[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-cosentino-architecture-and-everything-else-19":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":342},{"id":4,"title":5,"slug":6,"image":7,"source":8,"brand_name":9,"brand":10,"brand_slug":11,"file_size":12,"pages":13,"pages_count":337,"matched_pages":338,"match_count":339,"two_pages":340,"show_text":341},24496,"Architecture & Everything Else 19","cosentino-architecture-and-everything-else-19","\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002Fae\u002F4e6bb166916ea4a86939e2200a2815-28f79be228.pdf","Cosentino",2482,"cosentino","35.0 MB",[14,17,21,25,29,33,36,40,44,48,52,56,60,64,68,72,76,80,83,87,91,95,99,103,107,111,115,119,122,126,130,134,138,142,146,150,153,157,161,165,169,173,177,181,185,189,192,196,200,204,208,212,216,220,224,228,231,235,239,242,246,250,254,258,262,266,270,274,277,281,285,289,293,297,301,305,309,313,317,321,324,327,331,335],{"image":7,"text":15,"number":16},"c \narchitecture &  \neverything else 19 \n",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.2.png","",2,{"image":22,"text":23,"number":24},"\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.3.png","c\ncontents\n18\n06\n28\n36\n46\n56\n68\n  Architecture\n 06 CIVIC CONNECTION  Kunsthaus Zürich by Chipperfield \n \n Una nueva ampliación que remata el eje artístico y cultural de la ciudad suiza.  \n \n A new expansion rounds off the artistic and cultural axis of the Swiss city. \n 12 PUBLIC VOID  KAIT Plaza by Ishigami \n \n El espacio, un híbrido de edificio y plaza pública, completa el campus universitario. \n \n The space, a hybrid of building and public square, is the new campus addition. \n \n Style\n 28 MAÏMOUNA GUERRESI  Beyond the Border\n \n La polifacética artista conecta Europa y África a través de su introspectiva obra.  \n \n The multifaceted artist connects Europe and Africa through her introspective creations.\n \n Cosentino\n 36 DEKTON FACADE  Grävlingen by Equator Studio  \n \n Una nueva fachada para un edificio histórico en el centro de Estocolmo.  \n \n A new facade for an historic building in Stockholm’s inner city. \n 40 DEKTON VILLA  Rosh Hanikra House by Moshe Zion \n \n Grandes superficies de Dekton para la renovada imagen de una villa en la costa israelí. \n \n Large-format Dekton surfaces for the new image of a villa on the Israeli coast.\n \n Interior\n 46 POETICS OF SPACE  Lucas y Hernández Gil in Madrid \n \n Una vivienda que aúna el mundo mediterráneo y un colorido paisaje onírico. \n \n A dwelling that combines the Mediterranean world with colorful oneiric landscapes. \n 50 ALBANIAN AURA  Drita Kafè by Giusy Scalia \n \n Las superficies de Dekton evocan los orígenes albaneses de un café siciliano. \n \n Dekton surfaces evoke the Albanian origins of a Sicilian café. \n  Interview\n 56 GARCÍA-ABRIL & SANCHO  In dialogue \n \n Los arquitectos dialogan sobre arquitectura industrializada en Ensamble Fábrica en Madrid. \n \n The two architects talk about industrialized architecture at Ensamble Fabrica in Madrid.\n  Travel\n 68 BUENOS AIRES  Argentina \n \n Un recorrido por los principales hitos arquitectónicos de la capital argentina. \n \n A guide to the key architectural landmarks in the Argentinian capital.  \n 80 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  Arts\n 18 SCENIC SPIRAL  The ‘Fidelio’ of Barkow Leibinger \n \n Una sorprendente propuesta escénica para la única ópera compuesta por Beethoven. \n \n A surprising stage proposal for the only opera composed by Ludwig van Beethoven.\n 22 STORY CONTAINERS  The Drawings of Sergio García \n \n El trabajo del dibujante español presenta una nueva manera de contar historias. \n \n The drawings of the Spanish artist propose a new way of telling stories.\n",3,{"image":26,"text":27,"number":28},"\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.4.png","Depósito Legal: M-14282-2014\nISSN: 2341-3867 \nCubierta Cover\nKAIT Plaza by Junya Ishigami\n© Junya Ishigami + Associates \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 \nAlberto Ballesteros \nSandra Borge \nCuca Flores \nLaura González \nSantiago Landín \nEnrique Morillo \nJesús Pascual \nPaloma Sanz \nRaquel Vázquez \nTraducción Translations\nGina Cariño, Laura Mulas\n",4,{"image":30,"text":31,"number":32},"\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.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\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.6.png",6,{"image":37,"text":38,"number":39},"\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.7.png","Architecture\nCivic Connection\nKunsthaus Zürich by Chipperfield\nPublic Void\nKAIT Plaza by Ishigami \n",7,{"image":41,"text":42,"number":43},"\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.8.png","6 C 19\nArchitecture\nBuilding\n1\nLa Kunsthaus es un edificio de 1910 que se encuentra en la cén-\ntrica Heimplatz de Zúrich. A diferencia de las anteriores, la nueva \nextensión no se agrega al conjunto preexistente, sino que se \ninstala en el flanco opuesto de la plaza y queda conectada a él \nmediante una galería subterránea. El rotundo volumen rectangular \nda coherencia a un espacio urbano antes desdibujado y se integra \nen él al emplear en su fachada caliza del Jura, característica de \nla arquitectura de la región. Junto con la vecina Schauspielhaus, \nlos tres edificios componen un nuevo recorrido artístico: el inicio \nde la milla cultural que conduce al conjunto universitario en el \nnorte de la ciudad suiza.\nLa ampliación se concibe como un bloque que cierra el borde \nnorte de la Heimplatz y que, al otro lado, delimita un jardín ur-\nbano que podrá acoger diferentes intervenciones artísticas. Esta \ncircunstancia motivó que la planta baja del museo se organizara en \ntorno a un gran corredor central que comunica los dos ámbitos. La \ngalería, accesible al público, refuerza la relación de la institución \ncon la ciudad, y en sus extremos se delimita con grandes ventanales \nque contribuyen a conectar visualmente e integrar el museo con \nsu entorno. Las partes del programa más públicas —tales como la \ncafetería, el salón de actos, la tienda o las aulas-taller— se distribu-\nyen alrededor de este nuevo espacio cívico, mientras que las salas \nde exposición se colocan en las dos plantas superiores.\nCivic Connection\nKunsthaus Zürich by Chipperfield \nDespués de doce años \nde planificación y \nconstrucción, el estudio \nde David Chipperfield ha \ncompletado la ampliación \nde la Kuntshaus de \nZúrich, una de las \ncolecciones de arte más \nimportantes de Suiza. \nAfter twelve years \nof planning and \nconstruction, David \nChipperfield Architects \ncomplete the expansion \nof the museum, which \ncontains one of most \nimportant art collections \nin Switzerland. \nThe Kunsthaus is a 1910 building located at Heimplatz, in the \ncenter of Zurich. Unlike the previous expansions, this one does \nnot add itself to the preexisting ensemble, but rises on the other \nside of Heimplatz, and connects to the rest of the museum complex \nthrough an underground gallery. The bold rectangular volume gives \ncoherence to an urban space that used to be unclear, and blends \nwith it through a facade clad in the Jura limestone that is typical \nof architecture in the region. Hand in hand with the neighboring \nSchauspielhaus, the three volumes form a new ‘threshold to the \narts’: the start of a mile-long cultural walk leading to the university \ngrounds in the north part of Zurich.\nThe extension building is conceived as a block that closes the \nnorthern border of Heimplatz, and which on the other side delimits \nan urban garden capable of accommodating different artistic in-\nterventions. This was a cue to arrange the museum’s ground level \naround a large central corridor that bridges both areas. Accessible \nto the general public, this gallery strengthens the institution’s rela-\ntionship with the city, and the large windows at its far ends help to \nvisually connect the museum to the surroundings and integrate it \ninto the environs. The more public parts of the program – such as \nthe café, an event hall, the museum store, and education services –  \nare laid out around this new civic space, while the exhibition halls \ntake up the two upper stories.\n",8,{"image":45,"text":46,"number":47},"\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.9.png","C 19 7\n",9,{"image":49,"text":50,"number":51},"\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.10.png","8 C 19\n",10,{"image":53,"text":54,"number":55},"\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.11.png","C 19 9\nThe new Kunsthaus \nZürich, linked \nunderground to the \nhistorical building, is \norganized around a \npublicly accessible hall \nthat connects Heimplatz \nwith an art garden that \nopens up to the city. \nLa nueva Kunsthaus, unida \nbajo tierra con el edificio \nhistórico, se organiza en \ntorno a una gran galería \ncentral que comunica la \nHeimplatz con un jardín \nurbano dedicado al arte, y \nque se entiende como un \nespacio abierto a la ciudad. \n",11,{"image":57,"text":58,"number":59},"\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.12.png","10 C 19\n",12,{"image":61,"text":62,"number":63},"\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.13.png","C 19 11\nArquitectos Architects\nDavid Chipperfield Architects Berlin \u002F David Chipperfield, \nChristoph Felger (socio, jefe de proyecto partner, design \nlead); Harald Müller (socio partner); Hans Krause (arquitecto \nconcurso, diseño de concepto project architect competition, \nconcept design); Barbara Koller (arquitecto proyecto \nbásico, desarrollo de proyecto, desarrollo técnico project \narchitect schematic design, design development, technical \ndesign); Jan Parth (arquitecto proyecto técnico, supervisión \nde obra project architect technical design, site design \nsupervision); Markus Bauer (arquitecto adjunto deputy \nproject architect, 2009-2014); Robert Westphal (arquitecto \nadjunto deputy