[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-cosentino-architecture-and-everything-else-20":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},24497,"Architecture & Everything Else 20","cosentino-architecture-and-everything-else-20","\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002F08\u002F77ab86e43c9c3ea299111fcd8a3a6f-28f79be22b.pdf","Cosentino",2482,"cosentino","111.9 MB",[14,17,21,25,29,33,36,40,44,48,52,56,59,63,67,71,74,78,82,86,90,94,98,102,106,110,114,118,122,126,129,133,137,141,145,149,153,157,161,165,168,172,176,180,184,188,191,195,199,203,207,211,215,219,223,227,230,234,238,241,245,249,253,257,261,265,269,273,276,280,284,288,292,296,300,304,308,312,316,320,323,326,329,332],{"image":7,"text":15,"number":16},"c \narchitecture &  \neverything else \nC architecture & everything else 20\n20 \n",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.2.png","",2,{"image":22,"text":23,"number":24},"\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.3.png","c\ncontents\n16\n06\n30\n40\n44\n56\n68\n  Architecture\n 06 ExprEssionist scrEam  Munchmuseet by estudioHerreros  \n \n Un museo vertical en el fiordo de oslo para acoger la obra de Edvard munch.  \n \n A vertical museum by the Oslo fjord for the oeuvre of Edvard Munch.  \n \n Style\n 30 modErnism in cHains  Kengo Kuma in Barcelona\n \n Un gran cortinaje de cadenas para vestir la escalera de la casa Batlló de Gaudí. \n \n Striking drapes of aluminum chain links wrap the staircase of Antoni Gaudí’s Casa Batlló.  \n 34 monoGiraUd  Emotional Art\n \n La multidisciplinar artista argentina transforma objetos cotidianos en oníricas imágenes.\n \n The Argentinian artist works across disciplines to transform daily objects in dreamlike images. \n \n Cosentino\n 40 dEKton FacadE  Innovation Technological Center by Blengini Ghirardelli\n \n más 1.100m² de dekton para el centro de innovación de la firma italiana de iluminación. \n \n More than 1,100 m² of Dekton for the new innovation center of the Italian lighting company.\n \n Interior\n 46 UndULatinG LandscapE  Adjaye Associates in LA\n \n La fachada de hormigón rosáceo se inspira en el estilo brutalista del Beverly center. \n \n The pink concrete facade references the brutalist shell of the iconic Beverly Center.  \n 50 cosEntino citY  Flagship Store in Barcelona\n \n Un innovador punto de encuentro para arquitectos y diseñadores en la ciudad condal.\n \n An innovative meeting point for architects and designers in Barcelona.   \n  Interview\n 56 LUcas & GaLiano  In dialogue\n \n La oficina de arquitectura Viva acoge la conversación entre el poeta y el arquitecto.\n \n The conversation between the poet and the architect takes place at Arquitectura Viva’s offices.\n  Travel\n 68 tEL aViV  Israel\n \n Un recorrido por los principales hitos arquitectónicos de la ciudad mediterránea.    \n \n A guide of the key architectural landmarks in the Mediterranean city.  \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 16 LiVE FLood  Olafur Eliasson at Fondation Beyeler\n \n La instalación del artista danés propone una inmersiva experiencia sensorial.  \n \n The installation by the Danish artist proposes an immersive sensory experience. \n 22 La cHanca in coLor  Carlos Pérez Siquier\n \n El vanguardista fotógrafo retrató durante toda su trayectoria la población almeriense.\n \n The avant-garde photographer documented the town and its people over the years.  \n",3,{"image":26,"text":27,"number":28},"\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.4.png","Depósito Legal: m-14282-2014\nISSN: 2341-3867 \nCubierta Cover\nmunchmuseet by estudioHerreros\n© Federico covre \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. \nalberto Ballesteros \nsandra Borge \ncuca Flores \nLaura González \nEnrique morillo \nJesús pascual \npaloma sanz \nraquel Vázquez \nTraducción Translations\nGina cariño, Laura mulas\n",4,{"image":30,"text":31,"number":32},"\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.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\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.6.png",6,{"image":37,"text":38,"number":39},"\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.7.png","Architecture\nExpressionist Scream\nMunchmuseet by estudioHerreros\n",7,{"image":41,"text":42,"number":43},"\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.8.png","6 C 20\nArchitecture\nMuseum\n1\nTras un largo proceso iniciado en 2009 con un concurso inter-\nnacional, el museo que acogerá la nueva sede de la pinacoteca \nescandinava abrirá finalmente sus puertas a finales de octubre. El \nproyecto a cargo del estudio fundado por Juan Herreros, junto a \nsu socio Jens Richter, concibe el edificio no como un mero equi-\npamiento para salvaguardar y difundir la obra de Edvard Munch \nsino como una revisión crítica de la tipología. El museo vertical \ndesempeña un importante rol urbano y desplaza así el centro de \ngravedad de la capital noruega hacia su encuentro con el fiordo. \nLa visita se realiza a través de un recorrido ascendente desde el \nvestíbulo (un espacio público que aloja usos lúdicos, comerciales, \nculturales y de restauración) hasta la cubierta.\nEn este recorrido vertical el público descubre los programas \ncomplementarios que reflejan la complejidad del conjunto: salas \nde restauración, dependencias administrativas, una biblioteca o \nun centro educativo. En el exterior, una piel ondulada de aluminio \nperforado con diferentes grados de transparencia dota al volumen \nde una imagen enigmática y evanescente, que reacciona a los leves \nestímulos del clima ofreciendo un aspecto cambiante en función de \nla hora o de la estación. Los principios de mínima huella de carbo-\nno, sostenibilidad y reciclabilidad rigieron el proceso constructivo, \ncentrado en la experimentación y la innovación, y convertido en \nun acontecimiento en sí mismo.\nExpressionist Scream\nMunchmuseet by estudioHerreros\nLa nueva sede del \nMuseo Munch revisa \nla tipología museística, \ny se erige como un \ncentro dinámico para la \ncultura contemporánea \ny como elemento \nde cohesión para la \ncomunidad de Oslo.\nThe new Munch \nMuseum is a rethinking \nof the museum \ntypology, and stands \nas a dynamic hub for \ncontemporary culture \nas well as a cohesive \nelement for the \ncommunity of Oslo.\nAfter a protracted process that began in 2009 with an international \ncompetition, the building will be the new home of the Scandinavian \nmuseum when it finally opens at the end of October. The project, \ncommissioned to the practice of Juan Herreros and his associate \nJens Richter, conceives the construction not simply as a facility for \nthe safeguarding and dissemination of the work of Edvard Munch, \nbut as a critical revision of the museum typology. The vertical \nvolume has an important role to play in the urban fabric, moving \nthe Norwegian capital’s center of gravity towards its meeting with \nthe fjord. An ascending visitor route connects the foyer (a public \nspace featuring recreational, commercial, cultural, and hospitality \nuses) to the rooftop terraces.\nAlong the way, museum-goers get an idea of the scheme’s com-\nplexity from the complementary programs they come across: resto-\nration rooms, administrative offices, a library, an education center, \nand so on. On the outside, an undulating skin of perforated alu-\nminum with varying degrees of transparency creates an enigmatic \nand evanescent image, reacting to slight climate stimuli through \nan appearance that changes with the time of day and with the \nseasons. The principles of minimal carbon footprint, sustainabil-\nity, and recycling all had a part in determining the construction \nprocess, which, focused on experimentation and innovation, was \nan event in and of its own accord.\n",8,{"image":45,"text":46,"number":47},"\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.9.png","C 20 7\n",9,{"image":49,"text":50,"number":51},"\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.10.png","8 C 20\nConcebido como un hito \nen el paisaje natural del \nfiordo, y en diálogo con \nla Ópera de Snøhetta, \nel museo se divide en \nun zócalo de condición \ncívica y un cuerpo \nvertical, quebrado para \nno interrumpir las vistas.\nConceived to be a \nlandmark in the natural \nenvirons of the fjord, in \ndialogue with Snøhetta’s \nOpera House, the museum \ndivides into a civic base \nand a vertical body, with \nirregularities preventing \ninterruption of views. \n",10,{"image":53,"text":54,"number":55},"\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.11.png","C 20 9\n",11,{"image":57,"text":19,"number":58},"\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.12.png",12,{"image":60,"text":61,"number":62},"\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.13.png","C 20 11\nEl sistema vertical \nde comunicaciones \nse concibe como un \nespacio público, un \nmirador a la ciudad, y \ncomo parte esencial del \ncarácter heterodoxo que \nsupone desarrollar un \nmuseo en torre. \nThe vertical circulation \nsystem is thought out as \na public space in and of \nitself, a lookout over the \ncity, and an essential part \nof the heterodoxy that \ngoes with the very idea of \na designing a museum in \nthe form of a tower.