[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-cosentino-architecture-and-everything-else-25":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":348},{"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":343,"matched_pages":344,"match_count":345,"two_pages":346,"show_text":347},24501,"Architecture & Everything Else 25","cosentino-architecture-and-everything-else-25","\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002Fc6\u002Fefe79dc4404306d6d7d0b61f856436-28f7a41fe0.pdf","Cosentino",2482,"cosentino","62.8 MB",[14,17,21,25,29,33,36,40,44,48,52,56,60,64,68,72,76,80,84,88,91,95,99,103,107,111,115,119,123,127,131,135,138,142,146,150,154,158,162,166,170,174,177,181,185,189,193,197,200,204,208,212,216,220,224,228,232,236,239,243,247,250,254,258,262,266,270,274,278,282,285,289,293,297,301,305,309,313,317,321,325,329,332,335,338,341],{"image":7,"text":15,"number":16},"c \narchitecture &  \neverything else 25 \n",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.2.png","",2,{"image":22,"text":23,"number":24},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.3.png","c\ncontents\n20\n06\n32\n42\n48\n58\n70\n  Architecture\n 06 domestic cave  Junya Ishigami in Yamaguchi  \n \n el japonés propone un edificio enterrado que aúna un pequeño restaurante y una vivienda.  \n \n The Japanese architect excavates the site to build a small restaurant and house. \n 12 Renewed tRadition  TEd’A arquitectes in Mallorca \n \n La casa reinterpreta los elementos y materiales constructivos tradicionales de la isla.\n \n The house reinterprets the island’s traditional building materials and elements.\n \n Style\n 32 eLviRa soLana  Painting as a Construction Element\n \n La arquitecta y artista interviene en los jardines de la villa necchi campiglio.\n \n The architect and artist transforms the gardens of Villa Necchi Campiglio.    \n 36 metamoRphic  Tom Dixon at Milan Design Week 2023\n \n La instalación del diseñador británico muestra la versatilidad del dekton.\n \n The installation by the British designer showcases Dekton’s versatility. \n \n Cosentino\n 42 dekton hoUse  Casa Tony by José Luis Jiliberto\n \n Los despieces de gran formato de dekton visten esta casa a orillas del mediterráneo. \n \n Large-format Dekton pieces clad the surfaces of this house on the Mediterranean.\n \n Interior\n 48 the coLoR of GeometRy  fala atelier in Amarante\n \n el joven estudio combina su lenguaje desenfadado con la puesta en valor de lo existente. \n \n The young studio uses a relaxed language to highlight the existing elements.\n 52 peRsonaL spaces  Cosentino at Casa Decor\n \n cosentino se suma una edición más a la muestra de diseño e interiorismo celebrada en madrid.\n \n Cosentino participates again in the interior design exhibition held yearly in Madrid. \n  Interview\n 58 JUan BoRdes & GiancaRLo mazzanti  In dialogue\n \n el escultor Juan Bordes recibe en su estudio y taller de madrid al arquitecto Giancarlo mazzanti.\n \n Sculptor Juan Bordes greets architect Giancarlo Mazzanti at his Madrid studio and workshop. \n  Travel\n 70 LisBoa  Portugal\n \n Un recorrido por los principales lugares de interés de la capital portuguesa.\n \n A guide of the most interesting spots in the Portuguese capital. \n  Arts\n 20 Unintended BeaUty  The Gaze of Alastair Philip Wiper\n \n el fotógrafo británico capta escenas habitualmente al alcance de muy pocos.  \n \n The British photographer captures scenes within reach of only a few.  \n 26 possente amoR  Rigoletto by Pierre Yovanovitch\n \n La escenografía propuesta refleja la tensión emocional de la trágica ópera de Giuseppe verdi.\n \n The set design reflects the emotional tension of the tragic opera by Giuseppe Verdi.\n",3,{"image":26,"text":27,"number":28},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.4.png","Depósito Legal: m-14282-2014\nISSN: 2341-3867 \nCubierta Cover\n©Satoru Emoto ‘@Saruto’ \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 \ncuca flores \nalejandra Galache \nLaura González \nenrique morillo \nJesús pascual \nRaquel vázquez \nTraducción Translations\nGina cariño, Laura mulas\n",4,{"image":30,"text":31,"number":32},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.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\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.6.png",6,{"image":37,"text":38,"number":39},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.7.png","Architecture\nDomestic Cave\nJunya Ishigami in Yamaguchi\nRenewed tradition\nTEd’A arquitectes in Mallorca \n",7,{"image":41,"text":42,"number":43},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.8.png","6 C 25\nArchitecture\nRestaurant\n1\nThe idea of developing this singular project in the Japanese city \nof Ube, west of Yamaguchi Prefecture, came from a chef who \nwanted to build a small family restaurant, and from his vision of \ncreating something that would last in time. The design also had \nto include his own home and to respond to the premises of seem-\ning “as heavy as possible with a natural appearance.” To satisfy \nall these requirements the office of Junya Ishigami proposed an \narchitecture inspired by wineries, evoking their somber atmosphere \nand recreating their labyrinthine underground galleries. As a result, \nthe different spaces intertwine without a specific hierarchy around \nfissures, patios, and caves that dilute the boundaries between in-\ndoors and outdoors, and between house and restaurant. \nThough the final project resembles a cave directly carved out \nof the site, in truth it is the result of a complex building process. \nInstead of perforating the ground to create galleries, the con-\nstruction system involved digging holes and pouring concrete into \nthem, creating in this way the natural formwork of the slab. Once \nexecuted, and after a long phase of designing and calculating, the \nterrain was emptied to free up the structure. The initial idea was \nto clean up the imperfections and show the original gray tone of \nthe concrete, but in the end its earthy appearance was left as it \nwas, accepting the uncertainty in a building that is tucked in the \nterrain and which will undergo changes with time. \nDomestic Cave \nJunya Ishigami in Yamaguchi \nEl último proyecto del \narquitecto japonés Junya \nIshigami se hunde en el \nterreno para acoger en \nsus cavernas y galerías \ntanto un restaurante \npara un chef como  \nun peculiar hogar  \npara su familia.\nThe latest project by  \nthe Japanese architect \nJunya Ishigami is \ncarved into the terrain \nto harbor in its caverns \nand passages a small \nrestaurant for a chef as \nwell as a unique home \nfor his family. \nEl singular proyecto surge de la idea de un chef de abrir en la \nciudad japonesa de Ube, al oeste de la prefectura de Yamaguchi, \nun pequeño restaurante familiar, y de su anhelo de crear algo que \nperdurase en el tiempo. Además, el edificio debía acoger también \nsu casa y responder a las premisas de parecer «lo más pesado po-\nsible y tener una apariencia natural». Para satisfacer todas estas \npeticiones la oficina de Junya Ishigami propuso una arquitectura \ninspirada en las bodegas, que evoca su atmósfera sombría y recrea \nsus laberínticas galerías subterráneas. Como resultado, los distin-\ntos espacios se suceden sin ninguna jerarquía a través de grietas, \npatios y grutas que diluyen las barreras tanto entre interior y ex-\nterior, como entre vivienda y restaurante.\nSi el proyecto final se asemeja a una cueva excavada directa-\nmente en el terreno, en realidad es fruto de un complejo proceso \nconstructivo. En lugar de perforar el suelo para crear galerías, lo \nque se excavaron fueron agujeros que se llenaron de hormigón e \nhicieron las veces de encofrado natural de la losa. Una vez ejecu-\ntada, y tras una larga fase de diseño y cálculo, se fue vaciando la \ntierra para liberar la estructura. Frente a la idea inicial de limpiar \nlas posibles imperfecciones y dejar a la vista el gris del hormigón, \nse decidió dejar el aspecto de masa terrosa y aceptar la incerti-\ndumbre de un edificio que se hunde en el terreno y que se trans-\nformará con el paso del tiempo.\n",8,{"image":45,"text":46,"number":47},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.9.png","C 25 7\n",9,{"image":49,"text":50,"number":51},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.10.png","8 C 25\n",10,{"image":53,"text":54,"number":55},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.11.png","C 25 9\nPara ejecutar la losa, \nel terreno natural hizo \nlas veces de encofrado: \ncon este fin se vació \nel volumen de los \ngrandes pilares curvos \nde sección orgánica que \nconforman la estructura \nprincipal del edificio. \nTo build the slab \nwithout centering, the \nnatural terrain served as \nformwork, emptying the \nvolume corresponding to \nthe large curved pillars \nof organic section that \nconstitute the building’s \nmain structure.  \n",11,{"image":57,"text":58,"number":59},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.12.png","10 C 25\nUna vez fraguado el \nhormigón vertido en el \nterreno, se procedió al \nexcavado del suelo para \ngenerar la secuencia de \nespacios interconectados \nque componen el \nprograma de casa \nfamiliar y restaurante.\nOnce the concrete poured \non the terrain was set, \nthe ground was dug out \nto create the series of \ninterconnected spaces \nthat configure the \nbuilding: part of it a \nprivate residence and the \nother part a restaurant.