[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-cosentino-architecture-and-everything-else-17":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":339},{"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":334,"matched_pages":335,"match_count":336,"two_pages":337,"show_text":338},24493,"Architecture & Everything Else 17","cosentino-architecture-and-everything-else-17","\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002Fe1\u002F65d6a6e834069489ee1883c86b1651-28f7966463.pdf","Cosentino",2482,"cosentino","303.2 MB",[14,17,21,25,29,33,36,40,44,48,52,56,60,64,68,72,75,79,83,87,91,95,99,103,106,110,114,118,122,126,130,134,137,141,145,149,153,157,161,165,169,173,177,181,184,188,192,195,199,203,207,211,215,218,222,226,229,233,237,240,244,248,252,256,260,264,268,272,275,279,283,287,291,295,299,303,307,311,315,319,322,325,329,332],{"image":7,"text":15,"number":16},"c \narchitecture &  \neverything else 17 \n",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.2.png","",2,{"image":22,"text":23,"number":24},"\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.3.png","c\ncontents\n16\n06\n24\n32\n44\n56\n68\n  Architecture\n 06 Second Home  Selgascano in Hollywood  \n \n Un archipiélago de espacios de coworking que celebra la vida al aire libre.  \n \n An archipelago of coworking spaces that celebrates life in the outdoors.  \n \n Style\n 24 IRInA dZHUS  Conceptual Womenswear\n \n Geometría, arte y compromiso ambiental se funden en los diseños de la firma ucraniana. \n \n Geometry, art, and environmental commitment blend in the designs of the Ukrainian brand.\n \n Cosentino\n 32 deKTon GRId  Kap West by Wiel Arets in Munich  \n \n Un despliegue de 12,600 m² de dekton unifica el conjunto de oficinas. \n \n A total of 12.600 m² of Dekton give the office buildings a uniform image. \n 38 InFInITe SURFAceS  Villa Omnia by Jano Blanco in Ibiza\n \n Superficies de gran formato, piezas a medida y encimeras visten esta lujosa villa.\n \n Large-format surfaces, bespoke pieces, and countertops clad this luxurious villa.  \n \n Interior\n 44 InHABITed QUARRY  Ensamble Studio in Menorca\n \n Una casa en la tierra que reinventa el uso de una antigua cantera de marés.\n \n A house in the earth that reinvents the use of an old quarry of Marais stone.  \n 50 nIne VAULTS  José María Sánchez in Badajoz\n \n Un audaz gesto estructural que enriquece la espacialidad de una vivienda abovedada.\n \n A daring sculptural gesture that enriches the spaces of a vaulted dwelling.   \n  Interview\n 56 donG & BeLoGoLoVSKY  In dialogue\n \n Reunidos en madrid, el arquitecto y el crítico trazan paralelismos entre china y españa.\n \n Gathered in Madrid, the architect and the critic discuss similitudes between Spain and China.\n  Travel\n 68 BARceLonA  Spain\n \n Un recorrido por los principales hitos arquitectónicos de la ciudad condal.    \n \n A guide of the key architectural landmarks in the Catalan capital.  \n 78 coSenTIno cITY  Flagship Stores\n \n diseñado para ser el lugar de encuentro de arquitectos, diseñadores y paisajistas.\n \n Designed to be a destination for architects, designers, and landscapers. \n 80 mAGAceen  C Magazine’s Digital Platform\n \n La revista muestra su web dedicada a la arquitectura, el arte y el diseño.\n \n The magazine shows its website devoted to architecture, art, and design.\n  Arts\n 16 IRAn’S neW LAndScAPe  Manuel Álvarez Diestro\n \n Una visión estética y crítica del avance de la ciudad de Teherán en el desierto.   \n \n An aesthetic and critical vision of Tehran’s expansion to the desert areas.  \n",3,{"image":26,"text":27,"number":28},"\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.4.png","Depósito Legal: M-14282-2014\nISSN: 2341-3867 \nCubierta Cover\nKap West, Munich \n© Marco Kessler \u002F Mediashots\nImpreso en España Printed in Spain\nEsta revista está elaborada con papel libre de cloro \nThis magazine is printed on chlorine-free paper\nDirector Director\nSantiago Alfonso Rodríguez\nDirector adjunto Deputy Director\nJosé Yuste \nDirector de arte Art Director\nMiguel Fernández-Galiano\nEditado por Edited by\nCosentino \u002F Arquitectura Viva\nDiseño y producción editorial\n Graphic design and editing\nArquitectura Viva S.L.\nMaite Báguena  \nSandra Borge \nPablo Canga\nCuca Flores \nLaura González \nJesús Pascual \nPaloma Sanz\nRaquel Vázquez \nTraducción Translations\nGina Cariño, Laura Mulas\nImpresión Printing\nArtes Gráficas Palermo S.L.\n",4,{"image":30,"text":31,"number":32},"\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.5.png","L\nA FAMILIA Martínez Cosentino ha te-\nnido siempre la vocación de superar \nlos desafíos más ambiciosos. A partir de \n2014, con la revista C, Cosentino se propu-\nso hacer una nueva aportación al ámbito \nde la arquitectura, en esta ocasión desde \nel campo de la comunicación, con la difu-\nsión de las mejores innovaciones, diseños \ny proyectos que contribuyen a hacer el \nmundo más sostenible y bello. \nT\nHE MARTÍNEZ COSENTINO family has al-\nways applied itself to meeting the most \nambitious challenges. From 2014, with C \nmagazine, Cosentino set out to contribute \nanew to the world of architecture but from \na different field, that of communications, \nthrough information on the best and lat-\nest innovations, designs, and projects that \nmake for a more sustainable and more \nbeautiful world. \n",5,{"image":34,"text":19,"number":35},"\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.6.png",6,{"image":37,"text":38,"number":39},"\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.7.png","Architecture\nSecond Home\nSelgascano in Hollywood\n",7,{"image":41,"text":42,"number":43},"\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.8.png","6 C 17\nArchitecture\nBuilding\n1\nSobre un antiguo aparcamiento, en la parte este de Hollywood, los \nmadrileños Selgascano han levantado un nuevo espacio de coworking \nformado por un archipiélago de sesenta pabellones ovalados inmer-\nsos en un jardín. El proyecto, bautizado como HolLA, pertenece a la \ncompañía británica Second Home, que ya ha desarrollado iniciativas \nsimilares en Londres y Lisboa. \nLa parcela cuenta con un volumen de dos plantas diseñado en \n1964 por Paul Williams que se integra en el conjunto como núcleo \nde entrada. Además de los diferentes tipos de puestos de trabajo, el \nprograma incluye servicios comunitarios como cafetería, bar, restau-\nrante, salón de actos, áreas de descanso y terrazas abiertas alrededor \ndel edificio. El objetivo es atraer no solo a trabajadores sino también \nal público general y facilitar la sinergia que surge de la interacción \nentre personas. \nEl proceso constructivo de los pabellones comienza con un zócalo \nde hormigón en el que se empotran los soportes de la estructura \nmetálica. Sobre dichos arranques verticales se monta la subestruc-\ntura de cubierta y el elemento horizontal de forjado formado por un \ntablero CLT. Finalmente se impermeabiliza y aísla dicha cubierta, \nse colocan los cerramientos acrílicos y se introduce la vegetación. \nTodo el agua utilizada se recolecta en dos cisternas para regar las \nplantas del jardín, que rodea todos los volúmenes y se convierte en \nel auténtico protagonista del edificio. \nThis new coworking space by the Madrid architects Selgascano \ngoes up on an old parking lot in East Hollywood. It is made up of \nsixty oval-shaped offices surrounded by plants and trees. The proj-\nect, baptized HolLA, was launched by the British company Second \nHome, which has already developed similar initiatives in London \nand Lisbon. \nThe plot includes a two-story volume, designed in 1964 by Paul \nWilliams, which becomes part of the new complex and functions as \na building of access to the complex. Aside from the different types \nof offices and workstations, the program includes services such as \nmeeting rooms, restaurant and bar, events auditorium, breakout  \nspaces, and open terraces around the building. The objective is to \nattract not just members but also the general public, promoting \ndiversity and the creative synergy that emerges from the interaction \namong people.\nThe construction process of the pavilions is based on a concrete \nplinth into which the different vertical supports of the metallic \nstructure are embedded. Those vertical supports hold the roof sub-\nstructure and the horizontal slab element consisting of a CLT board. \nFinally, the roof is waterproofed and isolated, the acrylic enclosures \nare placed, and the vegetation is planted. All the water used is \nrecollected in two tanks to water the gardens, which surround all \nthe volumes and become the most important part of the building. \nSecond Home\nSelgascano in Hollywood\nEl nuevo espacio de \ncoworking de Second \nHome en Hollywood \nse inspira en el modo \nde vida al aire libre \ntípicamente californiano,  \nal introducir los espacios \nde trabajo en un \nexuberante jardín. \nThe design of Second \nHome’s new coworking \nspace in Hollywood  \nis inspired by the \ntypically Californian \noutdoor living styles, \nintroducing the \nworkspaces in an \nexuberant garden. \n",8,{"image":45,"text":46,"number":47},"\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.9.png","C 17 7\n",9,{"image":49,"text":50,"number":51},"\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.10.png","8 C 17\nLos espacios de trabajo, \nque disfrutan de una \nvista de 360º del jardín \ngracias a una envolvente \nde acrílico, se componen \nde un muro de hormigón \nal que se anclan los \nperfiles que sostienen la \ncubierta de CLT.