\n",13,{"image":64,"text":65,"number":66},"\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.14.png","12 C 20\n",14,{"image":68,"text":69,"number":70},"\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.15.png","C 20 13\nArquitectos Architects\nestudioHerreros \u002F Juan Herreros, Jens Richter \n(socios partners), Gonzalo Rivas (responsable de \nproyecto project director), Beatriz Salinas, Carlos Canella, \nAndrea Molina, Paola Simone, Carlos Ramos, Iván Guerrero, \nAna Torrecilla, Alberto Sánchez, María Franco, Raúl García, \nFrank Müller, Víctor Lacima, Carmen Antón, Ramón \nBermúdez, Margarita Martínez, Luis Berríos-Negrón, Spencer \nLeaf, Verónica Meléndez, Xavier Robledo, Ricardo Robustini, \nPaula Vega (equipo team)\nColaboradores Collaborators\nLPO Arkitekter (arquitecto local local architect), Bollinger + \nGrohmann, ARUP —anteproyecto— (fachadas facades), \nAsplan Viak (sostenibilidad sustainability), \nMulticonsult, Hjellnes Consult, Brekke & Strand Akustikk \n(ingeniería engineering) Rambøll Norge (ICT), \nCOWI (seguridad security)\nFotos Photos\nAdrià Goula (pp. 7, 8 arriba top, 9 arriba top, 10, 12-13), \nIvar Kvaal (pp. 8-9),  Roland Halbe (pp. 11, 13 abajo bottom)\n",15,{"image":72,"text":19,"number":73},"\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.16.png",16,{"image":75,"text":76,"number":77},"\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.17.png","Arts\nLive Flood\nOlafur Eliasson at Foundation Beyeler \nLa Chanca in Color\nCarlos Pérez Siquier \n",17,{"image":79,"text":80,"number":81},"\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.18.png","16 C 20\nOlafur Eliasson (Copenhague, 1967) \nha eliminado las ventanas del icónico \nedificio de la Fundación Beyeler, obra del \narquitecto Renzo Piano, para desdibujar \nlos límites construidos entre interior y \nexterior y unificar así durante las 24 horas \ndel día el museo con su parque.\nLa exposición presenta un ensayo \nestético único sobre el paisaje del futuro \ny se despoja de cualquier tipo de texto \ndidáctico o explicativo, para así permitir \nal espectador una lectura intuitiva \ncentrada únicamente en su experiencia \nsensitiva, a través de los distintos olores, \nsonidos y sensaciones del entorno. \nOlafur Eliasson (Copenhagen, 1967) \nremoved the glass facade from the iconic \nFondation Beyeler building of Renzo \nPiano, blurring the physical boundaries \nbetween interior and exterior and bringing \nmuseum and surrounding park together \ntwenty-four hours a day. \nThe exhibition presents a model for \nfuture landscape, and is set out as a \nunique aesthetic experience. ‘Life’ comes \nwithout a didactic or explanatory text, \nletting visitors make an intuitive reading \nof the artwork shaped by their own \nperception, through the different smells \nand sounds in the environment. \nArts\nExhibition\n2\nIn ‘Life’ the Danish  \nartist invites spectators \nto reflect on the existing \nconnections between \nnature and culture,  \n‘not from a human-\ncentric perspective,  \nbut from a broad, \nbiocentric perspective’. \nCon la instalación ‘Life’ \nel artista danés invita al \nespectador a la reflexión \nsobre las relaciones \nexistentes entre la \nnaturaleza y la cultura, \ndesde un punto de vista \n‘menos antropocéntrico \ny más biocéntrico’.\n© Mark Niedermann\nLive Flood \nOlafur Eliasson at \nFondation Beyeler\n",18,{"image":83,"text":84,"number":85},"\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.19.png","C 20 17\n",19,{"image":87,"text":88,"number":89},"\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.20.png","18 C 20\n",20,{"image":91,"text":92,"number":93},"\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.21.png","C 20 19\n© Pati Grabowicz\n© Pati Grabowicz\n© Mark Niedermann\n© Mark Niedermann\nLos visitantes pueden \nrecorrer a través de \npasarelas de madera \nel onírico paisaje \nacuático, que inunda \ncon verdes aguas y \nluminiscentes nenúfares \nlas inmaculadas salas \nblancas de la fundación. \nVisitors walk on timber \nwalkways through \nthe oneiric aquatic \nlandscape, which fills the \nhalls of the Fondation \nBeyeler with bright green \nwater and plants like \nwater lilies, shellflowers, \nferns, and more.\n",21,{"image":95,"text":96,"number":97},"\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.22.png","20 C 20\n© Mark Niedermann\n© Mark Niedermann\n© Pati Grabowicz\n© Mark Niedermann\nAbierta día y noche, \nsin puertas ni ventanas \nque limiten el acceso, la \ninstalación cambia su \nbrillante imagen diurna \npor una fluorescente \nnocturna, gracias a la \nunión de luz ultravioleta \ny tintes de uranina. \nOpen night and day, \nwith neither doors nor \nwindows limiting access, \n‘Life’ changes its bright \nappearance in daylight \nto a fluorescent glow \nat night thanks to a \ncombination of UV lights \nand uranine dye. \n",22,{"image":99,"text":100,"number":101},"\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.23.png","C 20 21\n",23,{"image":103,"text":104,"number":105},"\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.24.png","22 C 20\nEn 1956, tras finalizar sus estudios de \nfotografía, Carlos Pérez Siquier inició su \ndilatado relato sobre el vecindario de La \nChanca, un arrabal de Almería edificado \njunto a la Alcazaba que desde finales del \nsiglo xix quedó sumido en el abandono y \nque la posguerra hundió en la desolación.\nLa belleza compositiva de sus fotografías \nse conjuga en equilibrio con el lenguaje \ndocumentalista habitual de su depurada \nproducción pictórica, que reflejan con \nsinceridad y dignidad las desparramadas \narquitecturas cubistas, sus empinadas \ncallejuelas y las carentes condiciones en \nlas que vivían sus vecinos.\nIn 1956, after completing photography \nstudies, Carlos Pérez Siquier started a \ndocumentary project on La Chanca, a poor \nneighborhood by the Alcazaba quarry in \nAlmería (southeast Spain). The town, \nalready in a state of neglect in the late \n19th century, was plunged into misery \nduring the postwar years. \nThe compositive beauty of his \nphotographs is mixed with the usual \ndocumentary approach of his work, which \noffers a sincere and dignified portrait of \nthe town’s scattered cubist architecture, \nits steep alleys, and the life of poverty \nand deprivation of its inhabitants.\nArts\nPhotography\n2\nBorn in Almería in \n1930 and recently \ndeceased, Siquier was \none of the key figures \nof Spanish avant-\ngarde photography, \nand his work with the \nAFAL group attracted \ninternational attention. \nNacido en Almería en \n1930 y recientemente \nfallecido, Siquier fue \nuna de las figuras \nmás destacadas de la \nvanguardia fotográfica \nespañola, que exportó \ninternacionalmente \njunto al grupo AFAL.\nLa Chanca in Color \nCarlos Pérez Siquier \nIn memoriam\n",24,{"image":107,"text":108,"number":109},"\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.25.png","C 20 23\n",25,{"image":111,"text":112,"number":113},"\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.26.png","24 C 20\n",26,{"image":115,"text":116,"number":117},"\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.27.png","C 20 25\nIn another chapter of his \ndocumentary work on the \nneighborhood, Siquier \ntook close up shots to \ncapture the story behind \nthe rough walls of the \ntown’s buildings, the \nlimestone strata, and the \ndeep cracks on walls.  \nSiquier, en otro capítulo \nmás de su trabajo sobre \nel barrio urcitano, \nacorta el plano de sus \nfotografías para reflejar \nlas historias que cuentan \nsus hirsutos muros, los \nestratos calcáreos y sus \nvirulentas grietas.\n",27,{"image":119,"text":120,"number":121},"\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.28.png","26 C 20\nA pesar de su vocación \ndocumentalista y de \ndenuncia social, las \nimágenes de La Chanca \nsiempre tuvieron la \nvoluntad de dignificar y \nensalzar a sus habitantes, \npara permitir que se \nmostraran tal como eran.\nWhile documenting \nreality and social \ninjustice, Siquier’s \nphotographs of La \nChanca always gave a \ndignified image of the \ntown’s people, letting \nthem show themselves \njust as they were. \n",28,{"image":123,"text":124,"number":125},"\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.29.png","C 20 27\n",29,{"image":127,"text":19,"number":128},"\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.30.png",30,{"image":130,"text":131,"number":132},"\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.31.png","Style\nModernism in Chains\nKengo Kuma in Barcelona\nMonogiraud\nEmotional Art \n",31,{"image":134,"text":135,"number":136},"\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.32.png","30 C 20\nStyle\nIntervention\n3\nModernISM \nIn CHAInS\nKengo Kuma in Barcelona\nLa intervención en la emblemática Casa \nBatlló de Antoni Gaudí en Barcelona se \ninspira en el Mediterráneo, como exégesis \nde ‘su luz, su sombra, su cielo y su mar’, \ncristalizando en un marengo cortinaje de \ncadenas de aluminio. Las sensuales líneas \nde la arquitectura modernista de Gaudí se \nreinterpretan para poner en valor la antigua \nescalera de evacuación, y junto a la nueva \nen forma de caracol, obra de Chesneys \nArchitectural, completar y enriquecer la \nexperiencia del visitante. La materialidad \nde los eslabones metálicos y su gradación \ncromática captan la luz y la distribuyen a lo \nlargo de todo el recorrido vertical.