project architect, 2015-2020); Wolfgang \nBaumeister, Leander Bulst, Beate Dauth, Kristen Finke, \nPavel Frank, Anne Hengst, Ludwig Jahn, Frithjof Kahl, \nGuido Kappius, Jan-Philipp Neuer, Mariska Rohde, Diana \nSchaffrannek, Eva-Maria Stadelmann, Marc Warrington; \nGraphics, Visualisation: Konrad Basan, Dalia Liksaite, Maude \nOrban, Ken Polster, Antonia Schlegel, Simon Wiesmaier, \nUte Zscharnt (equipo team); Ivan Dimitrov, Kristen Finke, \nAnnette Flohrschütz, Pavel Frank, Gesche Gerber, Peter von \nMatuschka, Sebastian von Oppen, Mariska Rohde, Franziska \nRusch, Lilli Scherner, Lani Tran Duc, Marc Warrington; \nGraphics, Visualisation:  Dalia Liksaite, Antonia Schlegel, Ute \nZscharnt (equipo concurso competition team)\nConsultores Consultants\nb + p baurealisation (arquitectos ejecutivos executive \narchitects); Emmer Pfenninger Partner (consultores \nfachada facade consultant); Gruner, ContiSwiss (protección \nal fuego fire protection); IGB Ingenieurgruppe Bauen, \ndsp - Ingenieure & Planer, Ingenieurgemeinschaft \nKunsthauserweiterung (estructura structure); Kopitsis \nBauphysik (física de la construcción building physics); \nL2M3 Kommunikationsdesign (señalética signage); matí \nLichtgestaltung, Institut für Tageslichttechnik (consultores \niluminación lighting consultant); Niels Hochuli, Dreicon \nAG (supervisión global overall management); Polke, Ziege, \nvon Moos, Hefti. Hess. Martignoni. (servicios MEP MEP \nservices); Wirtz International, KOLB Landschaftsarchitektur \n(paisajismo landscape)\nCliente Client\nEinfache Gesellschaft Kunsthaus Erweiterung – EGKE\nFotos Photos\nNoshe \nGround floor\n",13,{"image":65,"text":66,"number":67},"\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.14.png","12 C 19\nArchitecture\nPublic Space\n1\nTras inaugurar en 2008 los talleres del Intituto de Tecnología \nde Kanagawa en Atsugi, ciudad próxima a la capital japonesa \nde Tokio, el centro universitario no dudó en plantear un nuevo \nproyecto a la firma japonesa dirigida por Junya Ishigami. En esta \nocasión, la propuesta responde a dos necesidades fundamentales: \ndar a los estudiantes un nuevo lugar de reunión, diferente a las \notras zonas de descanso del campus, y dotar a la universidad de \nun espacio polivalente donde acoger todo tipo de eventos. El re-\nsultado es un vacío semiexterior que configura una plaza pública \npara el disfrute de los estudiantes.\nRodeado de altos edificios educativos, el volumen busca ajustar-\nse a la escala humana y se adapta suavemente al terreno mediante \nun tapiz continuo que invita a los visitantes a apropiarse del es-\npacio al gusto, mientras que una ondulante cubierta se despliega \na poca altura sobre él, tensando las relaciones entre los planos \nde suelo y techo.\nLa cubierta lleva hasta sus últimas consecuencias la definición \nde versatilidad, salva portentosas luces sin apoyos interiores, y deja \na resguardo un espacio diáfano que se siente al aire libre gracias a \nperforaciones rectangulares de gran formato. Construida con chapas \nde acero soldadas —de apenas 12 milímetros de espesor—, esta suerte \nde velarium se dilata y contrae en función de las temperaturas y se \nabre a un cielo que intensifica la tornadiza experiencia espacial.\nAfter completing in 2008 the workshops for KAIT (Kanagawa \nInstitute of Technology) in Atsugi, a city in Kanagawa Prefecture, \nthe university center had no doubt assigning this new project to \nthe Japanese practice headed by Junya Ishigami. On this occa-\nsion, the proposal responds to two fundamental needs: to give \nstudents a new meeting space, where they can socialize and take \na break, and to provide the university with a multipurpose space \nto host all kinds of events. The final solution is a semi-exterior \nvoid that forms a public square for the enjoyment of students of \nthe Kanagawa Institute.\nSurrounded by tall educational buildings, the one-story volume \nseeks giving the premises a human scale. As a continuous tapestry, \nit gently adapts to the irregular terrain and invites visitors to sit \non the floor and take over the space as they please. The undulating \nroof spreads not far over them, tensing the relationship between \nfloor and ceiling.\nBringing the definition of versatility to an extreme, the roof \nspans extraordinary distances without interior supports, thereby \nprotecting an uninterrupted space that feels like outdoors thanks \nto huge rectangular perforations above. Executed with welded steel \nplates hardly 12 millimeters thick, this velarium of sorts dilates \nand contracts in accordance with the temperature and opens up to \na sky that intensifies the user’s shifting spatial experience.\nPublic Void\nKAIT Plaza by Ishigami \nConcebido como un \nárea semiexterior, el \nproyecto del estudio \njaponés de Junya \nIshigami es a la vez un \nedificio y una plaza, \ny dota al campus \nuniversitario de un gran \nespacio polivalente.\nDesigned as a semi-\noutdoor space, the \nproject by the Japanese \nstudio of Junya \nIshigami is at the \nsame time building \nand plaza, and gives \nthe campus a large \nmultipurpose area. \n",14,{"image":69,"text":70,"number":71},"\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.15.png","C 19 13\n",15,{"image":73,"text":74,"number":75},"\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.16.png","14 C 19\nFloor plan\nFoundation plan\n",16,{"image":77,"text":78,"number":79},"\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.17.png","C 19 15\nArquitectos Architects\nJunya Ishigami (socio partner); Masayuki Asami (jefe \nde proyecto project manager); Taeko Abe (arquitecto \nproyecto project architect) \nEquipo Team\nShuma Tei, Motosuke Mandai, Sachie Morita, Toru Yamada, \nFederico Lepre\nColaboradores Collaborators\nJun Sato Structural Engineers Company Limited \n(estructuras structures); Konishi Structural Engineers \n(planificación estructura structures planning); Takasago \nThermal Engineering Company Limited (equipo MEP MEP \nteam); Kinden Corporation (consultor eléctrico electrical \nconsultant)\nCliente Client\nKanagawa Institute of Technology\nFotos Photos\nJunya Ishigami + Associates\nRoof plan\n",17,{"image":81,"text":19,"number":82},"\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.18.png",18,{"image":84,"text":85,"number":86},"\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.19.png","Arts\nScenic Spiral\nThe ‘Fidelio’ of Barkow Leibinger \nStory Containers\nThe Drawings of Sergio García \n",19,{"image":88,"text":89,"number":90},"\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.20.png","18 C 19\nLa única ópera compuesta por Ludwig \nvan Beethoven, Fidelio, no ha dejado de \natraer a los melómanos desde su estreno \nen Viena en 1805. El nuevo montaje, \nuna formidable escenografía con forma \nhelicoidal, pretende evocar la prisión \ncercana a Sevilla donde el libreto sitúa la \nacción dramática.\nMarcada por profundos claroscuros, esta \ndoble hélice va creciendo con fuerza desde \nel suelo hasta configurar una suerte de \ntopografía que crea un atmósfera oscura y \nsublime, muy acorde con el tono heroico de \nFidelio, pero sin dejar de lado el potencial \nsimbólico y escénico de su despliegue. \nThe only opera that Ludwig van \nBeethoven wrote, Fidelio, has never \nceased to attract music connoisseurs  \nsince it premiered in Vienna in 1805.  \nThe new production of the work includes \nan imposing set shaped like a double \nhelix that evokes the prison near Seville \nwhere the action takes place. \nMarked by strong chiaroscuros, this \nstepped double helix rises dramatically \nfrom the floor to form a topography that \ncreates a dark and sublime atmosphere \nmuch in tune with the heroic tone of \nFidelio, without neglecting the symbolic \nand scenic potential of its display.\nArts\nScenography\n2\nTo mark the 250th \nanniversary of \nBeethoven’s birth, the \nTheater an der Wien \nhas presented a new \nscenography for Fidelio, \nwith a set designed by \nBerlin-based studio \nBarkow Leibinger \nEn el 250 aniversario \ndel nacimiento de \nBeethoven, el Theater an \nder Wien ha presentado \nun nuevo montaje de su \nópera Fidelio, con una \nescenografía firmada \npor el estudio berlinés \nBarkow Leibinger.\nPhotos: Iwan Baan\nScenic Spiral \nThe ‘Fidelio’ of Barkow Leibinger\n",20,{"image":92,"text":93,"number":94},"\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.21.png","C 19 19\n",21,{"image":96,"text":97,"number":98},"\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.22.png","20 C 19\nLa escenografía diseñada \npor Barkow Leibinger \nresuelve en un solo \ngesto toda la escena; \nsu singularidad formal \nsirve de contrapunto \ndramático a la estructura \nclásica del teatro en \nherradura a la italiana.\nThe scenography \ndesigned by Barkow \nLeibinger resolves the \nentire stage in a single \nstroke; its formal \nsingularity provides a \ndramatic counterpoint \nto the theater’s Italian \nhorseshoe set-up.\n",22,{"image":100,"text":101,"number":102},"\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.23.png","C 19 21\n",23,{"image":104,"text":105,"number":106},"\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.24.png","22 C 19\nStory Containers  \nThe Drawings of Sergio García\nTaking a sample of the most representative \nworks by the artist gives an understanding \nof the three concepts that articulate his \nresearch process. The first is based on  \nthe use of multilinear narration to end \nto the squared distribution of the page, \na strategy which favors a more agile, \ndynamic reading. The second tries to \nsupersede the longstanding ‘book-format’; \nfor instance, the use of the poster gathers \nthe whole action of the plot in one single \ndrawing. Lastly, one of his leitmotifs is  \nthe use of ‘story containers,’ stories within \na large figure, as he did in his recent  \ncover for The New Yorker. \nSergio García is one of \nthe most experimental \nand prominent comic \nillustrators in Europe, a \nfield to which he is also \ndevoted as a teacher \nin Angoulême and in \nhis alma mater, the \nUniversity of Granada.