\nThe workspaces, each  \nof which has a 360º \nview of the garden \nthanks to an acrylic \nenclosure, are formed \nby a concrete wall, \nanchored to which are \nprofiles that serve to \nhold up the CLT roof.\n",10,{"image":53,"text":54,"number":55},"\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.11.png","C 17 9\n 01 aislamiento térmico \ny membrana \nimpermeabilizante\n 02 forjado de CLT\n 03 perfil IPE\n 04 columna cilíndrica de \nacero inoxidable\n 05 acrílico\n 06 iluminación LED\n 07 pavimento continuo, \nresina de poliuterano\n 08 muro perimetral de \nhormigón armado\n 09 redondo de acero\n 10 drenage\n 11  jardinera con muro de \ncontención de listones  \nde madera\n 01 thermal insulation and \nwaterproofing membrane\n 02 CLT roof\n 03 IPE profile\n 04 cylindrical stainless  \nsteel column\n 05 acrylic\n 06 LED lighting strip\n 07 continuous pavement of \npolyurethane resin\n 08 perimetral reinforced \nconcrete wall\n 09 steel rebar\n 10 drainage\n 11 planters with retaining \nwall made of timber \nribbons\n01\n02\n03\n04\n05\n08\n09\n07\n10\n11\n06\n",11,{"image":57,"text":58,"number":59},"\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.12.png","10 C 17\n",12,{"image":61,"text":62,"number":63},"\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.13.png","C 17 11\n",13,{"image":65,"text":66,"number":67},"\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.14.png","12 C 17\n",14,{"image":69,"text":70,"number":71},"\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.15.png","C 17 13\nArquitectos Architects\nSelgascano \u002F Jose Selgas, Lucia Cano (socios partners);  \nDiego Cano-Lasso, María Levene, Inés Olavarrieta, Paolo \nTringali, Sixto Cordero, Víctor Jiménez, Sara Ouass, Pilar \nCano-Lasso, Catalina Vázquez, Juan José Muñoz Muñoz, \nJulián Ocampo, Juan Saez Pedraja (equipo team)\nColaboradores Collaborators\nAlejandro Cano (diseño de iluminación y mobiliario  \nlighting and furniture design)\nCliente Client\nLandmark Tourism Investment Company \nFotos Photos\nIwan Baan\n",15,{"image":73,"text":19,"number":74},"\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.16.png",16,{"image":76,"text":77,"number":78},"\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.17.png","Arts\nManuel Álvarez Diestro\nIran’s New Landscape\n",17,{"image":80,"text":81,"number":82},"\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.18.png","16 C 17\nIran’s New Landscape \nManuel Álvarez Diestro\nArts\nPhotography\n2\nFocussing on the threshold from landscape \nto city, the work of Manuel Álvarez  \nDiestro (Santander, 1972) proposes to \nthink about the place humans occupy on \nthe territory, documenting the negative \nimpact of their activity but also the beauty \nunderlying the transformed environment. \nAlong the same line of other projects \ndeveloped by the photographer in large \nmetropolises like Cairo, Doha, and Beirut, \nthe series ‘New Landscapes of Iran’ \nis devoted to the urban developments \nsprouting on the outskirts of Tehran, \nreflecting how these new cities are \naggressively conquering the desert.\nAs if they emerged \ndirectly from the earth, \nthe blocks photographed \nby Diestro outside \nTehran evoke apocalyptic \nlandscapes that question \nthe way in which we must \nface the growth of the \nurban population. \nComo si surgieran \ndirectamente de la tierra, \nlos bloques fotografiados \npor Diestro en las afueras \nde Teherán evocan \npaisajes apocalípticos que \ncuestionan la forma de \nenfrentarnos al crecimiento \nde la población urbana.  \nEnfocada en el umbral entre el paisaje y la \nciudad, la obra de Manuel Álvarez Diestro \n(Santander, 1972) plantea una reflexión \nsobre el lugar que el hombre ocupa en el \nterritorio, revelando el impacto negativo \nde su actividad, pero al mismo tiempo \nla belleza que subyace en el entorno \ntransformado. En la línea de otros proyectos \nllevados a cabo en grandes metrópolis \ncomo El Cairo, Doha o Beirut, la serie  \n‘New Landscapes of Iran’ está dedicada a \nlos nuevos desarrollos urbanísticos que  \nse construye en las afueras de Teherán,  \ny escenifica la feroz conquista del  \ndesierto de estas nuevas ciudades.\n",18,{"image":84,"text":85,"number":86},"\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.19.png","C 17 17\n",19,{"image":88,"text":89,"number":90},"\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.20.png","18 C 17\n",20,{"image":92,"text":93,"number":94},"\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.21.png","C 17 19\nLa radical yuxtaposición \nentre construcción y \nterritorio hace que \nlos edificios parezcan \nmaquetas posadas sobre \nuna manta ondulada \nque, por su uniformidad, \ndescontextualiza por \ncompleto el conjunto. \nThe radical juxtaposition \nof construction and \nterritory makes the \nbuildings look like \nmock-ups lying \non a wavy blanket \nso uniform that it \ndecontextualizes the \nwhole ensemble. \n",21,{"image":96,"text":97,"number":98},"\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.22.png","20 C 17\nRasgos como la continuidad \no la capacidad de \ncrecimiento orgánico, \nque han caracterizado \ntradicionalmente las \nciudades iraníes, se ven \namenazados por las \nanodinas construcciones que \ncolonizan sus extrarradios.\nAspects like the \ncontinuity or capacity \nfor organic growth, \nwhich have traditionally \ncharacterized Irani \ncities, are threatened \nby the non-descript \nconstructions that \ncolonize their outskirts. \n",22,{"image":100,"text":101,"number":102},"\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.23.png","C 17 21\n",23,{"image":104,"text":19,"number":105},"\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.24.png",24,{"image":107,"text":108,"number":109},"\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.25.png","Style\nIrina Dzhus\nConceptual Womenswear\n",25,{"image":111,"text":112,"number":113},"\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.26.png","24 C 17\nIRINA DZHUS\nConceptual Womenswear \nDZHUS es una marca de ropa fundada \nen 2010 por la diseñadora y estilista \nucraniana Irina Dzhus. Vanguardista pero \nfuncional, la firma es reconocida a nivel \ninternacional por su corte innovador, su \ncarácter polivalente y su compromiso \nético contra el maltrato animal.   \nEn su trabajo destaca la colección \nTotalitarium, inspirada en el culto \ntecnocrático de los regímenes totalitarios \nde la primera mitad del siglo XX. Los \nconjuntos presentan siluetas austeras, \ntexturas industriales y tonos grises, \nasí como pliegues geométricos que \nevocan elementos arquitectónicos \ndel constructivismo y el clasicismo \ndespojado. Las prendas están \nconfeccionadas a partir de uniforme \nde trabajo o tejidos típicos de la ropa \nfuncional de la época, como el punto de \nlana y el fieltro. Cada atuendo expresa \nla yuxtaposición entre la unidad y la \nindividualidad, reinterpretando así una \nparadoja propia de la moda posmoderna.\nPor su parte, la colección Corpus se \ncentra en la anatomía como punto de \npartida de los diseños, y explora las \nposibilidades de unas prendas que mutan \nde múltiples formas e interactúan entre sí, \nen diálogo constante con el cuerpo.\nDZHUS is a womenswear brand founded  \nin 2010 by the Ukrainian designer \nand stylist Irina Dzhus. Avant-gardist \nbut functional, the firm has earned \ninternational recognition for its innovative \ncut, its polyvalent character, and its \ncommitment to being a cruelty-free brand. \nTotalitarium is one of her best-known \ncollections. Its concept derives from \nthe technocratic cult propagandized \nby the totalitarian regimes of the 20th \ncentury’s first half. The outfits feature \naustere silhouettes, technical textures, \nand a greyscale palette. The geometrical \npleats interpret architectural elements of \nconstructivism and totalitaristic classicism. \nThe garments are made of authentic \nworking uniform cottons as well as fabrics \ntypical of the era’s functional fashion, \nsuch as woollen knit and felt. Every outfit \nexpresses juxtaposition between total \nunification and strong individuality,  \nwhich is a distinguishing paradox of  \nthe post-modern fashion. \nAnother of her collections, Corpus, \nis dedicated to anatomy as the starting \npoint of the designs, and explores the \npossibilities of garments that mutate in \nmultiple ways and interact with each \nother, in constant dialogue with the body. \nStyle\nFashion\n3\nAfincada en Kiev, \nIrina Dzhus refleja \nen sus diseños la \ncontradicción entre los \nambiciosos monumentos \nretrofuturistas y los \nanodinos bloques de \napartamentos que \nconforman su entorno. \nThe garments by the \ndesigner Irina Dzhus, \nbased in Kiev, reflect the \ncontradiction between the \nambitious retrofuturistic \nmonuments and the  \nnon-descript apartment \nblocks that shape  \nher surroundings. \nPhoto: Olga Nepravda\n",26,{"image":115,"text":116,"number":117},"\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.27.png","C 17 25\n",27,{"image":119,"text":120,"number":121},"\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.28.png","26 C 17\n",28,{"image":123,"text":124,"number":125},"\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.29.png","C 17 27\nLa colección Totalitarium \nimita las texturas y las \nformas geométricas \nde la arquitectura \nconstructivista, evocando \nla imagen de la heroína \nde la clase trabajadora \nglorificada por la \nideología utópica. \nThe Totalitarium \ncollection evokes the \ntextures and geometry \nof constructivist \narchitecture, evoking \nthe image of the female \nheroes of the working \nclass glorified by  \nutopian ideology. \nPhotos: Olga Nepravda\n",29,{"image":127,"text":128,"number":129},"\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.30.png","28 C 17\n",30,{"image":131,"text":132,"number":133},"\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.31.png","C 17 29\nPartiendo del estudio de \nla anatomía, la colección \nCorpus explora las \nmúltiples opciones que \nsurgen de la interacción \nentre el cuerpo y la \nprenda, generando \ntexturas rítmicas y \npatrones innovadores.