \npor Peter Celsing destaca \npor la materialidad táctil \nde sus muros de ladrillo.\nReligious \nSt. Thomas Church\n07\n08\nReligious \nVästerort Church\n05\nWoodland Cemetery \nResurrection Chapel\nAl final de un camino \nrodeado por abetos en el \nCementerio del Bosque, la \nCapilla de la Resurrección \n—de Lewerentz— se \ncompone de dos cuerpos \nsutilmente conectados \nque enfrentan el lenguaje \nclásico y el moderno. \nAt the end of a road \nsurrounded by trees in \nWoodland Cemetery, \nResurrection Chapel  \n– also by Lewerentz – is \nmade up of two subtly \nconnected bodies that \nconfront classical and \nmodern language. \n04\nWoodland Cemetery \n Woodland Chapel\nCon alusiones tanto a la \ncabaña como al templo, \nesta capilla diseñada \npor Asplund fue la \nprimera construcción \ndel Cementerio del \nBosque que el arquitecto \nproyectó junto con Sigurd \nLewerentz en 1915. \nWith references to both \na cabin and a temple, \nthis chapel designed \nby Asplund was the \nfirst construction in \nWoodland Cemetery, \nwhich the architect \ndesigned with Sigurd \nLewerentz in 1915.  \nAccording to Le Corbusier, \nthis church by Carl Nyren \nis an essential visit for \nany architecture student. \nThe formal refinement of the \nportico is taken to the limit at \nthe Crematorium, Asplund’s \nlast work in the Cemetery. \nSegún Le Corbusier, esta \niglesia de Carl Nyren es \nuna visita esencial para un \nestudiante de arquitectura. \nLa depuración formal del \npórtico se lleva al límite en \nel Crematorio, la última obra \nde Asplund en el Cementerio. \nWoodland Cemetery \nCrematorium\n06\nsource: arkinetia.blogspot.com \n© Chen Hao \nsource: archipicture.eu \nsource: dromanelli.blogspot.com\n© Bengt Oberger \n",72,{"image":300,"text":301,"number":302},"\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.73.png","C 15 71\n09\nReligious\nSt. Mark’s Church\nLa iglesia de San Marcos \nfue el primer edificio en \nel que Lewerentz adoptó \nla norma de no cortar \nladrillos, lo que supuso \nuna cuidadosa atención \nal detalle y enfatizó \nla expresividad de las \njuntas de mortero. \nLa modernidad y el \nclasicismo se funden en \nestas oficinas diseñadas \npor Lewerentz, donde \ndestaca la rigurosa \ndistribución de los \nhuecos tanto en el \nperímetro rectangular \ncomo en el patio oval.\nSt. Mark’s Church was \nthe first building in \nwhich Lewerentz adopted \nthe rule of not cutting \nbricks, which involved  \na careful attention  \nto detail and stressed  \nthe expressive character \nof mortar joints. \nModernity and classicism \nare fused in this office \nbuilding designed \nby Sigurd Lewerentz, \nwhere square openings  \nof the same size  \npierce the rectangular \nperimeter and the  \noval-shaped courtyard. \n12\nArchitecture\nStockholm University \nDentro del distrito \nuniversitario Frescati, el \nedificio de la biblioteca \n—diseñado por Ralph \nErskine en 1974—\nadopta una estructura \nfuncionalista que, con sus \npotentes formas, dota de \nidentidad al entorno. \nWithin the Frescati \nuniversity district, \nthe library building \ndesigned by Ralph \nErskine in 1974 adopts \na functionalist structure \nthat, with its bold shape, \nleaves a distinctive \nlandmark on the campus.  \nArchitecture\nInsurance Building11\nArchitecture\nThe Box\n10\nThis ‘box’ – of 6 x 3.6 m –  \nis a minimal shelter that \nRalph and Ruth Erskine built \nfor themselves in 1941.\nEsta ‘caja’ (de 6 x 3,6 m) es  \nun refugio mínimo que Ralph \ny Ruth Erskine construyeron \nen 1941 para ellos mismos. \nArchitecture\nRiksbank building\n13\nLarge black granite \nblocks clad the facade \nof the Riksbank built by \nPeter Celsing in 1976. \nGrandes bloques de granito \nnegro forran la fachada del \nRiksbank construido por \nPeter Celsing en 1976. \n© Pål-Nils Nilsson \nsource: photos.edu.pl \n© Pål-Nils Nilsson \nsource: panpica.pw \n© archphotographr \n",73,{"image":304,"text":305,"number":306},"\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.74.png","72 C 15\n16\nCongress Center\nStockholm Waterfront\nUna piel ondulante de \nbarillas metálicas, que \nrefleja el dinamismo del \nfrente marítimo, envuelve \nel volumen principal del \ncentro de congresos con \ncapacidad para 3.000 \npersonas, diseñado por \nWhite Arkitekter en 2010. \nAn undulating skin of \nmetallic rods, which \nreflects the dynamism \nof the waterfront, wraps \nthe main volume of \nthis congress center \nwith capacity for 3,000 \npeople, designed by White \nArkitekter in 2010.