\nSergio García es uno \nde los dibujantes de \ncómic experimental \nmás célebres de Europa, \nlabor que compagina \ncon la docencia de esta \nmisma disciplina en \nlas universidades de \nAngulema y Granada. \nA partir de una muestra de los trabajos más \nrepresentativos del artista se pueden intuir \nlos tres conceptos que vertebran su proceso \nde investigación. El primero se basa en \nutilizar la narración multilineal para acabar \ncon la distribución cuadriculada de la \npágina, estrategia que favorece una lectura \nmás ágil y dinámica. El segundo trata de \nacabar con el inveterado ‘formato-libro’; \npor ejemplo, el uso del póster aglutina en \nun solo dibujo toda la acción de la trama. \nPor último, uno de sus leitmotivs es el uso \nde los ‘contenedores de historias’, relatos \ndentro de una gran figura, como el de su \nreciente portada para The New Yorker.\nArts\nComic\n2\n",24,{"image":108,"text":109,"number":110},"\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.25.png","C 19 23\n‘Georges Perec and Richard McGuire tribute’, EME 21, 2021. Color: Lola Moral.\n",25,{"image":112,"text":113,"number":114},"\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.26.png","24 C 19\nFrecuente en medios \ncomo El País o The New \nYork Times, el dibujante \nacaba de publicar su \nprimera portada en The \nNew Yorker con un \nhomenaje al famoso \npersonaje Eustace Tilley \nen su 96 aniversario. \nHis work often \nappears in prestigious \nnewspapers like El \nPaís or The New York \nTimes, and he has just \npublished his first cover \nfor The New Yorker, a \ntribute to Eustace Tilley \non his 96th anniversary.\n‘The world after Coronavirus’, El Correo, 2020. Color: Lola Moral.\nEl País, 2020. Art director, Diego Areso.\nBabelia, 2019. Art director, Diego Areso.\nThe New Yorker, 2020. Art director, Françoise Mouly.\n",26,{"image":116,"text":117,"number":118},"\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.27.png","C 19 25\n‘Eustace Tilley tribute’, The New Yorker, 2021. Art director, Françoise Mouly.\n",27,{"image":120,"text":19,"number":121},"\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.28.png",28,{"image":123,"text":124,"number":125},"\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.29.png","Style\nMaïmouna Guerresi\nBeyond the Border\n",29,{"image":127,"text":128,"number":129},"\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.30.png","28 C 19\nMAÏMOUNA \nGUERRESI\nBeyond the Border\nStyle\nFashion\n3\n",30,{"image":131,"text":132,"number":133},"\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.31.png","C 19 29\nLeft: Camuflage Zero One, Lambda Print, 2019. Top: Aisha, Lambda Print, 2015. ©Maïmouna Guerresi and courtesy of Mariane Ibrahim Gallery\nBasada en su \nexperiencia personal, \nforjada en los \ncontrastes de la cultura \neuropea y la africana, \nla artista ítalo-\nsenegalesa presenta a \ntravés de su obra la \nbelleza de la diversidad. \nThrough her art, the \nItalian-Senegalese \nmultimedia artist \nexpresses the beauty \nof cultural diversity, \nbased on her life-long \nexperience between  \ntwo cultures: European \nand African.\n",31,{"image":135,"text":136,"number":137},"\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.32.png","30 C 19\nTop: Yaye Fall, Lambda Print, 2019. Right: Yaye Fall’s Baobab, Lambda Print, 2019. ©Maïmouna Guerresi and courtesy of Mariane Ibrahim Gallery \n",32,{"image":139,"text":140,"number":141},"\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.33.png","C 19 31\n",33,{"image":143,"text":144,"number":145},"\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.34.png","32 C 19\nGran parte de su \ntrabajo está dedicado al \nmundo de la mujer, en \nparticular dentro de la \ncultura musulmana, y a \nlos valores, la fuerza y el \nespíritu que ellas pueden \naportar a la sociedad \ncontemporánea. \nMost of her works are \ndedicated to the female \nworld, and in particular \nwithin Muslim \nculture, highlighting \nthe strength and the \nspiritual and cultural \nvalue that women  \ncan bring to society. \n",34,{"image":147,"text":148,"number":149},"\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.35.png","C 19 33\nRed Balance, Lambda Print, 2018. ©Maïmouna Guerresi and courtesy of Mariane Ibrahim Gallery \n",35,{"image":151,"text":19,"number":152},"\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.36.png",36,{"image":154,"text":155,"number":156},"\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.37.png","Cosentino\nDekton Facade\nGrävlingen by Equator Studio  \nDekton Villa\nRosh Hanikra House by Moshe Zion \n",37,{"image":158,"text":159,"number":160},"\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.38.png","36 C 19\nCosentino\nFacades\n4\nDEKTON FACADE\nGrävlingen by Equator Studio \nEn el centro de Estocolmo se encuentra este edificio histórico \ncompletamente renovado tras varios años de obras. Gracias a \nsu nueva fachada en Dekton Keranium, el bloque de inmuebles \nGrävlingen ha pasado a ser un espacio acogedor y atractivo, \nadaptado a los nuevos hábitos del siglo xxi. El conjunto, que cuenta \ncon más de 350 años de vida, ha sufrido numerosas renovaciones \nhasta adaptarse por completo a nuestros días.\nLa fachada replica —a través de las piezas de Dekton— las \nnervaduras verticales habituales en el barrio de Regeringsgatan \ny crea un interesante juego de luces y sombras. La innovadora \npropuesta, proyectada por el estudio Equator Stockholm, fue \ngalardonada con el Premio Internacional de Arquitectura Macael a \nla mejor fachada de Europa en 2018. \nPara la elección del material se tuvieron en cuenta tanto las \nnecesidades futuras del edificio como la conexión histórica con el \nbarrio. Durante siglos, el barrio Regeringsgatan ha albergado desde \ncasas de madera hasta casas de piedra pulida. El denominador común \na lo largo de los años ha sido que el bloque ha contado con varias \nfachadas y expresiones. Tras barajar varias opciones se optó por Dekton, \nun material ultracompacto resistente a los rayos UV, las inclemencias \nmeteorológicas y la suciedad propia de un entorno urbano. El color de \nla fachada, de apariencia rocosa, genera una base visual sobre la que \nse apoya el edificio, y aporta una sensación de solidez y consistencia.\nLocated in Stockholm’s inner city center, this historic building has \nbeen completely refurbished after several years of work. Thanks to \nits new facade in Dekton Keranium, the Grävlingen block has been \ntransformed into a welcoming and appealing space, adapted to the \nnew habits of the 21st century. The block, with 350 years of history, \nthat has shed skin many times to reflect the present. \nThe facade uses Dekton pieces to mimick the vertical ribs that \nare so habitual in the buildings of Regeringsgatan quarter, and \ncreates an interesting play of light and shadow. The original \nfacade, designed by the architecture firm Equator Stockholm, \nwon the International Award for Europe in the 2018 edition of \nthe Macael Prizes. \nThe choice of material was made with both future needs and \nconnection to the history of the place in mind. For centuries, \nthe Regeringsgatan quarter has housed everything from wooden \nhouses to polished stone houses, so a common denominator over \nthe years has been that it has had several facades and expressions. \nAfter considering several options, the architects chose Dekton, an \nultracompact, city-proof material that is hightly resistant to UV rays \nand to harsh weather conditions. In this case morevover it could be \nused as a single material from the plinth all the way up. The warm \nbrown stone-like material gives the property weight and a visual \nbase to stand on, conveying a feeling of durability and security.\n",38,{"image":162,"text":163,"number":164},"\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.39.png","C 19 37\n",39,{"image":166,"text":167,"number":168},"\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.40.png","38 C 19\n",40,{"image":170,"text":171,"number":172},"\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.41.png","C 19 39\nLa elección de Dekton \nKeranium ofrece un \nmaterial ultracompacto, \nque resuelve la fachada \ndesde el zócalo y se \nadapta de manera \nhomogénea a las \ndistintas necesidades \nque el proyecto requería.\nDekton Keranium was an \noptimum choice as it is \nan ultracompact material \nthat could be used here \nfrom the plinth up, and \nadapts to the different \nneeds and future changes \nthat the innovative \nproject had to address. \nDekton Keranium\n",41,{"image":174,"text":175,"number":176},"\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.42.png","40 C 19\nCosentino\nArchitecture\n4\nDEKTON VILLA\nRosh Hanikra House by Moshe Zion\nLa villa Rosh Hanikra se sitúa en un kibbutz en el norte de Israel, \nen la costa mediterránea. La vista del mar se convierte en parte \ninseparable de la casa y en el hilo conductor que conecta interior \ny exterior. Con la visión del mar como eje vertebrador, Mosh Zion \nha proyectado un espacio abierto y transparente, que se encuentra \nvisualmente con el jardín y la piscina.\nEl objetivo era conseguir un juego de elementos fríos y cálidos \nal combinar el uso materiales que recuerdan al hormigón y que \ncontrastan con la madera. La mezcla de diferentes planos en Dekton \nKelya y Dekton Soke responde a este propósito y genera un gran \ndinamismo en las fachadas. Al entrar en la vivienda se percibe la \ncalidez que ofrece la madera y la amplitud de la cocina abierta a \nlos otros espacios de la casa. Esta estancia se resuelve con una isla \nen Dekton Radium, que la une con la zona de la piscina.