\nTaking anatomy as \nstarting point, Corpus \nstudies the multiple \noptions emerging \nfrom the interaction \nbetween the body and \nthe garment, creating \nrhythmic textures and \ninnovative patterns. \nPhotos: Pymin Davidov\n",31,{"image":135,"text":19,"number":136},"\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.32.png",32,{"image":138,"text":139,"number":140},"\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.33.png","Cosentino\nDekton Grid\nKap West by Wiel Arets in Munich\nInfinite Surfaces\nVilla Omnia by Jano Blanco in Ibiza\n",33,{"image":142,"text":143,"number":144},"\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.34.png","32 C 17\nCosentino\nArchitecture\n4\nDEKTON GRID\nKap West by Wiel Arets in Munich\nSituado en el distrito Am Hirschgarten, en Múnich, el conjunto de \noficinas Kap West, diseñado por Wiel Arets Architects, destaca en \nla entrada oeste de la ciudad por su rotundidad volumétrica. Dos \ntorres de 60 y 53 metros se elevan por encima del zócalo en forma de \ndoble U que cierra un patio interior. La composición de los alzados, \nformados por una retícula ortogonal, transmite al mismo tiempo \nuna imagen sobria y dinámica, ya que la dimensión de los huecos \ncambia ligeramente según la posición. \nLa fachada fue uno de los grandes retos del proceso de construcción, \ndesarrollado en colaboración con HPP Architekten. Además del gran \nnúmero y variedad de las piezas, debía garantizarse una instalación \neficiente con elementos premontados. Frente a otras opciones, \ncomo la piedra artificial reforzada con fibra de vidrio, la superficie \nultracompacta Dekton resultó idónea ya que reducía un tercio el peso \ntotal gracias al espesor mínimo de las placas que alcanza los 12 mm. \nEste material es, además, resistente a la intemperie, los golpes y los \narañazos, e incluso permite eliminar las manchas o los grafitis. Por su \nparte, la ajustada tolerancia de 0,5 mm hace que se consigan juntas \nmuy exactas y estrechas de tan solo 10 mm. El color Keon pertenece \na la colección Tech y está inspirado en el tono del hormigón, lo que \nconfiere al conjunto un carácter urbano. El resultado es, por tanto, \nun edificio riguroso y elegante que dialoga con su entorno cercano \nmediante pliegues, voladizos y perspectivas sorprendentes. \nLocated in Munich’s Am Hirschgarten district, the Kap West campus, \ndesigned by Wiel Arets Architects, stands out on the western edge of \nthe city for its bold volume. Two towers of 60 and 53 meters rise above \na plinth with a double U shape that closes an interior courtyard. \nThe composition of the elevations, formed by an orthogonal grid, \nconveys a sober and dynamic image, because the dimension of the \nopenings changes slightly depending on the position.  \nThe facade was one of the main challenges during the construction \nprocess, developed in collaboration with HPP Architekten. Aside \nfrom the huge number and variety of pieces, it was necessary to \nguarantee an efficient installation with pre-assembled elements. \nInstead of other options such as artificial stone reinforced with \nfiberglass, the ultracompact surface Dekton was an ideal option \nbecause it reduced the overall weight by a third thanks to the \nreduced thickness of the surfaces, which reaches 12 millimeters. \nThis material is also resistant to weather, scratches, impacts, and \nstain proof, making it possible to remove stubborn stains and even \ngraffitis. The tight tolerance of 0.5 mm makes for very exact and \nnarrow joints of just 10 mm. The color Keon belongs to the Tech \ncollection and takes inspiration in the tone of concrete, which gives \nthe complex an urban character. The result is a rigorous and elegant \nbuilding that engages in dialogue with its context by means of folds, \noverhangs, and surprising perspectives. \nArquitectos Architects:  \nWiel Arets Architects\nColaboradores Collaborators:  \nHPP Architekten (architectural \nproject realization), \nFassadentechnik Scharl, Rupert \nApp, KEIL Befestigungstechnik    \nPromotor Property developer: \nOFB Projektentwicklung GmbH\nFotos Photos:  \nMarco Kessler \u002F Mediashots\n",34,{"image":146,"text":147,"number":148},"\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.35.png","C 17 33\n",35,{"image":150,"text":151,"number":152},"\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.36.png","34 C 17\n",36,{"image":154,"text":155,"number":156},"\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.37.png","C 17 35\nThe cladding consists  \nof 12.600 square  \nmeters of ultracompact \nDekton surface whose \nthickness can be reduced \nto 12 mm, achieving a \nvery precise detailing \nwith 10 mm joints \nbetween pieces. \nEl revestimiento está \nformado por 12,600 m² \nde la superficie \nultracompacta Dekton \nque, gracias a su \najustado espesor de \n12 mm, consigue un \ndespiece muy preciso \ncon juntas de 10 mm. \n",37,{"image":158,"text":159,"number":160},"\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.38.png","36 C 17\n 01 ultra-compact Dekton \nsurface (e=12 mm), \nKeon color, Tech \ncollection\n 02 mineral fiber insulation, \nmelting temperature \n>1000ºC\n 03 triple layer insulating \nglass\n 04 sun protection slats\n 01 superficie ultracompacta \nDekton (e=12 mm) color \nKeon colección Tech\n 02 aislamiento de fibra \nmineral, temperatura de \nfusión >1000ºC \n 03 triple capa de vidrio \naislante\n 04 protección solar de \nlamas estable al viento\n01\nD1\nD2\nD2\nD1\n01\n03\n03\n02\n04\nDekton Keon\n",38,{"image":162,"text":163,"number":164},"\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.39.png","C 17 37\n",39,{"image":166,"text":167,"number":168},"\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.40.png","38 C 17\nINFINITE \nSURFACES\nVilla Omnia by Jano Blanco\nCosentino\nArchitecture\n4\nInmersa en el paisaje del monte Sa Talaia, \nen el oeste de la isla de Ibiza, la Villa \nOmnia se concibe como un gran mirador \ncontinuo que abre su frente longitudinal \nhacia el mar. El proyecto, diseñado \npor Jano Blanco, busca transmitir una \nsensación de belleza atemporal a través \nde la materialidad y el equilibrio de sus \ndiferentes componentes. Las líneas rectas \ny los grandes formatos se fusionan con \nel minimalismo, la naturaleza y el arte. \nCasi 700 m² de la superficie ultracompacta \nDekton forman parte del suelo interior \ny exterior, mientras que la superficie \nde cuarzo Silestone se emplea en las \nencimeras de los baños y la cocina. La \npiscina está compuesta por piezas de \nDekton a medida de color Sirocco, un \ngris caliza de textura rugosa que confiere \nal conjunto un aspecto natural y sobrio. \nEl pavimento cuenta además con la \ntecnología grip antideslizante para asegurar \nla máxima seguridad. Las escaleras, \nubicadas tanto dentro como fuera, están \nelaboradas a base de piezas Dekton \ncortadas a medida de 2 cm de grosor y de \ncolor Strato, una tonalidad gris que aporta \nun carácter urbano al proyecto. Destaca, \nademás, la singularidad del color Aura 15 \nde Dekton por su patrón simétrico de vetas, \nque se emplea en los paramentos del baño. \nImmersed in the landscape of Sa Talaia \nmountain, in the west of the island of \nIbiza, Villa Omnia is devised as a large \ncontinuous viewing platform that opens \nup its longitudinal facade towards \nthe sea. The project, designed by Jano \nBlanco, conveys a sense of timeless \nbeauty through the materiality and \nbalance of its different components.  \nThe straight lines and large formats are \nfused with minimalism, nature, and \nart. Nearly 700 m² of the ultracompact \nsurface Dekton make up part of the \ninterior and exterior flooring, while \nSilestone quartz surfaces are used in  \nthe bathroom and kitchen countertops. \nThe pool is made of custom pieces of \nDekton in Sirocco, a limestone-like rough \ngray that provides a natural, restrained \nlook. The entire paved area is also \nequipped with non-slip grip technology  \nto ensure maximum safety. The stairs of \nthe villa, located both inside and outside, \nare made out of 2-cm-thick pieces of \nDekton custom-cut to size. The chosen \ncolor is the one that dominates most \nof the floor of the project: the grey and \nurban Strato. Dekton’s unique color Aura \n15 stands out for its its never-ending \nsymmetrical pattern of veins, and clads \nthe bathroom walls. \n",40,{"image":170,"text":171,"number":172},"\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.41.png","C 17 39\n",41,{"image":174,"text":175,"number":176},"\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.42.png","40 C 17\nLa ubicuidad de las \nsuperficies Dekton \ny Silestone —que \nconforman suelos, \nescaleras, piscina, \nbaños y encimeras— se \ntraduce en un conjunto \nunitario de gran calidad, \ndurabilidad y belleza.