\nThe intervention of the studio of Kengo \nKuma in Antoni Gaudí’s Casa Batlló in \nBarcelona is inspired by the Mediterranean \nand ‘its light, its shade, its sky, and its \nsea,’ crystallizing in undulating aluminum \nmesh curtains. The sensual lines of Gaudí’s \nmodernist architecture are reinterpreted \nhere to highlight the presence of the \nold emergency staircase, and with the \nnew spiral one, designed by Chesneys \nArchitecture, enrich the experience of \nvisitors to the emblematic building. The \nmaterial quality of the link chains and \ntheir chromatic gradation capture and \nspread light over the vertical surfaces.\n© Triangle (Pere Vivas y Biel Puig)\nArquitectos Architects:  \nKengo Kuma & Associates \nEquipo Team:\nJavier Villar Ruiz, Jaime \nFernández Calvache, \nGorka Beitia Zarandona, \nDavid Minton Albero, Mila \nDimitrovska, Kimio Suzuki \nLuminarias Lighting Designer:  \nViabizzuno\n",32,{"image":138,"text":139,"number":140},"\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.33.png","C 20 31\n",33,{"image":142,"text":143,"number":144},"\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.34.png","32 C 20\n© Jordi Anguera\n© Triangle (Pere Vivas y Biel Puig)\n© Triangle (Pere Vivas y Biel Puig)\nPara rendir homenaje a \nla decoración del patio \nde luces de Gaudí, el \nmontaje de eslabones \npresenta una gradación \nde tonos y brillos que \nvan oscureciéndose en el \ndescenso hacia la antigua \ncarbonera del sótano.\nPaying tribute to the \ndecoration of Gaudí’s \nlight well, the installation \nof chain links presents \na gradation of tones and \nglosses that darken in \nthe course of the descent \nto the old coal bunkers \nfound in the basement.\n",34,{"image":146,"text":147,"number":148},"\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.35.png","C 20 33\n",35,{"image":150,"text":151,"number":152},"\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.36.png","34 C 20\nMonogiraud\nEmotional Art\nStyle\nFashion\n3\nLa multidisciplinar \nartista argentina \nencuentra la belleza \nen objetos cotidianos, \nque resignifica y \ntransforma en líricas \nimágenes atemporales \nimpregnadas de su \nmundo interior.\nThe Argentinian \nartist works across \ndisciplines to find \nbeauty in everyday \nobjects, to which she \nlends new meaning and \ntransforms into lyrical, \ntimeless images imbued \nwith her essence. \n",36,{"image":154,"text":155,"number":156},"\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.37.png","C 20 35\nLeft: Madre de luz. Top: Mensajera. ©Mono Giraud\n",37,{"image":158,"text":159,"number":160},"\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.38.png","36 C 20\nTop: Guardiana del fuego. Right: Tallo. ©Mono Giraud\n",38,{"image":162,"text":163,"number":164},"\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.39.png","C 20 37\nSu trabajo versa sobre  \nlo intangible y lo \ninefable pero que no \npuede ser escondido, \ntrascendiendo los \nobjetos, telas o papeles, \ne incluso los personajes \nretratados para reflejar \nsu ‘luz y alma’.\nThrough her work she \nexplores the intangible \nand ineffable that \ncannot be concealed, \ntranscending objects, \nfabrics or paper and \neven the characters \nportrayed to reflect \ntheir ‘light and soul.’ \n",39,{"image":166,"text":19,"number":167},"\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.40.png",40,{"image":169,"text":170,"number":171},"\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.41.png","Cosentino\nDekton Facade\nInnovation Technological Center by Blengini Ghirardelli\n",41,{"image":173,"text":174,"number":175},"\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.42.png","40 C 20\nCosentino\nFacades\n4\nDEKTON FACADE\nInnovation Technological Center by Blengini Ghirardelli \nEl ITC (Centro Tecnológico de Innovación) es el nuevo edificio, \nobra del estudio milanés de SBGA Blengini Ghirardelli, para el \ncampus de la firma italiana AEC Illuminazione, situado en la \nregión de la Toscana a las afueras de la pequeña población de \nCastelnuovo. A través de formas geométricas puras y simples, el \nproyecto busca la convivencia entre espacios técnicos y zonas \npúblicas, que fomenten la relación entre los distintos departamentos \ny trabajadores. Dividido en tres niveles, los programas tecnológicos \ncomo laboratorios y salas de pruebas —que requerían de dobles y \ntriples alturas— se ubican en las plantas bajas, para dejar las oficinas \ny zonas de investigación en el último nivel.\nEl proyecto busca introducir el cercano paisaje toscano en el \ninterior. El amplio cerramiento acristalado contrasta con la zona \nnorte, donde se emplaza una de las fachadas en Dekton más \ngrandes de Europa, con el acabado Domoos de la Solid Collection, \nque responde a los criterios de sostenibilidad e innovación de la \nempresa italiana. Las grandes piezas, de hasta 320x144cm, se han \ndispuesto en esta ocasión sobre una fachada ventilada, que emplea \nun sistema de anclajes fijos tipo Keil. El edificio se completa con una \ncubierta de claraboyas, que aportan la luz necesaria en los puestos \nde trabajo. Los sistemas técnicos y paneles fotovoltaicos se ubican \nen la cubierta, ocultos por la cornisa, pevitar la tradicional imagen \nasociada a las arquitecturas industriales.\nThe ITC (Innovation Technological Center) is a new building \ndesigned by the Milanese studio SBGA Blengini Ghirardelli for \nAEC Illuminazione. It is located within the company’s central \nheadquarters outside Castelnuovo, a small town in the Tuscany \nregion of Italy. Using clean and simple geometric lines, the project \nmakes technical areas and public spaces coexist, encouraging \ncommunication between different departments. The building is \norganized in three levels, with technological programs such as a \nlaboratories and testing rooms – which required double and triple \nheights – on the ground and first levels and research offices on \nthe upper floor. \nThe project seeks bringing in the surrounding natural landscape \ninto the building. The large glass enclosure creates a contrast with \nthe striking northern facade, which is one of the largest Dekton \nfacades in Europe. This facade is made of Dekton Domoos, an \nalmost black shade from the Solid Collection, which fulfills the \nsustainability and innovation criteria of the Italian company. \nThe large slabs, measuring up to 320x144 cm, are placed on a \nventilated facade that uses a Keil-type fixed anchoring system. \nThe building is rounded off with a skylight roof that brings light \ninto the workspace. The technical systems and photovoltaic panels \nare located above the roof, concealed by a cornice to avoid the \ntraditional image of factory buildings. \n",42,{"image":177,"text":178,"number":179},"\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.43.png","C 20 41\n",43,{"image":181,"text":182,"number":183},"\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.44.png","42 C 20\nLa elección de Dekton \nDomoos en piezas de \ngrandes dimensiones \nha permitido adaptarse \nal despiece de las \ncarpinterías de vidrio y a \nla modulación del edificio, \nofreciendo un acabado \nsostenible y resistente.\nThe choice of Dekton \nDomoos in large-format \nslabs has allowed \nadapting to the detailing \nof the window frames \nand to the modulation  \nof the building, offering  \na sustainable and \nresistant finish. \nDekton Domoos\n",44,{"image":185,"text":186,"number":187},"\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.45.png","C 20 43\n",45,{"image":189,"text":19,"number":190},"\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.46.png",46,{"image":192,"text":193,"number":194},"\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.47.png","Interior\nUndulating Landscape\nAdjaye Associates in LA \nCosentino City\nFlagship Store in Barcelona\n",47,{"image":196,"text":197,"number":198},"\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.48.png","46 C 20\nUndulating \nLandscape\nAdjaye Associates in LA \nInterior\nRenovation\n5\nLa última tienda insignia de The Webster, \nuna joven firma de productos de lujo, \nocupa el chaflán curvo del icónico \nBeverly Center, el centro comercial \nbrutalista de ocho plantas situado entre \nBeverly Hills y West Hollywood, que \ndesde los años 1980 alberga tiendas de \nlujo, restaurantes de moda y salas de \ncine. Como una rara avis en la ciudad \ndel coche por excelencia, bajo el gran \nvoladizo de entrada la tienda propuesta \npor Adjaye Associates cede a la ciudad \nparte de su superficie comercial y \nconfigura un espacio público peatonal \na modo de oasis urbano, con una pared \ndigital, una escultórica fuente y bancos \ncorridos, que anteceden un paisaje \nde orgánicas formas que moldean los \nmuebles expositores, todos elaborados \nen hormigón rosáceo encofrado in situ. \nEn la entrada principal, la gran ventana \npanorámica curva desdibuja el límite \nentre el espacio público y el comercio \ninterior. La descarnada materialidad pone \nde relieve los productos en muestra, pero \nla atmósfera interior se enriquece con \nla alternancia de texturas de hormigón \ny un tinte rosa que la saturada luz del \nPacífico acentúa, consiguiendo generar \nuna experiencia que trasciende la mera \nintención transaccional de una tienda.