\nCultural Center\nVasa Museet\n17\nThe popular Vasa Museet \ncontains the only ship \nfrom the 17th century \nthat remains intact. \nEl popular museo Vasa \nalberga el único navío del \ns. xvii que ha sobrevivido \nintacto hasta nuestros días. \n© Michael Moran\u002FOTTO\n© Jasper Stenger \u002F Alamy Stock Photo\n© Julian Herzog\n© Kasper Dudzik\n15\nDentro del Parque \nNacional de la Ciudad, \nesta torre —desarrollada \npor Rundquist Arkitekter \nmediante herramientas \nde diseño paramétrico— \ncumple la función de \npurificar el aire de la \nautopista subterránea. \nLocated in the Royal \nNational City Park,  \nthis tower – developed \nby Rundquist Arkitekter \nusing parametric tools – \nis designed to fulfill  \nthe function of \npurifying the air of the \nunderground highway. \nInfrastructure\nVentilation Tower \nCultural Center\nModerna Museet \nModerna Museet,  \ndesigned by Rafael \nMoneo in 1991, goes \nup across from the \nindustrial buildings of \nSkeppsholmen, melding \ninto the harbor landscape \nwith its metallic roofs \npierced by skylights.\nFrente a las naves \nindustriales de la isla de \nSkeppsholmen, el Moderna \nMuseet —diseñado por \nRafael Moneo en 1991— \nse integra en el perfil \nportuario mediante una \nserie de cubiertas metálicas \npuntuadas por lucernarios. \n14\n",74,{"image":308,"text":309,"number":310},"\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.75.png","C 15 73\nHousing\nNorra Tornen\nDesigned initially by \nAleksander Wolodarski \nand carried to completion \nby OMA, this is the first \nin a set of two towers \nthat rise 125 meters \nhigh, and that will be \nthe tallest residential \nbuildings in Stockholm. \nDiseñada inicialmente por \nAleksander Wolodarski y \ndesarrollada finalmente \npor OMA, esta es la \nprimera de un conjunto  \nde dos torres que, con  \n125 metros, serán los \nedificios residenciales  \nmás altos de Estocolmo. \n20\nInfrastructure\nFerry Terminal\nCompleted by Marge \nArkitekter, the three \nnew buildings serving \nthe ferry terminal are \ndesigned as pyramid-\nshaped volumes that \ndirect the views of \nvisitors towards the \nmonuments nearby. \nLos nuevos edificios  \nde la terminal de \nferry —construidos por \nMarge Arkitekter— están \nformados por volúmenes \ntroncopiramidales que \norientan la mirada de \nlos viajeros hacia los \nmonumentos cercanos.  \n19\n21\nArchitecture\nKTH School\nFirmada por el estudio local \nTham & Videgård, la escuela \nde arquitectura se sitúa en un \npatio dentro del campus KTH. \nDesigned by the local studio \nTham & Videgård, the \narchitecture school goes  \nup on the KTH Campus.  \n© Laurian Ghinitoiu\n© Johan Fowelin\n© Åke E:son Lindman.\n© Laurian Ghinitoiu\n18\nEn continuidad con el \nhistórico parque Gärdet, \nel edificio ideado por \nBIG se modela según \nuna singular topografía \nescalonada en la que se \nbusca que las viviendas \npuedan tener generosas \nvistas sobre la ciudad.\nAs an extension of the \nhistorical Gärdet Park,  \nthe building designed \nby BIG is covered with \nplants and arranged in \nterraces thanks to which \nall the apartments have \npanoramic views \nover the city. \nHousing\n79 & Park Hillside\n",75,{"image":312,"text":313,"number":314},"\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.76.png","74 C 15\n22\nEste popular punto de \nencuentro cultural en \nel centro de la ciudad \n—que reúne teatro, arte, \nconferencias y debates— \nocupa un emblemático \nedificio moderno de vidrio \ny hormigón diseñado por \nPeter Celsing en 1965.\nThis popular cultural \nhub in the city center \n– a place for theater, \nart, conferences, and \ndebates – occupies an \nemblematic modern \nbuilding of concrete and \nglass designed by Peter \nCelsing in 1965. \nCultural Center\nKulturhuset\nsource: prensanorrkoping.com\nsource: tripexpert.com\nsource: everplaces.com\n© Doug\nUrban Art\nSolna Centrum\nSince 1957, the subway \nstations in the city \nof Stockholm show \ninstallations by different \nartists who place \nsculptures or decorate \nwalls, transforming this \ninfrastructure into an \nunderground art gallery.