\nThe ubiquitous presence \nof Dekton and Silestone \nsurfaces – which clad \nfloors, stairs, swimming \npool, bathrooms, and \ncountertops – creates a \nunified whole distinctive \nfor its high quality, \ndurability, and beauty. \n",42,{"image":178,"text":179,"number":180},"\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.43.png","C 17 41\nDekton Aura\nSilestone Iconic White\nDekton Zenith\nSilestone Blanco Zeus\nDekton Strato\nDekton Sirocco\n",43,{"image":182,"text":19,"number":183},"\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.44.png",44,{"image":185,"text":186,"number":187},"\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.45.png","Interior\nInhabited Quarry\nEnsamble Studio in Menorca \nNine Vaults\nJosé María Sánchez in Badajoz\n",45,{"image":189,"text":190,"number":191},"\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.46.png","44 C 17\nINHABITED \nQUARRY\nEnsamble Studio in Menorca\nInterior\nHousing\n5\nCa’n Terra es la casa de la tierra. Encontrar \neste espacio excavado y reinventar su uso \nimplica escribir una nueva historia que \npueda rescatarlo de su abandono. Situada \nen la isla de Menorca, esta antigua cantera \nde piedra de marés surge como un fruto de \nla naturaleza que requiere labranza y cultivo \npara imbuir el espacio de domesticidad. \nEnsamble Studio se apoya en la \ntecnología para realizar un modelado digital \ndel interior de la caverna proyectando \nmiles de puntos láser sobre las diferentes \nsuperficies, y registrando así con gran \nprecisión la estructura. Es el arquitecto \nquien, mediante estas herramientas, crea \nun nuevo espacio a partir de pequeñas \nintervenciones que responden a la intención \nde maximizar la relación con la naturaleza.\nEn contraposición a lo que ha venido \nsucediendo a lo largo de la historia, la \narquitectura trata de mantenerse en un \nsegundo plano, permitiendo que la propia \nmaterialidad del lugar sea quien sugiera \nla distribución de la vivienda. Evita así \nimponerse al medio y propone un viaje \nal interior de la materia. Como la propia \ndescripción del proyecto afirma: «Si la \nhistoria de la civilización ha evolucionado \nen gran parte trascendiendo la idea en obra, \nen Ca’n Terra, se invierte el proceso y se \ntransforma la historia en arquitectura».\nCa’n Terra is the house of the earth. \nFinding this excavated space and \nreinventing its use implies writing a new \nhistory that can rescue it from neglect. \nLocated on the island of Menorca, this \nold Marais stone quarry emerges as a \nfruit of nature that requires cultivating \nand harvesting to fill the space with \ndomesticity. \nEnsamble Studio uses technology \nto carry out a digital modelling of the \ncave’s interior, projecting thousands of \nlaser points on the different surfaces \nand recording precise data about \nthe structure. With these tools, the \narchitects create a new space starting \nout from small interventions that pursue \nmaximizing the relationship with nature.\nIn contrast to what has usually been \ndone in the past, the architecture here \nremains in the background, letting  \nthe materiality of the place suggest  \nthe distribution of the house. In this \nway it avoids imposing itself on its \nenvironment and proposes a journey to \nthe interior of matter. As the project \ndescription reads: “If the history of \ncivilization has evolved to a great extent \ntranscending the idea on site, in Ca’n \nTerra, the process is inverted and history \nis transformed into architecture.”\nPhotos: Ensamble Studio \u002F Massimo Loia \n",46,{"image":193,"text":19,"number":194},"\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.47.png",47,{"image":196,"text":197,"number":198},"\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.48.png","46 C 17\nLa geometría de esta \nantigua cantera de piedra \ndel marés en Menorca \nse registra fielmente \nmediante tecnología láser \nen una primera fase de \nanálisis, para modificar \ndespués su uso y evitar \nasí su abandono. \nThe geometry of this old \nquarry of Marais stone \nin the island of Menorca \nis faithfully recorded \nusing laser technology \nin a first phase of \nanalysis, later modifying \nits use to rescue it from \nabandonment. \n",48,{"image":200,"text":201,"number":202},"\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.49.png","C 17 47\n",49,{"image":204,"text":205,"number":206},"\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.50.png","48 C 17\nMediante una serie de \nintervenciones puntuales \ndestinadas a fortalecer el \nvínculo con la naturaleza, \nel espacio primigenio \nexcavado en la tierra se \ntransforma en arquitectura \na través de la exploración \ny el descubrimiento.  \nWith a series of specific \ninterventions designed \nto strengthen the bond \nwith nature, the original \nspace excavated in the \nearth is transformed into \narchitecture through a \njourney of exploration \nand discovery. \n",50,{"image":208,"text":209,"number":210},"\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.51.png","C 17 49\n",51,{"image":212,"text":213,"number":214},"\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.52.png","50 C 17\nNINE VAULTS\nJosé María Sánchez in Badajoz\nInterior\nRenovation\n5\nLa reforma de esta casa en Villanueva \nde la Serena, en Badajoz, parte de la \naceptación de las contradicciones del \nedificio original, que combina unas \nfachadas moduladas y ornamentadas con \nuna serie de espacios interiores complejos. \nDiseñado por José María Sánchez, el \nproyecto plantea la inversión del orden \nestructural existente, dando lugar a un \nnuevo esquema espacial que permite \ndiferenciar dos unidades esenciales, la  \ncasa antigua y la nueva. \nLa planta baja, definida por una \nretícula de bóvedas apoyadas en muros \nde carga, se transforma mediante un \ngesto estructural rotundo que multiplica \nsu funcionalidad. Dos vigas de hormigón \nen T se cruzan en el espacio, liberando \nde apoyos intermedios la luz que salvan. \nDe esta forma, se crea un salón diáfano \ncubierto por una singular combinación \nde arcos de fábrica de ladrillo y vigas de \nhormigón. Esta división generada por \nla cruz estructural y las dos bóvedas de \ncañón se traduce en distintos recintos \nvirtuales dentro de un espacio continuo. \nLos dormitorios se distribuyen en la planta \nprimera y se configuran como estancias \nintermedias entre el jardín posterior y una \ngalería frontal que sirve tanto de espacio \nde circulación como de trabajo y estudio. \nThe refurbishment of this house in \nVillanueva de la Serena, a small town in \nBadajoz, starts out from the acceptance \nof the contradictions of the original \nbuilding, which combines modulated and \nornamented facades with a series of highly \ncomplex interior spaces. Designed by José \nMaría Sánchez, the project inverts the \nexisting structural order due to functional \nrequirements, creating a new layout that \ndistinguishes two essential units, the old \nhouse and the new. \nThe ground floor, defined as a grid \nof rooms with arched vaults resting on \nbearer walls, is transformed by means of \na bold structural gesture that multiplies \nits functionality. Two T-beams relieve \nthe space they span from intermediate \nsupports, generating a new open-plan \nliving room that opens horizontally onto \nthe interior garden and is covered by a \nunique combination of brick masonry \narches. This division generated by the \nstructural cross and the two barrel \nvaults is translated into different virtual \nprecincts within a continuous space.  \nThe bedrooms are distributed on the  \nfirst floor and configured as intermediate \nzones between the rear garden and a \ncirculation space that can serve as  \nplace of work and study. \nPhotos: Roland Halbe\n",52,{"image":216,"text":19,"number":217},"\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.53.png",53,{"image":219,"text":220,"number":221},"\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.54.png","52 C 17\nA través de un rotundo \ngesto estructural, la \nplanta baja de la casa \nse libera de obstáculos \nportantes gracias a que \nuna cruz de vigas en \nforma de T distribuye \nlas cargas hasta cuatro \npilares perimetrales. \nA bold structural gesture \nfrees up the ground \nfloor from intermediate \nelements, permitting the \ncreation of an open-plan \nspace thanks to two \nT-beams that distribute \nthe loads to up to four \nperimetral columns. \n",54,{"image":223,"text":224,"number":225},"\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.55.png","C 17 53\n",55,{"image":227,"text":19,"number":228},"\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.56.png",56,{"image":230,"text":231,"number":232},"\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.57.png","Interview\nDong & Belogolovsky\nIn Dialogue\n",57,{"image":234,"text":235,"number":236},"\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.58.png","Interview\nConversation\n6\nDong &  \nBelogolovsky \nin dialogue\nTalking in Madrid, the architect \nand the critic drew parallels \nbetween China and Spain. \nReunidos en Madrid, el arquitecto \ny el crítico trazan paralelismos \nentre China y España. \n",58,{"image":238,"text":19,"number":239},"\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.59.png",59,{"image":241,"text":242,"number":243},"\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.60.png","58 C 17\nPhotos: Miguel Galiano \nLa redacción de la editorial Arquitectura Viva \nacoge el encuentro entre el crítico Vladimir \nBelogolovsky (Odesa, Ucrania, 1970), funda-\ndor de Curatorial Project en Nueva York, y el \narquitecto Gong Dong (Pekín, China, 1972) \ndirector del estudio Vector y autor de obras \ncomo el Hotel Alila Yangshuo en Guangxi, \nla Capilla en la costa en Beidaihe y la Casa \ndel Capitán en Fuzhou, todas construidas en \nChina pero con amplia repercusión interna-\ncional. Juntos analizan la evolución de la \narquitectura desde el Movimiento Moderno \ny el impacto que tuvo en Oriente y Occidente, \ndestacando la importancia de la conserva-\nción de la historia cultural de las ciudades \nsin dejar de lado el desarrollo tecnológico de \nla construcción contemporánea. \nVladimir Belogolovsky (VB): Hasta la \ncrisis de 2008, España era uno de los paí-\nses que lideraba el panorama arquitectóni-\nco global siendo un verdadero campo de \njuego e investigación para los profesionales  \n—quizá lo que hoy podría estar sucediendo \nen China— pero de una forma muy intensa. \nSe construyeron muchas obras de gran inte-\nrés fruto de una época de buenos profesiona-\nles. Diría que en cierto modo continúa siendo \nasí, pues a pesar de la economía y de que \nmuchos arquitectos jóvenes se han ido del \npaís, todavía quedan muchos produciendo \nobras fantásticas y de gran calidad. ¿Tienes \npensado visitar o conocer a alguno de estos \narquitectos en este viaje?\nGong Dong (GD): Esta visita será muy \ncorta, pero tengo planeado volver el año que \nviene con más tiempo. Personalmente, no \nestoy muy familiarizado con la generación \nmás joven, pero no puedo estar más de acuer-\ndo contigo. Cuando miras el legado arquitec-\ntónico europeo, o incluso mundial, España \nrepresenta una muy sutil y sofisticada tensión \nentre la disciplina y la expresión emocional. \nPara mí, son dos pilares fundamentales en \nla arquitectura y España respira justo entre \nambos. Ese equilibrio es muy complicado. \nVB: Recuerdo que me hablaste de la im-\npresión que te causó tu primer viaje a Europa.\nGD: Fue hacia el año 2000, hace unos \nveinte años, y tengo un recuerdo inolvida-\nble. Entonces China era muy distinta. Me \nresulta muy interesante ver la diferencia \nentre el choque cultural que yo viví enton-\nces y el de la generación actual. Los jóvenes \nviajan y estudian fuera, en Estados Unidos \no Europa y, aun siendo la primera vez que \nsalen del país, no veo que se sorprendan al \nmirar el mundo ajeno. Hoy ven en China \n—en Shanghái, Pekín o en tantos otros si-\ntios— coches, ordenadores... todo tipo de \nsistemas. Cuando van a un aeropuerto o a \nuna estación de tren se dan cuenta de que \nel mundo construido no es tan diferente, \ny ya no son tan conscientes de la brecha \ncultural. Cuando yo viajé a Europa vi cosas \nque no había visto antes.  \nVB: Fundaste el estudio en 2008, que es \nun dato interesante ya que fue el año de \nlos Juegos Olímpicos de Pekín. Fue un mo-\nmento en el que se inauguraron muchos \nedificios icónicos de arquitectos extranjeros \nen China, pero también el año en que Wang \nShu terminó el Museo de Ningbo y se veía, \nEntrevistado por \nVladimir Belogolovsky \nen Madrid, Gong Dong \nanaliza su arquitectura. \nAmbos reflexionan sobre \nel equilibrio entre los \nprocesos de globalización \ny la conservación del \npatrimonio local.\nInterviewed by Vladimir \nBelogolovsky in Madrid, \nGong Dong analyzes \nhis architecture. \nBoth reflect on the \nbalance between the \nglobalization processes \nand the recovery of \nlocal heritage. \n«La arquitectura en \nEspaña representa \nuna sutil y sofisticada \ntensión entre disciplina y \nexpresión emocional»\n",60,{"image":245,"text":246,"number":247},"\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.61.png","The offices of the magazine Arquitectura Viva \nserve as meeting place for the critic Vladi-\nmir Belogolovsky (Odessa, Ukraine, 1970), \nfounder of Curatorial Project in New York, \nand the architect Gong Dong (Beijing, China, \n1972) director of Vector Architects and au-\nthor of works like Alila Yangshuo Hotel in \nGuangxi, Seashore Chapel in Beidaihe, and \nCaptain’s House in Fuzhou, all built in China \nbut with a significant international impact. \nTogether they discuss architecture’s evolution \nsince the Modern Movement and the different \nimpact in the East and the West, stressing the \nimportance of recovering the cultural history \nof cities without neglecting the technological \ndevelopment of contemporary construction.\nVladimir Belogolovsky: Spain was, at \nleast until the financial crisis of 2008, one \nof the leading countries in the global archi-\ntectural panorama, and a real playground \nand research field for architects, perhaps \nsimilar to what China has become, but in a \nvery intense way. There were many talented \narchitects here, and many interesting works \nwere built during that period. I would say \nthat this situation is a continuous thing, \ndespite the economy and despite the fact \nthat a number of younger Spanish architects \nleft the country, because still quite a few \nare producing very good quality work. Do \nyou plan to visit or meet with any of these \narchitects during this trip? \nGong Dong: This is a very short visit, \nbut I’m sure I’ll come back next year with \nmore time. Personally, I’m not so familiar \nwith the younger generation of architects, \nbut for some reason I really agree with you. \nWhen you look at the European architectural \nlegacy, or even at the world’s, Spain repre-\nsents a very subtle and sophisticated tension \nbetween discipline and emotional expres-\nsion. This sums up my overall view of the \nenvironment. To me these are two essential \npillars of architecture, and Spain is moving \nright in the middle. It’s a very fine balance.\nVB: I remember you telling me about the \nimpressions of your first trip to Europe. \nGD: That was around the year 2000, \ntwenty years ago, and I keep fond memories. \nChina was very different then, and to me it \nis interesting to see the contrast between the \ncultural shock I experienced then and how \nit is for the younger generations that travel \nand study abroad, in the United States or \nEurope. I don’t see that much cultural shock \nin their faces, even when it’s the first time \nthey come out and look at the world. In China \ntoday – Shanghai, Beijing or in so many \nother places – they live with cars, comput-\ners, all the systems. When they come out and \ngo, for example, to an airplane terminal or \na train station, they realize that the built \nworld is not so different, so they don’t feel \na strong gap anymore. When I travelled to \nEurope twenty years ago I saw things I’d \nnever seen before.  \nVB: You started your practice in 2008. \nIt was a very important year for China, \nbecause that was the year of the Olympics, \nand the year when a number of foreign ar-\nchitects just finished major iconic buildings \nin Beijing and overall in China, but particu-\n“Architecture in Spain \nrepresents a subtle and \nsophisticated tension \nbetween discipline and \nemotional expression.”\n",61,{"image":249,"text":250,"number":251},"\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.62.png","60 C 17\n",62,{"image":253,"text":254,"number":255},"\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.63.png","C 17 61\nlarly in Beijing. It was also the year when \nWang Shu finished his Ningbo Museum; \nprobably the first time in years that a local \narchitect could compete with foreign ones. \nIt is interesting because you, just like many \nimportant architects of your generation, \nstarted working in China, but had studied \nin the United States. \nGD: I think the entire nation was trying \nto use that event to build a sort of pride and \nconfidence in the identity of the new China, \nthe contemporary China that is integrated \ninto the world. That kind of mindset gave \nthe whole nation strength, inviting first \ntier architects to design large-scale works \n– such as the CCTV headquarters by OMA \nand the Bird’s Nest stadium by Herzog & \nde Meuron – and really get them built. But \nafter that there’s a very subtle change of \nmindset, because most of the foreign ar-\nchitects don’t have a very direct knowledge \nand engagement with China. They encoun-\nter many difficult situations along the way \nand it is hard for them to adapt to the \ncountry’s mechanisms, so they don’t all \nmanage to settle successfully in China. At \nthe same time, architects of my generation, \nbut trained in the West, start to appear on \nthe horizon, with the clear advantage of \nbeing local. In sum, we have learned the \ntechniques of contemporary architecture \nand at the same time share that deep love \nfor our culture. \nVB: Yes, I’d say there’s a counter-trend, \na kind of opposition on the side of Chinese \narchitects towards imported architecture, \nthat in some way was developing a national \nidentity that wasn’t their own. Your genera-\ntion, on the contrary, proposed an alternative. \nNot exactly Western and not exactly Chinese, \nbut rather a sort of fusion of both, and it has \ngenerated a lot of interest among Western \nprofessionals and critics. There is some sense \nof creating something different, something \nthat’s related to culture, to the place, con-\ntemporary yet based on tradition. You can \nsee it in the use of materials and techniques.