\n",12,{"image":61,"text":62,"number":63},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.13.png","C 25 11\nArquitectos Architects\njunya.ishigami+associates, Junya Ishigami, Taeko \nAbe, Jaehyub Ko, Takuya Nakayama (responsables del \nproyecto architects in charge) \nColaboradores Collaborators\nJun Sato (estructura structural engineering); Izumi Okayasu \nLighting Design (iluminación lighting advisor); Yoko Ando \nDesign (cortina curtain)\nFotos Photos\njunya.ishigami+associates (pp. 6, 10 arriba top); Satoru \nEmoto ‘@Saruto’ (pp. 8-9, 9, 11 abajo bottom); Yashiro \nPhoto Office (pp. 10 abajo bottom, 11 arriba top)\n",13,{"image":65,"text":66,"number":67},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.14.png","12 C 25\nArchitecture\nHouse\n1\nThe Mallorca-based studio led by Irene Pérez and Jaume Mayol \ndevelops projects always attentive to their contexts, reinterpreting \nthe traditional building techniques and adapting to the specifici-\nties of each work. In the case of Can Guillem i na Cati, their first \nconcern was to find the right position for the house on a site with \nsome 10 meters of frontage and 20 meters deep, and to adjust the \nbalance between the living area and the courtyard area. Unlike \nthe buildings around it, the house is set in the longest direc-\ntion of the plot, transforming the usual central courtyard into \na ‘courtyard-lane’ that separates the new construction from the \nparty wall and serves each and every room in the house. In this \nway, the house is elongated, with the living spaces laid out in \na classic enfilade. This strategy favors cross ventilation between \nthe courtyard and the street. The dwelling structure is coincident \nwith the load-bearing structure: each one of the rooms is bound \nby bearing walls and modulated, both in plan and in section, by \nthe dimensions of the fair-faced vibro-pressed concrete blocks that \nshapes them. The outer sheet of the facade is executed with marés \n(the local sandstone that defines the island’s built landscape), \nachieving a heavy facade with high thermal inertia. The rest of \nthe building elements also remain exposed, from the beams of the \nhorizontal structure to the lintels, paying careful attention to the \ndistribution of the installations. \nRenewed Tradition \nTEd’A arquitectes in Mallorca \nEl estudio formado por Irene Pérez y Jaume Mayol desarrolla des-\nde Mallorca una práctica atenta a los contextos, que reinterpreta \nlas técnicas constructivas tradicionales y se adapta a las particu-\nlaridades de cada proyecto. En el caso de Can Guillem i na Cati, \nsu primera preocupación fue encontrar la posición adecuada de la \nedificación dentro del solar, de unos 10m de fachada por 20m de \nprofundidad, y ajustar el equilibrio entre la superficie de la vivienda \ny la del patio. Al revés que las construcciones vecinas, el proyecto \nresuelve la casa en el eje longitudinal, transformando el habitual \npatio central en un ‘patio-calle’,  que separa la nueva edificación de \nla medianera vecina y sirve a cada una de las estancias interiores. \nDe este modo, los espacios domésticos se distribuyen en habitacio-\nnes colocadas en enfilade, disfrutando así de la ventilación cruzada \nentre el patio y la fachada. Esta estructura habitacional coincide \ncon la portante: cada una de las estancias está delimitada por muros \nde carga y modulada —tanto en planta como en sección— por las di-\nmensiones del bloque de hormigón vibrado visto que los conforma. \nLa hoja exterior de la fachada se ejecuta con piedra de marés, una \narenisca local que define la imagen de la isla, para conformar una \nfachada pesada y con alta inercia térmica. El resto de los elementos \nconstructivos también se dejan a la vista, desde las viguetas de la \nestructura horizontal hasta los dinteles, y se presta una especial \natención a la distribución de las instalaciones. \nProyecto Project:  \nCan Guillem i na Cati, Montuïri (Mallorca)  \nArquitectos Architects:  \nIrene Pérez, Jaume Mayol \u002F TEd’A arquitectes \nColaboradores Collaborators: \nJosé Luis Mateos (Aparejador Quantity \nsurveyor); Sergi Altarriba \n(estructura structure); Toni Ramis; Tomeu \nMateu; Giovanni Fenoglio \nFotos Photos \nLuis Díaz Díaz\n",14,{"image":69,"text":70,"number":71},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.15.png","C 25 13\n",15,{"image":73,"text":74,"number":75},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.16.png","14 C 25\nLa casa —que se coloca \nen el sentido longitudinal \nde la parcela— y el \npatio son espacios \ncomplementarios; gracias \na esta distribución, se \nlibera un ‘patio-calle’ \nentre la construcción y la \nmedianera contigua.\nThe house – set in the \nlongest direction of the \nsite – and the courtyard \nare complementary \nspaces. This layout \nallows freeing up a \n‘courtyard-lane’ between \nthe construction and the \nneighboring party wall. \n",16,{"image":77,"text":78,"number":79},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.17.png","C 25 15\n",17,{"image":81,"text":82,"number":83},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.18.png","16 C 25\n",18,{"image":85,"text":86,"number":87},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.19.png","C 25 17\nLas habitaciones se \ndelimitan con bloques de \nhormigón vibrado visto, \nal igual que las viguetas \ny dinteles. Por otro lado, \nla hoja exterior de la \nfachada de alta inercia \nintercala piezas de marés \nde 15 y 20cm de grosor.\nThe rooms are shaped \nby exposed vibro-pressed \nconcrete blocks, as are \nthe beams and lintels. \nMeanwhile, the outer \nwall of the facade, with \nhigh inertia, is made of \n15 and 20 centimeter \nthick marés sandstone.\n",19,{"image":89,"text":19,"number":90},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.20.png",20,{"image":92,"text":93,"number":94},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.21.png","Arts\nUnintended Beauty\nThe gaze of Alastair Philip Wiper\nPossente amor \nRigoletto by Pierre Yovanovitch\n",21,{"image":96,"text":97,"number":98},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.22.png","20 C 25\nUnintended \nBeauty\nThe Gaze of Alastair Philip Wiper\nEl británico registra \nescenas ocultas al público \ngeneral, como cadenas de \nmontaje o instalaciones \nnucleares, con imágenes \nreconocibles por un \npeculiar uso del color, \ncomposiciones simétricas \ny un toque irónico.\nThe British photographer \ncaptures scenes concealed \nfrom the public, such as \nassembly lines or nuclear \nfacilities, with images \nthat are characterized by \na peculiar use of color, \nsymmetrical compositions, \nand a touch of irony. \nArt\nPhotography\n2\n",22,{"image":100,"text":101,"number":102},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.23.png","C 25 21\nAurora Cannabis’ production facility in Odense, Denmark\n",23,{"image":104,"text":105,"number":106},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.24.png","22 C 25\n",24,{"image":108,"text":109,"number":110},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.25.png","C 25 23\nEntre los distintos lugares \nvisitados por el artista, \ndestacan las enormes \ninfraestructuras nucleares \nque proveen de energía a \nlas ciudades, o los centros \ndonde se investigan las \npartículas más pequeñas \nque forman el universo.\nAmongst all the places \nthe artist has visited, \nthe most noteworthy \nare the massive nuclear \ninfrastructures that supply \ncities with energy, or the \ncenters where the smallest \nparticles that make up the \nuniverse are analyzed.\nITER Nuclear Fusion Experiment, China. Left: ITER Nuclear Fusion Experiment, France\nBarsebäck Nuclear Power Plant, Sweden\nKvadrat’s Wooltex Textile Mill, United Kingdom\n",25,{"image":112,"text":113,"number":114},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.26.png","24 C 25\nLas imágenes revelan \nsu particular interés por \nrecopilar todo tipo de \nprocesos industriales y \ndocumentar visualmente \nlas soluciones que son \ncapaces de idear los \nseres humanos para \nresolver sus problemas.\nThe photographs reveal  \nhis particular interest \nin documenting all sorts \nof industrial processes \nand visually capturing \nthe inventive solutions \nthat human beings are \ncapable of devising to \nsolve their problems.\nAdidas’ PWI shoe factory, Indonesia. Right: The Boeing Factory in Washington, United States\nPlaymobil Factory, Malta\nDanish Crown slaughterhouse in Horsens, Denmark\n",26,{"image":116,"text":117,"number":118},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.27.png","C 25 25\n",27,{"image":120,"text":121,"number":122},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.28.png","26 C 25\nPossente amor\nRigoletto by Pierre Yovanovitch\nArt\nOpera\n2\n",28,{"image":124,"text":125,"number":126},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.29.png","C 25 27\n© Matthias Baus\nEl diseñador Pierre \nYovanovitch ha \ntrabajado junto con el \nescenógrafo Richard \nPeduzzi para plantear \nuna dinámica propuesta \nque capta la tensión \ndramática de la ópera \ncompuesta por Verdi.\nDesigner Pierre \nYovanovitch has \ncollaborated with \nscenographer Richard \nPeduzzi to put together \na dynamic proposal able \nto captures the dramatic \ntension of Giuseppe \nVerdi’s opera.\n",29,{"image":128,"text":129,"number":130},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.30.png","28 C 25\nLa escena para el Teatro \nde Basilea presenta tres \nlienzos curvados en \ntorno a una escalinata, \ncapaces de girar sobre \nsí mismos para ajustar \nel espacio a la trágica \ntrama, acentuada por las \ntransiciones lumínicas.