\nThe latest store – and the first one in Los \nAngeles – for the young luxury fashion \nhouse The Webster takes up the curved \ncorner of the iconic Beverly Center, an \neight-floor bulk raised in the 1980s on \nan entire block between Beverly Hills and \nWest Hollywood, and which has since \nprovided Angelenos with high-end stores, \npopular restaurants, and moviehouses. \nThe new boutique by Adjaye Associates \ncedes part of its commercial space to \ncreate something which is a rarity in \nthe metropolis where the automobile \nreigns supreme: a public pedestrian zone \nconceived as an urban oasis, with a \ndigital wall, a sculptural fountain, and \nlong benches preceding a landscape of \norganic forms that serve as retail display \nfurniture, all of them made of concrete \npoured into formworks on the site. In \nthe main entrance, the large curved \npanoramic window blurs the boundaries \nbetween the public space and the stores \ninside. The stark materiality of these \nelements draws attention to the products \non sale, but the atmosphere of the \nboutique is enriched by the alternation of \nconcrete textures and a pink tone that the \nsaturated Pacific light accentuates, giving \nshoppers an experience way beyond the \ntransactional purpose of a store.\nPhotos: Dror Baldinger\n",48,{"image":200,"text":201,"number":202},"\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.49.png","C 20 47\n",49,{"image":204,"text":205,"number":206},"\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.50.png","48 C 20\nLa nueva fachada en \nvoladizo se yuxtapone a \nla estructura monolítica de \nocho pisos, aportando un \ncontrapunto escultórico y \nexperiencial al concepto \ncomercial del mall original \ny haciendo referencia a su \nimagen brutalista.\nJuxtaposed beneath the \nmonolithic eight-story  \nstructure, the new \ncantilevered facade offers a \nsculptural and experiential \ncounterpoint to the mall’s \nretail concept while \nreferencing the original \nbuilding’s brutalist shell.\n",50,{"image":208,"text":209,"number":210},"\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.51.png","C 20 49\n",51,{"image":212,"text":213,"number":214},"\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.52.png","50 C 20\nInterior\nFlagship Store\n5\nCOSENTINO CITY\nFlagship Store in Barcelona\nEn el 497 de la Avenida Diagonal en la Ciudad Condal se sitúa \nun nuevo espacio Cosentino City, el número trece en el mundo y \nel segundo a nivel nacional. El showroom de la empresa española \nbusca convertirse en un punto de encuentro para los grandes \nestudios ya asentados y en un espacio de referencia para las \njóvenes firmas emergentes. Bajo el lema ‘Get Inspired’, el equipo \nde Cosentino propone un nuevo concepto de ‘City’, donde la \ndigitalización, la experimentación, los materiales de gran formato \ny las aplicaciones de arquitectura contribuyen a ensalzar la belleza, \nfuncionalidad y prestaciones de sus principales marcas (Silestone, \nDekton, Sensa).\nCon más de 700m² repartidos en tres plantas, en el centro del \nespacio expositivo se ubica el Atelier Lab, que presenta una zona \nde trabajo y una extensa biblioteca con una gran variedad de \nmateriales —desde papeles decorativos y telas a griferías y soluciones \nde iluminación— donde tanto arquitectos como diseñadores pueden \nencontrar inspiración y desarrollar todo tipo de proyectos, trabajar \nsus diseños finales y obtener moodboards en formato digital, como \nsi de sus propios estudios se tratase. Con una estética basada en \nel look industrial neoyorquino, en el nuevo espacio conviven el \nladrillo y las instalaciones vistas en distintos grises y óxidos, que \nle dan una imagen fuerte y rompedora, con los colores y estilos \nmás clásicos de los acabados marmóreos.\nAvinguda Diagonal 497 is home to Cosentino City Barcelona, \nwhich makes number 13 of this type of venue around the world, \nand the second in Spain. The new showroom, located on one of \nthe busiest avenues of Barcelona, aims to become a meeting point \nin the city for established architecture practices and a reference \ncenter for young emerging teams. Under the motto ‘Get Inspired,’ \nthe Cosentino team proposes a new take on the ‘City’ concept, \nwhere digitalization, experimentation, large-format materials and \ntheir application in architecture play a major role in enhancing \nthe beauty, functionality and performance of key company brands \nlike Silestone, Dekton, and Sensa.\nWith an area of 700m², Cosentino City Barcelona takes up three \nfloors of multifunctional spaces. The heart of the showroom is \nAtelier Lab, devised as a workspace and complete library of materials \n– from wallpapers and fabrics to handles, taps, and lighting – \nwhere architects and designers can find inspiration and develop \na wide range of projects, work on their final designs, and obtain \nmoodboards in digital format, as if they were working from their \nown studios. The interior design of the premises is inspired by the \nNew York industrial look, with exposed brickwork and installations \nthroughout the showroom that give it a strong, groundbreaking \nimage, mixing the gray and rust hues of this aesthetic with the \nclassic style and colors of marble finishes.\n",52,{"image":216,"text":217,"number":218},"\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.53.png","C 20 51\n",53,{"image":220,"text":221,"number":222},"\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.54.png","52 C 20\nCosentino City Barcelona \nofrece a los profesionales, \nuna gran variedad de \nposibilidades, como \ngalería de materiales y \nproductos, zonas digitales \ny de realidad aumentada, \nmock-ups o espacios para \neventos y exposiciones.\nCosentino City Barcelona \noffers designers and \narchitects a huge variety \nof possibilities, such as \na library of materials \nand products, digital and \naugmented reality areas, \nmock-ups, and spaces for \nevents and exhibitions. \n",54,{"image":224,"text":225,"number":226},"\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.55.png","C 20 53\n",55,{"image":228,"text":19,"number":229},"\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.56.png",56,{"image":231,"text":232,"number":233},"\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.57.png","Interview\nLucas & Galiano\nIn Dialogue\n",57,{"image":235,"text":236,"number":237},"\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.58.png","Interview\nConversation\n6\nLucas &  \nGaliano \nin dialogue\n",58,{"image":239,"text":19,"number":240},"\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.59.png",59,{"image":242,"text":243,"number":244},"\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.60.png","58 C 20\nPhotos: Miguel Galiano \nLa redacción de la revista Arquitectura Viva, \nen Madrid, acoge la conversación entre Luis \nFernández-Galiano y Antonio Lucas, en la que \nrepasan sus intereses literarios y la importan-\ncia de la poesía en su trayectoria y sus textos.\nLuis Fernández-Galiano: No sé si sabes que \nhay muchos arquitectos que citan a poetas y \nlos usan como una herramienta de inspiración.\nAntonio Lucas: Tú mismo, por ejemplo. \nAcabo de leer un texto tuyo en el que hablabas \nde Aleixandre, de Machado…\nLFG: Sí, tienes razón, aunque en este caso \nyo me considero más un escritor usando a \notros escritores, tiene menos mérito. Me refe-\nría a arquitectos que construyen. \nAL: Hay una complicidad, principalmente \nde lenguaje, entre la arquitectura y la poesía. \nAmbas disciplinas comparten conceptos abs-\ntractos, voluminosos, como vacío, espacio, luz, \nforma… Son parte de la práctica arquitectónica \ny, naturalmente, también de la poesía. A la \nhora de dar cuerpo a una serie de emociones \no perspectivas del mundo construir el lugar \nes el primer indicio de lo arquitectónico y lo \npoético. La emoción que puede sentir un poeta \nante una construcción física, ante una forma \nconcebida con intención puramente utilitaria, \npuede ser, más allá de lo icónico, el principio \nde una emoción, de un sombro, de una duda. \nY lo mismo sucede con el arquitecto ante el \npoema: está viendo levantar un idioma que \npuede ser paisaje, refugio, alero desde el que \narrojarse. Forma parte de nuestra emoción el \nmirar, y sentir, y descubrir cómo algo se cons-\ntruye desde la nada y adquiere entidad. Un \npoema también es un ejercicio de arquitectura.