\nGD: But what does architecture consist \nof? To me, the most complicated and at \nthe same time satisfactory aspect is when \nyou truly engage with a place and discover \nsomething of your own in it, culturally \nspeaking. You get to know the place. It is \na sort of emotional commitment that lies in \nthe heart of architecture as I know it. It is \nwhere inspiration comes from. Architecture \nmust be able to engage with the local condi-\ntion in multiple layers, but when you build \nin places where you don’t know the archi-\ntecture, the building becomes a product and \nthe architect becomes a brand. \nVB: However, there is one character-\nistic quality that unites all these works, \nsomething which is rarely talked about in \nacademic circles, and that’s the subject of \nbeauty. Seductive beauty I would say, very \nrelated to this idea of nostalgia and not just \nthe newness of the work: the nostalgic beauty \n“Architecture must  \nalways be able to engage  \nwith the local condition  \nin multiple layers“\n",63,{"image":257,"text":258,"number":259},"\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.64.png","62 C 17\npor primera vez en mucho tiempo, que un \narquitecto local competía con profesionales \noccidentales. Es interesante a su vez porque \ntú, igual que muchos arquitectos de tu ge-\nneración, comenzabais a trabajar en China, \npero habíais estudiado en Estados Unidos.\nGD: Creo que se intentó usar este evento \ncomo una fuente de confianza y orgullo de \nla identidad de la nueva China, la China con-\ntemporánea que se integraba en el mundo. \nDe hecho, primero fue una muestra de fuerza, \ninvitando a los arquitectos más conocidos a \nrealizar obras importantísimas, como pasó \ncon el CCTV de OMA o el Bird’s Nest de Her-\nzog & de Meuron. Pero al mismo tiempo, y a \npartir de ese momento, se produjo un cambio \nde mentalidad muy sutil. Al final, muchos de \nestos arquitectos no tenían el compromiso, \nel conocimiento o quizá simplemente la re-\nlación con la cultura china suficiente, y les \ncostó adaptarse a los mecanismos del país, lo \nque ha provocado que no hayan conseguido \nasentarse. Simultáneamente, arquitectos de \nmi generación, pero formados en Occiden-\nte, empezaron a aparecer en el panorama, \ncon la ventaja inconfundible de ser locales. \nEs decir, hemos aprendido la técnica de la \narquitectura contemporánea y compartimos \nese profundo amor por nuestra cultura.   \nVB: Sí, yo diría que surge una reacción por \nparte de los arquitectos chinos, una oposición \na esa arquitectura importada y que de alguna \nforma estaba desarrollando una identidad de \nnación que no era propia. Vuestra generación, \npor el contrario, propone una alternativa, que \nno era exactamente occidental ni oriental, es \nuna suerte de fusión entre ambas que aún \nestáis desarrollando y que está recibiendo \nuna acogida enorme entre los profesionales y \ncríticos occidentales. Desde mi punto de vista \nestáis creando algo diferente que se inspira en \nlo vernáculo, pero que es a su vez contempo-\nráneo y está basado en la tradición, en el uso \nde materiales y en técnicas locales.\nGD: ¿En qué consiste la arquitectura? Para \nmí, lo más complejo y a la vez lo más satis-\nfactorio es cuando de verdad te comprometes \ncon un lugar y descubres en él algo propio, \nculturalmente hablando. Conoces el sitio. Es \nuna forma de compromiso emocional que \nestá en el corazón de la arquitectura tal y \ncomo yo la concibo. De ahí es de donde \nviene la inspiración. La arquitectura ha de \nser capaz de establecer vínculos a muchos \nniveles con la condición de lo local. Cuando \nconstruyes en sitios cuya cultura no conoces, \nla obra se convierte en un mero producto y \nel arquitecto en una marca comercial. \nVB: Sin embargo, hay algo que une a \nmuchas de estas arquitecturas, que apenas \nse trata en los círculos académicos, y es el \nconcepto de belleza. El concepto de belleza \nentendido desde el punto de vista de la se-\nducción, muy relacionado quizá con la idea \nde nostalgia. En algunas obras que he visi-\ntado en España he encontrado la conexión \ncon este sentimiento del que me hablas. \n«La arquitectura ha de ser \ncapaz de establecer vínculos \na muchos niveles con la \ncondición de lo local»\n",64,{"image":261,"text":262,"number":263},"\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.65.png","C 17 63\nof history. I just visited some projects here \nin Spain where I see that connection with \nwhat you were saying Chinese architects feel.\nGD: But you yourself are part of a different \nkind of fusion: you live in New York, teach \nin China, and travel around the world. You \nknow how to identify those resemblances \nbetween Chinese and Spanish architecture, \nand talk about a nostalgic concept of beauty \nthat I’d like to know more about. As I see \nit, both countries face different conditions \nand cultures, as well as a different period \nin contemporary history.  \nVB: Many of the leading independent ar-\nchitects in China are now building on small \nscale in the countryside. And you can find a \nnumber of interesting projects here in Spain, \nalso built outside of big cities. I just went \nto see the work of RCR in Olot, a town out-\nside of Girona. They work with the context, \nwith abandoned or historic buildings, and \nblend the old and the new. I feel this is also \nhappening in China. There is a kind of re-\ndiscovery of history and traditions, and a \nsort of refusal to start from zero and create \nsomething that jumps into the future. For \ninstance, your Alila Yangshuo Hotel is based \non the foundations and ruins of a build-\ning from the late 1960s, but it’s treated as \nruins. It’s an interesting shift, and you can \nsee this happening in Spain as well. There \nis a respect for what was there before, and \nI think that this attitude is different from \nthat of architects years ago. Instead of try-\ning to create this completely new, artificial \nobject, now it’s a lot more about creating an \nenvironment, accommodation, comfort and \nworking for the public. \nGD: Modernism is almost like a revolu-\ntion in terms of how the architecture en-\ngages with the system of production of this \ntechnology. Even the mindset, the culture, \nand religion change its philosophy. Also, \nthe architecture system becomes more and \nmore closed, more focussed on a final object \nin which all the components in architecture \nare integrated into a system. For instance, \na cell phone, like this iPhone, is perfectly \ndesigned. Everything inside is such a smart \nsystem that it starts rejecting any relation \nwith the exterior, because it is a closed \nobject. This idea can be exported to many \nfields, but in architecture, since modernity, \na more introspective model is produced. \nOnly if we have in mind the place, people, \nheritage, or tradition will it be possible for \nthe system to open up and let users interact \nwith all these conditions, making the ar-\nchitecture more inviting, more comfortable. \n",65,{"image":265,"text":266,"number":267},"\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.66.png","64 C 17\nGD: Tú mismo formas parte de otro tipo \nde fusión: vives en Nueva York, das clase \nen China y viajas por todo el mundo. Eres \ncapaz de identificar esas similitudes de las \nque hablas entre la arquitectura china y la \nespañola, y hablas de un concepto nostálgico \nde la belleza del que a mí me gustaría saber \nmás. Tal y como yo lo veo, ambos países se \nenfrentan a condiciones y culturas distintas, \nasí como a una etapa diferente en la historia \ncontemporánea.\nVB: Muchos de los arquitectos más co-\nnocidos de China están construyendo edi-\nficios de escala pequeña en el campo, igual \nque aquí en España hay muchos proyectos \ninteresantes lejos de las grandes ciudades. \nHace poco visité la obra de RCR en Olot, \nun pequeño pueblo cerca de Girona, y ellos \ntrabajan mucho con el contexto, con edifi-\ncios abandonados, o históricos, y fusionan \nlo nuevo con lo antiguo. Mi sensación es \nque esto también está pasando en China. \nHay un redescubrimiento de la historia y \nla tradición, y una especie de rechazo a \ncomenzar desde cero. Por ejemplo, tu Hotel \nAlila Yangshuo está construido sobre la ci-\nmentación y las ruinas de un edificio de la \ndécada de 1960, y ya se considera una ruina. \nEs un giro muy interesante, y me parece que \nen España está ocurriendo también. Hay \nun respeto por lo que había antes, y creo \nque es una actitud diferente a la que adop-\ntaban los arquitectos años atrás. Frente a \nesa tendencia de crear lo nuevo, el objeto \nartificial, ahora se antepone la búsqueda de \nun ambiente, un confort y una voluntad de \ntrabajar para la gente.