\nThe set design for \nTheater Basel features \nthree curved canvasses \naround a stairway, \nwhich are able to rotate \non themselves to adjust \nthe space to the tragic \nplot, accentuated by \nlighting transitions. \n",30,{"image":132,"text":133,"number":134},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.31.png","C 25 29\n© Paolo Abate\n© Paolo Abate\n© Matthias Baus\nLef and top: Paolo Abate ©\n",31,{"image":136,"text":19,"number":137},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.32.png",32,{"image":139,"text":140,"number":141},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.33.png","Style\nElvira Solana \nPainting as a constructive element\nMetamorphic \nTom Dixon at Milan Design Week 2023\n",33,{"image":143,"text":144,"number":145},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.34.png","32 C 25\nELVIRA SOLANA\nPainting as a Construction Element\nStyle\nMilan Design Week\n3\n",34,{"image":147,"text":148,"number":149},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.35.png","C 25 33\nAll images belong to the intervention ‘Images for architecture vs architecture for images’ for the set design for the annual T magazine party at Villa Necchi Campiglo. And they are courtesy of ©Elvira Solana\nArquitecta de formación, \nElvira Solana entiende \nla pintura mural como \nun vehículo para \nalterar las cualidades \nde un espacio, de este \nmodo evita derribar \nmuros y crea nuevas \npercepciones sensoriales.\nThe artist Elvira Solana, \narchitect by profession, \npaints architecture in \nthe form of murals used \nas a vehicle to alter the \nqualities of a space, \nmanaging in this way to \ntear down walls and create \nnew sensory perceptions. \n",35,{"image":151,"text":152,"number":153},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.36.png","34 C 25\nSu intervención en la Villa \nNecchi Campiglio, para \nel Salone del Mobile de \nMilán, incluía el diseño de \nlos elementos de soporte, \nque se distribuían desde el \nparavent de la entrada, al \nilusorio puente o el gran \nmural de la piscina.\nHer installation at Villa \nNecchi Campiglio, for \nMilan’s Salone del Mobile, \nincluded the design of \nsupport elements which \nwere distributed from the \nparavent at the entrance, \nto the illusory bridge or \nthe large pool mural.\n",36,{"image":155,"text":156,"number":157},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.37.png","C 25 35\n",37,{"image":159,"text":160,"number":161},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.38.png","36 C 25\nMetaMorphic\nTom Dixon at Milan Design Week 2023\nLa presencia de Cosentino es una constante desde hace quince \naños en la Semana del Diseño de Milán, tanto dentro del Salone de \nMobile, como en el Fuorisalone. En esta edición la firma española ha \npresentado la instalación Metamorphic, diseñada por Tom Dixon junto \ncon su equipo del Design Research Studio. La obra ha sido realizada \ncasi en su totalidad en la piedra ultracompacta Dekton, y muestra \nla versatilidad, sostenibilidad y durabilidad de este material. Con \neste proyecto, el reconocido diseñador británico buscaba proponer \nun nuevo concepto para el baño, desafiando la habitual percepción \nde esta estancia como espacio oculto y meramente funcional para \nconcebirlo como una intervención escultórica.\nLos cuatro módulos que componen la obra se basan en las \ninvestigaciones de Dixon por la construcción modular y prefabricada, \naprovechando las altas propiedades del Dekton para crear una \natmósfera única, que traslada a los visitantes a un mundo de juegos \nformales donde los protagonistas son el agua, la luz y el sonido. Los \ndistintos elementos de Metamorphic muestran la gran variedad de \naplicaciones de este material, más allá de las encimeras o las pieles de \nlos edificios. Para realizar todas las piezas se ha contado prácticamente \nal completo con los diseños de la reciente colección Pietra Kode, una \nserie que reinterpreta la belleza atemporal de las piedras clásicas \nitalianas —Vicenza, Travertino y Ceppo di Gré— desde una huella \nneutra en carbono a lo largo de todo su ciclo de vida. \nCosentino has been a constant presence at Milan Design Week for \nfifteen years, including at Salone de Mobile and Fuorisalone. In \nthis edition the Spanish company has presented the installation \nMetamorphic, designed by Tom Dixon with his team at Design \nResearch Studio. Materialized almost entirely in the ultra-compact \nstone Dekton, the work showcases the versatility, sustainability, and \ndurability of this material. With this project, the world-renowned \nBritish designer sought a new bathroom concept, challenging the \nusual perception of this room as a hidden and merely functional \nspace, inviting to consider it as a sculptural piece and reinventing \nits position and visibility in interior design. \nThe four modules of varying size that make up the installation \nare based on Dixon’s research on modular and prefabricated \nconstruction. They take advantage of the high-performance surface \nDekton and its ability to transfer visitors to a world of formal \nplay where water, light, and sound take on a central role. The \ndifferent elements used in Metamorphic are examples of the \nmultiple possibilities and applications of this material beyond \ncountertops or building facades. Practically all of the pieces \nhave been made using Pietra Kode, a new Dekton collection that \nreinterprets the timeless beauty of three classic Italian stones  \n– Vicenza, Travertino, and Ceppo di Gré – with a carbon neutral \nfootprint throughout its full life-cycle. \nStyle\nMilan Design Week\n3\n",38,{"image":163,"text":164,"number":165},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.39.png","C 25 37\n",39,{"image":167,"text":168,"number":169},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.40.png","38 C 25\nLa nueva colección Pietra \nKode de Dekton dota de \nun nuevo significado a \nlas tradicionales piedras \nde Ceppo, Travertino y \nVicenza para mantener \nsu belleza y actualizar \nsus propiedades a las \nnecesidades actuales.\nDekton’s new collection \nPietra Kode reformulates \nand gives a new meaning \nto traditional stones like \nCeppo, Travertino, and \nVicenza, preserving  \ntheir beauty and \nadapting their properties \nto today’s requirements. \nCeppo Kode\nMarmorio Travertine Kode\nAvorio Vicenza Kode\nGrigio Vicenza Kode\nSabbia Travertine Kode\nNebbia Vicenza Kode\n",40,{"image":171,"text":172,"number":173},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.41.png","C 25 39\n",41,{"image":175,"text":19,"number":176},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.42.png",42,{"image":178,"text":179,"number":180},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.43.png","Cosentino\nDekton House\nCasa Tony by José Luis Jiliberto\n",43,{"image":182,"text":183,"number":184},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.44.png","42 C 25\nCosentino\nArchitecture\n4\ndekton HoUSe\nCasa Tony by José Luis Jiliberto\nUbicada en el malagueño municipio de Torrox, la vivienda \nse proyecta para conseguir una imagen mediterránea, pero \nmanteniendo un lenguaje formal contemporáneo. Uno de los \nleitmotivs presentes en el proyecto de la oficina liderada por José \nLuis Jiliberto es la estrecha vinculación con el característico paisaje \nde la región: entre las montañas de la sierra de Almijara, en cuyas \nladeras crecen extensos cultivos de olivos y viñas, y las azules \naguas del mar Mediterráneo. De este modo, el volumen se acomoda \nen la particular orografía de la zona, respetando la vegetación \nexistente y aprovechando al máximo su cercanía al litoral. Si todos \nlos espacios buscan disfrutar de su privilegiada posición y abrirse \nhacia la costa, esta conexión se acentúa en la zona estancial —que \nintegra tanto el salón como la cocina— fundiéndose con el mar \ngracias a la cercana lámina de agua.\nOtro de los requisitos esenciales que debía integrar la propuesta \nera la utilización de materiales de gran calidad, capaces de aunar \nun bajo mantenimiento con unas altas propiedades técnicas. Por \neste motivo se eligieron las soluciones de Cosentino para la mayoría \nde superficies, integrando el Dekton en sus distintos acabados; \ndesde Aeris, en los más de 650m² de fachada, hasta Nilium o Laos \nen pavimentos y elementos de mobiliario. Además de una fácil \ninstalación, el Dekton permitió crear superficies uniformes gracias \na las grandes dimensiones de los despieces.\nLocated in the municipality of Torrox (Málaga), the house is \ndesigned in the Mediterranean tradition while maintaining a \ncontemporary formal language. One of the leitmotifs present in \nthe project designed at the studio led by José Luis Jiliberto is the \nclose connection with the characteristic landscape of the region: \nbetween the mountains of the Sierra de Almijara – the slopes of \nwhich are covered with olive trees and vines –, and the blue water \nof the Mediterranean Sea. The volume adapts to the conditions of \nthe terrain, respecting the vegetation that was already there and \ntaking advantage of its proximity to the coastline. All of the spaces \nin the house seek to make the most of their privileged position \nand open up to the views, a connection further accentuated in \nthe main living room, a generous open-plan space integrating \nboth lounge and kitchen, and which establishes contact with the \nocean through the pool.  \nAnother of the essential requirements in the project was the use \nof high-quality materials combining low maintenance and high \ntechnical properties. Cosentino materials were the choice for most \nof the surfaces in the house, including Dekton in different finishes \nsuch as Aeris for the over 650 square meters of facade to Nilium \nor Laos on floors and home furnishings. Aside from being easy to \ninstall, the use of Dekton enabled uniform surfaces thanks to the \nlarge dimensions of the pieces. \nArquitectos Architects:  \nJosé Luis Jiliberto Herrera \nDirección ejecutiva Executive management: \nG.I.C.R.E Saisva S.L. \nFotos Photos \nCraus fotografía\n",44,{"image":186,"text":187,"number":188},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.45.png","C 25 43\n",45,{"image":190,"text":191,"number":192},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.46.png","44 C 25\n",46,{"image":194,"text":195,"number":196},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.47.png","C 25 45\nIts low maintenance, \nalong with its excellent \nresistance to impacts and \nscratches, turned Dekton \ninto the prime choice \nfor most of the surfaces \nin the house, where it \nprevails on facades, \nfloors, and furnishings. \nEl bajo mantenimiento, \njunto con su resistencia \na impactos y arañazos, \nfueron factores claves \npara la elección del \nDekton como acabado de \nlas distintas superficies \ndel proyecto, desde la \nfachada a los pavimentos.\nDekton Aeris\nDekton Nilium\nDekton Laos\n",47,{"image":198,"text":19,"number":199},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.48.png",48,{"image":201,"text":202,"number":203},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.49.png","Interior\nThe Color of Geometry\nfala atelier in Amarante\nPersonal Spaces \nCosentino at Casa Decor\n",49,{"image":205,"text":206,"number":207},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.50.png","48 C 25\nThe Color of \nGeometry\nfala atelier in Amarante\nInterior\nRenovation\n5\nDespite the studio’s short career to  \ndate, the young practice from Porto  \n– set up by Filipe Magalhães, Ana Luisa \nSoares, and Ahmed Belkhodja – has \ncreated a distinctive language in which \nmultiple visual references are combined \nwith formal experimentation. This syntax \nis already outlined in their characteristic \ncollages, which precede and clarify \ntheir complex spatial intentions. In the \ncase of this project in Amarante, their \nassertive strategies are conjugated with \nrespect for the existing: a listed and \nprotected building. The whole project \nrevolves around a new concrete chimney \nwhich,  built in the ground-level main \nroom, pierces through all levels to create \na centrifugal organization. The other \nvertebrating element is the meandering \nstaircase, dressed in a pink tone to create \na contrast with the other surfaces in \nthe dwelling. Using the same palette of \nmaterials, the rooms incorporate granite \nand marble elements between broken \nwalls, and with the doors of greenish \ntones this generates compositions of \nspatial improvisation. The project is \nrounded off with eye-catching drawings \nthat evoke the lines of sports courts \nand mark the beginning and end of the \nhouse’s circulation routes.  \nPhotos: Ivo Tavares Studio  \nA pesar de su corta trayectoria, el joven \nestudio de Oporto —formado por Filipe \nMagalhães, Ana Luisa Soares y Ahmed \nBelkhodja— ha constituido un reconocible \nlenguaje propio, en el que proliferan \nlas referencias visuales combinadas con \njuegos formales. Esta sintaxis se bosqueja \nya en sus característicos collages, que \nanteceden y esclarecen sus complejas \nintenciones espaciales. En el caso de \nesta obra en Amarante, sus asertivas \nestrategias se conjugan con el respeto \na lo existente: un edificio catalogado \ny protegido. Toda la intervención se \nconcibe en torno a una nueva chimenea \nde hormigón, que nace en el hogar de la \nsala principal y recorre los cuatro niveles, \norganizando todos los espacios de manera \ncentrífuga. El otro elemento vertebrador es \nla serpenteante escalera, donde predomina \nel color rosa para contrastar con las otras \nsuperficies. En el resto de estancias de la \nvivienda se unifican las gamas cromáticas \ncon la construcción de elementos en \ngranito y mármol entre paredes quebradas \ny puertas de tonos verdosos, que dan \nlugar a sus características composiciones \nespaciales. El proyecto se completa con \nunos atrevidos dibujos, que evocan las \nlíneas de las canchas deportivas y marcan \nlos extremos del recorrido.\n",50,{"image":209,"text":210,"number":211},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.51.png","C 25 49\n",51,{"image":213,"text":214,"number":215},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.52.png","50 C 25\nThe granite and marble \nfinishes are combined \nwith the greenish hues \non doors and floors to \nmark a contrast with  \nthe pink tone of the \nstaircase and the \nconcrete texture of the \nnew central chimney. \nLos acabados en granito \ny mármol se combinan \ncon los tonos verdosos \nde las puertas y suelos \npara contrastar tanto \ncon el rosa de la escalera \ncomo con la textura de \nhormigón de la nueva \nchimenea central.\n",52,{"image":217,"text":218,"number":219},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.53.png","C 25 51\n",53,{"image":221,"text":222,"number":223},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.54.png","52 C 25\nInterior\nCasa Decor\n5\nPersonal sPaCes\nCosentino at Casa Decor\nCon una tradición de más de treinta años en Madrid, Casa Decor \nse ha convertido en una de las plataformas de referencia para el \nmundo del diseño y el interiorismo. En esta ocasión se ha elegido \nun edificio en la emblemática calle Serrano, una de las principales \narterias comerciales de la Milla de Oro de la capital. Por sus más de \n4.000m² se distribuyen medio centenar de espacios diseñados ad hoc \ntanto por profesionales consagrados como por jóvenes promesas del \ninteriorismo. Como parte del programa C·Top Design, en esta edición \nCosentino ha colaborado con Alejandra Pombo para construir ‘Le \nBain Parisien’, un ambiente único en el que se propone un nuevo \nconcepto del cuarto de baño en suite, integrándolo en otras estancias \nde la vivienda y proponiendo nuevos modos de habitarlo, hasta \nconvertirlo en un lugar de encuentro y tertulia. Además, la firma \ntambién colabora en las estancias diseñadas por Comad Arquitectos, \nel estudio Egue y Seta y Juka Interiorismo, donde pueden verse \nlas distintas aplicaciones de las piedras ultracompactas de Dekton, \nlas superficies minerales de Silestone o las piedras naturales de \nla gama Sensa. A las habituales superficies y acabados se suma \nla presentación de la colección Le Chic de Silestone y los nuevos \ncolores de Pietra Kode, la última familia de Dekton diseñada por \nel arquitecto argentino Daniel Germani, en la que ha explorado las \npiedras italianas más importantes de la antigüedad para actualizarlas \ncon los estándares actuales del diseño.\nWith a tradition of over thirty years in Madrid, Casa Decor has \nbecome one of the reference platforms for the world of interior \ndesign. The exhibition has always been held in the Barrio de \nSalamanca district, and this year for the first time the venue chosen \nis a building situated on the iconic Calle Serrano, in the heart of \nMadrid’s Golden Mile. Its more than 4,000 square meters contain \naround fifty spaces designed ad hoc by experienced professionals \nand by young emerging talents in the field. As part of the C·Top \nDesign program, in this edition Cosentino has collaborated with \nAlejandra Pombo in the construction of ‘Le Bain Parisien,’ a \nunique space in which visitors experience a new concept of ‘en \nsuite’ bathroom, merging it with other rooms in the house and \nproposing new ways of inhabiting it, until the bathroom becomes \na space for sharing and socializing. The firm also collaborates in \nthe rooms designed by Comad Arquitectos, the studio Egue y Seta, \nand Juka Interiorismo, which showcase the different applications \nof the ultra-compact Dekton stones, Silestone mineral surfaces, \nor the natural stones in the Sensa series. The display of the usual \nsurfaces and finishes is rounded off with the presentation of Le \nChic collection by Silestone and the colors in the new Pietra Kode, \nDekton’s latest release designed by Argentinian architect Daniel \nGermani, for which he has worked with classic Italian stones and \nupdated them to meet contemporary design standards. \nEspacio Cosentino diseñado por Alejandra Pombo. © Craus Fotografía (Casa Decor)\n",54,{"image":225,"text":226,"number":227},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.55.png","C 25 53\n",55,{"image":229,"text":230,"number":231},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.56.png","54 C 25\nThe designer Alejandra \nPombo, inspired by \nthe camerinos of \n19th-century French \ncabarets, reinvents the \nen suite bathroom to \ntransform it into a  \nspace for relaxing, \nsharing, and socializing. \nLa diseñadora Alejandra \nPombo, inspirada por los \ncamerinos de los cabarets \nfranceses del siglo xix, \nreinventa el baño en \nsuite para convertir esta \nestancia en un espacio \ndonde poder compartir, \nrelajarse y disfrutar.