\nLFG: Ha habido algún arquitecto poeta, \npero no muchos. Miguel Ángel era uno, con \nsus extraordinarios sonetos. Aunque es ver-\ndad que los hombres del Renacimiento eran \narquitectos, pero también artistas, literatos…\nAL: Miguel Ángel tenía unos excelentes \nepitafios en cuartetos de enorme calidad. Son \nun buen ejemplo de poesía del Renacimiento. \nAhí está la voz de un poeta. \nLFG: Es, sin embargo, algo que no en-\ncontramos tan habitualmente en el siglo xx, \ndonde se da una cesura mayor. Aunque hay \nun poeta arquitecto que es catedrático de es-\ntructuras en Barcelona, Joan Margarit.\nAL: Así es. Un poeta de línea clara, de len-\nguaje directo, muy cercano y limpio, aunque \ntambién hábil en el juego de luces y sombras. \nPienso ahora en otro artista realmente inten-\nso, el escultor Eduardo Chillida, también con \nformación de arquitecto, que escogió como \nlema de su obra un verso de Jorge Guillén: «Lo \nprofundo es el aire». Rafael Moneo también \nes un buen lector de poesía y en algunos de \nsus conceptos teóricos asoma esa predilección \nsuya por algunos poetas. Es decir, si bien no \nhay tantos arquitectos poetas, sí existen vasos \ncomunicantes entre unos y otros.\nLFG: En Los desengaños mencionas a una \nserie de poetas que imaginas que están pre-\nsentes en tu escritura de forma capilar, entre \nellos a T.S.Eliot o Ezra Pound. ¿Los lees en \ninglés o en castellano?\nAL: Los leo en español. Soy torpe con los \nidiomas y lo lamento. Leo buenas traduc-\nciones, pero me pierdo mucha intensidad y \ncalambre en el trasvase. Pound y Eliot son \ndos poetas incalculables. Me interesa más \nEliot que Pound. Me seduce el proyecto casi  \nEl arquitecto y director \nde Arquitectura Viva, \nLuis Fernández-Galiano \n(Calatayud, 1950) y \nAntonio Lucas (Madrid, \n1975), poeta y periodista \nde El Mundo, se reúnen \nen Madrid para hablar de \npoesía y arquitectura \nThe architect and director \nof Arquitectura Viva, \nLuis Fernández-Galiano \n(Calatayud, 1950) and \nAntonio Lucas (Madrid, \n1975), poet and journalist \nof El Mundo, meet in \nMadrid to talk about \npoetry and architecture.\n«Ambas disciplinas comparten \nconceptos abstractos, \nvoluminosos, como vacío, \nespacio, luz, forma… »\n",60,{"image":246,"text":247,"number":248},"\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.61.png","C 20 59\nIn the offices of the magazine Arquitectura \nViva, Luis Fernández-Galiano and Antonio \nLucas discussed their literary interests and \nthe importance of poetry in their texts.\nLuis Fernández-Galiano: Do you know \nthat many architects quote poets and use them \nas tools for inspiration?\nAntonio Lucas: You yourself, for a start. \nI’ve just read a text of yours in which you \nspoke of Aleixandre, Machado…\nLFG: Yes, that is right, although I think I \nam more of a writer using other writers, which \nhas less merit. I was referring to architects \nwho actually build.\nAL: There’s a complicity, mainly of a \nlinguistic nature, between architecture and \npoetry. Both disciplines use loaded, abstract \nconcepts, such as void, space, light, form... \nIt’s part of the architectural practice, and \nnaturally also of poetry. When giving shape \nto a series of emotions and world outlooks, \nbuilding the place is the first sign of the archi-\ntectural and the poetic. Beyond the iconic, a \npoet’s rush of emotion at the sight of a physi-\ncal construction, before a form conceived with \npurely utilitarian intentions, can be the begin-\nning of an emotion, a shadow, a doubt. And \nit’s the same for an architect confronted with a \npoem, witnessing the rise of language that can \nbe a landscape, a refuge, an eave to jump off \nfrom. Our emotions include looking, seeing, \nand feeling, and discovering how something \nis built from nothing and becomes an entity \nin its own right. A  poem is also an exercise \nin architecture.\nLFG: There have been poet-architects, but \nnot many. One was Michelangelo, with his \nextraordinary sonnets. Of course the  masters \nof the Renaissance were architects, but also \nartists, men of letters…\nAL: Michelangelo wrote some excellent \nepitaphs in quartets of great quality. They \nare a good example of Renaissance poetry. In \nthem rings the voice of a poet.\nLFG: Yet this is something we do not com-\nmonly find in the 20th century, where there is \na wider gap between architecture and poetry. \nOne architect-poet is a professor of Structures \nin Barcelona, Joan Margarit.\nAL:  Indeed. He was a poet of clear lines, \nwho wrote in a straightforward language, very \naccessible and clean, though also skillful in \ninterplays of lights and shadows. I am now \nthinking of another, truly intense artist, the \nsculptor Eduardo Chillida,  who also had ar-\nchitectural training. He used a verse of Jorge \nGuillén as motto for his work: “Deep is the \nair.” Rafael Moneo is also an avid reader of \npoetry, and his predilection for certain poets \nshines through in some of his theoretical con-\ncepts. So, there may not be that many poet-\narchitects, but there definitely are connections \nbetween poets and architects.\nLFG: In your book Los desengaños you \nmention a number of poets you imagine hav-\ning a capillary presence in your writings, \namong them T.S. Eliot and Ezra Pound. Do \nyou read them in English or in Spanish?\nAL: I read them in Spanish. I’m rather \nlimited when it comes to languages, and I \nregret it. I read good translations, but a large \nshare of the intensity is lost on me. Pound \nand Eliot are two incalculable poets. I’m more \nkeen on Eliot than on Pound. I am drawn to \n“Both disciplines use \nloaded, abstract concepts, \nsuch as void, space,  \nlight, form...”\n",61,{"image":250,"text":251,"number":252},"\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.62.png","60 C 20\n",62,{"image":254,"text":255,"number":256},"\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.63.png","C 20 61\nPound’s almost ‘infinite’ approach, but find \nEliot’s more firmly materialized. Pound is a \nbabel of culture, with an overwhelming tab-\nleau of layers, textures, and backlights, but \nEliot has a freer hand. Pound’s ambition is \nall very well, but as far as I’m concerned, the \ntrue poet is Eliot. His world view, his capacity \nto concretize a perspective of humanity in a \npoem, as he does in The Waste Land or Four \nQuartets, is of a magnitude beyond the reach \nof all the rest.\nLFG: For us, too, he was a legend, in part \nbecause he was a great literary critic, a bit \nlike our own Juan Ramón Jiménez, who was \nnot only a great poet but also a great eru-\ndite of poetry. I remember being young and \nlearning the first stanzas of The Waste Land \nby heart. But I was partly schooled in Great \nBritain, so inevitably read in English. In any \ncase, when I read poets whose languages I \ndo not speak, I like to read them in bilin-\ngual editions. Even without understanding \nthe original language, there is something in \nthe sound that you suddenly pick up. For \nexample, I did not previously have much of \nan opinion of Pessoa as a poet. I considered \nhim a prose writer, a master of thought. I \nnever thought of him as a great poet until I \nread him in a bilingual edition.\nAL: I agree, and do the same: contrast, \nstudy, compare. It happened with Adam Za-\ngajewski, the Polish poet, one time we had a \nreading together. His poems took on a full-\nness and flight that I only grasped when he \nread them aloud, even though I didn’t really \nget the message. On the other hand, Pessoa \nwas a chest full of people, an extraordinary \nneurotic, a figure endowed with a rare psy-\nchopathy for words. And a poet shared by so \nmany as to give rise to statements as dumb \nand gimmicky as: “There’s a Pessoa for every \noccasion.” More seriously, how extraordinary \nand passionate his poetry is! One can’t have \nenough of Pessoa.\nLFG: I will admit that for me, too, there \nwere two mythical figures, the Pessoa of The \nBook of Disquiet and the Borges of short \nstories, and that only as an adult did I begin \nto appreciate them as poets. I find Borges the \npoet absolutely dazzling, though not many feel \nthe same way.\nAL: Borges is a poet of tremendous depth. \nIt probably has to do with what you state so \nwell: that reading the poet Borges requires \nmore time and more knowledge, more expe-\nrience, more sediments of life. You need to \nhave all the tempos well in place. Your view \nof the world has to have already often touched \nupon him. I have the same experience with \nartists like Morandi; the more time passes, \nthe more entity he acquires. Something light \nwhich may even seem monotonous later takes \non very delicate nuances, to the point that \nthe brushstroke and repetition become a cat-\negorical thought. It’s after much exposure to \nPollock that one gets to Morandi better.\nLFG: With what editions was your genera-\ntion educated? Mine first had the brown books \nof Austral, and later the gray ones of Losada.