\nGD: La modernidad supone una revo-\nlución en términos de cómo la arquitec-\ntura se relaciona con los nuevos sistemas \nproductivos y la tecnología. Aparece una \nmetodología de proyectar más cerrada, más \ncentrada en un objeto final que aúna con \néxito los componentes de la arquitectura. \nPor ejemplo, un teléfono móvil, como este \niPhone, está tan perfectamente diseñado \nsobre unos sistemas tan inteligentes e in-\ntegrados que hacen que el aparato rechace \ncualquier relación con el exterior, porque es \nun objeto cerrado. Esta idea se puede expor-\ntar a muchas materias, pero en arquitectura, \ndesde la modernidad, se produce un proceso \nmás introspectivo. Solo si se tiene en cuenta \nel sitio, la gente, la herencia o la tradición \nse conseguirá que el sistema se abra hacia \nfuera y permita a los usuarios interactuar \ncon todas estas condiciones. Eso, desde mi \npunto de vista, haría la arquitectura más \nhospitalaria, y más cómoda.\n",66,{"image":269,"text":270,"number":271},"\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.67.png","C 17 65\n",67,{"image":273,"text":19,"number":274},"\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.68.png",68,{"image":276,"text":277,"number":278},"\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.69.png","Travel\nBarcelona\nSpain\n",69,{"image":280,"text":281,"number":282},"\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.70.png","68 C 17\nBarcelona\nTravel\nSpain  \n7\nBetween the mountains and \nsea, the capital of Catalonia \nrenews its tourist attractions \nthrough refurbishments, \ninnovation, and design. \nEntre el mar y la montaña, \nla Ciudad Condal renueva \nsus atractivos turísticos a \ntravés de la rehabilitación, \nla innovación y el diseño. \n© Roland Halbe\n© depositphotos.com\u002Fmasterlu\n01\nBarcelona is inseparable \nfrom the figure of \nAntonio Gaudí (1852-\n1926), who built unique \nworks like Park Güell, \ncharacterized by the \nsinuous forms of its \nurban pieces that blend \nart and nature. \nCatalan Modernism \nPark Güell\n02\nInspirada en el colorista \ntrencadís característico \nde Gaudí, la ondulada \ncubierta del mercado \nde Santa Caterina, en el \nbarrio de Sant Pere, forma \nparte de la renovación \nllevada a cabo por Miralles \ny Tagliabue en 1997.\nInspired by the colorist \ntrencadís of Antoni \nGaudí, the undulated roof \nof Santa Caterina Market, \nin the neighborhood of \nSant Pere, is part of the \nrenovation project carried \nout by Miralles and \nTagliabue in 1997. \nRehabilitation\nSanta Caterina Market\nBarcelona es inseparable \nde la figura de Antoni \nGaudí (1852-1926), que \nconstruyó obras tan \nsingulares como el parque \nGüell, donde destacan \nlas formas sinuosas de \nsus piezas urbanas que \nintegran arte y naturaleza.\n",70,{"image":284,"text":285,"number":286},"\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.71.png","C 17 69\n03\nCatalan Modernism\nSagrada Familia\nInmersa en el damero \ndel ensanche de Cerdá, la \nSagrada Familia —iniciada \nen 1882 y todavía en \nconstrucción— es la obra \nmaestra de Gaudí, y en ella \nse plasma la evolución de \nsu estilo desde el neogótico \nhasta el naturalismo.\nImmersed in the Cerdá \nEnsanche, the temple  \n– whose construction \nbegan in 1882 and goes \non to date – is Gaudí’s \nmasterpiece, and reflects \nthe evolution of his  \nstyle from neo-Gothic  \nto naturalism. \nsource: lovelystreets.com\n",71,{"image":288,"text":289,"number":290},"\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.72.png","70 C 17\n08\nInternational Exposition\nMNAC\nLa Exposición Internacional \nde 1929 impulsó la \nrenovación de Montjuïc \ny sus alrededores con \nedificios como el Palacio \nNacional, que actualmente \nfunciona como museo y \ncuenta con una importante \ncolección de arte románico.\nThe International Expo \nof 1929 impulsed the \nrenovation of Montjuïc \nand its surroundings with \nbuildings like the Palau \nNacional, used today \nas a museum with an \nimportant collection of \nRomanesque art.\nCivil Gothic\nMaritime Museum\n04\nAn example of Civil Gothic, \nthe former Royal Shipyard \nwas where the galleys used \nby the Crown of Aragon \nto expand throughout the \nMediterranean were built \nbetween the 13th and 18th \ncentury. Today it houses  \nthe Maritime Museum.\nEjemplo del gótico civil, \nlas antiguas Atarazanes \nReales se destinaron a \nfabricar las galeras que \nutilizó la Corona de Aragón \npara expandirse por el \nMediterráneo entre los \nsiglos XIII y XVIII. Hoy son la \nsede del Museo Marítimo.\nMedieval City Center\nPlaça del Rei\n05\nSituated in the Gothic \nquarter, this medieval \nplaza is in the Palau \nReial Major complex. \nSituada en el barrio gótico, \nesta plaza de origen \nmedieval forma parte del \nPalacio Real Mayor.\n07\nCatalan Gothic \nSanta Maria del Mar\nBuilt in just 55 years \n(between 1329 and \n1384), Santa Maria  \ndel Mar Church stands \nout because it maintains \nthe purity of Catalan \nGothic, characterized \nby large interiors and \nornamental austerity. \nConstruida en tan solo \n55 años (entre 1329 y \n1384), la basílica de Santa \nMaría del Mar destaca \npor mantener la pureza \ndel estilo gótico catalán, \ncaracterizado por la \namplitud del interior y la \nausteridad decorativa.\nUniversal Exposition\nUmbracle Shade House\n06\nSeveral pieces were added \nfor the 1888 Expo, like \nthis Umbracle in the  \nParc de la Ciutadella. \nPara acoger la Exposición \nde 1888, se añadieron piezas \ncomo este Umbráculo en el \nparque de la Ciudadela.\n© Pedro Pegenaute\n© Josep Salvany i Blanch\nsource: todosobrebarcelona.com\nsource: bcncatfilmcommission.com\nsource: franciscojaviertostado.com\n",72,{"image":292,"text":293,"number":294},"\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.73.png","C 17 71\nInternational Exposition\nBarcelona Pavilion\n09\nDesigned by Mies van \nder Rohe and Lilly \nReich, the German \nNational Pavilion for \nthe International Expo \nof 1929 stood out for \nits geometric rigor and \nbecame a symbol of the \nModern Movement. \nDiseñado por Mies van \nder Rohe y Lilly Reich, \nel pabellón nacional \nde Alemania para la \nExposición de 1929 \ndestacó por su rigor \ngeométrico y se convirtió \nen un símbolo del \nMovimiento Moderno.\nSocial Housing\nWalden 711\nArt Museum \nMACBA\nTelecommunications \nTorre de Collserola\n12\nThis slender tower designed \nby Norman Foster was  \nbuilt to broadcast the \nOlympic Games of 1992. \nDesigned by the team of \nRicardo Bofill in 1970, these \ndwellings take inspiration \nfrom a science fiction utopia. \nPara retransmitir los JJOO\nde 1992, se construyó\nesta esbelta torre atirantada \nconcebida por Norman Foster.\nProyectadas por el equipo \nde Bofill en 1970, estas \nviviendas se inspiran en una \nutopía de ciencia ficción.\nLocated in El Raval \nneighborhood, the \nMACBA was designed by \nRichard Meier in 1990 \nfollowing rationalist lines. \nIn its interior, the color \nwhite becomes a neutral \nbackdrop on which to \ndisplay the works. \nSituado en el Raval, el \nMACBA fue diseñado \npor Richard Meier en \n1990 siguiendo líneas \nracionalistas. En el \ninterior, el color blanco \nfunciona como fondo \nneutro sobre el que \nexponer las obras.\n10\nsource: sohu.com\nsource: laspiedrasdebarcelona.blogspot.com\n© Getty Images\nsource: ricardobofill.com\n",73,{"image":296,"text":297,"number":298},"\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.74.png","72 C 17\nEn el barrio de la Ribera, \nel Palau de la Música \nCatalana fue proyectado \npor Lluís Domènech \nentre 1905 y 1908, y \nreformado por Oscar \nTusquets en la década de \n1980, con ampliaciones \ncomo este patio lateral. \nThe conversion by \nHarquitectes of an  \nold glass factory into  \na civic center establishes \na dialogue with the \noriginal materials  \nand inserts courtyards \nand solar chimneys  \nfor climate control. \nIn La Ribera area, the \nPalau de la Música \nCatalana was designed by \nLluís Domènech between \n1905 and 1908, and \nrefurbished by Oscar \nTusquets in the 1980s, \nwith extensions like  \nthis side courtyard. \nExperimental Theater\nSala Beckett\nCompleted by Flores & \nPrats, the refurbishment \nof the old Consumer \nCooperative in \nPoblenou integrates and \nunderscores the aesthetic \nqualities of the old walls, \nas the backdrop for \nexperimental theater. \nDesarrollada por Flores & \nPrats, la rehabilitación de \nla antigua Cooperativa de \nConsumo, en Poblenou, \nintegra y potencia las \ncualidades plásticas de \nlos muros existentes, \ncomo telón de fondo de la \nexperimentación teatral.  \n16\n14\n13\n15\nCultural Center\nFundació Antoni Tàpies\nCivic Center\nCristalleries Planell\nConcert Hall\nPalau de la Música\nLa fundación creada por \nAntoni Tàpies se sitúa en un \nedificio modernista de Lluís \nDomènech i Montaner.\nThe foundation created by \nAntoni Tàpies is housed in a \nmodernist building by Lluís \nDomènech i Montaner.