\nEl mayor reto de este proyecto ha sido convertir una vivienda de \nestilo rústico y tradicional en un diseño atractivo y moderno. Al \nobservar la apariencia del edificio proyectado por Mosh Zion no \nse percibe que está edificado sobre una construcción preexistente, \nun cambio que ha sido posible gracias a las superficies en gran \nformato de Dekton instaladas sobre estructuras de aluminio. La \nfachada es una de las transformaciones con mayor visibilidad, y \nen el caso de la villa Rosh Hanikra el resultado es tan sorprendente \nque parece una casa de nueva construcción.\nRosh Hanikra House is a villa located in a kibbutz in the north of \nIsrael, on the Mediterranean coast. The sea views from the villa \nare an inseparable part of the house and the unifying feature \nconnecting interior and exterior. Taking this view of the sea as \na starting point, Moshe Zion has designed an open, transparent \nspace with clear views over the garden and pool.\nThe aim was to create a contrast between the coldness of the \nmaterials with the appearance of concrete and glass and the warmth \nof wood. The different planes in Dekton Kelya and Dekton Soke \nrespond to this aim, also creating a sense of dynamism on the facade. \nThe warmth of the wood and character of the open-plan kitchen, \nwith its impressive Dekton Radium island connecting the interior \nwith the pool area, embrace the visitor as they enter the home.\nOne of the major challenges of this project was to revamp a \nrustic style home with a tiled roof into a modern and inspiring \ndesign. In terms of look and feel, no one would think that this \nhouse is a renovation of a traditional style home. The ‘miracle’ \nwas made possible by the large-format Dekton surfaces installed \non the aluminum structure. The facade renovation is probably \none of the most visually impactful solutions to transform a house \nwithout significantly changing its internal structure. In the case of \nthe Villa Rosh Hanikra, the result is so spectacular that it looks \nlike a newly built house.\n",42,{"image":178,"text":179,"number":180},"\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.43.png","C 19 41\n",43,{"image":182,"text":183,"number":184},"\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.44.png","42 C 19\nEl empleo de las tablas \nDekton en gran formato \na lo largo de las distintas \nestancias consigue \nuniformidad en el \nproyecto y acentúa las \nconexiones visuales entre \nlos espacios interiores  \ny los exteriores.\nThe use of large-format \nDekton surfaces in \nthe different rooms \nof the house achieves \nuniformity throughout \nthe project and stresses \nthe visual connections \nbetween indoor and \noutdoor spaces. \nDekton Kelya\nDekton Soke\nDekton Radium\n",44,{"image":186,"text":187,"number":188},"\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.45.png","C 19 43\n",45,{"image":190,"text":19,"number":191},"\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.46.png",46,{"image":193,"text":194,"number":195},"\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.47.png","Interior\nPoetics of Space\nLucas y Hernández Gil in Madrid \nAlbanian Aura\nDrita Kafè by Giusy Scalia\n",47,{"image":197,"text":198,"number":199},"\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.48.png","46 C 19\nPoetics of Space\nLucas y Hernández Gil in Madrid\nInterior\nRenovation\n5\nUbicada en un antiguo local comercial \ncon acceso directo desde la calle, esta \nvivienda se concibe como una mezcla \nentre la casa mediterránea —introvertida \ny asomada a un patio— y la casa \nfenomenológica descrita por Gaston \nBachelard, un espacio regido por el poder \nde la imaginación. La eficacia funcional \ny climática de la primera convive, así, \ncon la capacidad de trascender la realidad \nde la segunda. Esto es posible gracias \nal protagonismo que se ha dado a la \nluz, introducida en el atrio a través de \nlucernarios, huecos e incluso un patio \ninglés ajardinado que funciona como una \nespecie de oasis urbano, casi tropical, al \nque vuelca oníricamente todo el nivel \ninferior de la casa. \nDesde el punto de vista funcional, \ndado el amplio programa y el carácter \nlineal de la casa, el reto fue resolver \ntodas las circulaciones entre las distintas \npartes y niveles. La solución consistió \nen concatenar una serie de atmósferas \ndiferentes, cuyas cualidades particulares \nson el fruto de la conjugación libre de \nla geometría, la iluminación y el color. \nPor lo demás, en la paleta de acabados \nlos tonos cálidos cohabitan con otras \ntexturas más frías que confieren un \nremarcado carácter industrial. \nOccupying what used to be a store \nwith direct access from the street, this \ndwelling is conceived as a mix between \nthe Mediterranean house – introverted \nand spilling out onto a courtyard – and \nthe phenomenological house as described \nby French philosopher Gaston Bachelard: \na space governed by the power of \nimagination. The former’s functional and \nclimatic efficiency thus combines with the \nlatter’s capacity to transcend reality, and \nthis is possible thanks to the importance \ngiven to sunlight, which shines into the \natrium through skylights, windows, and \neven a light well that functions as a sort \nof urban oasis, almost tropical, onto \nwhich the entire lower level of the house \nflows, as in a dream.\nFrom a functional angle, and given \nthe extensive program and the linear \ncomposition of the house, another \nchallenge was to resolve the circulation \nbetween the elements and levels.  \nThe solution was to concatenate a  \nseries of different atmospheres whose \nparticular qualities result from a free \ninteraction of geometry, lighting, and \ncolor. In the interior spaces warm  \nfinishes are placed side by side with  \nother colder textures that give the \ndwelling a more industrial character. \nPhotos: José Hevia \n",48,{"image":201,"text":202,"number":203},"\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.49.png","C 19 47\n",49,{"image":205,"text":206,"number":207},"\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.50.png","48 C 19\nLa escalera, situada en \nel corazón de la casa, \nconecta las dos partes; \nla transición del mundo \nreal al onírico reforzada \npor la utilización de \ngamas cromáticas \nbasadas en los campos \nde color de Rothko.\nThe staircase, located \nin the heart of the \nhouse, connects the \ntwo main elements; \nthe transition from the \nreal to the dream world \nreinforced by the use of \ncolor gamuts based on \nRothko’s color fields.\n",50,{"image":209,"text":210,"number":211},"\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.51.png","C 19 49\n",51,{"image":213,"text":214,"number":215},"\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.52.png","50 C 19\nAlbanian Aura\nDrita Kafè by Giusy Scalia\nInterior\nRenovation\n5\n«Drita» significa luz en albanés. Pero una \nluz especial, aquella que reflejan las aguas \ndel mar Adriático y la arena de las playas \nalbanesas. Esa atmósfera de naturaleza \nidílica y verano sin fin es la que busca \nrecrear el Drita Kafè, un local situado en \nPiana degli Albanesi, un pueblo montañoso \nde Sicilia y fundado hace más de cinco \nsiglos, precisamente, por albanos. \n¿Cómo ampliar las posibilidades de un \nlocal pequeño? Dekton Entzo recrea un \nmármol de Calacatta que consigue atrapar \nla calidez de la luz y su veta vaporosa de \nbrillos dorados le confiere una personalidad \npropia que enriquece el interior. Esa \npropiedad es la que ha aprovechado con \ninteligencia la diseñadora e ingeniera Giusy \nScalia para iluminar y ampliar un local de \ndimensiones reducidas.\nDekton Entzo, en su grosor 0,8 \ncentímetros, se ha empleado tanto en los \nrevestimientos de las paredes como en \nlas superficies horizontales, desde donde \nse extiende hasta el suelo para dar una \nsensación de uniformidad. El conjunto lo \ncompletan las mesas y barras en Dekton \nEntzo —de 2,0 y 1,2 centímetros—, que \nademás de aportar valor estético consiguen \nque los dueños del Drita Kafè cuenten con \nunas superficies fáciles de limpiar y muy \nresistentes al paso del tiempo. \n“Drita” means light in Albanian, but a \nvery special light, in particular, the light \nreflected by the turquoise waters of the \nAdriatic Sea and by the white sand of \nAlbania’s beaches. This atmosphere of \nidyllic nature and endless summers is \nwhat the Drita Kafè recreates. The small \nshop is located in Piana degli Albanesi, \na Sicilian town between mountains \nand founded over five centuries ago by \nAlbanians.\nHow to maximize the potential of a \nsmall café? Dekton Entzo is inspired by \nCalacatta marble and its warm light; \nits golden veins define a distinctive \npersonality that enriches any interior \nspace. The designer and engineer Giusy \nScalia has managed to make the most of \nits property to illuminate and enlarge a \nnarrow space.  \nDekton Entzo, in its 0.8-centimeter \nthick format, has been used to clad the \nwalls and the table areas, from which it \nstretches to the floor to give the space a \nuniform image. The design is completed \nwith Dekton Entzo tables and countertops \n– of 2.0 and 1.2 centimeters –, which \naside from adding aesthetic value, also \nensure that the Drita Kafè owners will \nhave easy-to-clean, scratch-resistant,  \nand long-lasting surfaces.  \n",52,{"image":217,"text":218,"number":219},"\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.53.png","C 19 51\n",53,{"image":221,"text":222,"number":223},"\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.54.png","52 C 19\n",54,{"image":225,"text":226,"number":227},"\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.55.png","C 19 53\nDekton Entzo se \ncombina en esta \ncafetería tanto en las \nparedes como en el \nsuelo y el mobiliario, \ncon el fin de conseguir \nuna imagen uniforme \ny continua en todas las \nsuperficies del local.