\nEspacio Danish Design + por Comad Arquitectos. © Lupe Clemente (Casa Decor)\nEspacio Juka Interiorismo por Javier Tomás. © Lupe Clemente (Casa Decor)\nEspacio Cosentino diseñado por Alejandra Pombo. © Craus Fotografía (Casa Decor)\nEspacio Cosentino. Alejandra Pombo\nEspacio Bathco diseñado por Egue y Seta. © Nacho Uribesalazar (Casa Decor)\n©Amador Toril (Casa Decor)\nEspacio Cosentino diseñado por Alejandra Pombo. ©Amador Toril (Casa Decor)\n",56,{"image":233,"text":234,"number":235},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.57.png","C 25 55\n",57,{"image":237,"text":19,"number":238},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.58.png",58,{"image":240,"text":241,"number":242},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.59.png","Interview\nMazzanti & Bordes\nIn Dialogue\n",59,{"image":244,"text":245,"number":246},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.60.png","Interview\nConversation\n6\nBordes &  \nMazzanti \nin dialogue\n",60,{"image":248,"text":19,"number":249},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.61.png",61,{"image":251,"text":252,"number":253},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.62.png","60 C 25\nPhotos: Miguel Galiano \nEl estudio de Juan Bordes en el centro de \nMadrid, y posteriormente su cercano taller, \nacoge el encuentro con Giancarlo Mazzanti. \nLa colección de tratados y juguetes, y las \npropias obras del escultor, sirven de telón \nde fondo para una conversación que gira en \ntorno al interés común por el juego. \nGiancarlo Mazzanti: Uno de los temas que \nmás me apasiona sobre la condición mate-\nrial del juego es su capacidad para cambiar \ncada vez que los coge un niño. Los juguetes \nestán, de manera intrínseca, asociados a \ntemas relacionados con el azar, o el desor-\nden, que son importantes.\nJuan Bordes: Justo este es uno de los temas \nsobre los que me gustaría que habláramos. El \ncaos que genera ‘el jugar’. El momento en que \nel niño guarda los juguetes es cuando nacen \nesas nuevas composiciones, que igual no son \n‘la forma correcta’, ni es la simetría exacta-\nmente, sino que es una nueva configuración \nque puede desencadenar muchas otras cosas.\nGM: Por eso en mi estudio juego muchí-\nsimo. Y puede que este interés tenga que \nver con mi origen caribeño, o en tu caso \ncon el canario. Porque el juego es funda-\nmental en nuestras culturas. Sin embargo, \ncreo que, aun teniendo intereses comunes \npor los juegos, nuestros acercamientos son \ntotalmente diferentes.\nJB: ¡Exacto! Yo lo entiendo como una gé-\nnesis, como una fuente, como un origen. \nGM: A mí me interesa tanto el juego \ncomo el juguete. El juego como acción y \nel juguete como construcción material. Y \nestos dos aspectos creo que son claves. En \nel fondo todo esto no es más que un retorno \na la infancia. Volver a jugar con las piecitas \nde madera, entender que la arquitectura y \nlos juegos tienen la misma condición. Los \njuguetes resumen momentos específicos, \nculturales e históricos, al igual que pasa \ncon la arquitectura. En el fondo, se podría \nexplicar una cultura a través de un juguete, \npero también podría explicarse a través de \nla arquitectura. A mí me parece emocio-\nnante que no llegamos al juguete como una \ninvestigación, sino porque hay algo en la \ncondición cultural de donde provenimos, de \nla relación con el mar, con la música, o con \nmuchas otras cosas que te van llevando al \namor por lo lúdico. En mi caso tiene que \nver con el trópico colorido, vengo de una \nciudad que es color, música… Y aunque \nCanarias no es exactamente lo mismo, creo \nque igual también puede tener una cierta \nimportancia. \nJB: Fíjate que en mi caso, sin embargo, \nvengo de una infancia sin juguetes. Y no \nes que fabricase mis juguetes, pero situé mi \narranque en la disciplina escultórica desde \nmuy pequeño, desde los ocho o diez años, \ny con cierta disciplina, con los métodos de \nvaciado... Por eso nunca llegué a entrar en \nla escuela de Bellas Artes, porque era redun-\ndante, y quería huir de ese tipo de técnicas. \nPara mí el guiñol fue fundamental. La vida \nque surge de una mano, y después la vo-\nluntad que surgía del exterior. De ahí vino \ndespués mi interés por la cirugía. De hecho, \nen mi adolescencia quería estudiar medicina, \ny tuve la oportunidad de entrar en un hospi-\ntal de beneficencia, sorprendentemente me \ndejaron pasar hasta el quirófano.\nGiancarlo Mazzanti \n(Barranquilla, 1963) \naprovecha una visita \na Madrid para debatir \ncon Juan Bordes (Gran \nCanaria, 1948) sobre el \njuego y la importancia \nde ‘lo lúdico’ en sus \nprocesos creativos.\nGiancarlo Mazzanti \n(Barranquilla, 1963) \nin the course of a visit \nto Madrid conversed \nwith Juan Bordes (Gran \nCanaria, 1948) about \nplay and the importance \nof ‘the ludic’ in their \ncreative processes.\n«A mí me interesa tanto el \njuego como el juguete.  \nEl juego como acción y el \njuguete como construcción»\n",62,{"image":255,"text":256,"number":257},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.63.png","The studio of Juan Bordes in the core of \nMadrid, and later his workshop nearby, \nare where this encounter with the architect \nGiancarlo Mazzanti takes place. A collec-\ntion of treatises and toys, and the sculptor’s \nown works, serve as backdrop for a con-\nversation that revolves around their shared \ninterest in play.\nGiancarlo Mazzanti: One of the things I \nfind most exciting about the material nature \nof a plaything is that it changes every time \na child picks it up. Toys have an intrinsic \nconnection to themes related to chance or \ndisorder, which are important.\nJuan Bordes: That is precisely among \nthe topics I would like us to discuss. The \nchaos that generates the act of playing. The \nmoment at which the child puts away her \nor his toys is when these new compositions \narise, which may not be the ‘correct’ forma-\ntion, or the right symmetry. But it is a new \nconfiguration at any rate, with the potential \nto trigger many other things.\nGM: That’s why I play a lot in my studio. \nThis penchant for play could have some-\nthing to do with my Caribbean origins – \nCanarian in your case. Because playing is \nfundamental in our cultures. But in spite of \nour shared interest in toys and games, our \napproaches are very different.\nJB: Exactly! I see it as a genesis, as a \nsource, as an origin.\nGM: I am as interested in play as in \ntoys. The act of playing and the material \nconstruction of the toy. Two key aspects \nof the same thing. All of this, at heart, is \nsimply a return to childhood. Playing once \nagain with wooden pieces, in the knowl-\nedge that architecture and a child’s set of \nbuilding blocks are one and the same. Toys \nembody specific cultural and historical mo-\nments, and so does architecture. In essence, \na culture could be explained by means of a \ntoy, but it could also be explained through \narchitecture. I find it thrilling that we’re not \nthinking of playthings as a subject of study, \nbut because of something in the cultures \nthat we happen to come from, connected to \nthe sea, with music, and with many other \nthings, all of which lead to a love for the \nludic. In my case it has to do with the \ncolorful tropics. I come from a city that \nis all color, music… And even though the \nCanary Islands are not exactly the same, I \nbelieve those things have a certain impor-\ntance there too.\nJB: Take my case, for example. Mine \nwas a childhood without toys. It’s not that \nI crafted my own toys, but I did take to \nsculpture at a very young age, 8 or 12, and \nalready with certain discipline and methods \nof casting and molding… If I never actually \nenrolled in fine arts school, it was because \nit would have been redundant, and I wanted \nto avoid those academic techniques. For me, \npuppets were foundational. Life emerges \nfrom a hand, and later from the outside. \nThat’s where my interest in surgery later \ncame from. In fact, as a teen, I wanted to \nstudy medicine, and I had the opportunity \nto visit a charity hospital. Surprisingly, they \neven let me into the operating room.\nGM: Indeed, between the hand and the toy \nis a very beautiful bond, an interaction. An \n“I am as interested in \nplay as in toys. The act of \nplaying and the material \nconstruction of the toy”\n",63,{"image":259,"text":260,"number":261},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.64.png","62 C 25\n",64,{"image":263,"text":264,"number":265},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.65.png","C 25 63\nact of feeling the material, touching it, and \nstarting to connect parts, build a whole new \nuniverse. It’s fascinating how play pulls \nyou out of a place and context, and trans-\nports you elsewhere. I think I came to this \npoint by coincidence, because I started to \nwin competitions to build schools. I was \ninterested in why schools were, and are, \nstill being built as products of a system that \ngives plenty of importance to efficiency and \nfunctionality. And that’s when I began to \nunderstand teaching methods and the role of \nplay and architecture in education. I wanted \nto transform the school, to understand it \nmore as the problem of an artifact than as \na tool for learning.\nJB: We are both enamored of play, al-\nthough from different angles. But there is a \njunction point: play’s capacity to generate \nand conquer unexpected spaces. For me, as \nthe source of a new aesthetic, I understand \nplay from the prism of its ability to break \nclassical schemes of composition.\nGM: Exactly, like small unfinished archi-\ntectures that can grow, or transform over \ntime. Another beautiful thing about them, \nin my view, is the death of their makers. In \ntruth, toys are designed by whoever plays \nwith them. The user thus takes on a funda-\nmental role, not only in the toy as a mate-\nrial object, but also in the play activity as \na question of how space is used. I believe \nthat my obsession with play is very archi-\ntectural in nature.\nJB: I have stretched it a bit more to cover \naesthetics and the concept of the plane. My \nproposal is biased. It comes from a Baude-\nlairean idea that called for more attention \non everyday life. And indeed, everyday life \nwas wonderful because children were taught \ngeometry with a book by Oliver Byrne that \nexplained Euclid’s theorems through the \nprimary colors. This was in 1838. You look \nat it and see neoplasticism.