\nAL: We mainly had Visor, Hiperión, and \nPre-Textos. These three publishers have been \npart of the sentimental education of several \ngenerations. In my case there was a special \nrelationship with Visor, so much that I have \nbeen going there every fortnight since I started \nat the university at 17, to this day. We have \ngotten a lot of nourishment from that book-\nstore and publishing house.\nLFG: There’s another thing I’ve realized \nhas changed over time, and it’s that our \ngeneration hated Lorca. Lorca was pictur-\nesque, or, in Borges’s words, an Andalusian \nprofessional. And Poet in New York was \nfor us like a surrealist delirium. For our \ngeneration, the great poet was Machado. \nJuan Ramón was too complicated. He was \na figure we yearned to love, but did not \nmanage to connect with.\nAL: You hated Lorca? That’s new to me, \nand quite snobbish. The early Juan Ramón, \nthe modernist one, is definitely cloying. Even \nhe disowned it in his later years. I think Juan \nRamón was rediscovered with the publication \nof his American work in full, in that excellent \nvolume titled Lyric of the Atlantis, published \nby Galaxia Gutenberg\u002FCírculo de Lectores. \nThere we have a Juan Ramón in exile and \noften in agony. Essential. A Juan Ramón who \ndoubts, is hurt, estranged from enjoyment and \nverbiage. A poet full of conflict. Every good \npoem has conflict within. Poetry is not an \n“Every poem has an inner \nconflict.  Poetry is not an \nescape, but a way to pin \nyourself to the present.”\n",63,{"image":258,"text":259,"number":260},"\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.64.png","62 C 20\n‘infinito’ de Pound, pero está mejor concreta-\nda la propuesta de Eliot. Pound es una babel de \nla cultura, con un juego de láminas, texturas y \ncontraluces sobrecogedor, pero suelta mucho \nmás la mano Eliot. Está muy bien la ambición \nde Pound pero, para mí, el poeta-poeta es Eliot. \nLa cosmovisión, la capacidad de concretar en \nel poema una perspectiva de la humanidad \n—como en La tierra baldía o Cuatro cuartetos— \nes de una totalidad inalcanzable para el resto.\nLFG: Para nosotros también era un mito, en \nparte porque era un gran crítico literario, un \npoco como nuestro Juan Ramón que no solo \nera un gran poeta sino un gran erudito de la \npoesía. Yo recuerdo que, cuando era joven, me \naprendí de memoria las primeras estrofas de \nLa tierra baldía. Pero yo me eduqué en parte en \nGran Bretaña, e inevitablemente leía en inglés. \nSin embargo, cuando leo a poetas cuyo idioma \nno conozco, me gusta hacerlo en ediciones \nbilingües aunque no entienda el idioma, por-\nque hay algo de la sonoridad que de repente \nrecuperas. Por ejemplo, nunca había tenido \nuna gran opinión de Pessoa como poeta. Lo \njuzgaba un gran prosista, un maestro de pen-\nsamiento, pero no pensaba que fuera un gran \npoeta hasta que leí una edición bilingüe.\nAL: Estoy de acuerdo, y hago como tú: \ncontrasto, estudio y comparo. Me pasó con \nAdam Zagajewski, el poeta polaco, con quien \ncompartí un recital. Sus poemas adquirían \nuna rotundidad y vuelo que solo sentí cuando \nlos leyó él en voz alta, aunque no entendiese \nrealmente su mensaje. Por otra parte, Pessoa \nes un baúl lleno de gente, un neurótico ex-\ntraordinario, un tipo de una psicopatía rarí-\nsima con las palabras. Y un poeta repartido \nentre tantos que se puede decir eso tan bobo y \n‘marketinero’ de que hay un Pessoa para cada \nocasión… Fuera de broma: qué propuesta tan \ninsólita y apasionante la suya. Pessoa no se \nacaba nunca.\nLFG: Confieso que para mí había dos per-\nsonajes míticos, el Pessoa del Libro del des-\nasosiego y el Borges de los cuentos. Y que solo \n",64,{"image":262,"text":263,"number":264},"\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.65.png","C 20 63\nescape from the world, but a way to pin your-\nself to the present. Even the most hermetic of \npoets anchors you to your time more strongly. \nA great poem is like a washing machine, with \na lot of ground wire.\nLFG: The one I was most dazzled by was \nthe early Miguel Hernández, who wrote like \nGóngora without realizing it. With a plastic-\nity and rhythmic harmony, archaic, yes, but \nbeautiful.\nAL: He was extraordinary, with that sparkle \nof the greatest Baroque poets. An intuitive type. \nPoetry was his original substance and his tem-\nperament. The most popular Miguel Hernán-\ndez is the one of the battlefield, because he \nlived as he did and the details of his biography  \nmake him more emotive, perhaps more com-\nmercial. But there’s also a Miguel Hernández \nwho was powerfully lyrical, inspired, even \nabstract, which is another form of poetry in \naction, coming from pure intuition.\nLFG: On the other hand, when you are very \nyoung, you like love poems, naturally. Many \nverses by Salinas or Aleixandre that I can no \nlonger bring myself to re-read revolve around \nthe theme of love.\nAL: This is where architecture and poetry \npart ways: the former is a craft that develops \nover a long time, the latter is a mark of youth. \nWhat’s rare is a 70-year-old poet writing with \nthe intensity that some have shown in old age: \nthe Aleixandre of Poems of Consummation, \nthe Caballero Bonald of Manual de infracto-\nres, the mature Gamoneda... If poetry has its \nspark plug in a young ‘metabolism,’ old poets \nhappily run contrary to nature. It’s fabulous.\nLFG: Well, José Hierro’s last book has some \nvery gripping verses that you do not expect \nfrom a person of his age and circumstances.\nAL: For sure. There’s a sonnet in that book, \ntitled New York Notebook, which goes:\n“After all, all has been nothing,\neven though one day it was all.\nAfter nothing, or after all\nI knew that all was only nothing.”\n",65,{"image":266,"text":267,"number":268},"\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.66.png","64 C 20\ncomo adulto he empezado a apreciarlos como \npoetas. El Borges poeta me parece deslum-\nbrante, pese a que no muchos lo compartan. \nAL: El poeta Borges es de un alcance \nprofundísimo. Probablemente tiene que ver \ncon eso que apuntas, y es que la secuencia \ndel poeta Borges requiere más tiempo y más \nconocimiento, más experiencia y más poso \nde vida que el narrador. Te tiene que pillar \ncon los tempos muy bien armados. Que tu \nmirada sobre el mundo se haya rozado ya \nmuchas veces con él. Me pasa también con \nartistas como Morandi, cuanto más tiempo \nmás entidad adquiere. Una pintura tan leve, \nque incluso puede parecer monótona, luego \ndespliega unos matices muy delicados hasta \nconvertir la pincelada y la repetición en un \npensamiento rotundo. Después de ver mucho \nPollock se llega mejor a Morandi.\nLFG: ¿Con qué ediciones se educó tu gene-\nración? En la mía fueron primero los morados \nde Austral y luego los grises de Losada.\nAL: La nuestra principalmente fue con los \nde Visor, Hiperión y Pre-Textos. Esas tres han \nformado parte de la educación sentimental de \nvarias generaciones. En mi caso, con Visor \ntengo una relación especial, tanto es así que \ndesde que empecé la facultad con 17 años, \nhasta hoy, suelo pasar una vez cada quince \ndías por allí. En esa librería y editorial nos \nhemos nutrido muchos. \nLFG: Otra de las cosas que me he dado \ncuenta de que con el tiempo ha cambiado \nes que nuestra generación odiaba a Lorca. \nLorca era el pintoresquismo, o en palabras \nde Borges, era el andaluz oficial. Y Poeta en \nNueva York nos parecía un delirio surrealista. \nEn nuestra generación Machado era el gran \npoeta. Juan Ramón era muy complicado, era \nun personaje que queríamos amar, pero con \nel que no conseguíamos conectar. \nAL: ¿Odiabais a Lorca? Primera noticia. Eso \nes muy esnob. Respecto a la primera parte de \nJuan Ramón, la modernista, es empalagosa. Él \ntambién renunció a ella en su madurez. Yo creo \nque a Juan Ramón se le descubrió de nuevo \ncon la publicación de toda la obra americana \nen aquel excelente volumen titulado Lírica de \nuna Atlántida, que publicó Galaxia Guten-\nberg\u002FCírculo de Lectores. Ahí está un Juan \nRamón exiliado, agónico en tantas ocasiones. \nEsencial. Un Juan Ramón que duda, dañado, \nlejos ya del enjoyamiento y la palabrería. Un \npoeta de mucho conflicto. Todo buen poema \ntiene un conflicto dentro. La poesía no es una \nforma de huir del mundo, sino de enclavijarse \nal presente. Hasta el poeta más hermético te \nafianza mejor a tu tiempo. Un gran poema es \ncomo una lavadora, suele tener toma de tierra.