\nDekton Entzo is the \nmain choice for the \nsurfaces in this café, \nwhere it is used on walls \nand floors and also for \nthe furniture, with the \nobjective of giving the \nwhole space a uniform \nand continuous image. \n",55,{"image":229,"text":19,"number":230},"\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.56.png",56,{"image":232,"text":233,"number":234},"\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.57.png","Interview\nGarcía-Abril & Sancho\nIn Dialogue\n",57,{"image":236,"text":237,"number":238},"\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.58.png","Interview\nConversation\n6\nGarcía-Abril  \n& Sancho \nin dialogue\n",58,{"image":240,"text":19,"number":241},"\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.59.png",59,{"image":243,"text":244,"number":245},"\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.60.png","58 C 19\nPhotos: Miguel Galiano \nLos arquitectos se encuentran en la Fábrica, \nun laboratorio de prototipado y fabricación \ndel propio estudio de Antón García-Abril \nen Madrid. Además de servir como lugar \nde trabajo, el edificio es en sí un ensayo de \nla tecnología híbrida de acero y hormigón \nque han desarrollado a lo largo de los años. \nJuan Carlos Sancho: Hace muchos años \nque nos conocemos, casi treinta, desde que \neras estudiante en la escuela de Madrid. \nViéndolo hoy retrospectivamente, me pa-\nrece muy importante ver cómo ha sido tu \ntrayectoria desde tus primeros proyectos en \nla universidad.\nAntón García-Abril: Recuerdo mis pro-\nyectos de escuela. Creo que todos y cada uno \nde ellos, porque no creo que haya cambiado \nen nada la intensidad y la pasión que le \nponía a los proyectos en aquella época a los \nque hago ahora. Recuerdo los que hice con \nvosotros cuando aun estabas en la unidad de \nAlberto Campo, y también mi fin de carrera \ny el cabreo que me cogí cuando saqué una \nnota que en realidad me merecía… \nJCS: Ya entonces eras muy provocador y \ntenías las cosas muy claras.\nAGA: Al revés. Fui creciendo como arqui-\ntecto con dificultad y esfuerzo. No aprendí \narquitectura con naturalidad y facilidad, \ncomo sí que vi en muchos compañeros, sino \ncon esfuerzo, y mucho tiempo y trabajo. \n JCS: Recuerdo tu primer proyecto, una \ndovela donde lo estructural, lo mecánico \ny lo material ya se unían, conformando lo \nque hoy es casi un leitmotiv de tu trabajo, \ny que después se convirtió en cierta medida \nen aquella estructura que construisteis en  \nMéxico. Pero en ese momento yo por lo \nmenos no acertaba a ver lo que había, la \nbelleza de esa dovela, de cómo se apoyaba…\nAGA: El proyecto de México fue el resul-\ntado, diez años después, de seguir trabajan-\ndo con un ejercicio académico. Ese proyecto \nquedó abierto, sin resolver, ya que no sabía \ncomo se encontraba con el suelo. En el espacio \nacadémico esa pieza volaba, porque no sabía \ncómo resolver unas columnas que desligaran \nla representación de su forma, su figura de \nsu condición portante. Unas cariátides con un \nlenguaje más contemporáneo. Bueno, pues \neso llevó diez años, pero el ejercicio continuó. \nJCS: Como continuación de tu formación \nestuviste trabajando en varios estudios: en el \nnuestro, en el de Alberto Campo y en el de \nSantiago Calatrava —cuando era un arqui-\ntecto emergente— hasta que después acabas \nrecibiendo la beca de Roma y finalmente, \ncomo culmen de esa etapa, construyendo \nla Escuela de Altos Estudios Musicales de \nSantiago de Compostela. \nAGA: Nunca consideré nada de eso un \ntrabajo ni una profesión, para mí era sim-\nplemente una extensión académica, y eso \nfue fundamental. Roma a mí me condiciona, \ncomo de alguna manera condiciona a todos \nlos arquitectos que han estado ahí. Te con-\nfigura una manera de pensar, y el primer \nproyecto que construimos, que es la Escuela \nde Estudios Musicales, creo que contiene todo \neso. Fui a pedirle trabajo a Rafael Moneo \ncuando era estudiante y me dijo, con muy \nbuen criterio, que él no trabajaba con estu-\ndiantes, que necesitaba arquitectos a tiempo \ncompleto, pero que fuera a verle de vez en \ncuando. No sé si lo dijo con la boca pequeña, \npero le tomé la palabra y, desde entonces cada \nJuan Carlos Sancho \n(San Sebastián, 1957) \ndialoga con su colega \ny amigo Antón García-\nAbril (Madrid, 1969) \nsobre arquitectura \nindustrializada, y cómo \nesta puede transformar \nla profesión en el futuro.\nJuan Carlos Sancho \n(San Sebastián, 1957) \nspeaks with his colleague \nand friend Antón \nGarcía-Abril (Madrid, \n1969) on industrialized \narchitecture and how \nit can transform the \nprofession in the future.\n«No aprendí arquitectura \ncon naturalidad, sino con \nesfuerzo y mucho trabajo»\n",60,{"image":247,"text":248,"number":249},"\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.61.png","The architects are in the Fabrica, a proto-\ntypes research and fabrication laboratory of \nAntón García-Abril’s own studio in Madrid. \nBesides serving as a workplace, the building \nis in itself a trial of the hybrid technology of \nsteel and concrete that Ensamble has been \ndeveloping over the years.\nJuan Carlos Sancho: We’ve known each \nother for many years, almost thirty. You were \na student at the Madrid School of Architec-\nture. Looking back now, I think it’s important \nto trace your path since your early projects \nin university.\nAntón García-Abril: I remember the school \nprojects, and I mean all of them, every single \none of them, because I believe there’s no dif-\nference, in intensity and passion, between the \nprojects I drew up at school and those I do \nnow. I recall those I did with you when you \nwere still under Alberto Campo. I remember \nmy final-year project and the rage I felt when \nI got a grade which, in truth, I deserved…\nJCS: Even then, early on, you were very \nprovocative and so sure about things.\nAGA: On the contrary. It was a hard learn-\ning process, requiring effort. I didn’t learn \narchitecture with natural ease, as I saw many \nclassmates do. I learned with effort. It took \ntime and plenty of hard work.\n JCS: I recall your first project, a key-\nstone where the structural, the mechanical, \nand the material already came together, \nshaping what is today almost a leitmotif \nin your work, and which in a way later \nbecame the structure you built in Mexico. \nBut at the time, I, for one, failed to see all \nthat was there: the beauty of the keystone, \nhow it rested…\nAGA: The Mexican project was the result, \nafter ten years, of continuing an academic \nexercise. The school project was left open, \nunresolved, since no one knew how it met \nthe ground. The piece was suspended in \nair, I didn’t know how to make columns \nwhere the representation of their form, their \nfigure, was detached from their loadbear-\ning function. Caryatids rendered in a more \ncontemporary language. Well, ten years had \npassed, but the exercise continued.\nJCS: As a continuation of your training \nyou worked in various firms – in ours, in Al-\nberto Campo’s, and in Santiago Calatrava’s, \nwhen he was an emerging architect – until \nyou obtained the Rome scholarship and then \nbuilt the Musical Studies Center in Santiago \nde Compostela, culminating that period.\nAGA: For me, none of it was work or \nprofessional practice, but simply continuing \neducation, and that was fundamental. Rome \nconditioned me, as it does all architects who \nhave been there. It configures in you a man-\nner of thinking, and I think the first project \nwe carried out, the School of Musical Stud-\nies, contains all that. As a student I went to \nask Rafael Moneo for work, and with good \njudgment he said that he didn’t work with \nstudents, that he needed architects on a full-\ntime basis, but that I should drop by now and \nthen. He may have said this half-heartedly \nbut I took his word for it, and so every three \nor four months I would pay him a visit and \nget my private class. Sometimes it lasted a \nminute and a half, other times the whole \nafternoon, depending on how busy he was. \nThe last time I asked to see him, it was to \nshow him the Santiago school, when it was \nalready built. I put together a dossier and \n“I didn’t learn architecture \nwith natural ease. I learned \nwith effort. It took time and \nhard work.”\n",61,{"image":251,"text":252,"number":253},"\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.62.png","60 C 19\n",62,{"image":255,"text":256,"number":257},"\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.63.png","C 19 61\ncalled him. “I would like to go for the last \ntime,” I said, as if saying that I was going \nwith my final academic assignment. With \nhis glasses on, Rafael skimmed through it \nwithout uttering a word. Then he just said: \n“I’ll go see it.” He fulfilled this two or three \nyears later, but for me it marked the end of \na period.\nJCS: Seen from outside, it was a clear \nturning point. A new phase began, with a \nchange of chip. Débora came into the pic-\nture as partner in work and life, and your \npractice began a strong period with two \npieces, two formidable icons. And I can say \nthat I have lived in both: The Truffle and \nHemeroscopium. These were two reference \npoints, two ways of understanding things. \nThere was a duplicity of innovation, of re-\nsearch…\nAGA: Actually, everything started in the \nsecond project we were to carry out in San-\ntiago de Compostela, the offices for SGAE \n(General Society of Authors and Publish-\ners). We worked on it as architects, engi-\nneers, and builders. And it was there that \nwe truly began to enjoy architecture. This \nwas something that had been lacking in our \nearly works, so we now decided that from \nthere onwards, our architecture could only \nsurvive if we built it ourselves. The decision \nreduced our stock of clients substantially, \nbut broadened our horizons in terms of what \narchitecture was, and of what it was to be \nan architect. On these principles we built \nup our model for work and professional \npractice, and thanks to this, we were able \nto carry out those two buildings. There we \nwere faced with a dilemma between artistry \nand construction. We were excited about the \nidea of the systemic and logical nature of \nprefabrication and components to assemble, \nwhich made execution fast and efficient, \nbut within an artistic project. That is, we \nwanted to define prefabrication as some-\nthing capable of yielding a highly emotive \nbuilding, brand new and never boring in \nthe manner of ill-understood fabrication. \nThese two works, undertaken simultane-\nously, opened up two horizons for us which \nwe have never renounced since, and which \nthough seemingly contradictory, go by the \nsame philosophy.