\nGM: Clearly we’re both keen on play be-\ncause of what it yields, not only because of \nthe beauty of the plaything. With a game \nor toy set, for example, I have a lot of fun \ndoing or making something different from \nwhat the manufacturer proposes. I like not \nfollowing the instruction manual.\nJB: Yes, the toy transforms the child, \nand at the same time, the child transforms \nthe toy.\nGM: Exactly! That’s my second obsession. \nThe toy not as plaything, but as play in and \nof itself. In architecture, this activates other \nways of using spaces. When I mentioned \nspace being basically a hyperfunctional sys-\ntem, exclusively intended to be efficient, I \nwas precisely referring to a way of doing \nthings. If in a project I bring in three condi-\ntions – for example, a space for dancing, \nanother for cooking, and yet another for \nkeeping butterflies – I am adding elements \nmore aligned with the ludic and playful than \nwith efficiency and function. So it’s a way of \ncriticizing how we continue to design floor \nplans which are merely functional diagrams.\nJB: I totally agree. Especially the prac-\ntice of composing on plan, which serves no \npurpose because in the end, that’s what one \nsees the least, and experiences the least. I \nam very interested in the history of treatises, \nand there’s one written by Ferdinando Galli \nda Bibiena, from the 18th century, whose \ntitle is absolutely programmatic: Architec-\nture produced with geometry and reduced \nto perspective. Indeed, when the architect \nworks with flat geometry, he produces noth-\ning that can actually be lived in.\nGM: We were taught to work from the \nspringboard of the floor plan, to think of \nthe functional diagram; that is, to figure \nout the most efficient way of connecting \nthe dots. Well, my recommendation is quite \ndifferent: use games and toys, and put in el-\nements that are not just efficient. Only then \ncan architecture result in other, unforeseen \nrelationships. It’s evident that our obses-\nsions intersect, but mine, unfortunately or \nfortunately, are too tied to the field of ar-\nchitecture.\nJB: Well, the connection between toys \nand architecture is fascinating too. It’s \ncurious that the history of the construc-\ntion toy set begins in the mid-19th century. \nWith just four little boxes of architecture, \nFriedrich Fröbel demonstrated the versatil-\nity of modules. He managed to make the \nmanufacturers realize it, and that was when \nthey started to produce these sets in large \nquantities. I am also interested in the story \nof the drawing teacher Johann Heinrich \nPestalozzi, a colleague of Fröbel, who as-\nsigned fascinating exercises to his pupils. \n“I understand play from \nthe prism of its ability to \nbreak classical schemes of \ncomposition“\n",65,{"image":267,"text":268,"number":269},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.66.png","64 C 25\nGM: Es cierto que hay una relación muy \nbonita entre la mano y el juguete, una re-\nlación activa. Un acto de sentir el material, \ntocarlo y comenzar a conectar, a construir \nun universo nuevo. Lo que a mí me apasiona \ndel juego es que te saca del lugar y del con-\ntexto. Creo que llegué a él por casualidad, \nporque comencé a ganar concursos para \nconstruir colegios. Mi interés radicaba en \npor qué los colegios se seguían haciendo, \ny se siguen haciendo, como productos de \nun sistema de eficacia y funcionalidad. Y es \ncuando empecé a entender los métodos de \nenseñanza, la importancia que tiene en ellos \nel juguete y la arquitectura. Así quise trans-\nformar el colegio, entenderlo más como el \nproblema de un artefacto, que como un \ndispositivo de aprendizaje. \nJB: Los dos estamos enamorados del \njuego, pero desde distintas perspectivas. Sin \nembargo, sí que hay un punto de unión: la \ncapacidad de generar y de conquistar espa-\ncios inesperados que tiene el juego. Para mí, \ncomo fuente de una nueva disponibilidad \nplástica, entiendo el juego desde esa capa-\ncidad que tiene para romper los esquemas \nclásicos de composición. \nGM: Efectivamente, como pequeñas ar-\nquitecturas inacabadas, que pueden crecer, \no que pueden transformarse con el tiempo. \nOtra condición bellísima que me parece que \nposee es la muerte de su autor. Los juguetes, \nen el fondo, quien los diseña es quien los \nusa. Entonces el usuario asume un papel \nfundamental, no solamente en el juego en-\ntendido como materia, sino también en el \njuego entendido con cómo usar el espacio. \nCreo que mi obsesión por el juego es muy \narquitectónica.\nJB: Yo lo he extendido un poco más a la \nplástica y al concepto del plano. Mi pro-\npuesta es muy tendenciosa: partía de una \nidea de Baudelaire que invitaba a prestar \nmás atención a la vida cotidiana. Y efecti-\nvamente, la vida cotidiana era alucinante \nporque a los niños se les enseñaba geo-\nmetría con un libro de Oliver Byrne que \nexplicaba los teoremas de Euclides con los \ncolores primarios. Y eso es en 1838. Lo ves \ny estás viendo el neoplasticismo.\nGM: Está claro que a los dos nos interesa \nel juego en términos de lo que produce, y no \nsolo por la belleza del objeto. Por ejemplo, \ndisfruto mucho de no hacer lo que propo-\nne el autor, de no seguir los manuales de \ninstrucciones. \nJB: Efectivamente, el juguete transforma \nal niño, y al mismo tiempo, el niño trans-\nforma el juguete. \nGM: ¡Justo! Esa es mi segunda obsesión. \nEl juego entendido no como juguete, sino \ncomo juego en sí mismo. Una condición \nque permite activar otras formas de usar \nlos espacios. Cuando hablaba antes de que \nel espacio era básicamente un sistema hi-\nperfuncional, pensado únicamente para \nser eficaz, me refería precisamente a una \nforma de hacer las cosas. Si en un proyecto \nintroduzco tres condicionantes, como por \nejemplo, un espacio para bailar, uno para \ncocinar y otro tener mariposas, estoy aña-\ndiendo elementos más cercanos a la lúdica \ny al juego, que a la eficacia y la función. \nEntonces es un modo de criticar el por qué \nseguimos diseñando plantas que son mera-\nmente diagramas funcionales.\nJB: Estoy absolutamente de acuerdo. \nSobre todo esa práctica de la composición \nen planta, que no sirve para nada. Porque \nal final es lo que menos se ve, es lo que \nmenos se vive. A mí me interesa mucho la \nhistoria de la tratadística, y hay un tratado \nde Ferdinando Galli da Bibiena, de finales \ndel siglo xviii, cuyo título es totalmente \nprogramático: La arquitectura producida \ncon la geometría y reducida a la perspectiva. \nO sea, que realmente el arquitecto cuando \ntrabaja con la geometría plana no produce \nnada en lo que después vaya a vivir. \nGM: Nos han enseñando a trabajar desde \nla planta, pensando en el diagrama funcio-\nnal, es decir, cómo uno este punto con este \notro de forma más eficaz. Y mi invitación \nes muy diferente: utilizar los juegos y los \njuguetes, introduciendo elementos que no \nson únicamente eficientes para que la ar-\nquitectura propicie otras relaciones que no \nestaban previstas. Está claro que nuestras \nobsesiones se cruzan, pero las mías están \nlamentablemente, o por fortuna, demasiado \nligadas al campo de la arquitectura. \n«Entiendo el juego desde \nesa capacidad que tiene \npara romper los esquemas \nclásicos de composición»\n",66,{"image":271,"text":272,"number":273},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.67.png","C 25 65\nHe would say something like “One rainy \nnight…” and the class would have to draw \ngeometrical figures, ending up creating \nabsolutely abstract forms from figurative \nphrases.\nGM: These toys were instrumental in \nforging our modernity and its artistic form.\nJB: True, and it was also a time when in \narchitecture, no one was really sure what \nstyle to build in, and precisely then, a great \nmany toys appeared in Gothic style, Ro-\nmanesque…\nGM: Then the moderns adopted the aes-\nthetic of the toys, but without stopping to \nreflect on play. And after them came a pe-\nriod, the 1960s and 1970s, that coincided \nwith the development of postmodernism, \nwhere utopian thoughts were entertained \nand toys became architectural models. Fig-\nures like Denise Scott Brown came into the \npicture who caught on to the diversities of \nplay, not only of the toy. I can turn a piece \nof paper into a toy. In fact, nowadays we \ncarry a huge number of toys right inside \nour pockets.\nJB: I think that’s why the Tangram is \nso important, because it’s a pocket game. \nPeople don’t realize it but this puzzle came \ninto our Western civilization in the year \n1818, when a first set arrived in Phila-\ndelphia. In a matter of just two years it \nspread throughout Europe. There was much \ntalk of a Tangram craze. Picasso, no less, \nsaid that he invented Cubism inspired by \nblack art… But no. He appreciated black \nart because he must have played in cafés \nwith a Tangram set, which prepared him to \nappreciate black art.