\nLFG: A mí el que me deslumbró fue el primer \nMiguel Hernández, que escribía como Góngora \nsin darse cuenta. De una plasticidad y de una \narmonía rítmica, arcaica sí, pero bellísima. \nAL: Ese que tú dices es extraordinario, con \nesa ráfaga de los grandes poetas barrocos. Un \ntipo intuitivo. La poesía era su sustancia origi-\nnal y su temperamento. El Miguel Hernández \nmás ‘paseado’ es el de batalla, porque vivió \ncomo lo hizo y las condiciones de su biografía \nlo hacen más emotivo, más comercial quizá. \nPero hay un Miguel Hernández poderosamen-\nte lírico, inspirado, incluso abstracto, que es \notra forma de poesía en acción, llevado por \nuna intuición pura. \nLFG: Por otro lado, cuando eres muy joven \nlo que te interesa es la poesía amorosa, claro. \nMuchas de las cosas que ya no puedo volver \na leer de Salinas o de Aleixandre tenían que \nver con ese único tema. \nAL: Aquí la arquitectura y la poesía diver-\ngen: el primero es un oficio de largo desarro-\nllo, la segunda es una constancia de juventud. \nLo extraño, a veces, es ver a un poeta con \nsetenta años escribiendo con esa potencia que \ndemostraron algunos en la vejez: el Aleixan-\ndre de los Poemas de la consumación, el Ca-\nballero Bonald de Manual de infractores, el \núltimo Gamoneda… Si la poesía tiene su bujía \nen un ‘metabolismo’ joven, los poetas viejos \nvan felizmente contra natura. Es fabuloso.\nLFG: Bueno, el último libro de José Hierro \ntiene frases que te dejan conmovido y que \nno esperas de una persona de su edad y sus \ncircunstancias. \nAL: Sin duda. Hay un soneto en ese libro al \nque te refieres, Cuaderno de Nueva York, que \nbajo el título ‘Vida’ comienza así:\n«Después de todo, todo ha sido nada,  \na pesar de que un día lo fue todo.  \nDespués de nada, o después de todo  \nsupe que todo no era más que nada».\n«Todo buen poema tiene un \nconflicto dentro. La poesía no es \nuna forma de huir del mundo, \nsino de enclavijarse al presente.»\n",66,{"image":270,"text":271,"number":272},"\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.67.png","C 20 65\n",67,{"image":274,"text":19,"number":275},"\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.68.png",68,{"image":277,"text":278,"number":279},"\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.69.png","Travel\nTel Aviv\nIsrael\n",69,{"image":281,"text":282,"number":283},"\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.70.png","68 C 20\nTel Aviv \nTravel\nIsrael  \n7\nThe Mediterranean city’s \narchitecture, beaches, \nand museums has made \nit Israel’s cultural and \neconomic center.\nLa ciudad mediterránea se \nha convertido, gracias a \nsu arquitectura, playas y \nmuseos en el centro cultural \ny económico de Israel\n© Rubinstein Felix\n© Noam.armonn - Treball\n01\nJaffa was for over \n5,000 years the gateway \nbetween East and West, \nand today, abounding \nin galleries, museums, \nrestaurants, and \nnightclubs, it is one of  \nthe principal attractions  \nof the Israeli city.\nAncient City\nOld Jaffa\n02\nLa Ciudad blanca, \ndeclarada Patrimonio de \nla Humanidad en 2003, \nfue construida en los años \n30 por los arquitectos \nalemanes emigrantes y \nacoge el mayor número \nde edificios en estilo \nBauhaus del mundo.\nDeclared a UNESCO \nWorld Heritage Site in \n2003, the White City \nwas built in the 1930s by \nGerman architects who \nhad emigrated to Israel, \nand counts the largest \nnumber of Bauhaus-style \nbuildings in the world. \nWorld Heritage\nWhite City\nJaffa fue durante más \nde 5.000 años la puerta \nde entrada de Oriente a \nOccidente, y hoy se ha \nconvertido en una de las \nprincipales atracciones de \nla ciudad israelí gracias \na sus galerías, museos, \nrestaurantes o discotecas.\n",70,{"image":285,"text":286,"number":287},"\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.71.png","C 20 69\n© Liran Sokolovski Finzi\n03\nBeach\nTel Aviv Seaside\nEl litoral de Tel Aviv se \ncompone de distintas \nplayas de arena —como \nla Banana, la Gordon \no la Hilton Beach— que \nse extienden desde el \nhistórico puerto de Yaffo \nhasta la desembocadura \ndel río Yarkon. \nThe coastline of Tel Aviv \nfeatures a series of sand \nbeaches – among them \nthe Banana, the Gordon, \nand the Hilton – that \nstretch from the historical \nNamal Yafo harbor on \nto the very mouth of the \nYarkon River.\n",71,{"image":289,"text":290,"number":291},"\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.72.png","70 C 20\n04\n Eclectic Style\nPagoda House\nConstruida en 1925, la \nPagoda House aúna estilos \ny motivos propios de la \ntradición China, los templos \ngriegos y la cultura islámica. \nPensada para alojar al \nembajador polaco, fue la \nprimera residencia privada \nen disponer de ascensor.\nBuilt in 1925, the Pagoda \nHouse combines styles and \nmotifs taken from Chinese \ntradition, Greek temples, \nand Islamic culture. \nIntended to house the Polish \nambassador, it was the first \nprivate residence equipped \nwith an elevator. \n© Felix Rubinstein\nUbicado en Beerseba, a \n100km de Tel Aviv, el \nmemorial obra del artista \nplástico Dani Karavan \nrecuerda a cada uno de \nlos 324 nombres de la \nbrigada que murieron \ndurante el conflicto \nárabe-israelí de 1948. \nRaised in the year 1971 \nby Dan Eitan and Itzhak \nYashar, the museum \npresents a huge spiral \nwith four large halls \nsurrounding a central \natrium, and is one of \nthe finest examples of \nbrutalism in the country. \nLocated in the desert city \nof Beerseba, 100km from \nTel Aviv, the memorial by \nthe sculptor Dani Karavan \nhonors the memory of \nevery single one of the \n324 brigade members \nwho perished in the Arab-\nIsraeli War of 1948.\n06\n05\n07\nReligious\nGreat Synagogue\nArt Museum\n TAM Main Building\nMonument\nNegev Brigade Monument\nProyectada por Magidovitch \nen 1922, sus vidrieras \nreplican las destruidas \ndurante el Holocausto. \nDesigned by Magidovitch in \n1922, the synagogue’s stained \nglass windows echo those \ndestroyed in the Holocaust.\nRealizado en 1971 por Dan \nEytan e Itzhak Yashar, el \nmuseo se concibe como \nuna gran espiral con cuatro \ngrandes salas dispuestas en \ntorno al atrio central, y se \nha convertido en uno de \nlos mejores ejemplos del \nbrutalismo en el país.\n© Yair Haklai\n© Israel Zafrir Archive\n© Stefano Perego\n",72,{"image":293,"text":294,"number":295},"\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.73.png","C 20 71\nBauhaus Style\n8 Dov Hoz\n11\nThis building by Ben-Ami \nShulman, a leading figure \nof Israeli architecture in \nthe 1930s, reflects the \ninfluences he picked up at \nthe Académie Royale des \nBeaux-Arts of Brussels, \nwhere he coincided  \nwith Victor Horta.\nLa casa a manos de Ben-\nAmi Shulman, uno de las \nprincipales figuras de la \narquitectura en los años \n1930 en Israel, refleja las \ninfluencias de su paso por la \nAcadémie Royale des Beaux-\nArts de Bruselas donde \ncoincidió con Victor Horta.\nBauhaus Style\nEngel House \n09\nEngel House, Zeev Rechter’s \nfirst building in Tel Aviv, \nis marked by pillars and \nwindow frames. \nEngel House, el primer \nedificio de Zeev Rechter en \nTel Aviv, destaca por sus \npilotes y marcos de ventanas. \nWilhelm Ze’ev Haller \nconstruyó en 1933 la Casa \nEhrlich, que destaca frente \na las otras construcciones \ndel mismo estilo por \nalinearse al límite de la \nparcela y por la utilización \nde bandas que enfatizan \nsu carácter horizontal. \nSituado en Dizengoff \nCircle, y diseñado en \n1939 por el arquitecto \nYehuda Magidovitch para \nalojar uno de los primeros \ncines de la ciudad, el \nedificio de estilo Bauhaus \nha sido rehabilitado y \nconvertido en hotel. \nIn 1933 Wilhelm Ze’ev \nHaller built the Ehrlich \nHouse, which stands \nout among similarly \nstyled works because of \nhow it rises flush with \nthe edge of the plot and \nuses bands to stress its \nhorizontal form.\nSituated at Dizengoff \nCircle and designed in \n1939 by the architect \nYehuda Magidovitch \nto house one of the \ncity’s first cinemas, the \nBauhaus-style building \nhas been renovated and \nturned into a hotel. \n10\nBauhaus Style\nEhrlich House \n08\nBauhaus Style\nEsther Cinema Hotel\nsource: the white city center\nsource: the white city center\nsource: the white city center\n© Nitza Metzger Szmuk\n",73,{"image":297,"text":298,"number":299},"\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.74.png","72 C 20\nReligious\nCymbalista Synagogue\nThe Cymbalista \nSynagogue, a 1998 \nwork of Mario Botta, \nis characterized by the \ndetailed brick bonding \nin the rectangular base \nfrom which emerge two \nlarge volumes containing \nworship spaces. \nLa Sinagoga Cymbalista, \nobra de 1998 del arquitecto \nsuizo Mario Botta, se \ncaracteriza por su atento \naparejo del ladrillo, que \nconstruye un basamento \nrectangular del que se \nelevan los dos grandes \nvolúmenes para el rezo.\n12\nsource: botta.ch\nEl proyecto de desarrollo \ndel antiguo puerto, \ncompletado por Mayslits \nKassif Architects, logró \nrestaurar esta antigua \ne histórica zona de la \nciudad para convertirla \nde nuevo en un espacio \nprominente y vivaz.\nSituated at the center of \nthe city, the ToHa Building \nrises 29 floor levels. Its \nunique, faceted volume – \nfor which the inspiration \nwas the geometry of an \niceberg – is a design of \nRon Arad in collaboration \nwith Avner Yashar. \nThe project to redevelop \nthe port, carried out \nby Mayslits Kassif \nArchitects, resulted in \nthe restoration of an \nentire historical area \nof the city, and in its \nrevival as a prominent \nand vibrant public space.