\nJCS: Your work is much influenced by the \nart world. Through your family you have \nlived in a musical and culturally artistic \natmosphere. You had the opportunity to \nbuild an atelier for Manolo Valdés and work \nwith him. You also have the influence of \nEduardo Chillida’s material world, albeit \nmanipulated, appropriated, maneuvered… \nDo you think there’s some seed here?\nAGA: One thing I have always admired in \nartists – something very prosaic and basic – \nis that for them to work, they don’t need a \ncommission. For them, work is work. They \nget up to work, and if they manage to pres-\nent an exhibition here or raise a monumental \nbuilding there, it’s circumstantial. That’s \nwhat I have learned from all the artists I have \nknown. I learned that these freedoms are the \nfuel of work. This is very important because \nfor architects who work on commission and \nonly on commission, it must be very hard to \nkeep up a creative tension.\nJCS: Creativity is not commissioned.\nAGA: Exactly, freedom to produce, to fabri-\ncate… Of course there has to be some payment, \nand paying for a building is not the same \nas paying for a canvas. But there is plenty \nof middle ground to explore. We have never \nstopped working, not even during the years \nwhen no commission was coming. Then, on \nan aesthetic, material, or spatial level, all \nthe references you mention are direct and \nautomatic, are part of my culture and my \ncircumstances. Débora and I always say in \njest that we love Christo and Jeanne-Claude \nbecause they reject the idea of the commis-\nsion. Commissions are in themselves very \ncreative, they are part of the process.\nJCS: After this came the United States. \nYou won a competition to head MIT’s \nPOPlab, which allowed you a change of \nlocation and environment, a total change \nof life. Again two paths appear in your \narchitecture: that of fabrication and indus-\ntrialization, like Mies van der Rohe when \nhe moved to the US and developed a new \nway of building based on steel, but with \nconcrete in our case; and a second path, \nmuch more expressive, like the pieces in \nMontana. Finally, all this resulted in the \nworld of WoHo and that of Ca’n Terra, \nwhich ultimately involved working with \nnature. Here the comparison would instead \nbe with Le Corbusier, who started out with \n“One thing I have always \nadmired in artists is that for \nthem to work, they don’t \nneed a commission“\n",63,{"image":259,"text":260,"number":261},"\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.64.png","62 C 19\ntres o cuatro meses iba a verle y recibía mi \nclase particular. A veces duraba un minuto \ny medio y otras veces toda la tarde, depende \nde cuánto estuviese de ocupado. La última \nvez que le pedí ir a verle fue con la escuela \nde Santiago, cuando ya estaba construida, \npreparé un dossier y le llamé: «Me gustaría \nir por última vez», como diciendo ‘este es el \núltimo ejercicio académico’. Rafael, con las \ngafas en la frente, lo hojeó sin decir palabra, y \nsólo dijo: «Iré a verlo». Dos o tres años después \ncumplió su palabra. Pero para mí ese fue el \nfinal de una etapa. \nJCS: Visto desde fuera, hay un claro punto \nde inflexión. Aparece otro periodo. Cambias \nel chip, aparece Débora como pareja profesio-\nnal y vital y empieza una etapa muy potente \nde vuestro trabajo con dos piezas, dos iconos \nbrutales, y lo puedo decir porque he vivido en \nambos, que son La Trufa y Hemeroscopium. \nSon dos puntos de referencia, dos maneras \nde entender las cosas. Hay una duplicidad de \ninnovación, de investigación…\nAGA: En realidad todo comienza en la \nsegunda obra que íbamos a construir en San-\ntiago de Compostela, la Sede Noroeste de la \nSociedad General de Autores y Editores. Esa \nobra la hacemos como arquitectos, ingenie-\nros y constructores. Y ahí empezamos a dis-\nfrutar de la arquitectura de verdad. Eso es lo \nque echamos mucho en falta en las primeras \nobras, y a partir de ahí tomamos la decisión \nde que de nuestra arquitectura sólo podía \nsobrevivir si éramos los que la construíamos. \nY luego, además, desde un punto de vista \nhedonista, es que empezamos a disfrutar de \nconstruir. Eso nos redujo sustancialmente \nla cartera de clientes, pero nos amplió los \nhorizontes de qué era la arquitectura y qué \nera ser arquitecto. Así que montamos nuestro \nmodelo de trabajo y profesional basado en \nese principio. Esto nos permitió hacer esas \ndos obras que tú mencionas. Ahí teníamos \nun dilema artístico y constructivo, que por un \nlado nos apasionaba la idea de la sistémica y \nla lógica de lo prefabricado de las piezas que \nse ensamblan que permitiera una ejecución \nrápida y eficiente, pero dentro de un proyecto \nartístico. Es decir, queríamos definir la pre-\nfabricación como algo que puede hacer un \nedificio muy emocionante, un espacio muy \nnuevo y no aburrido, que es lo que supone la \nfabricación mal entendida. Estas dos obras, \nque son contemporáneas, nos abrieron dos \nhorizontes de los que no hemos renegado y \nque, aunque aparentemente son contradic-\ntorios, tienen la misma filosofía. \nJCS: En vuestra obra hay mucha influen-\ncia del mundo del arte. Has vivido, con tu \nfamilia, en un ambiente musical, y cultural-\nmente artístico. Tuviste la oportunidad de \nhacer el taller de Manolo Valdés y trabajar \ncon él. Tienes una gran influencia de la at-\nmósfera matérica de Eduardo Chillida, aun-\nque manipulado, apropiado, manejado… ¿tú \ncrees que hay algo de ese germen?\nAGA: Una cosa que he admirado siempre \nde los artistas, y que es una cosa muy prosaica \ny elemental es que no necesitan de un encargo \npara trabajar. Para ellos trabajar es trabajar. \nSe levantan y trabajan, y que consigan hacer \nuna exposición aquí o una obra monumental \nallá es circunstancial. Eso lo he aprendido de \ntodos los artistas que he conocido. Aprendí \nque estas libertades son el motor del traba-\njo. Esto es muy importante porque para los \narquitectos que trabajan por encargo y sólo \ncuando se produce este encargo, les debe ser \nmuy difícil mantener una tensión creativa. \nJCS: La creatividad no viene por encargo.\nAGA: Efectivamente, la libertad de la pro-\nducción, la fabricación… Evidentemente esto \nhay que pagarlo, y no es lo mismo pagar todo \nun edificio que pagar un lienzo. Pero hay \nmuchas etapas intermedias que se pueden \nexplorar. Nosotros nunca hemos parado de \ntrabajar, incluso durante los años que no te-\nníamos ningún encargo. Luego, a nivel plás-\ntico, material o espacial, todas las referencias \nque mencionas son directas y automáticas, \nson parte de mi cultura y de mi circunstancia. \nDébora y yo siempre decimos de broma que \nnos encantan Christo y Jeanne-Claude por-\nque rechazan la idea del encargo. El encargo \nes en sí muy creativo, es parte del proceso. \nJCS: Después de eso ya viene Estados Uni-\ndos. Ganas un concurso para dirigir el labo-\nratorio POPlab en el MIT. Eso os permite un \n«Una cosa que he admirado \nsiempre de los artistas es que \nno necesitan de un encargo \npara trabajar»\n",64,{"image":263,"text":264,"number":265},"\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.65.png","C 19 63\nthe mechanistic and ended up with the sun \nand the day’s cycles…\nAGA: We left for a little break from \nprofessional practice to concentrate on re-\nsearch and give everything we had on our \nhands a turnaround. And we discovered the \nlightweight in fabrication, and the global \nagainst the localizing of architecture, and \nhow this affected the industry of classic \nprefabrication. Then we had to empirically \ndemonstrate that everything we were work-\ning on – the idea that a kit of parts could be \nfabricated on one side of the Atlantic, trans-\nported to the other side, and assembled – was \nfeasible. These procedures are the fruit of \nresearch but are developed in the real world, \nand we developed them ourselves because it \nwas clear to us that if we told anyone that \nwe would build them a house in Valdemoro \nbut install it in Massachusetts, they would \nthink we were mad.\nAs for landscape, it took The Truffle ten \nyears to culturally mature. And the maturing \nof this project enabled a client to understand \nit, and we went from the scale of the room \nto the scale of the pavilion, which made it \npossible for us to execute the procedures in \nMontana. The idea is that these two aspects \nproduce so strong an energy between them \nthat they can generate something new. Now \nwe joke about creating a startup, WoHo, that \nplays with market rules, and later a startdown \ngoing by the designs of the earth as substra-\ntum, poetic and material aspiration.\nPrefabrication is about the ordinary, the \neveryday, but elevates architecture to a level \nit has never had. We are now at an inflec-\ntion point that I believe has never happened \nbefore in the history of architecture. Indeed \nI believe that for the first time, we are start-\ning to glimpse the vision of buildings as \nconstructions that will not go up in the place \nwhere they are assembled. There are isolated \nexamples, but on an industrial level, on a \nsocial-mission level, it’s happening now.