\n“I can turn a piece of paper into \na toy. In fact, nowadays we carry \na huge number of toys right \ninside our pockets“\n",67,{"image":275,"text":276,"number":277},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.68.png","66 C 25\nJB: Bueno, la conexión entre los jugue-\ntes y la arquitectura también es fascinante. \nEs curioso, porque en el momento donde \narranca la historia del juguete constructivo \nes a mediados del siglo xix. Friedrich Fröbel \ndemuestra con tan solo cuatro cajitas de \narquitectura la versatilidad que tienen esos \nmódulos. Consigue que los fabricantes se \nden cuenta de eso, y en ese momento se \nempiezan a fabricar muchísimos de estos  \njuguetes. También me interesa la historia \ndel profesor de dibujo Johann Heinrich \nPestalozzi, que era compañero de Fröbel, \ny que ponían a los niños ejercicios fasci-\nnantes. Les daban enunciados como “Una \nnoche lluviosa…” y lo tenían que resolver \ncon figuras geométricas. Acababan crean-\ndo formas absolutamente abstractas desde \nenunciados figurativos. \nGM: Esos juguetes fueron conformando \nnuestra modernidad y su forma plástica. \nJB: Eso es, y además es un momento en \nel que la arquitectura está dudando en qué \nestilo debe construirse, y justo empiezan a \naparecer un montón de juguetes de estilo \ngótico, o románico…\nGM: Después fíjate que los modernos \ntoman la estética de los juguetes, pero no \nreflexionan sobre el juego. Y tras ellos hay \nuna etapa, los años 60 o 70, que coincide con \nel desarrollo del posmodernismo, en donde \nse acercan a los pensamientos utópicos y \ntransforman los juguetes en modelos arqui-\ntectónicos. Por ejemplo, surgen figuras como \nDenise Scott Brown que han entendido las \ndiversidades del juego, y no solo del juguete. \nYo puedo convertir un papelito en un juguete, \nde hecho, hoy en día tenemos una cantidad \nenorme de juguetes en los bolsillos. \nJB: Por eso creo que tiene tanta impor-\ntancia el Tangram, porque es un juguete de \nbolsillo. La gente no se da cuenta, pero el \nTangram entró en nuestra civilización en \nel año 1818, con la llegada de un primer \nejemplar a  Filadelfia, y en tan solo dos años \nse extendió por Europa. Se habla mucho de \nuna gran tangranomanía. El propio Picasso, \ncuando dice que inventó el cubismo, ins-\npirado por el arte negro… ¡y no! Apreció \nel arte negro porque seguro que jugaba en \nlas cafeterías con un Tangram, y entonces \nestaba preparado para apreciar ese arte.\n«Puedo convertir un papelito \nen un juguete, de hecho, hoy \ntenemos una cantidad enorme \nde juguetes en los bolsillos»\n",68,{"image":279,"text":280,"number":281},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.69.png","C 25 67\n",69,{"image":283,"text":19,"number":284},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.70.png",70,{"image":286,"text":287,"number":288},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.71.png","Travel\nLisboa\nPortugal\n",71,{"image":290,"text":291,"number":292},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.72.png","70 C 25\nLisboa\nTravel\nPortugal  \n7\nFacing the Mar da Palha, \nat the mouth of the Tagus \nRiver, the Portuguese capital \nhas become a charismatic \nand vibrant city.\nFrente al mar de la Paja, en \nla desembocadura del río \nTajo, la capital portuguesa se \nha convertido en una ciudad \ncarismática y vibrante.\n01\n02\nBridge\nPonte 25 de Abril\nFortification \nSão Jorge Castle\nInaugurated in 1966, \nthe structure is a \nstandout with its more \nthan 2,277 meters \nstretching over the \nTagus estuary at a \n70-meter height, making \nit the largest suspension \nbridge in Europe.\nTransformada en uno de \nlos símbolos de la ciudad, \nla fortificación medieval \nse localiza en lo alto de \nla homónima colina y \ndestaca en el skyline al \nelevarse por encima de \nlas desordenadas calles \ndel barrio de Alfama.\nTransformed into a \nsymbol of the city, the \nmedieval fortification is \nlocated high on the hill of \nthe same name, and cuts \na figure in the skyline as \nit rises over the jumbled \nstreets of the Alfama \nneighborhood.\nInaugurada en 1966, la \nimponente estructura \ndestaca con sus más de \n2.277 metros de longitud, \nque atraviesan el estuario \ndel río Tajo a 70 metros \nde altura, convirtiéndose \nen el puente colgante \nmás grande de Europa.\ndepositphotos.com © vwalakte\ndepositphotos.com © sepavone\n",72,{"image":294,"text":295,"number":296},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.73.png","C 25 71\n03\nMain Square\nPraça do Comércio\nSituada en la Baixa y \nabierta hacia el Tajo, la \nplaza —más conocida \ncomo Terreiro do Paço— \nalbergó durante más de \n200 años el Palacio Real, \ny en la actualidad se ha \nconvertido en el centro \nneurálgico de la ciudad.\nSituated in the Baixa \ndistrict and opening out \nto the Tagus, this huge \nplaza, better known as \nTerreiro do Paço, was \nfor a period of 200 \nyears the site of the \nRoyal Palace. Now it is \nthe city’s nerve center. \ndepositphotos.com © shevdinov\n",73,{"image":298,"text":299,"number":300},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.74.png","72 C 25\nUrban Lift\nElevador de Santa Justa\nCathedral\nSanta Maria Maior \nReligious\nJerónimos Monastery\nFortification \nBelém Tower\nMonastery\nConvento do Carmo\n04\n05\n08\n07\n06\nSituado en el barrio de \nBelém, fue encargado a \nprincipios del siglo xvi \npor el rey Manuel I para \nconmemorar el regreso de \nVasco de Gama. Además \nde sus fachadas, destaca \nen su interior la iglesia y \nel impresionante claustro.\nIn the Belém district, it \nwas commissioned at the \nstart of the 16th century \nby King Manuel I to \ncommemorate Vasco da \nGama’s return. Besides \nits facades, the church \ninterior and the cloister \nare magnificent.\nTambién conocida como \nel Elevador do Carmo, la \nestructura metálica —de \nmás de 45m de altura— \nse eleva por encima de \nla calle de Santa Justa \nhasta la Praza do Carmo, \nconectando el barrio de \nla Baixa con el Chiado. \nComúnmente conocida \ncomo la Sé de Lisboa, es \nuna de las iglesias más \nantiguas de la ciudad, \na lo largo de su historia \nse han superpuesto los \ndistintos estilos y se \nha visto afectada por \nterremotos e incendios.\nAlso known as the Carmo \nLift, the 45-meter-tall \nmetal structure rises from \nRua de Santa Justa in \nLisbon’s center to Largo \ndo Carmo, connecting \nthe lower streets of the \nBaixa district to the higher \nChiado neighborhood.\nCommonly known as the \nSé, Lisbon Cathedral is \none of the oldest churches \nin the city. In the course \nof history, different styles \nhave superposed one \nanother in it, and the \nbuilding has been affected \nby earthquakes and fires. \nLa construcción militar \nsirvió como fortaleza y \ncomo puerto en la Era \nde los Descubrimientos.\nAfectado por el terremoto \ndel año 1755, sus ruinas \nabiertas al cielo acogen \n el Museo Arqueológico.\nThe military construction \nserved as a fortress and as \na gate during the Age of \nDiscovery and Exploration.\nDestroyed by the 1755 \nquake, its ruins gape open \nto the sky and harbor the \nArchaeological Museum.\ndepositphotos.com © vwalakte\ndepositphotos.com © Mounir91\ndepositphotos.com © TTstudio\ndepositphotos.com © giuseppemasci.me.com\ndepositphotos.com © mehdi33300\n",74,{"image":302,"text":303,"number":304},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.75.png","C 25 73\nBaroque Church\nIgreja de São Domingos\nArt Déco\nÉden Theater\nArt Museum \nGulbenkian Foundation\n Historical House\nCasa dos Bicos\nBrutalism\nNoguera Suay Houses\n09\n12\n13\n10\n11\nUbicada en el barrio de \nSanta Justa, desde su \nfundación en 1241 ha \nsido destruida numerosas \nveces. En la fachada del \ntemplo barroco actual \ntodavía perduran las \nhuellas de terremotos, \ntsunamis o incendios.\nAl este de la Praça do \nComércio, la construcción \nrenacentista toma el \nnombre de las piedras en \nforma de diamante de su \nfachada. En la actualidad \nacoge la Fundación \nJosé Saramago con una \nexposición sobre su obra.\nEl proyecto de Nuno \nTeotónio y Nuno Portas \nse integra en un complejo \nsolar, de tamaño reducido \ny rodeado de grandes \nedificios. Por ello el \nespacio interior se abre \na la ciudad y genera una \npequeña plaza de acceso.\nLocated in the Santa  \nJusta neighborhood, it has \nsince its founding in 1241 \nsuffered destruction many \ntimes over. The facade of \nthe Baroque temple to this \nday shows the marks of \nearthquakes, tsunamis, \nand conflagrations.\nTo the east of the Praçá do \nComércio, the Renaissance \nbuildings takes the name \nof the diamond-shaped \nstones of its facade. \nIt currently is home \nto the José Saramago \nFoundation, presenting  \nan exhibition on his work.\nThe project carried out \nby Nuno Teotónio and \nNuno Portas is integrated \ninto a complex tight \nplot surrounded by big \nbuildings, so the interior \nis designed to open out to \nthe city and form a small \nentrance square.\nTransformado hoy en \nhotel, el edificio ha \ntenido distintos usos \ndesde cine a music hall.\nEl edificio de hormigón \nalberga en su interior \nla colección de arte que \nlegó el empresario.\nNow turned into a hotel, \nthe building has served \ndifferent purposes, from a \ncinema to a music hall.\nThe concrete building \nshelters the art collection \nbequeathed by the British-\nArmenian businessman.\ndepositphotos.com © milosk50\ndepositphotos.com © Lusoimages\nFundação Calouste Gulbenkian ©\nJohn Mendes \u002F Alamy ©\nAlvesgaspar ©\n",75,{"image":306,"text":307,"number":308},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.76.png","74 C 25\nMuseum\nMAAT14\nProyectado por la oficina \nde la británica Amanda \nLevete, el centro dedicado \nal arte, la arquitectura y \nla tecnología tiene una \ndoble condición: icónica, \nhacia el estuario del Tajo; \ny paisajística hacia el \nhistórico barrio de Belém. \nDesigned by the firm \nof the British architect \nAmanda Levete, \nthe Museum of Art, \nArchitecture and \nTechnology is iconic \ntowards the Tagus \nestuary and scenic \ntowards historic Belém.\nMuseum \nMuseu dos Coches\n17\nRococo Palace\n Belém Cultural Center\n16\nConcebido por Gregotti, \njunto a Salgado, el CCB \nacoge espectáculos, \neventos y exposiciones.\nThis venue for shows, \nevents, and exhibitions \nwas designed by Gregotti \nin team with Salgado.