\n14\n13\n15\nMuseum\nDesign Museum Holon\nHigh-Rise Offices\nToHa Building\nPublic Space\nTel Aviv Port\nRealizado por Ron Arad en \ncolaboración con Bruno Asa, \nse trata del primer museo del \ndiseño en el país.\nA work of Rod Arad in \nconjunction with Bruno  \nAsa, this is the country’s \nfirst design museum. \nSituado en el centro de la \nciudad, el edificio ToHa \nse eleva hasta alcanzar \nuna altura de 29 plantas. \nSu singular volumen \nfacetado, inspirado en la \ngeometría de un iceberg, \nha sido diseñado por Ron \nArad junto a Avner Yashar\n© Marzorati Ronchett\n© Fernando Alda\n© Iwan Baan\n",74,{"image":301,"text":302,"number":303},"\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.75.png","C 20 73\nEl edificio de Ron Arad \nse integra en el contexto \nurbano sin renunciar a una \nimportante presencia urbana. \nRon Arad’s building \nblends into the urban \nfabric without forgoing \nan important presence. \n17\nArchitecture\nOpera House\n16\nArt Museum\nTAM Amir Building\nEl edificio Herta and Paul \nAmir, del estadounidense \nPreston Scott Cohen, \namplía el Museo de Arte \nde Tel Aviv, estableciendo \nun diálogo con la sede \nhistórica y completando \nel complejo cultural \ncentral de la ciudad\nThe Herta and Paul \nAmir Building, by the \nAmerican Preston Scott \nCohen, is an extension \nof the Tel Aviv Museum \nof Art. It strikes up \na dialogue with the \noriginal and wraps up \nthe city’s cultural hub.\n© Preston Scott Cohen\n© Yael Pincus\n© Roland Halbe\n© Justin Kliger \n© Moreno Maggi \n© Shai Epstein\nEl PSES incorpora al campus \naulas, oficinas y laboratorios \nbajo los estándares \nmedioambientales LEED.\nThe PSES gives the campus \nnew classrooms, offices, \nand labs under LEED \nenvironmental standards.\n19\nUniversity\nPorter School\nEl complejo diseñado por Eli \nAttiase se compone de tres \nrascacielos conectados en su \nbase por un centro comercial.\nThe complex designed by \nEli Attiase comprises three \nskyscrapers connected at the \nbase by a shopping center. \n18\nHigh-Rise\nAzrieli Center\nEl edificio se sitúa a orilla \ndel Mediterráneo con el \npropósito de comunicar los \nvalores de paz y esperanza.\nThe building stands on the \nMediterranean shore with \nthe mission of fostering \npeace and hope. \n21\nMuseum\nPeace Peres House\nInspirada en los principios \nde la Bauhaus, Richard \nMeier levanta esta esbelta y \nluminosa torre de viviendas. \nInspired by Bauhaus \nprinciples, Richard Meier \nraised this slender and \nluminous residential building\n20\nHousing\nRothschild Tower\n",75,{"image":305,"text":306,"number":307},"\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.76.png","74 C 20\nEl mercado tiene los martes \ny viernes sus días álgidos, \ncon la presencia de artistas y \nvendedores independientes.\nThe market is most alive on \nTuesdays and Fridays, with \nthe presence of artists and \nindependent vendors.\n26\nMarket\nCarmel Market\n25\nMarket\nJaffa Flea Market\nUbicado en el histórico \nbarrio de Jaffa, la zona del \nmercadillo alberga desde \nboutiques de diseño y \ntiendas de segunda mano \na restaurantes o bares de \nmoda. Además, en las noches \nde verano se organizan \nespectáculos al aire libre.\nLocated in the historic \nJaffa neighborhood, the \nflea market features \neverything from designer \nboutiques and second-\nhand stores to the most \nchic restaurants and bars. \nSummer nights come with \na range of open-air shows.\n© Zach Pontz\n© François de Nodrest \nsource: timeout.com\n24\nShopping\nAllenby Street\nOne of the city’s longest \nand most important \nthoroughfares, Allenby \nStreet stretches from \nHaKneset to HaMashavot \nSquare, and offers a \nwide range of goods for \nsale by day, and fun and \nentertainment by night.\nLa calle Allenby, una de las \nmás largas e importantes de \nla ciudad, se extiende entre \nlas plazas de HaKneset y \nHaMoshavot; en ella se \npuede disfrutar de una \ngran oferta comercial \ndurante el día y una \nvibrante vida nocturna.\n22\nThe old German colony, \nbuilt towards the end \nof the 19th century, \nis now famous for its \ncovered marketplace, \na popular hub of \ngourmet stands, shops \nof leading designers, and \nfashionable restaurants.\nLa antigua colonia \ngermana, construida \na finales del siglo xix, \ndestaca hoy por su \nmercado cubierto, popular \npor acoger puestos \ngourmet, las tiendas de los \nmejores diseñadores y los \nrestaurantes de moda.\nOld German Colony\nSarona\nBar & Party\nTeder.fm\n23\nThe Teder, taking up a \ncourtyard of the Florentin \nneighborhood, is known \nfor pizza and live music. \nEl Teder, ubicado en un \npatio interior del barrio de \nFlorentin, es conocido por su \npizza y música en directo. \n© Ariel Efron\n© Deror avi\n",76,{"image":309,"text":310,"number":311},"\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.77.png","C 20 75\n© PR\nsource: touristisrael.com   \n30\nOwing to its many  \ncafés, galleries, and \nstreets laden with \nurban art, the Florentin \nneighborhood in the \nsouthern part of Tel \nAviv is now one of the \ncity’s most modern and \nbohemian quarters.\nUrban Park\nHaYarkon Park\nRestaurant\nClaro;\nVisitors to HaYarkon,  \nthe city of Tel Aviv’s \nlargest public park, \nare treated to immense \nexpanses of vegetation, \nbotanical gardens, \nsporting facilities, lakes, \nand even an aviary  \nand a water park.\nThe restaurant of \nRan Shmueli, one of \nIsrael’s most respected \nchefs, offers a personal \nreinterpretation of \nMediterranean cuisine, \nbut also steps beyond \nthe culinary to provide \nentertainment.\nEl Parque Yarkon, el más \ngrande de la ciudad, \nofrece la posibilidad \nde disfrutar de grandes \nextensiones de vegetación, \njardines botánicos, \ninstalaciones deportivas \ne incluso un aviario y un \nparque acuático.\nLa propuesta culinaria del \nchef Ran Shmueli, uno \nde los más respetados de \nIsrael, va más allá de un \nrestaurante con un lugar \nde entretenimiento y una \napuesta por su personal \nreinterpretación de la \ncocina mediterránea\nEl vecindario de \nFlorentin, en el sur \nde Tel Aviv, se ha \nconvertido gracias a \nsus cafeterías, galerías \ny calles llenas de arte \nurbano en uno de los \nbarrios más modernos y \nbohemios de la ciudad.\n27\n28\nQuartier \nNeve Tzedek\nStreet Art\nFlorentin\n29\nWith its numerous leisure \nactivities, Neve Tzedek \nis famed for its farmers \nmarket in HaTachana.\nCon una gran oferta de \nocio, Neve Tzedek es \nfamoso por su mercado de \nagricultores en HaTachana.\n© Hervé Mouyal\n© Walter Herfst\n",77,{"image":313,"text":314,"number":315},"\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.78.png","76 C 20\n21\n01\n25\n02\n08\n11\n15\n04\n26\n09\n28\n24\n18\n06\n20\n22\n10\n30\n23\n29\n05\n16\n17\n03\n",78,{"image":317,"text":318,"number":319},"\u002Fmedia\u002Fimages\u002Fbd\u002F68243e26b475ffce80dea6b3114ef2-28f79c576d.79.png","C 20 77\n07\n14\n12\n19\n27\n13\n 07. Negev Brigade Monument\n 26. Carmel Market\n 27. HaYarkon Park\n28. Claro;\n 29. Neve Tzedek\n 30. Florentin\nHaCarmel St 48 \n07:30-19:00 Sun-Thu \n07:30-17:00 Fri\nRokach Blvd \nweb: park.co.il \n+972 3-627-3927\nHa’arbaa st 23 \n12:00–16:00\u002F17:30–23:30 \nSunday to Thusday \n9:00–16:00\u002F17:30–23:30\nFriday and Saturday\nweb:clarotlv.com \n+972 3-601-7777\nHaTachana, Kaufmann St\nweb: hatachana.co.il\nLevinski St \n 19. Porter School\n20. Rothschild Tower\n 21. Peace Peres House\n 08. Esther Cinema Hotel\n 09. Engel House\n 12. Cymbalista Synagogue\n 10. Ehrlich House\n 11. 8 Dov Hoz House\n 14. Design Museum Holon\n 17. Opera House\n 15. Tel Aviv Port\n 25. Jaffa Flea Market\nDov Hoz 8\nTel Aviv University\nRothschild Blvd 36\nSderot Sha’ul HaMelech 19 \nweb:israel-opera.co.il\nPinkhas Eilon St 8, Holon \nweb: dmh.org.il\nNemal Tel Aviv St\nZamenhoff St 1 \nweb: atlas.co.il \n+972 3-520-7100\nAllenby St 110 \nweb: tlvgreatsynagogue.org \n+972 3-560-4905\nSderot Rothschild 84\nHerzl St 79\nRetzif HaAliya HaShniya St\nKedem St 132 \n09:00-17:00 Sun-Thu \n09:00-14:00 Fri \nweb: peres-center.org \nDerech Menachem Begin\nTel Aviv University  \nweb: environment.tau.ac.il \n+972 3-640-8111\n 01. Old Jaffa\n 02. White City\n 03. Tel Aviv Beach\n 04. Pagoda House\nWhite City Center, Idelson St 29 \n08:00-19:00 Sun-Thu \n08:00-14:00 Fri-Sat\nShlomo Lahat Promenade\nNachmani St 12-20\nThe Golda Meir Cultural  \nand Art Center, Sderot Sha’ul \nHaMelech 27 \nweb: tamuseum.org \n+972 3-607-7020\nTel Aviv\nLocalización y datos prácticos \nLocation and useful information  \n 23. Teder.fm\n 24. Sarona\nDerech Jaffa 9 \nweb: teder.fm \n+972 3-571-9622\nSarona Market, Aluf Kalman \nMagen St 3 \n10:00-22:00 Sun-Wen \n10:00-23:00 Thu and SaT \n09:00-16:00 Fri \nweb: saronamarket.co.il\n 05. TAM Main Building \n 18. Azrieli Center\n 06. Great Synagogue\n7R8C+J6 Beerseba \n08:00-18:00 Sat-Thu\n08:00-16:00 Fri\n 13. ToHa Building\nYigal Alon St 114Yafo, \nOlei Zion St \n09:00-17:00 Sun-Thu \n09:00-14:00 Fri\n 22. Allenby Street\nAllenby St\nSderot Sha’ul HaMelech 27\n 16. 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