\n",65,{"image":267,"text":268,"number":269},"\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.66.png","64 C 19\ncambio geográfico y ambiental, un cambio \nde vida total. De nuevo aparecen dos vías en \nvuestra arquitectura: la vía de la fabricación y \nla industrialización, como Mies van der Rohe \ncuando se traslada a Estados Unidos y acaba \ngenerando una nueva manera de construir \nbasada en el acero, vosotros con el hormigón; \ny una segunda, mucho más expresiva, como \nlas piezas de Montana. Finalmente, todo esto \ndesencandena en el mundo de WoHo y el de \nCa’n Terra que es, al final,  trabajar con la \nnaturaleza. En este caso sería más como Le \nCorbusier, que empezó con el maquinismo y \nacabó con el sol y los ciclos del día…\nAGA: Nos fuimos a hacer un pequeño \nparón profesional y concentrarnos en inves-\ntigar y darle una vuelta de tuerca a todo lo que \nteníamos entre manos. Entonces descubrimos \nla ligereza dentro de la fabricación y la glo-\nbalidad frente a la localización de la arqui-\ntectura, y cómo afectaba eso a la industria de \nla prefabricación clásica. Entonces tuvimos la \nnecesidad de demostrar empíricamente que \ntodo en lo que estábamos trabajando, que \nera la capacidad que tiene un kit de partes de \nfabricarse en un lado del Atlántico, transpor-\ntarse al otro lado y ensamblarse, era factible. \nEstas acciones, que son consecuencia de la \ninvestigación pero que se desarrollan en el \nmundo real, las hemos hecho autodesarro-\nllándolo nosotros, porque teníamos clarísimo \nque a cualquier persona que le dijésemos que \nle íbamos a construir una casa en Valdemoro, \npero se la vamos a instalar en Massachusetts, \niba a pensar que estábamos locos. \nEn cuanto al paisaje, diez años tardó en \nmadurar culturalmente La Trufa. Y la madu-\nrez de ese proyecto dio la oportunidad de que \nun cliente pudiese entenderlo, y pasamos de \nla escala de la habitación a la del pabellón, \nque nos permitió elaborar las intervenciones \nen Montana. La idea es que estas dos ver-\ntientes creen una energía tan fuerte entre \nambas que sean capaces de generar algo \nnuevo. Ahora bromeamos con que vamos a \ncrear una startup, WoHo, que juega con las \nreglas del mercado, y luego una startdown \nque se somete a los designios de la tierra \ncomo sustrato, aspiración poética y material.\nLa prefabricación trata de lo ordinario, lo \ncotidiano, pero elevando la arquitectura a un \nnivel que no haya tenido nunca. Ahora hay \nun momento de inflexión que creo que no ha \nocurrido antes en la historia de la arquitectu-\nra. Y es que creo que, por primera vez, se em-\npieza a vislumbrar la idea del edificio como \nuna construcción que no se va a construir \nen el sitio donde se ensambla. Hay ejemplos \nmuy puntuales, pero a nivel industria, a nivel \nmisión social, esto está ocurriendo ahora.\n",66,{"image":271,"text":272,"number":273},"\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.67.png","C 19 65\n",67,{"image":275,"text":19,"number":276},"\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.68.png",68,{"image":278,"text":279,"number":280},"\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.69.png","Travel\nBuenos Aires\nArgentina\n",69,{"image":282,"text":283,"number":284},"\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.70.png","68 C 19\nBuenos Aires\nTravel\nArgentina  \n7\nBeyond its cosmopolitan \nimage and historic \nquarters, the capital \noffers a wide cultural and \narchitectural agenda.\nMás allá de su imagen \ncosmopolita y sus barrios \nhistóricos, la urbe porteña \nofrece un gran abanico \ncultural y arquitectónico.\n©  Diego Delso\n© Georges De Kinder\n01\nWith over a century of \nhistory, and considered to \nbe one of the concert halls \nwith the best acoustics \nin the world, the Teatro \nColón is an essential for \nopera lovers at level  \nwith Milan’s Scala or \nVienna’s Staatsoper. \nConcert Hall\nTeatro Colón\n02\nSituada en la Plaza de \nMayo, la Casa Rosada es \nsede del poder ejecutivo y \nresidencia del presidente \nde la Nación. El edificio se \ncaracteriza por el peculiar \ncolor que le da nombre \ny lo ha convertido en un \nsímbolo de la ciudad.\nLocated on Plaza de \nMayo, Casa Rosada is \nthe seat of the executive \npower and the President’s \nresidence. The building \nis characterized by the \npeculiar color that lends it \nits name and has turned it \ninto a city landmark. \nGovernment House \nLa Casa Rosada\nCon más de un siglo de \nhistoria, el Teatro Colón \nestá considerado como \nuna de las salas con mejor \nacústica del mundo, y es \npara los amantes de la \nópera un imprescindible al \nnivel de la Scala de Milán o \nla Staatsoper de Viena. \n",70,{"image":286,"text":287,"number":288},"\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.71.png","C 19 69\n03\nMain Square\nPlaza de Mayo\nFruto de la unión de las \nplazas de la Victoria y \ndel Fuerte en 1984, este \nemblemático espacio \npúblico se encuentra en el \ndenominado microcentro \nporteño y alberga algunos \nde los principales puntos \nde interés de la capital. \nResulting from the \nunion, in 1984, of the \nVictoria and Del Fuerte  \nplazas, this emblematic \npublic space is in the \nso-called microcenter \nof Buenos Aires, where \nsome of the main sites \nin the city are located. \nsource: tejidourbano.net\n",71,{"image":290,"text":291,"number":292},"\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.72.png","70 C 19\n04\nPublic Building\nBiblioteca Nacional\nEn 1962, Clorindo Testa \ncon Francisco Bullrich \ny Alicia Cazzaniga \nproyectaron la Biblioteca \nNacional Mariano \nMoreno. Inaugurada en \nen 1992, es uno de los \nmejores ejemplos del \nbrutalismo en Argentina.\nA project of 1962 by \nClorindo Testa with \nFrancisco Bullrich and \nAlicia Cazzaniga, the \nNational Library Mariano \nMoreno, inaugurated in \n1992, is one of the best \nexamples of brutalist \narchitecture in Argentina. \n© Cemal Emden\n© Leandro Neumann Ciuffo\n© Alejandro Leveratto\nsource: Arango,S.\nHouse Museum\nMuseo Xul Solar\nApartment Tower\nEdificio Kavanagh\n07\nInaugurated in 1936,  \nthe tower by Sánchez \nLagos, and De la Torre is \none of the city icons. \nInaugurado en 1936, el \nedificio de Sánchez, Lagos \ny De la Torre es uno de \nlos iconos de la ciudad.\nLocated in what used \nto be the home of the \nmultifaceted artist Xul \nSolar, the museum was \ncompleted according to \nthe guidelines he himself \nset before his death to \nconvert the house into a \npublicly accessible place. \nEl museo, situado en \nlo que fue la casa del \npolifacético artista Xul \nSolar, se completó en los \naños noventa según las \ndirectrices que él mismo \ndejó para abrir el espacio \nal público y convertirlo en \nun lugar de encuentro. \n05\nArt Nouveau\nYacht Club\n06\nDesigned by Eduardo Le \nMonnier and opened in \n1915, the building reflects \ntraits of Art Nouveau.\nAbierto en 1915, el edificio \nde Eduardo Le Monnier \ndestaca por sus rasgos \ntípicos del art nouveau.\n",72,{"image":294,"text":295,"number":296},"\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.73.png","C 19 71\nModern Movement\nEdificio Los Eucaliptus\n08\nThe apartment building  \nby Juan Kurchan and \nJorge Ferrari is a key \nwork of the Modern \nMovement in Argentina, \nand proposed a new  \nway of living and  \nof connecting with  \nthe environment. \nEl edificio proyectado \npor Juan Kurchan y \nJorge Ferrari es un \nreferente de la llegada \ndel Movimiento Moderno \na Argentina y supuso \nuna nueva manera de \nhabitar y de relacionarse \ncon el entorno. \nPlanetarium\nGalileo Galilei\n09\nDiseñado por Enrique Jan \nen 1966, es un ejemplo \nperfecto de simbiosis entre \narquitectura y astronomía.\nsource: cca.qc.ca\nsource: arkitektuel.com\n© source: habitar-arq.blogspot.com\n© Federico Cairoli\nBrutalism \nBanco Londres\nAnother major project \nby Clorindo Testa, in \ncollaboration in this case \nwith the studio SEPRA, \nthe Bank of London \nbuilding stands out for  \nits huge outer concrete \nframe and its complex \ninterior spaces. \nOtro de los grandes \nproyectos de Clorindo \nTesta en los años sesenta, \nasociado en este caso \ncon el estudio SEPRA, el \nedificio llama la atención \npor sus grandes piezas de \nhormigón en fachada y un \ncomplejo espacio interior.\n11\n10\nAs a member of Grupo \nAustral, Antonio Bonet \nbuilt this residence  \nfor artists in 1938, \nwhich over time has \nbecome an icon of \ninternational modern \narchitecture in the \ncontext of Argentina.\nDesigned by Enrique Jan in \n1966, the building shows \nthe symbiosis between \narchitecture and astronomy. \nAntonio Bonet, como \nintegrante del Grupo \nAustral, construyó \nen el año 1938 esta \nresidencia para artistas \nque sería el germen de \nla arquitectura moderna \ninternacional en el \ncontexto argentino. \nAteliers\nCasa para Artistas\n",73,{"image":298,"text":299,"number":300},"\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.74.png","72 C 19\nEl museo, construido por \nel estudio del uruguayo \nRafael Viñoly en 2008, \naloja la colección de \narte de la empresaria \nargentina Amalia \nLacroze de Fortabat, y se \ncaracteriza por su gran \nbóveda de cristal.\nThe building by the \nstudio Adamo-Faiden, \nlocated in the Almagro \nneighborhood, is laid \nout in two volumes that \nadapt to the existing \nurban fabric and are \nunified by the perforated \nmetallic facade. \nThe museum, completed \nin 2008 by the studio of \nthe Uruguayan architect \nRafael Viñoly, displays \nthe art collection of the \nArgentinian entrepreneur \nAmalia Lacroze de \nFortabat, and stands out \nfor its huge glass vault. \nUniversity\nEdificio Sáenz Valiente \nThe work by the \nBarcelona-based studio \nof Josep Ferrando is \nformed by a sequence \nof transversal concrete \nporticoes that cross \nthe building’s full \nlength with austere, \nmodular expressivity. \nLa obra del estudio \nbarcelonés de Josep \nFerrando se conforma \nmediante una secuencia \nde pórticos transversales \nde hormigón que \nrecorren todo el edificio \ncon austeridad y \nexpresividad modular.\n15\n13\n12\n14\nPark\nMicaela Bastidas\nHousing\n33 Orientales 138\nArt Gallery\nMuseo Fortabat\nEl parque, caracterizado \npor sus colinas, es parte \ndel plan de revitalización \nde Puerto Madero.