\nLa intervención de \nHarquitectes para \ntransformar una antigua \nfábrica de cristales en un \ncentro cívico dialoga con \nla materialidad original, \ne introduce patios y \nchimeneas solares para  \nregular la climatización. \n© Adrià Goula\n© José Hevia\n© Adrià Goula\nsource: tusquets.com\n",74,{"image":300,"text":301,"number":302},"\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.75.png","C 17 73\nInnovation District\nMercat dels Encants\nThe plan to transform \nPoblenou into an \ninnovation hub was \nlaunched in 2000. Three \nof its landmarks are \nAgbar Tower, by Nouvel; \nDHUB Museum, by \nMBM; and Mercat dels \nEncants, by b720. \nDesigned by Cloud 9, \nthe Media-TIC building \nreflects the innovative \ncharacter of its program \nwith a daring structure \nof latticework beams \nand a facade of ETFE \ncushions that contributes \nto energy self-sufficiency.\nEn el año 2000, se impulsó \nla transformación de \nPoblenou en un distrito \nproductivo innovador. Tres \nde sus hitos más visibles \nson la torre Agbar, de \nNouvel, el museo DHUB, \nde MBM, y el Mercat dels \nEncants, de b720.\nProyectado por Cloud 9, el \nedificio Media-TIC responde \nal carácter innovador de \nsu programa mediante una \naudaz estructura de vigas \nde celosía y una fachada \nde cojines de EFTE, que \ncontribuye a lograr la \nautosuficiencia energética. \n17\n20\nInnovation District\nMUHBA Oliva Artés\nLa antigua fábrica Oliva \nArtés se transforma en la \nsede del Museo de Historia \nde Barcelona a través de la \nrenovación llevada a cabo \npor Baas que desnuda los \nmuros, suelos y techos \npara enfatizar la calidad \ndel espacio industrial. \nThe old Oliva Artés \nfactory is transformed \ninto the Museu d’Història \nde Barcleona through a \nrenovation carried out \nby Baas that strips the \nwalls, floors, and ceilings \nto bring out the quality of \nthe industrial space. \nInnovation District\nMedia-TIC\n19\nInnovation District\nElectrical Substation\n18\nA triangular mesh \nwith climbing plants \ncamouflages the substation \ndesigned by Rahola Vidal.\nDiseñada por Rahola Vidal, \nuna malla triangular por donde \ncrecen las plantas camufla la \nsubestación de electricidad. \nInnovation District\nAcid House\n21\nThe color white unifies \nthe different materials and \ntextures of the warehouse \nrenewed by Arquitectura-G. \nEl color blanco unifica la \ndiversidad de materiales y \ntexturas de la nave reformada \npor Arquitectura-G.\n© José Hevia\n© José Hevia\n© Marcela Grassi\n© Iwan Baan\nsource: encantsbarcelona.com\n",75,{"image":304,"text":305,"number":306},"\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.76.png","74 C 17\n22\nEn lo alto del Turó de \nla Rovira, una colina de \n262 metros de altura, \nuna batería antiaérea \nconstruida durante la \nGuerra Civil se utiliza \nhoy como mirador desde \ndonde contemplar vistas \npanorámicas de la ciudad.    \nHigh up on Turó de la \nRovira, a 262-meter-\nhigh hill, an anti-aircraft \nbattery built during  \nthe Civil War is used \ntoday as a viewing \nplatform from which to \ncontemplate panoramic \nvistas of the city. \nPanoramic Views \nCarmel Bunkers\n26\nAccommodation\nSoho House\nMucho más que un hotel \nde lujo, Soho House \nes un club social que \nofrece alojamiento a \nprofesionales creativos. \nSu sede en Barcelona \nocupa un edificio del \nsiglo XIX con vistas a \nMarina Port Vell. \nMuch more than an \nupscale hotel chain, Soho \nHouse is a social club that \naccommodates creative \nprofessionals through \nmembership. In Barcelona \nit occupies a 19th-century \nbuilding overlooking \nMarina Port Vell. \nShopping \u002F Eating out \nSant Antoni Market\n23\nFollowing the lines of \nthe popular Boquería \nMarket, the renovation \nof the Mercat de Sant \nAntoni also includes \ntraditional stalls, \nrestaurants, bars, and \nshops that turn it into  \na tourist magnet. \nSiguiendo la estela del \npopular mercado de la \nBoquería, la renovación \ndel mercado de Sant \nAntoni incluye además \nde puestos tradicionales, \nrestaurantes, bares y \ntiendas que lo convierten \nen un atractivo turístico. \nAccommodation \nCasa Gracia \n24\nCasa Gracia is a modern \nhostel that offers shared \nrooms, private ones, and \nalso apartments. \nShopping \nNinot Market\n25\nIn the Eixample, this market \nhas adapted to the times \nwhile maintaining the charm \nof its original construction. \nEn el Eixample, este mercado \nha sabido adaptarse a los \ntiempos sin perder el encanto \nde su construcción centenaria. \nCasa Gracia es un albergue \nmoderno que ofrece \nhabitaciones compartidas, \nprivadas y apartamentos.\n© instamatics\n© Adrià Goula\nsource: inlovemag.es\nsource: Soho House Barcelona\n© Adrià Goula\n",76,{"image":308,"text":309,"number":310},"\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.77.png","C 17 75\nLa tienda de moda y diseño \nDarial reinterpreta el orden \ncorintio en las columnas \nque decoran sus salas. \nThe fashion and design \nstore Darial reinterprets \nthe Corinthian order in \nthe columns of its halls. \n27\nConcept Store\nDarial \n28\nEating Out\nEl Villa\nConcebida como un \nhomenaje a la tradición \npesquera, la vermutería \nEl Villa en el barrio \nde Gracia ofrece una \nselección de los mejores \nproductos del mar, con un \ninteriorismo que evoca la \nestética de un barco.  \nConceived as a tribute  \nto fishing traditions,  \nthe vermouth bar  \nEl Villa, in the Gràcia \ndistrict, offers the best \nselection of sea products, \nwith an interior  \ndesign that evokes the \naesthetic of boats.\n31\nEating Out\nEl Nacional\nDespués de funcionar \ncomo café teatro, fábrica \nde pieles, concesionario \ny garaje privado, \neste histórico interior \nmodernista cubierto por \nuna retícula de cúpulas \nse ha transformado en un \nmultiespacio gastronómico.\nOnce a café-theater,  \na leather factory, a  \ncar shop and private \ngarage, this historic \nmodernist interior \ncovered by striking \nvaulted ceilings has \nbeen transformed into a \ngastronomic multi-space.\nShopping\nCamper Store\n30\nDesigned by Kengo \nKuma, the Camper shop \non Passeig de Gràcia \nreinterprets the traditional \njack-arch brick by creating \na modular element \nthat completes all the \nfurniture, from counters, \nto shelves or seating.\nDiseñada por Kengo \nKuma, la tienda Camper, \nen el Paseo de Gracia, \nreinterpreta la bovedilla \ncerámica al crear un \nelemento modular que \nresuelve el mobiliario, \ndesde el mostrador a las \nestanterías o los bancos. \nEating out \nBaldomero\n29\nSet as if it were a country \nhouse, the restaurant \nBaldomero recreates a \nhome-like atmosphere. \nPhotography\nFoto Colectania\n32\nAn old equestrian shop, \ncarefully restored, is now \nthe home of the Foto \nColectania Foundation. \nUn antigua tienda de artículos \necuestres cuidadosamente \nrehabilitada acoge la sede de la \nFundación Foto Colectania.  \nAmbientado como una casa \nde campo, el restaurante \nBaldomero busca crear una \nexperiencia hogareña. \n© Darial\nsource: inandoutbarcelona.net\nsource: revistaad.es\nsource: fotocolectania.org\n© José Hevia\n© Imagen Subliminal\n",77,{"image":312,"text":313,"number":314},"\u002Fmedia\u002Fimages\u002F2e\u002F969227f0ebb2af15ab87a1dcfa3583-28f796d96b.78.png","76 C 17\n 07. Santa Maria del Mar\n 27. Darial\n 28. El Villa\n 29. Baldomero\n 30. Camper Store\n 31. El Nacional\n 32. Foto Colectania \nCarrer d’Ausiàs Marc, 37\n+34 934 17 73 37 \nC. de Martínez de la Rosa, 27\n+34 660 14 13 18\nelvillavermuteria.com\nPassatge de Mercader, 16\nRusland 3\n+31 20 625 3738\nPasseig de Gràcia, 24\n+34 935 18 50 53\n12 am - 12 pm Mon - Sun\nPasseig de Picasso, 14\n+34 932 17 16 26\nfotocolectania.org\n 18. Electrical Substation\n 19. Media-TIC\n 20. MUHBA Oliva Artés \n 08. MNAC\n 09. Barcelona Pavilion\n 12. Torre de Collserola\n 10. MACBA\n 11. Walden 7\n 13. Cristalleries Panell\n 14. Fundació Tàpies\n 16. Sala Beckett\n 15. Palau de la Música\n 26. Soho House \n 25. Ninot Market\nPlaça Duc de Medinaceli, 4\nC. de Mallorca, 133\nCtra. Reial, 106 \nwalden7.com \nCtra. de Vallvidrera al Tibidabo \n+34 934 06 93 54\nCarrer de Roc Boronat, 117\n8 am - 8 pm Mon-Fri\nD’Aragó, 255 \n+34 934 87 03 15\nCarrer de Pere IV, 228, 232\n+34 932 84 53 12 \nCarrer del Dr. Ibáñez, 38\nCarrer de Tànger, 97\nPalau de la Música, 4-6\n+34 93 295 72 00\nPlaça de Santa Maria, 1\nAv. Francesc Ferrer i Guàrdia, 7\nmiesbcn.com\n10 am - 8 pm\nParc de Montjuïc\n10 am - 8 pm\n+34 936 22 03 60\nPasseig de Picasso, 13 \n+34 934 02 70 00\n8 am - 2:30 pm Mon-Fri\nPlaça dels Àngels, 1\nmacba.cat\n+34 934 12 08 10\nparkguell.barcelona \n9:30 am - 7:30 pm Mon-Sun\nC. d’Espronceda, 142-146\n+34 932 56 21 22\nCarrer de los Castillejos, 158\n9 am - 8 pm Mon, Wed, Fri, Sat\n 01. Park Güell\n 02. Sta. Caterina Market\n 03. Sagrada Familia\n 04. Maritime Museum\nAv. de Francesc Cambó, 16 \n+34 933 19 21 35\nC. de Mallorca, 401\nsagradafamilia.org\n9 am - 7:30 pm Sat-Sun\nAvinguda de les Drassanes\nmmb.cat\n10 am - 8 pm Mon-Sun\n+34 933 429 920 \nBarcelona\nLocalización y datos prácticos  \nLocation and useful information  \n 22. Carmel Bunkers\n 23. Sant Antoni Market\n 21. Acid House\n 24. Casa Gracia\nCarrer d’Àvila, 84\n10 am - 7 pm Mon-Fri \nCarrer de Marià Labèrnia\n4:30-8:30 pm Sat, Sun, Wed\nCarrer del Comte d’Urgell, 1\n8:30am-8:30 pm Mon-Sat \nPasseig de Gràcia, 116Bis\n+34 931 74 05 28 \n 05. Plaça del Rei\n 17. Mercat dels Encants\n 06. 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