\nDesde 1957, las estaciones \nde metro de Estocolmo \nhan sido intervenidas por \ndiferentes creadores que \nintroducen esculturas \no decoran los muros, \ntransformando esta \ninfraestructura en una \ngalería de arte subterránea.  \n24\nPhotography Museum\nFotografiska\nIn spite of not having \nits own collection, \nthe Fotografiska is \nthe world’s largest \nphotography museum, \nlocated in an old \nindustrial brick building \non the Södermalm  \nisland harbor. \nA pesar de no contar \ncon colección propia, el \nFotografiska es el museo \ndedicado a la fotografía \nmás grande del mundo, \ny se sitúa en un antiguo \ngalpón de ladrillo junto al \nmuelle en la vanguardista \nisla de Södermalm.\n23\n25\nCinema\nBio Rio\nEsta sala de pantalla única, \nabierta desde 1940, ofrece \nuna amplia variedad de \npelículas y eventos culturales.\nThis single screen movie \ntheater opened its doors in \n1940, offering a variety of \nfilms and cultural events. \n",76,{"image":316,"text":317,"number":318},"\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.77.png","C 15 75\nsource: tigerofsweden.com\nsource: Holger.Ellgaard, Eigenes Werk\n© Arild Vågen \nsource: generator.hotels-stockholm.net\nsource: exploy.com\nTheater\nSkandia-Teatern\nEnvisioned as a stage \nwhere reality and fiction \nare fused, the Skandia \nTheater – designed by \nErik Gunnar Asplund \nin 1923 – takes visitors \nto the dreamlike \natmosphere of the \ntwenties decade. \nConcebido como un \nescenario donde se \nfunden realidad y \nficción, el teatro Skandia  \n—diseñado por Gunnar \nAsplund en 1923— \ntraslada a los visitantes \nal ambiente ilusorio de \nlos años veinte.\n27\nEating Out\nBistro Bananas\nHostel\nGenerator\n28\n29\nAround a circular bar, \nBananas offers local and \nItalian dishes, including \ngluten-free recipes. \nGenerator is the perfect \noption for those seeking \naffordable accommodation \nas well as unique design. \nEn torno a una barra \ncircular, Bananas ofrece \nplatos locales e italianos, \ntambién sin gluten. \nGenerator es la opción \nperfecta para alojarse \nde forma económica sin \nrenunciar al diseño. \nHotel & Restaurant \nEtt Hem\nCultural Center \nSvenska Filminstitutet\nDesigned in brutalist \nstyle, the Swedish  \nFilm Institute – built  \nby Peter Celsing in  \n1970 – offers a program \nthat spans all genres, \naiming to support, \npromote, and keep record \nof local filmmaking. \nIn a modernist mansion \nfrom 1910 in the \nresidential neighborhood \nof Lärkstan, the hotel  \nEtt Hem – meaning  \n‘a house’ in Swedish –  \nhas been carefully \ndesigned to create  \na cozy, domestic space. \nDe estilo brutalista, \nel Instituto Sueco del \nCine —construido por \nPeter Celsing en 1970— \ncuenta con un programa \nmultidisciplinar para \napoyar, registrar y \nexpandir la producción \ncinematográfica local.\nEn una mansión \nmodernista de 1910 en \nel barrio residencial de \nLärkstan, el hotel Ett Hem \n—que en sueco significa \n‘una casa’— ha sido \ncuidadosamente diseñado \npara crear un ambiente \ndoméstico y acogedor.    \n26\n30\n",77,{"image":320,"text":321,"number":322},"\u002Fmedia\u002Fimages\u002F84\u002F2b75b38047ca7303aeeefb3b75bacb-28f7941a40.78.png","76 C 15\n 06. 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Solna Centrum\n169 51 Solna\nAdolf Fredriks kyrkogata 8, \n111 37\nmarginalen.se \n+46 77 171 77 10\nFrescativägen, 114 19\nmasjidnegara.gov.my \n+46 8 16 20 00\nExercisplan 4, 111 49 \nmodernamuseet.se \n+46 8 520 235 00\nNils Ericsons Plan 4, 111 64 \nstockholmwaterfront.com \n+46 8 505 060 00\nBrunkebergstorg 11, 111 51\nriksbank.se\n+46 8 787 00 00\nRoslagsvägen, 114 19\nSolursgränd 4, 162 65 \nVällingby\nvasterortskyrkan.se\nMalmövägen 51, 121 53 \nJohanneshov\n+46 8 505 815 00\nKirunagatan 9, 162 68 \nVällingby\nRörby 33, 178 93 \nDrottningholm\narkdes.se\nHantverkargatan 1, 111 52 \nstadshuset.stockholm\n+46 8 508 290 58 \ncityhalltours@ stockholm.se\n 20. Norra Tornen\nTorsplan 8, 113 65 \nbrfinnovationen.se\nStrömkajen 111 48\nGalärvarvsvägen 14, 115 21\nvasamuseet.se\n+46 8 519 548 80\nSandhamnsgatan 79, 115 28 \n 01. Stockholm City Hall\n 02. Public Library\n 03. Royal Palace\n 04. 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