\nCharacterized by its hills \nand terraces, the park is \npart of the revitalization \nof Puerto Madero. \nLa intervención del estudio \nAdamo-Faiden se sitúa \nen el barrio de Almagro, \norganizándose en dos \nvolúmenes que responden \na la trama urbana \nexistente y se unifican \na través de la fachada \nmetálica perforada.\n© Federico Cairoli \nsource: openhousebsas.org\n© Cristobal Palma\nsource: vinoly.com\n",74,{"image":302,"text":303,"number":304},"\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.75.png","C 19 73\nCity Hall\nCasa de Gobierno\nInitially conceived by the \nBritish Norman Foster \nfor Banco Ciudad, the \nbuilding was transformed \ninto the city’s Casa de \nGobierno thanks to the \nbuilding’s adaptability \nboth on a functional  \nand a symbolic level. \nSince 1997 the museum \nharbors the collection \nof Latin American art \nof Eduardo Costantini, \nand has been recently \nrenewed by Estudio \nHerreros under the \npremise of opening the \ninstitution to the city.\nConcebido inicialmente \npor el británico Norman \nFoster para el Banco \nCiudad, el edificio se \ntransformó en la Casa \nde Gobierno gracias  \na su gran polivalencia \ntanto a nivel funcional \ncomo simbólico.\nEl museo alberga desde \n1997 la colección de \narte latinoamericano de \nEduardo Costantini y \nha sido recientemente \nrenovado por el \nEstudio Herreros con \nla intención de abrir la \ninstitución a la ciudad. \n16\n19\nRenovation\nUniversidad Morón\nUbicada en un edificio \nhistórico de principios \ndel siglo xx, la sede \nuniversitaria ha sido \nrecientemente renovada \npor el Estudio Borrachia \nArquitectos empleando \nconstrucciones ligeras y \nestrategias bioclimáticas.\nHoused in a historic \nbuilding from the \nearly 20th century, the \nuniversity building has \nrecently been renovated \nby Estudio Borrachia \nArquitectos with light \nconstructions and \nbioclimatic strategies. \nArt Museum\nMALBA\n18\nHousing\nEdificio Armenia\n17\nThe apartments by BAK \nArquitectos include \ncommercial and communal \nareas at street level.\nBAK Arquitectos resuelven \neste edificio de viviendas \ncon un zócalo comercial y \ngrandes zonas comunes. \nCultural Center\nNéstor Kirchner\n20\nThe Cultural Center is \nin the historic Correo \nCentral building designed \nby Norbert Maillart.\nEl Centro Cultural se sitúa \nen el histórico edificio \nCorreo Central proyectado \npor Norbert Maillart.\n© Daniela Mac Adden\n© Maria de la Paz\n© Fernando Schapochnik\n© Javier Agustín Rojas\n© Foster + Partners\n",75,{"image":306,"text":307,"number":308},"\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.76.png","74 C 19\nSan Telmo se ha convertido \nen uno de los barrios más \nbohemios, lleno de galerías \ny restaurantes de moda.\nSan Telmo is one of the \nmost bohemian quarters in \nthe city, packed with art \ngalleries and restaurants.               \n22\nNeighborhood\nSan Telmo\n21\nBookshop\nAteneo Grand Splendid\nUbicada en el Barrio de \nla Recoleta, esta peculiar \nlibrería es una parada \nobligatoria. Considerada \ncomo una de las más bellas \ndel mundo, mantiene el \nencanto de la que fuera \nuna de las principales salas \nde la ciudad.\nConsidered to be one \nthe most beautiful in \nthe world, this peculiar \nbookshop in the Recoleta \nneighborhood is a ‘must’ \nvisit, and it preserves the \ncharm of what used to be \none the most important \ntheaters in the city. \nsource: parabuenosaires.com\u002F\nsource: revistaad.es\n© Four Seasons\n© Cynthia Martin\nsource: vivenciasdelviajero.com\n25\nLuxury Hotel\nFour Seasons\nLuxury and history  \ncome together in this \nfive-star hotel located \nin an old colonial-style \nmansion, and which has \nwelcomed a long list \nof celebrity guests like \nMadonna, Mick Jagger, \nor Fidel Castro.\nLujo e historia se mezclan \nen este hotel de cinco \nestrellas situado dentro \nde una antigua mansión \nde estilo colonial, y en \ncuyas habitaciones se \nhan alojado celebridades \ncomo Madonna, Mick \nJagger o Fidel Castro.\n23\nLocated on Avenida de \nMayo, Café Tortoni has \nbeen a meeting place for \nwriters, intellectuals, and \nartists since it opened in \n1858. Today it maintains \nthe same charm, and \nrecalls the Parisian cafés \nof the Belle Époque. \nSituado en la Avenida de \nMayo, el Café Tortoni ha \nsido el lugar de reunión de \nescritores, intelectuales y \nartistas desde su apertura \nen 1858. Hoy mantiene \nel encanto que recuerda \na los cafés parisinos de la \nBelle Époque.\nArtist Café\nCafé Tortoni\nRestaurant\nBar Nápoles\n24\nWhen in this space in the \nSan Telmo quarter it’s hard \nto tell whether one’s in a \nrestaurant or a museum. \nAl entrar en este espacio \ndel barrio de San Telmo es \ndifícil saber si se trata de un \nrestaurante o un museo.\n",76,{"image":310,"text":311,"number":312},"\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.77.png","C 19 75\nCon sedes en Buenos Aires \ny Nueva York, esta histórica \ngalería es un referente en \nlos circuitos artísticos.\nWith venues in Buenos \nAires and in New York, \nthis historic gallery is a \nreferent in art circuits.  \n26\nArt Gallery\nPraxis \n27\nSports Events\nLa Bombonera\nEl mejor evento en el \nque disfrutar de la pasión \ncon la que viven los \nargentinos el fútbol es ver \njugar al Boca Juniors, y \nmás si coincide el derby \nante el River Plate, una de \nlas mayores rivalidades \ndel mundo del deporte.\nThe best way to \nexperience the passion of \nArgentinians for football \nis watching the Boca \nJuniors play, and even \nmore so if it’s against \nthe River Plate, one the \ngreatest rivalries in the \nworld of sports. \n30\nEating Out\nChef del choripán\nRubén Batalla y sus \nchoripanes son un clásico \nde las previas a los partidos \ndel Racing, Independiente \no Arsenal, su fama ha \ntraspasado fronteras \ndespués de que Netflix le \nincluyese en su documental \nStreet Food: Latinoamérica.\nRubén Batalla and \nhis ‘choripanes’ are a \nclassic before Racing, \nIndependiente, and \nArsenal matches. His fame \nhas crossed frontiers since \nNetflix included him in the \ndocumentary film Street \nFood: Latin America. \nDancing\nLa Catedral Club\n29\nA landmark tango  \ndance hall in Buenos \nAires, La Catedral  \nClub has transformed an \nold slaughterhouse and \ngrain storage warehouse \nin the neighborhood \nof Almagro into a true \ntemple of dance. \nLugar de referencia \ndel tango porteño, \nLa Catedral Club ha \ntransformado un antiguo \nmatadero y almacén de \ngrano, situado en el \ncorazón del barrio de \nAlmagro, en un auténtico \ntemplo del baile. \nRestaurant\nEl niño gordo\n28\nIn the Palermo Soho quarter, \nArgentinian and Asian \ncuisine are fused in this \n‘Instagrammable’ restaurant. \nNeighborhood\nLa Boca31\nLa Boca stands out for its \ncolorful stone and sheet \nfacades, and Calle Caminito \nis its most famous street. \nDestaca por sus coloridas \nfachadas de piedra y chapa, \nsu máximo exponente es la \nfamosa calle Caminito. \nEn el barrio de Palermo \nSoho, las cocinas asiática y \nargentina se fusionan en este \n‘instagrameable’ restaurante. \nsource: praxis-art.com\n© Cynthia Martin\nsource: aciudadavellaneda.com.ar\n© Ilyas Ayub\n© diariopopular.com.ar\nsource: votretourdumonde.com\n",77,{"image":314,"text":315,"number":316},"\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.78.png","76 C 19\n01\n02\n03\n30\n05\n04\n10\n09\n12\n17\n18\n22\n23\n07\n15\n19\n20\n11\n26\n24\n16\n29\n08\n28\n21\n25\n",78,{"image":318,"text":319,"number":320},"\u002Fmedia\u002Fimages\u002F2a\u002F700f7ed90049e1e6afa9575051c11b-28f79be22c.79.png","C 19 77\n 07. Edificio Kavanagh\n 26. Praxis\n 27. La Bombonera\n 28. El niño gordo\n 29. La Catedral Club\n 30. Chef del choripán\n 31. La Boca\nArenales 1311, C1061 CABA \n12:00-20:00 Tue-Sun\nBrandsen 805, C1161 CABA \ntour: museoboquense.com\nThames 1810, C1414DDL, \nBuenos Aires.  \n20:00-24:00 Mon-Sun \nweb: niñogordo.com.ar \n+54 11 2129-5028 \nSarmiento 4006, C1197 CABA \n11:00-4:00 Mon-Sun\nItinerant Avellaneda-CABA\nProvincia de Buenos Aires\nCalle Caminito, Buenos Aires\n 18. MALBA\n 19. Universidad Morón\n 20. Néstor Kirchner\n 08. Edificio Los Eucaliptus\n 09. Galileo Galilei\n 12. 33 Orientales 138\n 10. Casa para Artistas\n 11. Banco Londres\n 13. Micaela Bastidas Park\n 14. Museo Fortabat\n 16. Casa de Gobierno\n 15. Edificio Sáenz Valiente\n 25. Café Tortoni\nAv. de Mayo 825, C1084 \nCABA web: cafetortoni.com\nReconquista 101, C1003ABC \nCABA\nTreinta y Tres Orientales 138, \nC1182 AED, Buenos Aires\nLima 221, C1073 CABA\nOlga Cossettini 141, C1107 \nCABA 12:00-20:00 Tue-Sat\nUspallata 3160, C1437JCL \nCABA\nPuerto Madero,Buenos Aires\nAv. Pres. Figueroa Alcorta 7350, \nC1428 CABA\nAvenida Florida 1065, \nC1005 CABA\nVirrey del Pino 2446, \nC1426EGG CABA\nCecilia Grierson 500,  \nC1107 CABA \n17-22 Fri 12-21 Weekend\nAvenida Sarmiento s\u002Fn,  \nC1425 CABA web:  \nplanetario.buenosaires.gob.ar\n10:30,11:30 Tue-Fri 17:00, \n18:00, 19:00 Weekend\nParaguay 900, C1057 CABA\nCerrito 628, C1010 CABA,  \n9:00-17:00  Mon-Sun\nSarmiento 151, C1041 CABA\nweb: cck.gob.ar\nArmenia 1933, C1414 CABA\nAv. Pres. Figueroa Alcorta \n3415, C1425 CABA  \n12:00-20:00 Wed-Mon\n 01. Teatro Colón\n 02. La Casa Rosada\n 03. Plaza de Mayo\n 04. Biblioteca Nacional\nBalcarce 50, C1064 CABA  \n10:00-18:00 Weekend\nAv. Hipólito Yrigoyen s\u002Fn, \nC1087 CABA\nAgüero 2502, C1425 CABA \n16:00 guided visit Mon-Sun\nLaprida 1212, C1425 EKF, \nBuenos Aires \n12:00-19:00 Tue-Sat\nBuenos Aires\nLocalización y datos prácticos \nLocation and useful information  \n 22. San Telmo\n 23. Four Seasons Hotel\n 21. Ateneo Grand Splendid\n 24. Bar Nápoles\nAv. Santa Fe 1860, C1123 \nCABA 9:00-20:00 Mon-Sat\n12:00-20:00 Sun\nPlaza Dorrego, Humberto 1º \n400, C1103 CABA\nPosadas 1086, C1011 CABA \nweb: fourseasons.com \n+54 (11) 4321-1200\nAv. Caseros 449, C1152AAA \nCABA 9:00-20:00 Mon-Sun \n+54 9 11 5417-1802\n 05. Museo Xul Solar\n 17. Edificio Armenia\n 06. 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