\nPromovido como parte \nde la renovación de la \nribera del Tajo en el \nbarrio de Bélem para \ntransformarla en un polo \ncultural, el imponente \nedificio de Mendes da \nRocha destaca por su \nestructura de hormigón.\nBuilt as part of an \noverall revamp carried \nout to transform this \nside of the Tagus in \nthe Bélem district into \na cultural hub, the \nNational Coach Museum \nhas an impressive \nconcrete structure.\nPort Infrastructure\nCruise Terminal\n15\nLa obra a cargo de \nCarrilho da Graça toma \nla forma de un volumen \ncompacto y horizontal, \npara respetar las vistas \nsobre Alfama y los viejos \nmuelles de la ciudad, y \nadapta su escala y color \nal icónico perfil lisboeta.\nThis work of Carrilho \nda Graça takes the form \nof a compact horizontal \nvolume in order to \npreserve the views over \nAlfama and the city’s \nold piers, and adapts \nin scale and color to \nLisbon’s iconic profile.\nFrancisco Nogueira ©\nFG+SG ©\nFG+SG ©\nGiovanni Amato ©\n",76,{"image":310,"text":311,"number":312},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.77.png","C 25 75\nExpo ‘98\nPortuguese Pavilion\nOffice\nEDP Headquarters\nEvent Center\nConvento do Beato\n18\n20\nIdeado por Álvaro Siza \npara la Expo ’98, el \npabellón se fragmenta \nen dos volúmenes que \nforman una plaza pública \ny sujetan el monumental \ntoldo de hormigón que \nofrece un espacio de \nsombra frente al mar.\nPara la sede central de \nla compañía EDP, el \nestudio Aires Mateus \nconstruye dos estrechos \nparalelepípedos unidos \npor pasarelas inclinadas, \nque encierran una plaza \npública y permiten las \nvistas sobre el río Tajo.\nConceived by Álvaro \nSiza for Expo ’98, the \npavilion breaks up \ninto two volumes that \nform a public square \nwhile holding up a \nmonumental marquee \nof concrete which offers \nshade by the sea.\nFor the company EDP’s \nmain offices, the studio \nAires Mateus built two \nnarrow rectangular \nblocks connected by \nsloping walkways. They \ndelimit a public plaza \nand allow views over \n the Tagus River.\n19\nTransport hub \nGare do Oriente\n21\nLa estación proyectada \npor Calatrava para la \nExpo ’98 resalta por su \ncubierta de vidrio.\nThe station designed by \nSantiago Calatrava for the \nExpo ’98 is characterized \nby its glass roof.\nLa propuesta de la oficina \nlocal RISCO recupera un \nantiguo convento para \nconvertirlo en un centro \npara eventos. Entre los \ndistintos edificios que \nlo componen destaca el \nclaustro, cubierto con un \nentramado de cerchas.\nThe local firm RISCO \nhas worked on an old \nconvent to convert it \ninto an events venue. \nParticularly remarkable \namong the buildings \ncomprising it is the \ncloister, covered with a \nframework of trusses.\nDuccio Malagamba ©\nJuan Rodríguez  ©\nCarolina Delgado ©\ndepositphotos.com © bondvit\n",77,{"image":314,"text":315,"number":316},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.78.png","76 C 25\nFlea Market \nLX Factory\nNeighborhood \nAlfama\nFunicular \nAscensor da Bica\n26\n25\n23\nEmplazado en los restos \nde un antiguo complejo \nindustrial, este ecléctico \nespacio urbano acoge \ndesde galerías, talleres de \nartistas y piezas de street \nart, hasta una sede de la \nlibrería Ler Devagar o un \nmercadillo los domingos.\nEn las laderas del Castillo \nde San Jorge, la histórica \nzona de Alfama ha pasado \nde ser un pequeño barrio \nde pescadores y cuna del \npopular canto del fado \na una de las principales \natracciones turísticas de \nla capital portuguesa. \nDiseñado como el de \nLavra y el de Glória en \nel siglo xix por Raoul \nMesnier, el funicular \nsalva la gran pendiente \nexistente entre el Largo \ndo Calhariz y la Rua de \nSão Paulo, y es el menos \nfrecuentado por turistas.\nSet on the remains of an \nold industrial complex, \nthis eclectic urban space \nfeatures everything \nfrom galleries, artists’ \nworkshops, and works \nof street art to a Ler \nDevagar bookstore and a \nSunday flea market.\nOn the slopes of the São \nJorge Castle hill, the \nhistorical Alfama quarter \nevolved from small \nfishing village and cradle \nof the popular fado \nsong to one of the main \ntourist attractions of the \nPortuguese capital.\nLike the Lavra and \nGlória funiculars, Bica \nwas designed in the \n19th century by Raoul \nMesnier. Traversing the \nhuge gap between Largo \ndo Calhariz and Rua de \nSão Paulo, it is the lift \nleast used by tourists.\nNight Club\nFoxtrot\nTraditional Café\nCafé A Brasileira\n24\n22\nEl pub es un lugar de \nreferencia en la noche \nlisboeta, destacando por \nsus elaborados cócteles.\nInaugurado en 1905 en la \nrua Garrett, A Brasileira \nes uno de los cafés más \nantiguos de la ciudad.\nThis club is a favorite in \nLisbon nightlife, famous \namong other things for  \nits elaborate cocktails.\nInaugurated in 1905 \nat 120 Rua Garrett, A \nBrasileira is one of the \ncity’s oldest cafés.\nVDT2021 ©\ndepositphotos.com © bennymarty\ndepositphotos.com © fotokon\ndepositphotos.com © Krasnevsky\npicturelibrary \u002F Alamy ©\n",78,{"image":318,"text":319,"number":320},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.79.png","C 25 77\nReconstruido tras el \nterremoto, la Baixa es \nel barrio más céntrico y \ncomercial de Lisboa.\nEl bar destaca por la \npeculiar colección de \nfiguritas y objetos que \ndecoran su paredes. \nEl local continúa con \nla receta original del \nmonasterio para elaborar \nsus Pastéis de Belém.\nReconstructed after the \nearthquake, Baixa is \nLisbon’s most central \nand commercial district.\nThe establishment boasts \na peculiar collection \nof figurines and other \nobjects lining the walls.\nThe store uses the \nmonastery’s original \nrecipes for the famous \npastries of Belém.\nNeighborhood \nChiado30\nLos tradicionales cafés  \ndel Chiado solían \nacoger las reuniones de \nescritores y artistas.\nThe traditional cafés of \nChiado were meeting \nplaces for writers, artists, \nand intellectuals.\ndepositphotos.com © ribeiroantonio\ndepositphotos.com © zx6r92\nJoao Morgado\u002F Alamy ©\ndepositphotos.com © Krasnevsky\nVitor Oliveira ©\nFG+SG ©\nDesign Museum \nMUDE\nNeighborhood \nBaixa\nTraditional Bar \nPavilhão Chinês\nPastry Shop \nPasteles de Belem\nAtelier Museum \nFundação Júlio Pomar\n27\n29\n32\n31\n28\nEl Museo de Diseño y \nModa se ha ‘apropiado’ \ntemporalmente del \nantiguo edificio del \nBanco Nacional para \ncrear un nuevo lugar de \nencuentro y exposición \npara las diferentes \nexpresiones del diseño.\nEl proyecto firmado por \nel Pritzker Álvaro Siza \nmantiene el volumen \noriginal del edificio y \nadecua las distintas salas \npara difundir las obra \ndel pintor Júlio Pomar y \nacoger exposiciones en \ndiálogo con su legado.\nThe Museum of \nDesign and Fashion \nhas temporarily \n‘appropriated’ the old \nBanco Nacional edifice \nto give different branches \nof design a new place  \nfor holding encounters \nand exhibitions.\nThe project of Pritzker \nlaureate Álvaro Siza \nmaintained the building’s \noriginal volume and \nfitted out the spaces to \nshowcase the work of \nthe painter Júlio Pomar \nand host exhibitions in \ndialogue with his legacy.\n",79,{"image":322,"text":323,"number":324},"\u002Fmedia\u002Fimages\u002Fc1\u002F4b4c1f8679493108f36c82a7ab89b8-28f7a494db.80.png","78 C 25\n20\n21\n23\n01\n03\n08\n11\n13\n19\n10\n27\n05 \n25 \n16\n28\n07 \n26 \n09\n04\n24\n06\n22\n12\nPraça dos Restauradores 9, \n1250-096\nR. Garrett 122, 1200-205\n08:00-24:00 Mon-Sun\nAv. Dom João II, 1900-233\nRua S. Paulo 234, 1200-109\n07:00-21:00 Mon-Sun\nTv. Santa Teresa 28, 1200-405\n18:00-03:00 Fri-Sat\n18:00-02:00 Sun-Thu\nR. Rodrigues de Faria 103, \n1300-501\n09:00-22:30 Mon-Sun\nR. Augusta 24, 1100-053\nweb: mude.pt\nR. Vale 18 c, 1200-474\nweb: fundacaojuliopomar.org\nR. de Belém 84 92, 1300-085 \n08:00-21:00 Mon-Sun\nR. Dom Pedro V 89, 1250-093\n18:00-02:00 Mon-Sat\n21:00-02:00 Sun\nAv. de Berna 45A, 1067-001\nweb: gulbenkian.pt\n+351 21 782 3000\n10:00-18:00 (Tue closed)\nAv. Brasília, 1300-598\nweb: maat.pt\n+351 21 002 8130\n10:00-19:00 (Tue closed)\nAv. Infante Dom Henrique, \n1100-651\nweb: lisboncruiseport.pt\n+351 21 049 7940\nPraça do Império, 1449-003\nweb: ccb.pt\n+351 21 361 2400\n10:00-19:00 Tue-Sun\nAv. da Índia 136, 1300-300\nweb: museudoscoches.gov.pt\n+351 21 049 2400\n10:00-18:00 Tue-Sun\nParque das Nações, 1990-231\nAlameda do Beato 40, \n1950-042\nweb: conventodobeato.com\nSão Paulo, 1200-109 \nLargo da Sé, 1100-585 \nweb: sedelisboa.pt\n9:30-18:00 Mon-Fri\n10:00-18:00 Sat\nLargo do Carmo, 1200-092\n10:00-19:00 Mon-Sat\nLargo São Domingos, 1150-320\n7:30-19:00 Mon-Sun\nR. Camilo Castelo Branco 4, \n1150-089\nR. de Santa Cruz do Castelo \nweb: castelodesaojorge.pt\nPraça do Império 1400-206\nweb: mosteirojeronimos.pt\n10:00-17:00 Tue-Sun\nAv. Brasília, 1400-038\nweb: torrebelem.pt\n10:00-17:30 Tue-Sun\nR. do Ouro, 1150-060\nR. dos Bacalhoeiros 10, \n1100-135\nweb: josesaramago.org\n10:00-17:30 Mon-Sat\n 01. Ponte 25 de Abril\n 12. Éden Theather\n 22. Café A Brasileira\n 21. Gare do Oriente\n 23. Ascensor da Bica\n 24. Foxtrot \n 25. Alfama\n 26. LX Factory\n 27. MUDE\n 28. Fundação Júlio Pomar\n 29. Baixa\n 30. Chiado\n 31. Pasteles de Belem\n 32. Pavilhão Chinês\n 13.Gulbenkian Foundation\n 14. MAAT\n 15. Cruise Terminal\n 16. Belém Cultural Center\n 17. Museu dos Coches\n 18. Portuguese Pavilion\n 19. Convento do Beato \n 20. EDP Headquarters\n 02. São Jorge Castle\n 03. Praça do Comércio\n 04. Jerónimos Monastery\n 05. Belém Tower\n 06. Santa Maria Maior\n 07. Santa Justa Lift\n 08. Convento do Carmo\n 11. Sagrado Coração de Jesus\n 09. Igreja de São Domingos\n 10. 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